We recently rented a Canon c200 cinema camera and are loving the great images out of this camera. The one frustration has been trying to find a workable workflow with the Canon raw light files for Adobe Premiere.

Over the past few years, the proxy options in Premiere have improved and making proxies is as simple as a few clicks, and then you can edit with low res files and do your finishing color and export with full resolution RAW video. I found an excellent blog that explains the main workflow here:


The problem for the c200 and other cinema cameras with more than 2 channels of audio is that Premiere can’t link proxies if the channel counts don’t match. This creates a problem when your raw file has 4 channels of audio and the h264 proxies Premiere tries to create are only 2 channel. This actually fails silently in Premiere and is very frustrating.

The proxies you can record in camera on the c200 also only have two channels so linking to those doesn’t work either. Modifying the audio channels on the clips in Premiere also seems to have no effect on the problem.

The solution I found was to go to the proxy settings when creating and use the Low Res Cineform setting under the Quicktime proxy creation option. This creates a proxy with 4 audio channels and the rest of the proxy workflow works perfectly!