If you’re using any pro camera that has over 2 channels of audio (ie, C100, C300, FS5, FS7, Varicam, etc etc) even if you only recorded 2 channels of audio, you have 4 channels. Then, if you want to use a codec like h.264 for your proxies (for space requirements to send online, etc.) you CAN’T, because Premiere can only render h.264 in the MP4 container—and that container only supports 2 channels of audio. To add to the heartbreak of this workflow, when you try to create proxies with this workflow, Premiere doesn’t even give you an error, it just doesn’t start the proxy job.

This leaves us to use codecs like DNxHR LB or ProRes Proxy as our proxy codecs—which are great if you’re actually using drives; but if you’re trying to put a project on your laptop for vacation work, or sending online., it doesn’t work as well.

This is how I got around this limitation: you can use Davinci Resolve to generate proxies and use a Quicktime Filetype and then hh.264 codec inside that filetype. Then, you’ll have to attach proxies manually to the full-res media in Premiere, but it works.]