Ability to import a folder of proxies and have them interpreted as Cam Orig framesize
Greetings! Like many other folks, we are remote shooting with camera crews and need to quickly get proxies from set that our editors can access quickly and start editing with. A common usecase is the proxies that the Canon C300 MK2 camera generates internally and records to an SD card. The camera originals are 3840x2160 and 400 MBS (23.98 fps, with 4 channels of audio). The proxies are 1920x1080. matching audio channels and framerate and 24 MBS, quite a bit smaller! We want to download these small proxies from set and have Premiere treat them as “attached proxies” even though we don’t have the originals yet. We would like to have the option to have Premiere interpret them as 3840 x 2160 as if they were proxies attached to masters of that framesize. Then later, when the camera crew gets back from location, downloads the originals and uploads them, our editor might download them the next day or even later. But we would like to have the proxy workflow where they point the Premiere project to the camera originals and Premiere recognizes them as the “attached masters” to the proxies they’ve been editing with. Now, when we finish an edit that has been edited with the 1080P proxies, often we’ve done a lot of resizing and reframing in the 1080P sequence and so when we reconnect to the 3840 x 2160 files it’s complicated to go back to resize and reframe. Also, we are wanting to be able to make very tiny 1280 x 720 MP4 proxies on location and have those map back to our raw files. A similar usecase requiring the same features in Premiere. We’ve been able to do this in After Effects since 1999 or so by bringing in offline clips and attaching proxies while waiting for the full rez clips to be available. Maybe this feature could be developed from code that the After Effects team has already developed? This would be an enormous timesaver and we would be very appreciative if you could help us develop this workflow!
david driver commented
This is an excellent idea! For all of us who work with proxies, this is a missing link. It’s also a forward looking idea. Advance proxy workflows need to become the norm in nonlinear editing software.
Aaron Rhodes commented
Paul is a seasoned technical and creative genius. This workflow seems like a no brained to add to the power of premiere. I too have used Ae since it’s early days and marvel at the connection and disconnect between apps like Pr and Ae. It’s time to unite and clasp hands across the isle. If this pandemic has taught us anything’s it’s that we are all in this together, and that proxy workflow is the future.
Travis Vachon commented
Yes please!! With such dramatic disparities in internet connectivity this is really needed for folks who don't have access to the highest bandwidth connections while we're all stuck at home!
Brook Hinton commented
This is an essential feature now, please make it so!
John David Wright commented
+1 for this! This would be a GAME CHANGING feature that is highly needed in this COVID season. Honestly, it would still apply post-COVID as well as our industry is ever changing, and assets are need quicker than ever.
This would also give Adobe huge marketing points by being able to be frame.io camera to cloud "compatible". This would be very cutting edge of Adobe to do this!
Lucía Arrocha commented
+1 to this request! It would be of tremendous help
Josh Ferrara commented
+1 for this. Would save a ton of time and allow remote editors get to working sooner without waiting for full res assets.
Glen Janssens commented
I'm biased as I am part of the team making the request, but / and this is a simple but massive missing piece in our workflow. Sure would be a major help!!!
Josh Rogers commented
This is a huge missing piece for fast turn around workflows. This really needs attention
Paul Lundahl commented
Also should note that this workflow is especially needed as we start adapting new workflows like Frame.io's camera to cloud. Without this workflow camera to cloud is broken in Premiere as there is a limit of 1920x1080 and stereo audio which will make proxies that can't be attached in Premiere once you have the full resolution, more than 2 audio channel camera files. .
Chris Loukides commented
Please Adobe, help us out with this workflow need. It speed up our workflows dramatically. Thanks!