proxy media and full resolution media must have matching audio channels
I feel like you should be able to attach proxies to full resolution media based on video and not just audio - I have hours worth of proxies that a DIT made and the audio channels don't match the source files so I can't connect them.
I can do this the traditional way, working with proxies, until picture lock, unlinking and then re-linking to full resolution media, however I'd prefer to have both on hand in Premiere.
John Thain commented
I use Adobe Premiere to make proxies, and it's always worked fine, but after a recent update it longer works for me. The issue is the audio channels.
My camera (C300 mkiii) records 4 mono channels. I have to use ProRes to make the proxies since h264 doesn't support 4 channels. The audio on the proxy does not show up on my timeline, but it does when I toggle the proxy off. It never used to do this, perhaps a recent update changed something?
Landon Donoho commented
This is utterly frustrating, has there been a fix yet?
Jared Neher commented
In my experience, Premiere has the best system in place for generating proxy media, in that the files that are generated are very easy to share with other editors who can download them, re-attach them inside a project, and keep the ball rolling with editing. however, the hurdle of actually MAKING the proxies certainly is the hardest part of the process. every time I sit down to make proxies, I encounter this "incompatible audio channels" error. I have tried making my own export settings, creating ingest settings, I have tried everything. and time after time, it has this problem. I really think this issue needs to be solved soon for Premiere to remain a solid competitor.
John Carl commented
Many of my film friends here in NYC are just switching to Davinci Resolve because Premiere has too many impediments to their workflow. On set DITs use Silverstack or Resolve to deliver proxy files on the hard drive at the end of the day, along with the Arri/Red RAW files. The proxies are already made. Amazing. But these files are totally useless to Premiere. The only solution is to re-render all of them (days of footage) or just build entire project with proxies only and have to wait until color/online to finally see the high resolution version. Not great for client relationships. And why? Just because the *audio* channels don't match which has *nothing* to do with the video. It's so inane and stupid. Just like how Premiere has no color management control to speak of. Like do any of the developers actually use their own program? Do *you* think proxies are well implemented? Really? Have you ever user-tested and just watched your users flounder, unable to figure out your byzantine workflow? Maybe fix that, no? Stuff like this is why Blackmagic Design is absolutely eating Adobe's lunch.
If your camera generate mp4 proxy with only 2 audio channels, the fastest way for the moment is to convert it to MXF with 4 audios channels (or matching numbers to your main video) using Media Encoder... But yes it's a pity to have to break the workflow with a proxy encoding.
Rui Branquinho commented
This issue must really be addressed soon... Modern workflows record proxies in-camera. Premiere must be able to attach two files, generated by the same camera, at the same time, right after shooting!
It's absurd not doing so just because the audio channels don't match!
PLEASE MAKE THIS A PRIORITY IN NEXT RELEASE!
Paul Maas commented
the proxy-workflow is partly useless with this limitation which doesn't make any sense
Kevin Bowder commented
Adobe please fix this, thanks
Kryštof David commented
This is really annoying, please solve this issue, Adobe.
Scott Middough commented
If this doesn't get fixed soon, I may have to change my main NLE away from premiere.
Adam Genzink commented
I shoot on a C300 Mark II which records four channels of audio. I don't know how to create a proxy with audio that matches this, so I'd love to be able to create a stereo proxy and still be able to use it in the PrPro proxy workflow. Or even separate out the audio from the proxy workflow entirely - say have a video proxy file that links to the video side, and a separate audio file that connects to the audio portion. Thanks!
Eelko Ferwerda commented
One more vote. Audio: same as source.
insane that this is not available.
M&P L2L commented
one more vote: Adobe, please fix this!
Micheal Harmon commented
It's wild that such a massive platform cannot fix such a simple issue.
Greg Wolfson commented
Another upvote for this. I have Prores QTs with 4 channel audio and have yet to successfully create proxies with 4 channel audio that Premiere recognizes correctly (usually it only links the first channel of audio), despite using custom ingest presets, Resolve, and a variety of codecs.
Jonathan Jewell-Chatten commented
Yes. Please fix this Adobe. Just pass the audio through. Really need more functionality over features at this point.
Nick Ralph commented
Change this please Adobe!!!! Its a complete b*lls ache for proxies to be rejected because of mismatching audio channels.
John Paul Horstmann commented
Most professional cameras create files with up to 8 channels of audio.
However, the H264 proxies only support 2 channels.
We need help Adobe! Please fix this.
Bob ijsbreker commented
Come on Adobe..fix this. I don't want to, but after some other Adobe-bugs I have encountered I am thinking of chancing back to fcp or other.
D Hestad commented
I spent literally days trying to make this work, tried every setting, and it doesn't.
Here's what might be ideal:
-have a function to create a video proxy that attaches to the original audio
That way audio stays the same, whether proxy toggled on or off.
Currently, all the channels are mixed to together in proxy and you have to pretend you're not playing bad audio.
PROXY AUDIO IS CURRENTLY USELESS.
would be great if you could change this.