proxy media and full resolution media must have matching audio channels

[FeedbackCommunityMember]

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.

[FeedbackCommunityMember]

This is a total pain in the butt.

[FeedbackCommunityMember]

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.

[nicholasb86292881]

The workflow I'm trying to achieve is mobile edit in premiere rush with the Pxw fs5ii in camera proxies then open project in premiere and replace proxies with full resolution. 

This would enable me to start editing in rush mobile on my way home from job, eliminating having to have computer with me having to load project into rush desktop and having to have computer generate proxies 

Has anyone figured out a solution to this premiere must be capable of doing it as when I use the 4k xavc l 4 channel files in premiere rush it creates 2 channel 1080 h264 proxies which I can edit on mobile or desktop rush and then when I open rush project in premiere it replaces the 2 channel audio proxies with the 4 audio channel xavc l files with no problem. 

[nicholasb86292881]

I figured out if I delete the proxy files (720 in camera proxy 2 channel audio)in the cloud assets folder then open rush project in premiere files come up as offline then use link media to the full res(4k 4 channel audio) it works

[lehestro]

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.

[Stewart Shevin]

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.

Good luck!

[edmundsm70129232]

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!

[jg46087376]

SHAME ON YOU ADOBE.
Change it.
I beg you.

[dh68101997]

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.

[bobi1866046]

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.

[JohnPaulh17951998]

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.

[jake865]

I should be able to easily attach camera generated proxies to the primary RAW source footage. However, because the camera writes 8 channels on the audio and 4 channels on the proxies, Premiere Pro rejects the attachment. I shouldn't have to re-transcode all my proxies so they match based on audio...

[defaultfl8prqhg0ct1]

Change this please Adobe!!!! Its a complete b*lls ache for proxies to be rejected because of mismatching audio channels.

[Jonathan Jewell-Chatten]

Yes. Please fix this Adobe. Just pass the audio through. Really need more functionality over features at this point.

[Greg Wolfson]

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.

[Micheal5F94]

It's wild that such a massive platform cannot fix such a simple issue.

[Live2Line]

one more vote: Adobe, please fix this!

[eelko ferwerda]

One more vote. Audio: same as source.

insane that this is not available.

[amichaeldp]

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!

[ScottMiddough]

If this doesn't get fixed soon, I may have to change my main NLE away from premiere.

[kryštofd47503909]

This is really annoying, please solve this issue, Adobe.

[kevin304]

Adobe please fix this, thanks

[paulm85505633]

the proxy-workflow is partly useless with this limitation which doesn't make any sense

[Rui5E4C]

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!

[adrienl53251548]

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.