[Richard Herd]

I can see how that’s confusing, but it’s working properly.

Here’s the technique: apply the Starlight to an Adjustment Layer, then adjust the opacity of the Adj Layer.

[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.

[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.

[Richard Herd]

Did the files have the exact same name.

[Richard Herd]

Super cool

Really would be the pits to sit on the wrong side of the projection.

[Richard Herd]

Here’s a video that explains it.

https://library.creativecow.net/articles/maschwitz_stu/red-giant-blockbuster-film-look/video-tutorial

[Richard Herd]

Need a few more details. I assume you are stacking the media in the timeline, applying blending mode (which is located in the Effect Control > Opacity > Blending Mode) to the top layer (highest track), and viewing the output in the program monitor.

[Richard Herd]

[Don French] “My image is 1080 pixels high and 1440 wide”

I think that’s a HDV image size (not DVCPro HD, sorry).

[Don French] “Are you using CS6?”

Yes. After Effects uses this nomenclature: 1920×1080 (1.0) which means Width x Height (PAR).

The PS crop tool is a good friend here. In PS, adjust the image so that it looks correct, then set the crop tool to 1920×1080 72 DPI and see what happens. Be sure to check the image size, too. Then save.

[Richard Herd]

[Don French] “NLE = non-linear editor?”

Yes.

[Don French] “Am I missing something?”

Not really. It is a pain. Welcome to editing. 🙂

In photoshop there are two check boxes in View.

— Pixel Aspect Ratio > (many options)
— Pixel Aspect Correction

You can mess with those to see what’s happening, in your particular image. It’s the only way to really “get it.”

Also go to Image > Size and see what those details are.

Is the image 960×720 (1.33)

or

Is the image 1280×1080 (1.5)

or

1920×1080 (1.0)

I assume you want a final image of 1920×1080 (1.0).

[Richard Herd]

[Don French] “I fixed the problem with Modify > Interpret Footage”

[Don French] “Footage? It is a JPG.”

So I guess there are two things.

1. JPG (or any still) that is in an NLE becomes footage.

2. Photoshop has presets for DVCProHD, which is 1.33 par. It’s useful to have that preset when you are working with DVCProHD timelines. If you’re working with square pixels or .9 pixels, then you can either do what you did (Interpret Footage), or open it in Photoshop and change the settings.