Sorry for chiming in so late.  The method you've found is the correct one - and I highly recommend that create both Sequence Settings and Export Settings with these settingts already applied.   The reason you're not seein it correctly when you re-imporft your exported file is that it's interpreted wrongly by Premiere Pro. If you select the clip in the bin and hit Shift+G, you should be able to tell Premiere Pro to interpret the clip as MONO, and get 8 mono channels that you can put into a new sequence (made with a custom sequence preset you should make) and have everything routed correctly.   I hope this makes sense. Also remember to check Render at Maximum Depth and set Depth to 16-bit — plus check Maximum Render Quality when you're exporting ProRes, BTW. ... View more

OK, it just occurred to me that maybe you're not editing source material, maybe you're editing a finished mix (5.1 + stereo + Dialogue and M&E) from a file with 12 tracks? If so, just import everything as mono, not stereo, as I tried to explain in my first answer (Shift+G, or set a preference) and pan every other track left and right.  1 and 2 to 1+2, panned left/right, 3 and 4 to 3+4 and pan left/right, etc. Anyway, you can NOT just import a 12-channel ProRes file as stereo and put in a timeline and expect it to work. Your own screenshot shows that you've done this:   Either set your preferences or hit Shift+G witht the clip selected in the bin before adding it to the sequence. The sequence must be a multichannel sequence, and the tracks in the file need to be interpreted as mono or multichannel.   If you could post a video recording of what you're doing, all the way from importin the file to creating the sequence to putting the clip in the sequence, we could find out when and why things go wrong.  ... View more

You can't use a 5.1 output when you also need a stereo mix. You must use a MultiChannel sequence. Then you just need to route the tracks to the outputs they need to be on.  3+4 means it will be output to 3+4. Want it on 3 only? Pan it left. Want it on 4 only? Pan it right. Want it on 1+2 in addition to 3+4? Add that, while keeping 3+4. Etc. As I tried to show with my images. I highly recommend that you do this in the Audio Track Mixer in a Multichannel sequence, and then use the Import from Sequence option in the New Sequence dialog to create a preset for future use.   Ch. 1+2: Stereo Mix: Route all the tracks that make up a stereo mix here. Pan htem left/right as needed Ch. 3+4: Dialogue: Route only dialogue tracks here. Pan on left and one right. Ch. 5: Left: Route what needs to go to Left/Right here, and pan Left Ch. 6: Right; Route what needs to go to Left/Right here, and pan Right Ch. 7: Center: Route what needs to go to Center here, and pan Left Ch. 8: LFE: Route what needs to go to LFE here, and pan Right Ch. 9: L Surround: Route what needs to go to Surround here, and pan Left Ch. 10: R. Surround: Route what needs to go to Surround here, and pan Right Ch. 11+12: M&E: Route M&E Tracks here, and pan Left/Right   If this doesn't help you understand this, I recommend that you hire someone to do this setup for you and create a sequence preset.  You must understand that ALL audio tracks are essentially really just MONO. Stereo audio is just two mono tracks tagged as lef and right stereo tracks. A ProRes file doesn't really have stereo and surround tracks. It can only do mono tracks, which can be tagged as whatever you want, but they're still all mono tracks.  To make this surround mixing session meaningful, you also need to route your audio output monitoring correctly in the Audio Hardware Preferences, so you're listening to the mix in the correct manner. It's a bad idea to put right surround output into your subwoofer. 🙂 ... View more

Hi David,  When you say you "end up with 6 streams", I guess you mean that you get 6 stereo streams when you import the exported file back to Premiere Pro? If so, check your Default Audio Tracks settings in Preferences > Timeline. Or hit Shift+G with the clip selected in a bin, and change the settings before you add it to the timeline. Your images got butchered a bit by the support pages, but here's a few shots from the huge Audio chapter of my book The Cool Stuff in Premiere Pro. I hope they can make things clearer.              ... View more

Hi David,   Setting up this properly takes a few minutes. What if you provide a screenshot of your current settings (Audio Track Mixer panel), so we can comment on what needs to be changed? ... View more

Thanks for chiming in Dacia! Now go convince the devs that this code needs a huge overhaul. : And PLEASE test it on some new users who have not talked to you or the devs first. Let them dive in and try to create a lower third that behaves as expected. Not "as expected" in the way the devs mean, but in the way the users mean. As expected when you didn't write the code yourself. ... View more

I chose the wrong scaling for the 1x1 image in this forum. In reality, the logo is the same size in all cases. Sorry if that causes some confusion. ... View more

You keep mentioning something along the lines of "without pinning, it shouldn't change the size of the text". We all agree on that! We are not telling you that it doesn't, and we are not saying it's perfect.  I offered Pinning as an alternative, and it is the alternative that will get you closest to what you want. But everything you want is simply not possible in Premiere Pro today. We all agree that it's stupid, and that Adobe must change it.  If you really want and need this, you will have to create your MOGRTs in After Effects.   AE MOGRTs are not scaled by the Auto-Reframe feature. I have made a template with a slider that lets you change between 16x9, 9x16, 4x5 and 1x1. That's not perfect either, because it requires one click per MOGRT in each timeline with different aspect ratios. Ideally, there should be no clicks. But it's the most user-friendly and effective solution right now.   Here are some images to show the concept. Using the sliders, you can choose the Aspect Ratio, and in what corner to place the logo and text.    16x9   9x16   1x1   UI in Essential Graphics         ... View more

I agree that it would be much more user friendly to use Vector Motion for the resizing.  But since this is not the case, you must pay very close attention to Pinning when you create MOGRTs for different frame sizes. Pinning is what affects how the layers behave when the frame size changes.  ... View more

Some users have reported having better luck when exporting the OMF and AAF files from Audition. So send the sequence from Premiere Pro to Audition, and export from there. Worth a try. ... View more

HEY ADOBE IF YOU ARE GOING TO MAKE CHANGES TO CODE HOW ABUT YOU ACTUALLY TELL US ABOUT IT..... They did... Syntax differences between the JavaScript and Legacy ExtendScript expression engines in After Effects 16.0. ... View more

Page 91-92 in "Making MOGRTs". Free eBook on Making MOGRTs - PremierePro.net ... View more

How to Create a Motion Graphics Template .mogrt - Adobe Premiere Pro CC Tutorial - YouTube ... View more

This may not be the reason for your problem, but MOGRTs designed in After Effects can only be used in Premiere Pro, while MOGRTs designed in Premiere Pro can e used in both Premiere Pro and Premiere Rush. ... View more

I would use mono tracks. The panning is necessary because the programmer wrote the code that way. Is it intuitive? No, but ti works. And as Trevor has said a few times: Make presets, so you only have to do it once in your life. I believe he even gave you sample projects, so you can save presets from those. ... View more

To use the settings in my screenshot, you must use a multichannel sequence. I guess you could do some clever submix routing to use a 5.1 track in the sequence, and make it send its tracks to separate output channels. But most editors I've seen do this kind of delivery have used one sequence for the edit, and nested that sequence in a new one for export. In that export sequence, you'd have to route every track to a separate output channel. ... View more

Not sure why they have different frame rates, but since audio is measured in samples or milliseconds, not frames, it shouldn't matter. It looks like the clip has both 5.1 and stereo audio. Since you're getting the error message, it seems that the preset has stereo audio while AME is choosing the 5.1 stream from the clip.You'll probably have to use a third-party tool to separate them if you want that. To make it work as is, you'll have to create a proxy preset with 5.1 audio, I guess. ... View more

Premiopolis, it turns out Annika is right! Yay! Funny thing is, I just checked my book, and it turns out I have actually written about this on page 116. https://premierepro.net/making-mogrts/ So I already knew this, at least i did a few weeks ago, but had a brain fart. Embarrassing! Sorry to create confusion here. ... View more

Annika, the OP has explained that this behavior creates a lot of extra work if the MOGRT has been used 600 times in multiple timelines. So the request is for a way to bypass this. ... View more

Thanks Premiopolis, I have voted. ... View more

Premiopolis, when you color correct on a Master Clip, you are in fact specifically telling Premiere to do global changes, so what I said about "do no harm" still applies. I understand your frustration, but writing about it here does not help. Adding a feature request on the feedback pages does help: Premiere Pro: Hot (3053 ideas) – Adobe video & audio apps If you make a feature request for an option to make MOGRTs auto-update all instances, and give us the link here, I think we all will support it. If you don't, the way Premiere handles MOGRTs may not change. ... View more

There's no way to make the new MOGRT automatically update all timeline instances. That would go against Premiere Pro's "do no harm" philosophy: Nothing should be changed in the timeline unless you specifically ask Premiere to do it. If you want to update all the instances, there's one more step: Select all the instances in the timeline and Alt-drag the new MOGRT onto one of them. ... View more