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Premiere CC conform question re low & full rez files
Without knowing about the original material (coming from a cable network) I’m trying to advise an independent producer I’m editing for on the best strategy for working with less-than-full-rez clips that are available now and being able to do an automated conform (relink) to full-rez files when they become available. I’m pretty sure we are not dealing with files that came from a camera card directory but are rather excerpts from shows.
A technique that would seem to be a “sure thing” might be to work with lower rez mp4’s then once all the full rez files arrive (.mov one would presume) relink based on name and uncheck File Extension. This assumes the file names are identical.
Should the file names and/or durations be different (between lo & hi rez) one would like to think the relink could work based on time code, but never having done this with Premiere CC I have have less than full confidence. Input very welcome
Best,
Paul
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4 Replies
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It is quite tricky in this situation, because as your post suggests – there are quite a lot of variables over which you have no control – namely the way the clips have been encoded/timecoded etc from the supplier of the hi-rez footage.
Did you receive the lo-res footage from the same providers?
I regularly re-link using timecode when I am using stock footage, for example, and have good results where I know the two versions of the file are coming from the same place (although I always watch both versions just to make sure as a matter of good practice).
A situation like this could work one of three ways: you will just be able to offline the lo-rez and the hi-rez will slot straight in as the names/timecodes etc are identical; or you will have to go through each one and ‘replace with clip’ if the timecodes are the same but filenames aren’t; or worst scenario, you have to go through clip by clip and cut them in.
One thing I have done before when cutting in completely alien clips is to drop them in on a track above the lo-rez files and line them up, toggling the hi-rez track on and off to check they match up.
I would plan for the worst and hope for the best!
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Yeah, I’m not sure how TC from the original would match an “excerpt” from a finished show. Maybe there’s and EDL or XML from the original shows they could send your way.
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Thanks Sam & Paul. Again I know little about what will be provided but doubt camera-original will be in the mix, probably just low & (later) hi-rez excerpts from shows. Drilling down a little more, let’s assume the TC does match, I could force a relink if I renamed the folder that has the off-line footage but.. what would be the elegant targeted way to make one sequence (probably a copy of the approved off-line cut) re-link to the full rez files *without* having to take all the lo-rez footage off-line? It would be ideal to have it there to reference
Paul
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Personally (and this may not be a way everyone would like), I would import the hi-rez footage into a seperate bin, highlight the corresponding hi-rez clip in the bin, then right-click the lo-rez clip on the sequence and select ‘Replace with Clip > From Bin’.
If the timecodes do match, then this will replace it like-for-like straight away.
Obviously, it will depend on the number of clips you have as to how long this will take.
If you want a reference lo-rez clip on the sequence, you could make a copy of the clip on the track above and repeat the above process on THAT clips, then you can activate/deactiate the high-rez track to check the match.
In any case, I would always make a duplicate of the locked lo-rez version of the sequence before you do anything.
I tend to find utilising multiple, well-labelled bins the safest way to deal with things like this. Having a ‘high-rez’ bin and a ‘lo-rez’ bin gives the best of both worlds for me.
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