Team Project and Proxy Workflow

[ben_red_star]

Hello all,

I'm exploring Premiere's Team project and proxy workflows. I am looking for a simple way to:

1. Construct an edit with high-res media
2. Proxy all those media automatically
3. Share the project and its proxy media online
4. Edit remotely using proxy media
5. Roll remote changes back into the original high-res edit

The key thing for me here is that only the proxy media should be pushed through the internet; and that the proxy generation should be automatic. I can see how to accomplish these steps independently, but not how to limit it to just the proxies or to fully automate their creation.

And help gratefully received.

/ben

[anurajk2819285 · Accepted solution]

Hi Ben,

The workflow you have proposed is possible

1. Construct an edit with high-res media
2. Proxy all those media automatically
   • While creating a new Team Project you can go to ingest settings tab and enable create proxies. This setting will enable automatic proxy creation for any media imported and save it to the Proxy Destination folder.
   • 
3. Share the project and its proxy media online
   • You can specify the location of a folder on Creative Cloud storage to achieve this.
4. Edit remotely using proxy media
   • In Case you have used Creative Cloud for storing the proxy files, these files will be available online. You can invite other collaborators to this folder by using Creative Cloud Web App. They will be able to see those files after accepting the invite.
   • 

Thanks,

[Nwalme]

Hi, I would like to know if you can only share and download in an invited computer editor the proxy files to work with the team project, or do you need to download and have the original files to work with the project you share.

Thanks.

[PeterELee]

Only the proxy files need to be available to your collaborators, though they can also work with the original media if they have access to it. Proxies and/or original media can be shared via WAN, or Creative Cloud Files, or a service like Dropbox, or by copying hard drives. As long as copies of the media and/or proxies are available from the collaborator's machine in roughly the same directory structure, they will be able to edit using those copies.

[russellc58186992]

Is there a proxy wrapper that can house an easily sharable codec (like h.264 or h.265) and ALSO handle the 8 tracks of audio I get out of AVC-I cameras like Sony FS7s?

I think I used to do it with a quicktime ingest setting, but it doesn't seem to work anymore...

[PeterELee]

Can you explain more about what's happening with the QuickTime ingest setting? A coworker suggested MXF Op1a as an alternative that also supports 8 channel audio.

[russellc58186992]

I’m investigating a to move to a cloud-based proxy workflow, with a team of 15 people spread out all over the country.

I dont care about intraframe codecs taking it easy on the processor...we’re running imac pros...i have 28 processing threads waiting to go.

I care about file size.

MXF Op1a is a total non-starter. 50 mb/s is about 20x too big.  Most of our projects are at least 5-10 hours of footage, and our “team” has 10-20 projects going at any one time.

Additionally, we’d GLADLY pay more money for more cloud storage (like, a LOT more money) but adobe caps cloud storage in enterprise accounts to 100GB.  It’s almost like someone in billing wants team projects to fail...

So if adobe wont give me enough cloud storage room to actually use decent sized proxies for more than one project at a time...i need smaller proxies.

Most of the cameras we’re using (Red, Sony Fs7) kick out lots and lots of audio tracks.  FS7 on Avc-i does 8 tracks, for example.  But it needs to be flexible. we often pair the FS7 with an A7r3 or A7S2 as a B camera. they only kick out 2 audio tracks. Quicktime .MOV wrappers can handle lots of audio tracks. But Adobe no longer supports h.264 exports in an .MOV wrapper.

Is there anything small, under 5 megabits/sec for 720p proxies, that will use a compression scheme from the last 2 decades, that has expandable audio track inventory, that i can use to build an ingest preset?

[Trevor_Asq]

EditReady will make H264 with pass through audio (to AAC). I’ve successfully made *very* small proxies shared via Google Drive.

There is currently a bug that PP misinterprets audio track order but Adobe have it logged so hopefully will be addressed soon.

[PeterELee]

Additionally, we’d GLADLY pay more money for more cloud storage (like, a LOT more money) but adobe caps cloud storage in enterprise accounts to 100GB.  It’s almost like someone in billing wants team projects to fail...

You do not need to use Creative Cloud Storage to store your proxies. Team Projects should work with media on any cloud-storage platform. It can also work with LANs, WANs, or cloned hard drives. As long as the media files have the same names and same directory structure, Team Projects should find and use them automatically. If it doesn't find them automatically, you can use the Team Projects "Media Management" dialog to point it to the root of the directory structure on your local system.

What is happening when you try to use the QuickTime ingest preset? As far as I know (though I'm not an expert), it should still be functional. Which QuickTime codec are you using?

[Peter Sinter]

Same question here, five years later. 🙂 Creative Cloud storage will run out, so I guess storing proxies there is not an option? Or does it only run out for file sharing via upload through file explorer? I had massive problems with relinking to an identical copy of all the original media on a second drive with the team projects "Media Management", does the proxy workflow work reliably?

Has a good solution for lightweight proxies with multiple audio channels been found? I am syncing my files via timecode, so new files with 10 audio channels are created - four from the camera plus six from the recorder. Locally I create Prores 422 HD proxies from those H265 UHD files - but for an online workflow Prores 422 HD would be too large. Prores Proxy and Prores LT doesnt look very nice, especially when you have to guess if you can crop into the UHD footage later. So which workflow is best in 2024 (by the way: happy new year! 🙂 to create H264 proxies with 10 mono audio tracks, I would prefer creating them in Premiere/Media Encoder directly instead of using a third party tool. Thanks for your help! 🙂

[Peter Sinter]

And additionally: Can I continue using my prores proxies locally and create new H264 proxies in premiere to share online? Or does it cause trouble if I create different proxy-files for the same originals?