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.
Bin Li commented
This is really killing us, please help.
Mike Roth commented
Proxies are supposed to save time, not add extra steps to make them work correctly.
Rafael Ferraz commented
Actually is unbelievable that we have to ask for proxie have matching audio channels. C'mon Adobe
Mark Titus commented
Another vote: Please allow for proxies with single audio track to replace multi-track audio. If not it really renders the internal proxy-generation abilities of cameras useless in simplifying post workflow.
Joseph Alminawi commented
Please make this happen - this feels like an essential function for an app of Premieres caliber
aaron schasse commented
I vote for this and I am very frustrated that Adobe continues to sit on their thumbs rather than take action to make this update. I'm personally getting sick of shelling out money to Adobe for reasons like this.
Ross Asdourian commented
Having an integration with poly wav split audio would be helpful. But that's been here before, reiterating.
Mike Citizen commented
When creating proxies using the Quicktime ProRes Proxy settings for clips that I've purposely set to mono, Premiere always changes the first clip in the batch to adaptive. I have to detach the proxy for that clip, reset it to mono, and then re-attach the proxy. I imagine there's lots of people out there who use adaptive clips, but I for one have never found that setting useful. They seem to wreak havoc with proxies; proxy audio channels do not seem to match master clip audio channels when the adaptive settings are used.
rupert murray commented
Please change this. It's a fault that cuts to the fundamental failure of Premiere not to give the user ultimate control over everything and that is where Avid and increasingly Resolve gives Premiere such a good spanking. In Avid the user can select or deselect everything - there is always a fix or work around. The issue that Avid then has to deal with is fiendish complexity, which Premiere doesn't have. It would be fantastic to have a straightforward system where everything can be changed...!!! In Premiere you always hit these seemingly pointless brick walls. Now I have to reconfigure all the proxies I created in Media encoder.... my issue is that Canon MXF seem to have 4 numbered audio channels that I can't delete and yet I created two channel proxies with left and right, the modify audio channel box simply doesn't have enough buttons to change more things about the representation of the media and there is lots of space for more buttons...! My overall suggestions would be more more functionality but not at the expense of logic - more complex yes, but more complex logically, there is so much in Avid which seems like the Ivy grew round the house and became knotted and illogical, and operates against itself, if we could have much more functionality that works in a straight line, where its expected to be and not in conflict with another function that would be great...it seems crazy there is still so much that is imperfect about all these editing systems in 2021, why aren't they perfect by now? Why have they become less perfect over time, I think that is a fundamental question that needs answering.
Joshua W commented
Not only this, but they need to allow us to use audio passthrough for building proxies.
Marcel Duvenage commented
Oh my gosh, this is doing my head in! Handed over a production with 38TB of footage , proxy files generated outside of adobe with 2 channel stereo audio vs the Full-Size version which have 5 channel mono and now can't connect the Full-SIze media short of Offline/Unlink the whole sequence and then link manually. If I use auto-connect other media it only re-links the one file and the rest connected back to the low res versions. I'm sure there is a work around but a what a mission... Please give us the option to choose whether or not we want the audio..
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.