replace clip – loosing in/out ?

[Richard Herd]

Did the files have the exact same name.

[Ann Bens]

You need to open the hi res clip in the Source Monitor first.
You either trim the clip the inpoint to the same frame as on the timeline. Replace clip from SM or set marker in SM and clip in timeline: replace from SM frame match. Or something like that. Not at my editing pc right now.

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[Grayson Wasteland]

so you have to manually set the in and outpoints all over again for all your hi res clips?
seems kind of unprofessional for adobe to not have a more direct option, as this is an extremely common thing people have to do with stock video…

[Richard Herd]

[Grayson Wasteland] “so you have to manually set the in and outpoints all over again for all your hi res clips?
“

No.

Here’s the official Adobe how-to: https://helpx.adobe.com/premiere-pro/using/create-clips-offline-editing.html

Using the finder is helpful.

Make a folder called Footage and put the lowrez clips in there. After approval change the folder to Footage_LowRez.

And make a new folder called Footage, right there where newly renamed one was.

Then dump the highrez clips in there. They must be named the exact same thing!

This will not work in some other NLEs because metadata are associated with the media (behind the scenes that we can’t see). My point is if you change NLEs you may need a different workflow.

[Grayson Wasteland]

interesting. …
instead of using your folder names can i have them called “hires and lowres.”? that is the folder structure here where i work

[Richard Herd]

[Grayson Wasteland] “can i have them called “hires and lowres.””

No.

The folder can only have one name. FOOTAGE or MEDIA or something generic.

Then when you get the stuff approved. You rename that folder to Lowrez, if you want, but when you put the hirez into its folder, that folder has to be the SAME NAME as the one you just used, and also all of the names of the files in the folder have to be named the same as they were in the lowrez.

Then open PP, and it should (I say, “should” because of the metadata problem in some NLEs, which I explain below) read the footage as being the same footage.

With regard to metadata, the issue is, when you make a file, in any program (Word, Photoshop, PP, anything!) there is a time stamp and date stamp and other metadata (for video there is often timecode, bitrate, and so on). Some NLEs are very careful to make sure you don’t accidentally use the wrong footage and so it compares the metadata and if there are discrepancies then it will balk. Some NLEs will let you force the relationship, but that does not mean it will line up the EDL.

It’s also wise to label sequences properly.

SEQUENCE Low Rez.

Then duplicate it.

Rename it.

SEQUENCE HIREZ.

At that point, you may need to close PP. Do the finder level folder stuff. Then relaunch PP.

[Grayson Wasteland]

thank you, i understand.

[Ben Martin]

Is this still the best workflow? If so, that is honestly insane. In AE, all you have to do is select the layer in the comp/timeline, and select the footage you want to replace it with, and hit opt+command+/. That’s it. If your footage matches exactly (or pre-comp or whatever) it simply changes it out. Keeps In/Out points, keyframes, everything.

Am i missing something? if I update a file, or like this person am just changing out footage with no watermark (all timing is the same), do I really have to manually pick I/O points? That defeats the whole purpose.

I shouldn’t have to do anything in finder, unlink media, any of that.

Has there been an update?

[Daniel Fletcher]

The way I approach swapping purchased media into a sequence is to “option” it in.

So the answer is “No” this not in my opinion the best way to swap in purchased media into an existing edit of watermarked/placeholder stock.

I believe option+shift is held and the purchased clip is dragged onto the low res preview shot and the in and outs are carried over. The scaling can be an issue if the low res clip is scaled to 200% in the seq because the scaling is also carried over to the full res clip but that is a small thing to fix manually in the workflow compared to essentially reediting all the clips to match. This is where “scale to fit” “fit to frame” etc can be utilized depending on your seq and media resolution to make optioning in purchased footage much faster if used properly.