I have been using a proxy workflow for over a year now and distribute Premiere projects with proxies for several editors. Many of these projects are then graded after a final lock. During the edit process I need to make sure that the editors can seemlessly work with original and proxy footage. The process was working well until the 22 updates. I have searched preferences in AME 22.2 (Build 64) and I can't find a way to export proxies that match the original footage (uncolor managed). Specifically I am having problems with Sony ILME-FX6V .MXF clips
CaptureGammaEquation value = s-log3-cine
CaptureColorPrimaries value = s-gamut3-cine
CodingEquations value = rec709
Any advice is appreciated. Thank you KLLVideo
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We're sorry about the poor experience. We have worked on the color management of proxy files in the latest beta of Premiere Pro & Media Encoder. Would you mind trying the latest beta version of the apps to check if it's working properly? You may refer to this link to know more about the Creative Cloud beta program.
I have tested the betas and the .mov created from the mxf as a "create proxies" from within Premiere did give me the desired result. The orginal and the proxy appear to be in the same color space.
I have also tested this in AME beta and it changed the color of the mov. Importing the MXF directly to AME and exporting with the same settings. It would be ideal to have a color preference in AME. I will sometimes use watch folders for encoding proxies.
I will share those results, but not sure if this is the place to do it.
Premiere 22.4.0 BETA (Build 6)
Media Encoder 22.3 (Build 56) BETA