Thanks @mattchristensen. I did watch this video along with Karl's other nine videos; but I missed the crucial step, at 07:52, of leaving all the projects open as I migrate the project into a Production so that all the links are maintained. ... View more

@mattchristensen Thank you for your illuminating reply.   In the Best Practices PDF, I think the part about LEAVING ALL PROJECTS OPEN when migrating should be in bold/blue. If one fails to do that, it could be a big problem during turnover since "Reveal in Project" won't work":     I think a lot of us are trying to migrate stand-alone projects to Productions; it'd be helpful if there was a video about it or something. I think people would really appreciate that. ... View more

Nice. Thanks so much!   Is there a Production workflow document online? I am having big trouble trying to turn a big project into a Production. I broke out all the assets (FTG, SND, MX, SFX, GFX, ARC) into their own projects, and broke out the hundreds of sequences into several projects, only to discover that "Reveal in Project" no longer works. I would have to "Reassociate Source Clips" 384 times to fix it. Would you mind taking a look at my post on the subject and replying? https://community.adobe.com/t5/premiere-pro-discussions/migrating-a-project-into-a-production-workflow-guide/m-p/15177640#M553956 ... View more

It's actually pretty fun. The problem is that, when I made "asset projects" for each kind of asset (FTG, SND, MX, SFX, GFX, ARC), the source clips in my sequences wouldn't "Reveal in Project" back to those projects. It looks like I can select all the sequences in a project and "Edit/Reassociate Source Clips", but I'd have to do so for every asset project (2020_FTG, 2021_FTG, etc., a total of 24 different asset projects); basically, 24 times per sequence project (of which there were 16; so, 384 times). ... View more

Dividing up the project was quite fun. The only problem is that there's no way I can Reassociate Source Clips to each footage, sound, music, SFX, GFX, and archival project for each of the hundreds of sequences in the Production. That would be thousands of steps.   I'm attempting to leave a giant "ASSETS" project and just divide up the sequence projects. The sequence projects seem to be the slow ones.   Is there a way I can break up the "assets" (into FTG, SND, MX, SFX, GFX, ARC) and maintain the Source Clip associations? That's the main thing I need, is for "Reveal in Project/Production" to continue to work. ... View more

It seems Source Clips got Reassociated for the dailies sequences I selected; but the source clips are not reassociated in any of the hundreds of the  edit sequences in this Production. Someone please help! Drowning here. ... View more

I found Edit/Reassociate Source Clips, which is working beautifully with my footage and sound. I am selecting all my dailies sequences for a particular year, then Reassociating footage & sound to the appropriate projects.   How do I Reassociate Source Clips for archival, music, sound effects, GFX? Those are used randomly in random sequences. ... View more

It's a mix: a handful of shots have manual Lumetri, some have a LUT, most shots have nothing. I'm pretty sure none of them have auto color. ... View more

So, since I do not have the Lumetri panel open, no auto coloring is being done, correct? I'm wondering why Premiere is telling me that Auto Coloring is complete if it's not doing any auto coloring...? ... View more

We would be working with non-syncing Productions. So, if they drop the new project in their Production folder, but their cloned copy of the Production does not know the project exist, will their copy of the Production somehow figure it out? And assign it the same ID as my copy of the Production does? ... View more

We haven't tried the workflow yet, trying to get some info for my boss so he can make a decision about going with a Production or a project for this film. ... View more

I really appreciate all the time you've spent on this post. Thanks again, Paul! I've watched your videos on YouTube and find them immensely helpful.   Just to double-check: Clip > Modify > Audio Channels inside the project should not cause any relinking problems when this project is opened on another computer, so long as the number of channels match outside of the project?   I'm an Assistant Editor at a company where the editors are either on a different computer than me or not in the office at all, and we do not have shared storage, so the editors do all their work off of SSD's that do not have the raw footage. I just want to be sure that future editors at this company can reconnect to the 1-channel stereo proxies for this footage without knowing the complexities of multicamera audio mapping.    Adobe's "Best Practices & Workflow Guide For Long Form and Episodic Post Production" says, on p.55:   Modifying Clips (Audio Channels, Interpret Footage, etc.) If your workflow relies on modifying the source clips using any of the following commands, do not use proxies in Premiere Pro. Doing so will result in unexpected behavior: Modify > Audio Channels   Since I may not be the Assistant Editor on this project when it gets turned over to sound, I don't want to do anything that will cause problems in the future.   Lastly, on Jan. 24, you replied: "...it’s worth noting that you don’t need to manually flatten your multicam sequence before sharing it via an AAF. The flattening process happens automatically during the AAF export." Then, on Feb. 1, you replied: "In this instance, to ensure proper AAF export, you’ll need to flatten the multi-camera sequences before sending them." I was a little confused. Does the flattening process happen automatically during an AAF export?   Thanks again, and apologies for taking up so much of your time. ... View more

I'm having EXACTLY the same question.    The super-helpful "Best Practices & Workflow Guide For Long Form and Episodic Post Production" says, on p.55:   Modifying Clips (Audio Channels, Interpret Footage, etc.) If your workflow relies on modifying the source clips using any of the following commands, do not use proxies in Premiere Pro. Doing so will result in unexpected behavior: Modify > Audio Channels   This post and another respected Community Expert are saying that Modify > Audio Channels will not cause problems connecting to proxies.   Does it matter if I created the proxies when the audio channels on the source clips were set as 1-channel stereo, then I Modified them to 2-channel mono to create multicam sequences?   I'm an Assistant Editor at a company where the editors are either on a different computer than me or not in the office at all, and we do not have shared storage, so the editors do all their work off of SSD's that do not have the raw footage. I've had problems where an editor could not relink to proxies for 2-channel mono RED footage. Various methods of creating proxies for this footage (right click / Create Proxies; creating an Ingest preset and ingesting through Media Browser; using Media Encoder; using DaVinci) made proxies that connected to the source clips on my Mac, but when we put them on an SSD and tried to relink on another Mac, the Mac would see these proxies as 1-channel stereo and would not relink - making it impossible for the editor to use the clips. The only way I found to make 2-channel mono proxies for this footage was to export them one at a time out of Premiere. So I'm a little shell-shocked about going against what's written in the "Best Practices" PDF, especially since I may not be the Assistant Editor at this company when this project gets turned over to their sound vendor. ... View more

It looks like my work gave me some other multicam sitations: A1: A cam mono A2: B cam stereo I mapped to 3 channel mono and routed audio this way: They also gave me this situation: A1: Lav A2: Boom A3: A cam mono A4: B cam stereo I made them 5 channel mono and mapped this way: ... View more

What I was trying to do was lay out one camera by timecode, with gaps, for situations where I need to create a sync map (ex. if Cam A, Cam B, and Sound were all running timecode but their timecodes do not match). It looks like this allows me to lay out one camera by timecode if I Simplify Sequence after I do so (so all the clips are on V1 instead of stairstepped to infinity). However, I still have to manually flatten the audio channels (which is more cumbersome, as some cameras record 5 or more channels of audio). I put in a feature request about Simplify Sequence flattening audio channels - that would be huge. ... View more

@PaulMurphy To do this correctly, would I have to: 1.) Modify all my B cam source clips to 2 channel mono (which should not affect an offsite editor reconnecting to the proxies)? Or do I have to Breakout to Mono for all my B cam source clips? 2.) Open all my multicam clips in Timeline so I can overcut all the B cam source clips so they're 2 channel mono?   I did some test AAF exports and they appear to be exporting the B cam audio (as mono, so probably just the left channel, as you said, which might be sufficient in this case). ... View more

That sounds like an intriguing workaround. However, I don't see the option in my Acrobat. I'm on a Mac. When I choose the Print option, these are the only options I see: ... View more

This fixed it on my home laptop (MacBook Pro 2023 M2 Max) but it isn't working on my work computer (Mac Mini 2024 M4 Pro, OS 15.1.1). Any ideas?  ... View more

They'll have their own local copy of the proxies. I was just wondering if it's advisable to have all of us work off of Lucid as far as the Production and all of our project files? ... View more

Since the B cam footage is 8K with proxies attached, would Modify > Audio Channels make the proxies not reconnect when we send this project to our off-site editor? ... View more

Karl Soule's YouTube videos on Productions was extremely helpful! Thanks! https://www.youtube.com/watch?v=7qEL74_70_k&list=PLQffqHOsF2KZk6kWPWqYJ3mAdoTAJp3w5&index=1 ... View more

If I want to create a sync map (ex. on a documentary, Cam A and Cam B timecodes don't match, and the two cameras stop & start independently), can I select all the clips and check the "Create single multicam source sequence"? I've been looking for something like the "auto sequence" function in Avid. This way, if I can sync one pair of Cam A & Cam B shots, I may be able to pretty much sync all of them by creating a sync map sequence? ... View more

Thanks for the detailed information! Since the editor's already started cutting with the footage, there's over 60 B CAM shots, and the B CAM audio is really just there as a last resort, if I left the multicam clips with the B CAM audio on only one channel (panned center), if the B CAM audio was used and the sequence was flattened, would our sound vendor at least get a mono of the B CAM audio in the AAF? If so, at this point, I think it will be sufficient. ... View more

With Productions, is there a way to bring in sequences from an older project without creating duplicate source clips? We tried creating a Production, creating a project within it called "FOOTAGE", importing all the footage into that project, creating a second project called "SEQUENCES", then dragging a sequence from an older project into it, but that brought all the source clips used in that sequence into the "SEQUENCES" project.   One drawback I've seen with Productions is that the Video and Audio Usage metadata fields no longer work. ... View more