I'm having issues attaching the camera proxies from an FX9 to the full res media in Premiere. I'm working off Premiere CC 13.1.
I get the "proxy media and full resolution media must have matching audio channels" error. I see that the MXF's have 8 mono channels, and the mp4 proxies have 1 stereo channel, but even if i change the MFX's audio channels in Premiere, I still get the same error.
Is there a way to attach the proxies that I already have, or must I create all new proxies in Premiere/Media Encoder?
same here on the FX6. Not even that you have to rename all the proxies to be able to attach them, there´s still the "audio channels must match" problem...
Many professional cameras generate proxies in-camera and are an integral cost-cutting measure in a television workflow. If "create them in Premiere Pro" is the solution, then no wonder so many post houses refuse to give up AVID.
I'm sorry Ann, but this isnt a fix. That is how you create proxies yes, but I want to use the proxies already created in camera. This is frustrating because my workflow is slowed down tremendiously wasting many hours of an editors time.
Hi, did you manage to sort this out? I am looking to edit with proxies created in camera. I am assuming I just AMA them into Avid. (i wouldn't know how you identify on the camera card which are the proxies and which are the high res?). I also don't know how to link them to the high res files after the edit? I am assuming as they are proxies created in camera I can edit direct and I sholdn't need to transcode them in avid (as that is sort of the point of the camera being able to creat low res?). Its for a fast turn around project so I just to need to edit with proxies then conform at the end. (Not sure how long this takes either).
( i have the option to use Avid or premiere, I don't know which worflow is best with proxies though)
As Ann Bens mentioned it, Proxy in Premiere Pro workflow need to match the audio channels of the original file.
It can be annoying if for example, you upload light proxy files on a server because you are in a foreign state or country to start your editing as fast as possible while the original big files are uploaded later and will be reconnected to each proxy. For that Sony has the Ci infrastructure with a workspace panel integrated in Premiere. I don't know exactly how it handle proxies workflow within Premiere so I can't talk about it.
This being said, if you are not in that kind of situation, a mp4 proxy is not ideal for editing since it's an interframe codec and will push your CPU way harder than an XAVC intra, DNx or ProRes. Mp4 proxy creation on cameras is great for streaming purpose since it will be published on a server way faster than full res files. Not so great for pure editing purpose.
I have watched few proxy workflows videos on Avid but was not able to find a video on relinking with already created mp4 proxy files.
So if you are not sending files over a ftp to edit as fast as possible, just don't use the In camera proxy function. Use the very simple and efficient workflow of PPRO. Create proxy while importing your files in Premiere or create them from the project panel. It's a background process to you can start editing right away. In your timeline, you can switch between the full res and the proxy. When you ready to render, you don't need to conform anything since Premiere will always use the full res file for rendering ( there is a new option that can allow you to use the proxy for render, if needed ).
Hi Thanks for your reply. The PP workflow for editing proxies that are made within the software sounds super useful, I wasn't aware of that capability. However it won't work for this project. The only reason we are considering using in camera proxy files is that the cameras shoot is a huge distance from the edit, and in order to start editing as soon as possible camera proxies were going to be uploaded to start editing with. I have looked for videos to explain re linking camera proxy to their high res equivalents for Avid and Premiere and can't seem to find anything. So I'm not actually surewhether editing with camera proxies is really going to speed up the editing worksflow, on this very fast turn around editing project! I think for some cameras being able to proxies is a relatively new function.
Alright, there is by the way a solution with Premiere Pro and I think for Avid it will be pretty much the same since I think ( need to confirm by an Avid user ) that even the proxies will be warped in a .mxf format.
With this method, the main Audio channels ( meaning the usefull ones for the editing since proxies are stereo ) need to be recorded on Ch1 and Ch2 .
On your timeline , you work with mp4 stereo proxies. Your original files are lets say in a 4 channel format ( what is this format by the way ? XDCAM HD 50 ? ).
The only thing to do is to transcode your 4 channel XDCAM HD for example, into a 2 channel XDCAM HD. If the new format matches with the transcode one, the render will be made in no time and processed in background via Adobe Media Encoder. The only difference will be that the original has 4 channels for example and the new one has 2 channels. Now it can match perfectly with the stereo mp4 proxy file. Once finished your editing with proxies, select all the mp4 in your project panel / Right click / Proxy / Reconnect full resolution media.
Just keep in mind that the file names has to be consistent.
Hope it help.