I'm hoping that I can get an answer for this because it's effecting my workflow on multiple projects.
I work in documentaries and I have been using premiere's proxy workflow (import RAW footage into premiere, with the "ingest" botton clicked on the media browswer, pro-res proxies made in media encoder) to give footage out to editors. I send them a hard drive with the project file and the proxy footage. However when my editors try to open the project, they have to relink the footage and occaisonally the files will relink incorrectly or just offline media even though the proxy versions are on the drive. Most of the time they have to relink files one by one and every so often they get an error sayiny "proxy media and full resolution media must have matching audio channels" which is frustrating because the proxies were made in premiere and are a pro-res rewrap (and more importantly, only happen for some of the clips but all were shot on the same camera).
My questions are the following:
1.) Is there a proper way of sharing a premiere project file by only using the proxy files made internally through importing into Premiere and Media Encoder?
2.) When using premiere’s proxy system, is there a way to export an XML or Premiere Project that relinks to only the proxy files? That will help sharing sequences without having root media handy.
I'm considering moving to Da Vinci and using that round trip workflow if this isn't fixed!
Thank you for your reply. We have been sticking to that workflow (only difference is most proxies have been made on Ingest) and we have been running into the following issues:
1.) We have selected "offline" to the RAW media, but premiere is also asking to relink to the "CLIPNAME_Proxy" files as well. If you select "offline" to those as well, then the entire project is offline.
2.) If you start to relink to the proxies, about 50-75% of the footage relinks quickly, whereas the last 25% give the error:
"proxy and full resolution matching audio" - which is frustrating because they are all made with the premiere pro setting "pro res - low resolution proxy" setting.
3.) If you offline that 25%, you find that you must hand relink that last 25% by locating it in the project, selecting it, clicking "link media" and then for some reason it links fine.
4.) After linking all the media, you see about 10% of the footage links INCORRECTLY and you notice those zebra clips in the sequence where the clip in the sequence where the clips in the sequence don't match in the project.
5.) I have tried offlining all the footage and then selecting all the media inside the project and selecting "attach proxies" and manually attaching each clip, which takes forever (90 shoot days).
Our project is at an empass and considering scratching the premiere pro proxy system and going with the Da Vinci round trip system. I'm sure the premiere proxy system works on paper, but defintely not to scale. I don't see why this proxy system had to be "invisable" when you just need it to be reliable.
Just want to follow up on this post:
Now, it's impossible to "reveal in finder" the "proxied" clips within the project.
Sorry to hear you're still having issues.
What time of RAW media is it? That may offer a clue to the frsutrations. And was there anything special about that last 25% that was giving you the audio mismatch error? Were the audio tracks configured any differently, or were he proixes generated at a different time than the other proxy files?
Also, what kinf of storage/media drives are you using? Are yoy on a network?
Thanks for following up. This project is on a temporary pause, for many reasons, but the issue is still at the back of my mind.
It looks like the media that gets the "audio channels don't match source audio" error is primarily footage from the DJI Osmo (so, MP4 via H.264/AVC, MPEG-4) and footage from the Sony A7iii (XAVC S/H.264). Those proxies were created upon import by using the "ingest" method using the media browser panel in premiere pro. So the footage wasn't altered when the proxies were created. However, this error only persists when the orginal media is not on the drive. Everything relinks fine if the original media is on the drive.
We're using a few different drives - 4TB transfer drive (western digital) and a 10TB G-Speed drive. Neither of them have the original media on it and have the issue with the footage not linking. The main drive, a 36TB Promise Pegasus, which created the proxies and hosts the media, links fine.
Once the project resumes, we are going to try matching the names on all of the drives (they were all named slightly differently) and seeing if that helps. I'll check back in sometime in August.
Thanks again for following up!
NP, and please let us know when you get back to work on this and if the problem persists.
FWIW, I never use the 'Ingest' option myself. I know it's a time saver but I prefer to look at all the clips first in the project and decide which ones if any need proxies. I also like to modify audio channels as needed before doing anything with the clips. So I select clips after import and manually choose "Make Proxies" and the ProRes Proxy option.
FYI the source footage you mentioned is usually fairly problematic for a lot of users (I see nothing but loathing from editors about the DJI footage in particular). It might be more worth your time to fully transcode them to a good mezzanine/editing codec like ProRes 422 or HQ; there's little benefit to going back to the raw on those since they're so heavily compressed (unless you have a colorist who insists otherwise). You might even be able to work with them as ProRes files without having to proxy them at all.
Sorry for the issue. I like the idea John has, and it would also certainly help with your other issue with the bonus of better playback and manipulation of clips.
Sounds like a heap of your problems might be traced back to those Sony camera settings, though. You have set them to generate "Series" for clip naming. Otherwise, you get identically named clips which can cause a nightmare for relinking across systems, especially when collaborating.
I just got this idea from LA shooter, Gene Nakata (AKA Potato Jet) who I follow on YouTube. Not having one of these cameras, I hear about some of these issues in videos by some folks like Gene, who say something trivial from time to time, but it may stick with me - like "AHA! Sony has now has the ˆ as Panasonic P2 used to have."
If you forget to shoot in Series, you can always rename clips quickly in Adobe Bridge. Hope that tidbit helps you dial your workflow back in.
You've already touched on it, but having the same drive mappings on the main system as on the secondary systems will be a big help. Also, as Kevin was saying, having unique filenames for each file (rather than duplicate names but in different folders) will also go a long way when/if needing to relink. Obvioously the relinking is something to avoid if you can.
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