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proxy workflow question (before the big plunge)

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Samuel Frazier
proxy workflow question (before the big plunge)
on Oct 23, 2018 at 7:41:39 am

For storage and playback reasons, I’m planning on doing an edit with proxy files. As you can see from the list below, I have a mess of cameras, codecs, resolutions, and frame rates. I plan to edit all of this on a 1080p24 timeline and my thought was to ingest all of the below material as ProRes Proxy files in their native resolutions and frame rates. By keeping to their native resolutions, I hope not to have any resizing issues when I do the online edit in their native formats. Also, any speed changes will be done on the timeline and NOT via modify - interpret footage.

So, before I get started and there’s no going back, does this sound reasonable? Am I missing anything? Thanks ahead of time for any help!!

Sony FS700 – 4k 24p ProRes HQ422
2 x Panasonic EVA1 – 108fps in log
1 x Panasonic EVA1 – 24p in log
2 x GoPro Hero 6 Black – 2.7k 60p in whatever its native H.264 is (not Cineform)
Panasonic GH2 – 1080p24p in H.264
Canon 7D – 1080p24 in H.264
Drone (currently unknown model) – 4k 24p in its H.264



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John Heiser
Re: proxy workflow question (before the big plunge)
on Oct 23, 2018 at 8:56:01 pm

I wouldn't worry about making proxies in native resolutions - just make sure you have ingest presets at matching aspect ratios. Premiere tracks the size difference seamlessly. The one thing you should be aware of, though, is interpreting frame rates, which is problematic in the proxy workflow (unless it's been updated in the new version). If you're planning on using the 108fps media as slow-mo clips, you may want to fully transcode those into 24p full-res files and make proxies of those instead.

John Heiser
Senior Editor
o2 ideas
Birmingham


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Samuel Frazier
Re: proxy workflow question (before the big plunge)
on Oct 23, 2018 at 11:24:12 pm

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?



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John Heiser
Re: proxy workflow question (before the big plunge)
on Oct 24, 2018 at 2:01:42 pm

The frame size of the proxies doesn't matter as long as the aspect ratio is correct. If your original footage is 4k, make them the same aspect as 4k. If they're UHD, match that aspect ratio. The beauty of Premiere's proxy setup is that all your resizing, reframing, etc. happens transparently between the proxies and the native files, so create your masterpiece as you normally would.

Here's a handy chart for choosing the proper proxy setting:
http://www.dylanosborn.com/do/wp-content/uploads/2016/10/ProxyFrameSizeChar...

As for frame rate, your 60fps all should come in properly, but interpreting to a different frame rate isn't possible.
https://forums.adobe.com/thread/2408765
It's good news that your 108fps EVA1s clips have the slomo baked in at 24. They are perfect already - you can make normal proxies for those. The issue comes with cameras that aren't doing that - 60fps being used in a 24fps project, for example. Normally, one would import the files natively and interpret the frame rate to 24; that function isn't supported in the proxy workflow.

John Heiser
Senior Editor
o2 ideas
Birmingham


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Samuel Frazier
Re: proxy workflow question (before the big plunge)
on Oct 25, 2018 at 10:19:35 am

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.



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Oliver Peters
Re: proxy workflow question (before the big plunge)
on Oct 25, 2018 at 11:35:32 am

[Samuel Frazier] "...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 ..."


GoPro - Yes drop it into the timeline at its native speed and adjust speed/duration (timeline right-click). 60p into a 23.98 timeline is a 40% speed setting.

Professional video cameras - Panasonic, Sony, Arri, RED - "bake" the speed info into the metadata and function the same as if you had shot this on film. I'm not sure about the 24fps versus 23.976 issue on the EVA1. You should be OK, but this sounds like a settings error on the EVA1. Or it could just be that they are using shorthand in the menu. Not knowing the menu on that camera, I don't know.

If you use one of the Premiere proxy presets you should be fine. It will pass through the audio channels from the file. Select the clip in the bin and follow the "create proxies" workflow. For example, in-house we use their 720p ProRes Proxy preset.

- Oliver

Oliver Peters - oliverpeters.com


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Samuel Frazier
Re: proxy workflow question (before the big plunge)
on Oct 27, 2018 at 8:20:27 pm

Thank you very much for this!!



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