Re-linking graded 8k footage with proxies in Premiere

[Kelly Armstrong]

Hi there,

I’m on a job cutting with 1080p proxies in Premiere. The original source files are 8k RED. They’ve just been colour graded and I was wondering, is there a quick way to replace the proxies with the 8k RAW footage without losing the size/crop?

In the edit I’ve punched in and moved around the framing of the proxies a lot.

I ended up matching all of the graded shots to the proxies by eye. Is there a quicker and more efficient way of doing this?

Thanks,
Kelly

[Shane Ross]

How were the proxies made? within premiere pro/media encoder using it’s method for making proxies? Because in doing that, relinking to the proxies is just a button click. If you have new 8K masters that were colored (odd to do this BEFORE editing is complete, but OK)…you can try to replace the footage you made the proxies from, swapping them out…hope that they have the same name…and see if they relink with that single button push. They might not, if they are rendered out media from somewhere else, it might lack the metadata needed to simply relink.

Color correction is typically done after editing, so you don’t have relink issues.

Shane
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[Kelly Armstrong]

Hi Shane,

Thanks for getting back to me. Sorry I didn’t articulate my question properly.

I’ve completed the edit and sent the XML to be colour graded. Now that the footage has been graded I know how to relink the coloured 8k clips with the 1080 proxies.

What I’m wondering is, is there a way to relink the AND keep the crop/scale I’ve put onto the 1080 proxies? When I relinked the 8k it changed the frame size completely and I ended up having to match each frame by eye.

Does that make sense?

Thanks!

[Shane Ross]

OK, so you sent off an XML or AAF and they graded that. What did they send back? JUST the media? No XML or other file to import and have a timeline with the new graded media? Because when I’m given a project to online and color, the XML file often contains resizing information, so it’s scaled on my end, and then retains that when I give it back to the client.

There are times scaling information doesn’t come over, but that’s why I also ask my clients to provide a low res, timecoded, H.264 file I can use to compare the shots. To confirm that all the correct shots made it to me (often the timeline will link to another random shot) and to confirm that I have the proper scaling.

Shane
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