[Greg Janza]

You could change the proxy names I guess but it seems like a waste of time. If you follow the correct method for proxy creation there shouldn’t be a need to change any proxy file names.

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

[Greg Janza]

1. Never ever change source file names.

2. Your computer specs will determine the performance levels with the footage. If you have a fast computer, plenty of RAM (32 gigs minimum), newer GPU and the media is on a fast RAID you will have no issues. If your computer is older and slower then the proxies will allow you to smoothly work with the footage.

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

[Greg Janza]

if you’re actually rendering your timeline you should see the yellow line turn to green as it renders.

My workflow is to set a work area on my timeline (with the work area bar turned on) and work area in point and out point mapped to two keys and then I map “render entire work area” to my return/enter key.

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

[Greg Janza]

Use Audition for your audio mixes and audio mastering.

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

[Greg Janza]

16 gigs of RAM just isn’t enough for 4k. You need 32 gigs as a minimum.

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

[Greg Janza]

I also would advocate abandoning Quicktime. There’s plenty of other playback options- VLC, Switch, PotPlayer, etc, etc.

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

[Greg Janza]

Hmm. I guess I’m confused as to where your problem is located.

You can set up your proxy creation settings in the media browser before importing or you can do it after you import your master files into Premiere. I just did a test on both the media browser and also inside premiere and both options work fine for creating proxies.

Have you attempted to create proxies both ways?

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

[Greg Janza]

transcode = proxy. They are one in the same. When you tell Premiere to create a proxy file you are telling it to create a transcode of your master file.

Just make sure your proxy audio settings match your master file audio- i.e., if you have 4 channels of audio on your master file you must have four channels of audio on your proxy file. If the audio channels don’t match, you won’t be able to switch back to the master files after you’re done working with the proxies.

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

[Greg Janza]

GoPro, drone and Osmo footage works best in Premiere if it’s transcoded. If you want a smooth edit take the time to transcode.

If you’re ok with potential headaches and technical problems, work with the H264 originals.

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

[Greg Janza]

Not sure what the problem is. If you create an ingest preset for proxy creation it should be a transcode.

You’re transcoding your master file to a lower quality format.

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