[Trent Happel]

The legacy Titler remains in 12.0/CC 2018 and is unchanged from the last version (11.x/CC 2017). There have been some updates to the new Motion Graphics in 12.0/CC 2018.

https://blogs.adobe.com/creativecloud/whats-new-and-now-in-premiere-pro-cc/?segment=dva

Trent Happel
Adobe
Premiere Pro

[Trent Happel]

This is a known issue that is being worked on. A Possible workaround is to use Option/Alt + drag to copy.

Trent Happel
Adobe
Premiere Pro

[Trent Happel]

Premiere has native QuickTime support (does not require QuickTime to be installed) for a number of popular codecs. Without QuickTime installed on Windows, there is native Export support for Animation, DNxHR/DNxHD, DV, DVCPRO, GoPro CineForm, None and Uncompressed codecs.

Trent Happel
Adobe
Premiere Pro

[Trent Happel]

There is no way to modify the default presets included. You will need to create a custom Ingest Proxy preset.

Start by going to AME and Create Encoding Preset. Set Format to QuickTime. Under Video tab, set Video Codec to GoPro CineForm (or other desired codec). Click Match Source button under Basic Video Settings. Uncheck the checkbox tot he right of Width & Height and enter 1920 for Width and 1080 for Height. Name Preset and click OK.

Now Create Ingest Preset. Give it a Preset Name. Check “Transcode files to Destination” and set your desired Destination. Set Format to QuickTime and under Preset, choose your preset you just created. Click OK.

In Premiere, import your custom Ingest preset in the Ingest Settings dialog by clicking the Add Ingest Preset button. By default, the presets are saved in your Documents > Adobe > Adobe Media Encoder > whatever version you used. e.g.: 11.0 > Presets.

More info on creating custom presets can be found at:
https://helpx.adobe.com/premiere-pro/kb/ingest-proxy-workflow-premiere-pro-cc-2015.html

Trent Happel
Adobe
Premiere Pro

[Trent Happel]

If you are using Ingest Settings, set to Create Proxies and there should be 3 default GoPro CineForm presets that may work for you.

If you are creating a custom preset, make sure that you do not have Match Source set for frame size and frame rate in your Encoding preset. If both of these are set to Match Source, then it can only be used as a Transcode preset. For Proxy, uncheck the Match Source checkbox next to Width & Height and set the desired frame size for your Proxy (leave the rest of the settings checked for Match Source). There is a note on this in the Help doc link I posted in earlier post.

Trent Happel
Adobe
Premiere Pro

[Trent Happel]

If you want to stick with DNxHD, you can always use Format: QuickTime > Video Codec: DNxHR/DNxHD. QuickTime ProRes (encode only on Mac) and CineForm are also possible options.

There is no way to trick it, AFAIK (the requirement for matching audio channels is to avoid possible audio issues). The source clip’s audio is checked for Proxy clip compatibility, so changes made by Modify > Audio Channels would not change that.

Trent Happel
Adobe
Premiere Pro

[Trent Happel]

You are running into audio requirements for the current supported Proxy workflows.
1) When creating Proxies, the preset format must support the audio channelization for encode. This can be verified in Export Media > Export Settings, go to each Format, click on Audio tab and see what Audio Channels each supports. DNxHD OP1a only supports Stereo and multiple channels, it does not support single mono. As you have already found, H.264 does support single Mono. QuickTime also supports it.
2) The audio channelization of the Proxy clip must match the Full Res clip. When you exported via AME, the default audio channelization setting is Stereo and does not have Proxy requirements, so it transcodes your clip from Mono to Stereo. Since the clip exported via AME is Stereo, you cannot attach it to your Full Res that has Mono audio.

Some additional information on Proxy support can be found at:
https://helpx.adobe.com/premiere-pro/kb/ingest-proxy-workflow-premiere-pro-cc-2015.html

Hope this helps.

Trent Happel
Adobe
Premiere Pro

[Trent Happel]

And additional information on Ingest and Proxy workflow can be found at: https://helpx.adobe.com/premiere-pro/kb/ingest-proxy-workflow-premiere-pro-cc-2015.html

Trent Happel
Adobe
Premiere Pro

[Trent Happel]

The audio issue should be addressed in the just released Premiere Pro 2017 (11.0 (154) Build). I would also recommend you delete your Media Cache prior to verifying the clip(s).

Trent Happel
Adobe
Premiere Pro

[Trent Happel]

If you are using Ingest > Create Proxies, then the Proxies will automatically attach to your Full Res/Hi Res clip(s). You can note the Proxy encode progress in the Progress panel. If you set the Project panel to List View and add the Proxy metadata column, you see the status of Proxies for each clip (Attached, Offline or blank. Blank = no Proxy is attached).

If you took your Hi Res drive offline, your Project will still display Proxies since the Proxy drive is online. If you bring your Hi Res drive back online (and nothing has been moved), Premiere may automatically relink your Hi Res/Full Res clips to the Proxies. If it does not, on Project open it will provide a Link Media dialog asking to relink the clips. The other option to relink is to use Proxy > Reconnect Full Resolution Media.

FYI: the Proxies are created with _Proxy appended to the file name, as that is what Premiere is looking for to automatically attach when Proxies go Offline, so don’t rename your Proxy file names.

Trent Happel
Adobe
Premiere Pro