What you're doing is a common method in editing, and making the transition to the higher quality source files is easy and simple within PPro.
Simply import your AVI files to your bin, for each clip in your timeline, select the matching AVI clip in the bin. Then go down to the timeline, right click, and select "replace with clip from bin" (near the top of the list). That will replace the footage in the timeline with the footage from the bin, making sure to maintain the same timecode as is in your edit. Another method, that is actually a little simpler, is to hold down the ALT key and drag the AVI file from the bin and drop it onto the file you'd like to replace in the timeline. Again, premiere will automatically use the same timecode information to line it up, and all your transitions and effects will remain the same.
WARNING: Depending on how you transcoded your AVIs to the lower quality files for your edit, you may end up with color correction types of effects not looking quite right with your new AVI files... just be aware of that, and be ready to go back in and redo some of your color correction if its not right.
Again, premiere will automatically use the same timecode information to line it up, and all your transitions and effects will remain the same.
No, unfortunately It didn’t do it. What I would like to do is that the lower quality clip in the timeline and the higher quality (avi) have to have the same “In Point” and “Out Point”. That means that edited clip (low quality) has the “In Point” (1:00 minute) and the “Out Point” (1:10 minutes). Consequently the higher quality clip (avi) which has to replace the lower quality clip has to have the “In Point” (1:00 minute) and the “Out Point” (1:10 minutes). It didn’t work that they have each the same In and Out Point after replacing. How can I replace clips so that the “In and Out Point” don’t change?
It should have worked for you... is the timecode in your AVIs the same as the timecode in the lower quality clips?
Hold down Alt + Shift; it's Shift that maintains the timecode reference. Also, this will only work if your proxy clips contain timecode; if they all start at 00:00:00:00, this isn't going to work for you.
Thanks, Colin... forgot about the SHIFT!
Oh MAN! I love you! It works!!!!!
I have looked for an solution for about 4-5 hours.
I have googled, watched and read lots of tutorials about adobe premiere and so on and so on...
I love you!
Thank you very very much!!!!
Hey, no worries... I... love you... too?
Anyway, glad it's working for you...
You know what they say, David...
Maybe you need to take this "love affair" to The Lounge...
Good tip and easily accomplished, thanks for the "Shift."
@OP, good luck, and happy editing*,
* ® trademark of Eddie Lotter
Does anyone know if Adobe has ever thought about putting in some type of proxy into Premiere ?
It would be nice if it was built in and would create the proxy for you keeping all the time codes.
Just wondering: GLenn
I think that at this point, Adobe has missed the boat for implementing a proxy workflow, and frankly, there's no reason to do so now. Computers are plenty fast for most codecs, and they're only going to get faster. Even RED 4K footage can be edited natively with a fast enough computer setup. I think that most people who would potentially benefit from a proxy workflow can afford the hardware to not require it. After all, the time savings and workflow headaches are well worth the capital investment in better hardware.
For most users, a much more modest investment in newer/faster/better hardware is likely to show far more significant workflow improvements than having to deal with proxies.