I have been using the proxy workflow for months and I understand that the proxy file's audio must match the source. To keep the proxy files as small as possible I have ask that incoming media have only active audio channels recorded. Previous proxies have been created from a variety of cameras and recording devices. The latest recordings with the Sony FX6 all have 8 channels of audio appearing in Premiere and Media Encoder. This despite the FX6 manual saying that the camera can record up to 4 channels of audio. I have been assured by the crews that the Sony FX6 has CH3 & CH4 turned off. I have successfully created ProRes proxies with 8 channels of audio. I am concerned with file sizes of the proxies so limiting the extra dead audio channels would be very helpful for workflows.
If I look at the properties of the MXF in non adobe players I am seeing 8 channels of audio in the file. Is this a Sony issue or an MXF issue?
After more trials and communications with Sony I have come to understand that when creating these files on the ILMEFX6V or ILMEFX6 that 8 channels of audio will be represented. I have done tests with at least 3 different edit software applications on both mac and pc. This is not an Adobe bug. The 8 channels on the mxf are inherent to this Sony codec. According to Sony support, "Engineering indicated 8 channels can show up on third party software since the specification for our audio files can support up to 8 channels. Since its a file specification there is no setting on the camera to change this."
Unfortunately my attempts to reach anyone in engineering at Sony to discuss this topic have failed.
If anyone reading this has a Sony engineering contact please share the information. Thanks
I have the same problem. I cannot link the proxies made in the camera, because FCPX indicates that the proxy files have different audio settings (channels): 8 (originals) vs 2 (stereo, proxies). This is a bummer. Does anyone know how to solve this? The in camera proxies are useless this way. tx
Here it is nearly 2 years later and I'm experiencing the same problem with the FX6 footage. I'm not using proxies, but whenever I drag a clip to the timeline I get 8 mono tracks. I would expect them to be 4 stereo channels. It's just that when layering a bunch of these, the tracks get totally out of control. Is there any way to control this in Premier? (Time to bug Sony, I guess.)
Check your Timeline prefs ... I think that's the tab.
Anyway, there's a tab in the Prefs that has settings for how you want audio to plop onto sequences ... mono, stereo, adaptive, 5.1 ... from what types of sources.
So you can say that stereo source should be mono, which will give you two linked mono tracks or "dual mono". Or vice versa.
I just discovered that if you turn on proxy recording in the FX6, so that it records a parallel MP4 file, the MXF file loses the 4 extra channels, so you get 4 channels on the MXF in Premier. (You get only 2 channels in the MP4.) Then if you turn off Proxy Record, the MXF continues to deliver only 4 channels. I'm doing more experimenting.
The issue with recording proxies is that when you go to S&Q and then back again, proxies turn off and you have to turn proxies back on again - this is unpractical if shooting in a tight situation. Furthermore - the proxies have different audio spec to the MXF files so dont match up if shuffling between original footage and proxies in Prem Pro - problem
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