Can Premiere Pro match Modify Interpret Settings for Proxies already generated from camera?

[DISPATCH Crea377897763dw2]

I am beginning logging footage shot on a Canon EOS C70.

In addition to the RAW footage, the camera also generated corresponding Proxy files.

The majority of the footage was shot in 60P (NOT Slow&Fast Motion).

After I have attached the proxies, my process involves interpreting the raw footage to 23.976.

Unfortunately, when I toggle the proxies in my timeline, it resorts to playing them back in their native format. This results not only realtime playback, but also the footage "Freeze-framing" before the clip duration ends.

How can I have premiere modify-> Interpret the proxy footage of the proxies, just like it does with the RAW files? If Premiere claims to have proxy support, I belive this should have happened automatically when interpreting the RAW footage. 

Thank you for your reponse.

[PaulMurphy]

Unfortunately, Premiere Pro does not support modifying frame rates for clips with proxies attached. However, there is a workaround that you can use to achieve your desired playback speed.

You can adjust the playback speed in either the timeline or the project panel. To do this, select the clip and then choose Clip > Speed/Duration.

For example, if you have a clip shot at 60 fps but you want it to play at 23.976 fps, you can calculate the speed directly in the Speed/Duration window by typing 23.976/60*100 (which equals 39.96%).

This allows you to adjust the playback speed while keeping the proxy in sync with the original media.

I hope this helps! Let me know if you have any other questions.

Cheers,
Paul

[DISPATCH Crea377897763dw2]

Thanks. This introduces two annoyances:

1. I can't review footage in the Source Monitor in slow mo (in order to pull selects)
2. Now that I have to pull selects in the timeline, I have to manually Right Click -> Speed Duration for each one. Why can't I select all? I can, but then I'd still have to manually extend each individual clip because the length matches the original duration when it was playing in realtime.

Is there another workaround or alternative to avoid this?

[DISPATCH Crea377897763dw2]

The third annoyance is now that I have to nest any clip I want to stabilize.

[PaulMurphy]

The third annoyance is a valid one, but the other two should not be an issue if you apply the Speed/Duration settings in the Project panel instead of the timeline.

[DISPATCH Crea377897763dw2]

Thanks for the help. For some reason I thought Speed/Duration was only available once it was on the timeline, even though you originally said otherwise (by accessing the Clip dropdown).

I'm transcoding and generating my own proxies. This puts me back on time, but it's not worth the frustration. I truly believe that an NLE that claims to handle proxies should also support multiple framerates in the way I originally described. Wouldn't you agree?

You may have seen other resources on the web that describe the transcoding workaround. Which is, after you start your proxy queue in AME, you immediately hit "STOP". Then Reset the first clip. Then Interpret Footage prior to initiating the queue again. This results in proxies that can be used seamlessly with the Modify-> Interpret Footage method.

[R Neil Haugen]

Your YouTube proxy 'hack' is only for working with the Interpret Footage dialog, which for technical reasons is not recommended for speed changes or ramps by the devs. It's really apparently supposed to be used for cadence changes, if I recall correctly.

So it shouldn't apply to 'normal' speed changes.

It's perhaps weird, but ... there's all sorts of under the hood weirdities in video production. Like ... we are still dealing with interlaced ... why oh why? Ah well.

[DISPATCH Crea377897763dw2]

And what exactly is a cadence change? Curious minds want to know. There's a reason some might prefer the Interpret method; most likely due to premiere's inconsistencies or lack of comprehensive support...such as no warp stabilizer or support for various frame rates with proxies. How long has this been an issue? It's been a frustration for awhile.

Point being, the "hacks" are discovered out of functional necessity. The developers original intentions do not hold much meaning when users are forced to find their own workarounds due to Adobe's shortcomings .

[R Neil Haugen]

Cadence means working from one framerate pattern to another, where "pull-downs" are required. AfterEffects actually has by far the better tools for that.

Here's a Wiki on this ...

https://en.wikipedia.org/wiki/Three-two_pull_down

So it's actually a case of a tool being designed for one use, that users sometimes use for a purpose it's not really designed to do, when there is another tool designed by the devs for what they need.

Weird as it seems at first.

[DISPATCH Crea377897763dw2]

What is the technical difference(s) in how Premiere handles displaying the "slowed down" footage for each method?

[R Neil Haugen]

You'd have to have one of the devs handle that, for any detail, as it's way above my knowledge base.

In general, pull-down/cadence changes are typically based on doing some hinky stuff repeating/dropping frames in a pattern ... hence the 3:2 and 2:3 discussed in the article referenced above. I don't know what all Interpret Footage does, but it doth have some of that built into it.

I think the Speed/Duration uses frame blending methods.

Other than that, well ... it's a mystery. Like many things in video post.