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.
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.
J G commented
SHAME ON YOU ADOBE.
I beg you.
Edmunds Mickus commented
Difficult to understand why Adobe still ignore this ang how much votes need this idea for decison to implement!
- I believe not only SONY but also other brand camera manufactures allow to create proxy files during video shotting.
If proxy media and full resolution media must have mach audio chanels Premiere users must spend extra time for creating proxies. It's a shame!
Stewart Shevin commented
A PARTIAL WORKAROUND for some situations...
I had this problem. The proxies were made on set and Premiere gave me the audio mismatch error. The shoot was MOS so I didn't care about sound anyway. The RAW files were recorded without any sound, but DIT made proxies with a stereo sound setting (which was actually blank on the file, but the file metadata shows it). Hence the mismatch error.
I'm on a MAC. I opened the proxies in Quicktime Pro (not version 10, rather old version 7 that allows editing of properties) and in menu chose WINDOW>SHOW MOVIE PROPERTIES (command+J). In the properties window I selected SOUND TRACK and clicked DELETE. I then saved the file and closed it.
Then in Premiere I control-clicked on the RAW file and chose ATTACH PROXIES. When asked, I selected the proxy I had removed the audio from and it attached properly. SUCCESS!
Of course I had 70 proxies and extracting the audio the audio from each one was a drag, but not nearly as much hassel as remaking the proxies from within Premiere.
I'm sure there is a macro that could be written to automate the process, but that was beyond my ability.
I guess if there was sound involved I might have been able to post sync the RAW / proxies with discreet wav files, assuming they were recorded on set. But for this job it wasn't an issue. I surely would not change the RAW to adapt to anything unless they were backed up.
Rasheed Malik commented
I concur. I'm having to spend half a day re-transcoding because a DIT kicked out proxies from Resolve without any audio channels. This should be simplified. I'm not even using the audio at all.
Yes - this workflow makes no intuitive sense to end users. The whole point of proxies is that you're linking two video files with completely different settings. Audio should not get in the way of this linking, just like video currently doesn't get in the way. The error message that pops up when attempting to attach full resolution media to files with mismatched audio ... imagine if that error message also said "the video settings don't match." The user is going to think "duh, that's why this whole workflow exists, so I can link media with different settings."
Following that logic, this is a giant design flaw in Premiere that breaks one of its most useful features for editors.
This is a total pain in the butt.