Simplify/Improve Proxy Workflows
The number of hoops to jump through to get proxies up and running can be quite cumbersome and difficult to explain to newer users.
-Exit Premiere and open Media Encoder
-First create an encode preset for your file,
-Then create a separate "ingest preset" and nest that encode preset inside the ingest preset.
-Save that, but Premiere Pro is ignorant of this so you have to "Export" this preset to some place on your hard drive
-Open Premiere and then load your ingest preset.
(not sure why this can't just auto populate with all your media encoder ingest presets... also no way to delete presets from this list.)
-Finally make your proxies and hope media encoder doesn't crash in the process.
What I would like to see is a much less roundabout way to make proxies in Premiere:
-Select clips you would like to make into proxies
-Launch a dialog with all of the normal media export settings (codec, size, etc) with a few extra toggles specific to proxies (like save next to original media in /proxy etc)
-Proxies generate in the background (preferably in some BG process and doesn't launch a lengthly "Creating Proxy Jobs progress bar," The creating proxy jobs dialog can take 10-20 min to go away with a lot of jobs and kind of defeats the purpose of doing something in the background in Media Encoder if you have to wait forever for the encode to even start! You can't edit during this period and it seems like a huge waste of time.
Proxy workflow hasn't really been improved much since it came out and could really use a 2.0 polish pass!
Jeffrey Drake commented
I second Dave Harrison's comment about "match source" audio setting in the Proxy workflow. Since the audio settings have to match in order for proxies to be attached, MAKE THEM MATCH!
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Alex Elkins commented
Very well said. Agree with everything here. It feels like nobody involved in designing this workflow has ever had to actually use it.
Here, you talked about 1 possible approach to creating proxies. But in reality, there are 3 possibilities to do so.
1. From Premiere Pro Project Settings
2. From Media Bin
3. From Media Encoder, as you said here.
My issue with this, is that evey solution has differents settings (for example, in method two, you can create proxies “Next to the Media location, in the proxies folder”, but you cannot in the approach 1 & 3, where proxies should be in a unique folder (or do so manually)). Another example is with Presets, in the approach 1 & 2, you have very handful preset, which you don’t have in Media Encoder.
Another issue is duplicated proxies. If you stop the process of creating proxies (it can take HOURS on large projects), and restart it, instead of starting again where it stopped, Premiere Pro/AME will start encoding all the files over, creating TWO proxies, even if they are already linked !
With our media files being larger and larger, Proxies workflow should be simple, easy and consistent. I think a bit about this, and made a graph on my perspective on how to resolve this. Hope Adobe engineers will see it 😊.
Dave Jones commented
Much agreed with all of this.
In addition - I would like to see an extra option to export an offline edit using the proxies. A simple toggle switch would suffice.
The only current workaround I can find is to make my media offline, which then forces Premiere to only reference the proxy files.
Dave Harrison commented
Yes! In addition to this, we desperately need a "match source" option for audio when creating the presets. I've been hit too many times with proxies not being able to re-attach because of differences in the audio configs between the original files and the proxies that are made.