[Samuel Frazier]

Thank you for that. I played around with it a few ways, but got inconsistent results (and basically a mess). So, I’m going w/ your “pancake” idea. Love the name, btw!!

Thanks!!!

[Samuel Frazier]

[John Watts] “Gigabit actually sounds much faster than TB2,”

I’m confused how that could be. My understanding is:

Gigabit Ethernet = 1 Gbps
USB C & Thunderbolt = 10 Gbps

[Samuel Frazier]

Gigabit connection? Wouldn’t that be much slower than Thunderbolt 2 and above? I may be wrong, but wouldn’t that run at the same hypothetical speed as Thunderbolt 1 & USB C?

[Samuel Frazier]

Also of note, I figured out a way to do this like this:

1-In Premiere by put all the clips in a timeline, mute all but audio channel #3 (the hotter one), exporting that as a mono file, doing the same for #4 (the softer one).
2- in Audition, put the two mono clips in a stereo multitrack session. From there, make a stereo file by panning the mono files to opposite sides, selecting them, then “Bouncing” the two selected clips to a new Stereo track.
3- using PluralEyes to substitute the clips’ native audio w/ the correct section of this new stereo file.

However, I the result above is definitely lower in volume when compared to what I get in Audion by:
1- importing one of the clips into a stereo multitrack session,
2- right click each file – clip properties – Source Channel Routing – then make tracks 3 & 4 in left and right. I
3- export this clip to a stereo mixdown.

So, I’m totally confused. And going the Audition method would involve messing w/ 104 clips as I can’t find a way to change the Source Channel Routing for multiple clips at once.

Any thoughts?

[Samuel Frazier]

Thank you for that, but unfortunately, it doesn’t seem to work for me. I tried removing tacks 1&2 (which was what I needed, and the result is no audio tracks at all. Then I tried just audio track 1, or A1 in QTChange speak, and the result was still no audio tracks at all.

My best guess is the issue lies in the Sony FS700’s apparently having 4 tracks of audio in 1 audio stream. At least, I believe it only has one steam b/c that’s what the MediaInfo app says.

So, I’m not exactly sure how this works, but it doesn’t want to work for me. Any other thoughts?

[Samuel Frazier]

Thank you for that. It does the trick, unfortunately though it does mess up the Proxy workflow. I remember being warned about this. In my case, the ability to toggle b/t the Proxy and the online version is gone and whichever version I had last on the timeline seems stuck there.

Don’t suppose there are any other ways, are there? Even if I do my long progress, I get a stereo track and I figure I’d want to make that dual mono so I can pick b/t the audio options. Stereo to dual mono would also be interpreting the audio, which would also mess up the proxy workflow. So, unless there’s another way to do this, I think I’m going to have to live w/ the 4 channels of audio.

[Samuel Frazier]

Thank you very much for this!!

[Samuel Frazier]

Thank you again for all of that & especially for that link. Read through it a few times. I don’t think the frame rate will be an issue as I don’t plan of using interpret. I know that a lot of people would use that as a default, but we shot all of our GoPro files at 60p (possibly a mistake) and if I use any of it in slomo, I’ll adjust the individual files in the timeline. That should work, right?

But, I just found that many of the EVA1 files were baked, as you say, at 24fps rather than 24p (ie 23.976). Will this create any proxy issues when dropped into a 24p timeline?

Also of note in the link were:
“Audio settings in Adobe Media Encoder presets are ignored when transcoding or creating proxies via ingest.”
– this confuses me b/c I watched a tutorial that made a big deal about creating ingest presets w/ audio settings that match the original media (stereo vs mono vs dual mono vs 4 tracks of mono, etc). Also, I noticed in my own tests that if you don’t adjust the audio settings in ME for everyday transcoding, that things tend to default to stereo.

“When creating an ingest preset in Adobe Media Encoder, marking the frame size and frame rate as “Match Source” is categorized as a Transcode preset. If either the frame size or the frame rate is not marked as Match Source, then the preset is categorized as a Proxy preset for generating proxies.”
– I had hoped I wouldn’t have to make a separate ingest preset for every kind of clip and could just leave “Match Source”, but this makes it sound like that will not be possible. I’ll have to designate either the frame size or the frame rate for proxy editing to work, right?

Modify > Audio Channels and Interpret Footage are also not supported for Proxy Workflows.
– I had many files w/ 4 tracks of mono audio (only 2 of which actually had audio) which I thought I might have to interpret, but I think I got around this by making stereo versions of them in PluralEyes. So, I think I’m ok here.

“After Effects and Audition interoperability functions are also not currently supported with the Proxy workflow.”
– A bummer, but good to know.

[Samuel Frazier]

Thank you very much for that. About the resolutions, I was concerned about how I would lower each camera’s res in such a way that any motion control or resizing work would be preserved. With a 4k camera, I had hoped to zoom and set my own frame for each shot on the 1080p timeline. So, how could I lower each different camera’s resolutions and what would I set a sequence resolution to such that this work wouldn’t be lost?

About the frame rate, I’m confused how I would run into issues. The proxy files for everything 60p and below would maintain their rate, right? Could you please explain where the issue would occur?

As for the 108fps footage, here I’m lost. They were shot on Panasonic EVA1s and they show up as 24p in Premiere and every other way to get info on them. But, they play back at super slomo (assuming 108fps). Do I still need to transcode them first?

[Samuel Frazier]

Thank you for that. And I’m very surprised to see that the results I found are actually legit. It was slight and in color correction heavier than I’d probably ever do tot he footage, but it happened much as that article and accompanying video displayed. Especially in the area of the video which were sky.

Again, just surprised b/c these findings are pretty contrary to the accepted rule.