Have a project that was synced in Resolve, had proxies created in Resolve and now needs to be transferred to Premiere for th editors.
It was shot on a Blackmagic Cinema camera (.braw) and the plugin for Premiere to read those files isn't the greatest. So trying to link the created proxies to the offline .braw footage in Premiere to give to the editors, so they don't have to worry about working with .braw clips.
Any clip that only had 2 channels of audio recorded will attach proxies. Any clip that has 4 or more channels of audio won't attach. TC, and duration of the proxy and raw clip are identical. Only difference is that the audio is set to 48000 Hz - 32-bit Float - Stereo mapped to 4 Mono for the raw clip, and the proxy is 48000 Hz - 16-bit - 4 Mono.
However the clips that have only 2 audio channels are 48000 Hz - 32-bit Float - Stereo mapped to 2 Mono for the raw, and 48000 Hz - 16-bit - Stereo for the proxy, and they attach no problem.
In the attach window, I get a tick by every clip, as though it's found the correct file, but once it's finished processing all the clips, only the 2 channel audio clips are attached.
Everything is stored on an external drive, and copying the files to the internal drive doesn't solve the issue.
Working on Premiere V 22.3.1 (Build 2) on a mac running macOS Big Sur (V 11.3.1). Have also tried it on a mac running the same version of Premiere and macOS Big Sur (V 11.5.2) and it's the same outcome.
Premiere won't allow connections between proxies and originals if there is any difference in the audio ... the audio! ... data.
A lot of us have complained about that, but so far, no change. Very frustrating.
And the Autokroma BRAW plugin is not expensive and works beautifully. I'm getting the best playback from BRAW in Pr 2022 that I've ever had. The BM one is ... unpredictable.
Just doesn't explain why it can link the 2 channel audio, but not the 4 channel audio, seeing both the raw and proxies have the same audio settings, which are different from each other.
The 4 channel files both have 4 mono channels in them. Is Premiere so sensative that while it can tell the difference between stereo mapped 2 mono and stereo, it can't tell the difference between stereo mapped to 4 mono and 4 mono tracks?
Yea, it does weird stuff like that. Which is part of why it's so freaking annoying. I've had engineer's finally say ... "Well, I can see how you might find that frustrating, but from an engineering point of view, how can we say all the files are actual matches if some parameters don't match?"
That was a big admission ... that we might find it frustrating. That in itself ... is frustrating!
But still, he couldn't see past his need to play gate-watcher and let the user decide if the files should be matched with an override option.
Yeah, that isn't helpful. And it's not helpful that I can't tell Premiere that the master clip is actually 4 mono tracks, instead of stereo mapped 4 mono tracks. If I could do that, theoretically I would have my problem solved...
Assuming you're using Premiere Pro's Proxy Workflow for smooth playback of the Proxy files on a workstation that cannot play the Full Resolution files, you'll need to create new proxies from within the Premiere Pro project.
Yeah, that's what I'm currently doing, unfortunately.
The joys of double work...