[Greg Janza]

Resolve is better all around for the proxy creation process for two main reasons:

1. When making proxies in Resolve, you can continue working in Premiere.

2. Resolve has a simple button setting that allows for audio channels to match the source file. No need to customize an ingest or render preset.

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[Greg Janza]

You are correct that H264 is a fantastic codec to create high quality files at a very small file size. The problem though is that H264 is an acquisition format and delivery format but it shouldn’t be used as an editing codec. The simple reason for this is that H264 is a codec that requires a lot of CPU processing power for playback.

Proxies are literally stand in files for the high resolution media so there’s no need to get hung up on image quality when creating the proxies. And yes, you must create proxies with exact matching audio channels in order for Premiere to link them.

I would advocate that you use Cineform. It’s an excellent codec that creates files at a variety of quality levels, has full customization of audio channels and is optimized for editing which means your Premiere project will work at maximum efficiency. And in 2019, the file sizes should be a non-issue since hard drive space is dirt cheap.

And if you really want to make the proxy creation workflow efficient use Resolve instead of Adobe Media Encoder.

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[Greg Janza]

[Andrew Thomson] “I edit mostly H264 4K movs from a GH4 or 4K MXFs from an FS7. I render H264 MP4 files or ProRes Mov files usually at 1080p.”

You have an older Mac with a small amount of VRAM. If you’re attempting to export 4k sequences with H264 4k media you’re putting a lot of CPU strain on your system. Have you looked at your CPU usage (in Activity monitor) during the export process?

I would transcode all of your H264 media to an edit-friendly codec (cineform, Prores or DNxHD) and then attempt the export. My guess is your problem will go away.

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[Greg Janza]

You’re using the wrong tutorials. Resolve accepts xml from Premiere and vice versa.

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[Greg Janza]

[Bill Davis] “That X is faster (which I completely believe) simply allows me to shift my attention more and more away from the mechanics of assembly – and more and more into the ACTUAL editing – which is really using expertise to curate what to eliminate, what to prioritize, and how to arrange my chosen elements in order to help it to communicate successfully to it’s audience.”https://www.linkedin.com/in/tmprods
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[Greg Janza]

You’d be well served to do some youtube searching on Adobe to Resolve workflows. There are a ton of videos that explain the process in detail.

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[Greg Janza]

Funny that we had the same need. I’ve been in contact with Pietro, the creator of AutoEdit, and he’s attempting to assist in getting this concept to work. I’ll keep you posted on our progress. He also has an updated version of Autoedit which is more robust than the previous iteration.

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[Greg Janza]

Did you ever find a solution? We have the same need. We’re exporting a multicam stringout as an h264, importing that h264 into a program called autoedit which allows text editing of transcripts with the video attached to each edit so that a producer can watch the a-roll that he or she has created from the text editing.

Once the a-roll is completed we’d like to export an edl or xml from autoedit
that can import into premiere and then we’d replace the h264 stringout with the original multicam source sequence string.

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[Greg Janza]

You simply cannot get efficient performance in Premiere when using H264 media. Use a proxy workflow and Premiere will work like butter on a laptop.

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[Greg Janza]

All audio track modification happens after you import the original media into Premiere.

Make your proxies based on the number of audio channels on the original media. Then once you have all media in Premiere you can simply modify the number of audio tracks of all of your media by highlighting the clips in the bin, control clicking and selecting modify audio.

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