Known Participant

Question

Modified clips not playing back in slow motion because of proxies (SOLVED)

Forum|Forum|5 years ago
March 13, 2020
7 replies
6303 views

I had some clips that were recorded at 120 FPS that I brought into Premiere. Usually I right click them, choose Modify>interpret footage and then set the frame rate to 23.976. When I did this, the audio slowed down, but the video remained at 120 FPS (and played back in "Real time"). The clip got longer on the timeline, but where the last frame of the clip was in real time it would just be a freeze frame until the end of the clip on the timeline.

SOLUTION: what I figured out was that I had made proxies of the clips at 120 FPS. For whatever reason (a bug) if you have proxies on and you modify a clip, it does not modify the proxy (the video at least ... it does modify the audio which is even more confusing). If you turn proxies off you will see the clip is in fact modified and plays in slow motion (at 23.976 FPS).

Just wanted to drop this here as it confounded me for most of the day;)

This topic has been closed for replies.

S

Splicer Jack

Participant

You're a God, thank you.

ramseym35049056

Participant

THANK YOU! WOW, you just saved me so much work. I really appreciate this. I ran into the exact same problem just now. You helped save me! 🙂

RAD Films

Inspiring

This is a big pain in the bum. Especially when it comes to 4 channel audio out of my three Canon XF605s. For one, you can't create a proxy with 4 channel audio in a decent format to run under Windows (MP4), and second, my cameras generate the proxies while recording. That saves me time in post to render them and it is redundant footage. It doesn't make sense for me to render new proxies.
There should be a better resolution to this problem in the future.

M

Michael Grenadier

Legend

Here's a workaround. First, as Kevin suggested, do not interpret the clips to adjust speed but use the adjust speed dialog. And here's the trick, rather than "attaching" the camera generated proxies, unlink the full quality camera original and relink to the camera generated proxies in Premiere. When you lock picture, unlink the proxies and relink to the full quality camera original... I spent several days tearing my hear out trying to generating proxies from a sony camera (maybe the FS7 - can't remember but can dig down to figure it out if you want) that had 8 tracks of audio generated in camera... Of the 8 channels of audio, I only needed the first 2 channels (actuallly there was no audio in tracks 3 - 8_). ...Although I could generate proxies within premiere, they wouldn't stay attached to the camera original clips... This solution worked just fine... But I'd do a test to make sure this workaround wil function correctly with your camera generated proxies. If you need help figuring out how to test this workflow, post back. and if I'm not being clear enough, just ask me to describe this workflow in more detail.

J

JOHN MONDO

Inspiring

John, you and I don't disagree ... it's the engineers that disagree. I've stood there and discussed this specific situation, and a number of other issues, with their upper engineers that come to NAB and MAX. It gets frustrating at times.

They're all editors themselves by the way ... so they actually all use the app for personal work. That's something many people don't think about. But their engineering viewpoint is, (from our perspective) putting blinders on them at times.

It's things like ... the way tools are organized on the screen. They can get totally caught up in the way the tools are organized in the code, and then insist that be reflected in the UI ... when a different on-screen organization would be much more sensible for the user. I've had several discussions over a number of those types of issues.

Talk about agree to disagree ... they mentally can't budge because they KNOW how the code is written. To them, and whatever "this" subject covers ... what it does now MAKES TOTAL SENSE. What the users ask is ... not logical to them because it doesn't match the pattern of the code or something.

And of course, you and I couldn't care less how the code was written! And yea, that's ... frustrating.

I've been in the Adobe booth while others argue similar things with engineers. And in the BlackMagic booth while people argue things with their engineers. Arguments with the engineers seem to always run the same pattern. Which is why it's such a joy when you get one who actually listens, asks questions, and posits potential suggestions on how to accomplish what "we" want while meeting his/her needs.

Dacia Saenz is one that is amazing to talk with. Some of the others ... probably going to be frustrating. And yet, when you come to them with the way to replicate a problem they've been struggling with, they will be all over working on it.

But the other thing that gets frustrating for us are the decisions made typically above the team level as to where the budgeted time goes. So the supers have X hours for certain types of work, and have to prioritize which bugs & annoyances get work, which ... don't at this time.

Several of the long-standing ones are pain points for me, I'm very aware of that. And I'll be after those issues again. Every once in a while, one of those does get fixed.

As to the M1s, that's ... a strange situation. Some things for some users absolutely scream, and for another M1 user, won't work at all. Some issues there to get sorted for certain.

Neil

I appreciate all your hard work on the forum Neil. I wish I had more positive things to say about Adobe because I love After Effects. But Premiere is just hard work.

R Neil Haugen

Legend

Serrini,

Yea, you would think that by now we'd be able to link with options as to say how to handle audio mis-matches. There are a lot of requests in for that ... so I hope it's taken care of sometime realistically soon.

Neil

Everyone's mileage always varies ...

J

JOHN MONDO

Inspiring

Thanks for the workaround R Neil. I don't get why it doesn't just work - ie. encode the proxies at the original frame rate and interpret them at the same rate as the master clips. Seems like a bug to me. It would be great if Adobe just overhauled the proxy system, especially with 10bit H265 4K coming along. Give users a bit more freedom with audio etc. I have to use different templates for 8 channel audio from a camera like the FX9 and stereo audio from an A73.

Christian.Z

Community Expert

This was the first issue I encountered when PP first launched Proxies. And within 5 minutes I lost the tiny bit of respect that I had for "Interpret Footage". It is a useful tool and better just to have it there in case you need it, (i.e you did a mistake with your camera seetings and looking for a quick fix) but my go to approach is to simply modify speed/duration on the timeline. This gives me more flexibility and much more control over things (somehow my head got used to calculating the percentage I need to slow down, rather than to speed up)

M

Michael Grenadier

Legend

thanks for posting this. Hopefully it'll help someone with the same probelm

R Neil Haugen

Legend

Premiere's proxy routine is a bit odd in places. Such as the limitations is has on interpreted time media, like yours. Technically, it's not a bug, it's the way it was designed. I've had several long discussions with engineers at NAB over this. They've got internal reasons of course ... but as a user, those don't ... "fly" too well.

It doesn't do what we expect or want it to do for time-shifted media.

There's been several workarounds 'published' over time. Like this ...

But it would be nice if they'd just get the proxies to play matching how the original clip is set.

Neil

Everyone's mileage always varies ...

serriniAuthor

Known Participant

Ah ... I see what you are doing there ... thank you ... I mean obviously from a user perspective it seems like an easy fix "just code the program to also modify the proxies when you modify the source" but I know it's never that simple. It's amazing we've come this far, considering I was wrestling "dropped frames" injesting via firewire into Pinnicle Systems editing software 20 years ago.

Kevin-Monahan

Community Manager

Hi RAD Films,

Sorry. Do not use the Interpret Footage function for speed effects; instead, speed adjust the clips, and you can create proxies as usual. It sounds like you are struggling with a different problem with your proxies. I don't know of any way to use the camera-generated proxies in a Premiere Pro workflow. I hope the community might offer some advice for you.

Thanks,
Kevin

Kevin Monahan - Sr. Community & Engagement Strategist – Pro Video and Audio

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