Issues Creating and Attaching Proxies w/Audio

[Fred Miller]

I had similar experiences when this feature was released and finally gave up. The main problem was that I get footage from a lot of different shooters and although you can insist on shooting to a specific spec you don’t always get it. So sometimes the audio is in stereo 2 tracks, sometimes mono 8 tracks (and only one track actually being used) etc. I spent a day trying to get the right proxy settings made and finally decided it wasn’t worth it. PP would make the proxies and everything would be great until you opened up the project the next day and none of the proxies would connect becuase the “audio did not match the source file.” Even though my proxy settings were exactly the same as the source. Why Premiere Pro doesn’t just come with a generic proxy setting that automatically uses exactly the same audio that is on the source I do not know. I too really wish I could get a solution to this problem and thus make what could be a very usefull feature actually useable.

Adobe CC17
MacPro (Late 2013)
2.7 Ghz 12 Core
64 GB RAM
AMD FirePro D700

[Chris Wright]

you just have to match the number of audio channels. a lot of smaller codecs can’t handle many channels. cineform, I think can.

[Greg Janza]

It’s true that proxies only work if the proxy file matches the audio channels of the originating file. The process is a bit cumbersome but you can make custom ingest presets in Media Encoder for each type of raw file that you want to make.

[Peter Garaway]

Greg and Chris are correct. The current implementation of Proxy requires that the Full Res and Proxy have matching audio channels.

We’d like to make this process smoother and easier to handle in the future. If you have any thoughts on how you would like to it get implemented please share here:

https://www.adobe.com/products/wishform.html

Peter Garaway
Adobe
Premiere Pro

[Evan D. newman]

Here’s my go-to proxy solution. I’ve done some tinkering to my workflow to make this function.

Instead of using Media Encoder for Proxy generation, download a free version of Da Vinci Resolve.

Load all of your media in. Select all your files.

Click File menu > Media Management,

Select TRANSCODE: Here you can batch transcode media.

(Pick a new destination so it won’t amend the filenames of your Proxies.)

Here’s the important part: Under AUDIO:
–Render “SAME AS SOURCE” Channels of Audio

This will generate proxies with your desired codec, but if your channels vary camera to camera, scene to scene, day to day etc, it should reflect those changes.

[Tomek Cobas]

Premiere CC2018 Still cant attach proxies with mismatched audio.

But what is intriguing in all of this is that presets that are provided with premiere (on windows) namely the cineform gorpo proxy ingest presets are capable of creating Proxy files with matching audio.

So when I have lets say 2 diferent files, one with audio and the other without audio. If I select them, (Inside Premiere) right click and create proxy using cineform preset. Premiere will send the job to AME and AME will create one file with audio and the second one without audio. So there clearly is way to Encode a file in AME With – matching audio. I just cant seem to figure out how to create such a preset on my own. I have tried to “reverse engeneer” those presets to create a Dnx Preset for creating proxies but with no luck.

[Stu Mannion]

Wow this is particularly bad programming Adobe. I now have a 20 min edit that I can’t reattach the original media to. Proxies that PP created itself automatically actually don’t work.

How can I fix this problem?

I was interested in trying Davinci before but now I’m determined to get away from PP after yet another software fuckup

[Greg Janza]

[Tomek Cobas] ” I just cant seem to figure out how to create such a preset on my own.”

Adobe doesn’t make it easy but it can be done.

Look at this video starting around 13mins. It’s a good overview. But this video doesn’t go into detail about audio settings. When you create your encoding preset, make sure you customize your audio channels to whatever number you have in your raw media.
And if you have multi channel mono tracks in your raw media, you’ll need to select an encoding codec that allows for multi channel audio customization . Also, after you create your ingest preset, export it out of encoder and save it somewhere that’s easy to navigate to. Then when you select make proxies in Premiere, select “add ingest preset” and steer to where you saved your ingest preset.

https://youtu.be/Y9EJjqVV41o

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

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[Tomek Cobas]

I think You missed the point, or did not read my entire post.

The point is that Presets in media encoder do not allow for creating passthrough audio. (like for video settings – “based on source) hence the need to create separate preset for every audio channel variation you media happen to be.

What is strange to me is that while such a preset cannot be created within AME. Ingest presets provided with premiere out of the box (cineform proxy presets) – are able to do that. Whatever you throw at them they will perform audio encoding based on source file – (no need for specifying number of audio channels). So Premiere has that capability, But presets to acheive that cannot be build from end user perspective. Either that or im missing something.

as You mentioned The video You linked does not go into audio.

[Greg Janza]

Tomek, sorry for my misunderstanding. I thought you were having confusion as to how to build and implement a custom ingest preset in general.

Yes, it seems that for the moment it remains a manual operation instead of automatic.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles