Return-Path: Received: from mail-qa0-f43.google.com ([209.85.216.43] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 5056749 for AE-List@media-motion.tv; Wed, 01 May 2013 20:01:00 +0200 Received: by mail-qa0-f43.google.com with SMTP id bs12so2220661qab.16 for ; Wed, 01 May 2013 11:09:33 -0700 (PDT) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=x-received:mime-version:from:date:message-id:subject:to :content-type; bh=VEUOyCHWs+Iudm0jKGMHJbJfT9Z+NrMdfgWU3xj73Uo=; b=rMPSYmZAqJyU8tzm/5L34R9fJkE6K4ph+9j7MOSTMbHn08+kmejlQ4LwPa1qlkSgqR sfO1kt49ARqZygAh/XdE7zBEviD7rzaPOLg6EFUrvTIYY9pm65sMGgNz/HwK5nafWZMe L5VRJAC4TyWkHP8Tdc8x21+5cOm7G1aW32ZV5/OOLNhAvU8BoEm5Iqi5j6pmtOikyyo6 oE0ejIam8sIK2GmnFB+uckCl6iY9PpcMyYFePYN5pDuH/cRsR5Sj3MT1k2SdOK/7hFqi HkdqUeLqa0gKn7FGsj4uJSl6MY0KefswW0rYFPj1JREvL8kvvgiDX+piuMfnk7suTML1 sqgw== X-Received: by 10.229.122.6 with SMTP id j6mr1425299qcr.111.1367431773378; Wed, 01 May 2013 11:09:33 -0700 (PDT) MIME-Version: 1.0 Received: by 10.49.127.107 with HTTP; Wed, 1 May 2013 11:08:53 -0700 (PDT) From: Teddy Gage Date: Wed, 1 May 2013 14:08:53 -0400 Message-ID: Subject: Workflow question - AE <-> Premiere To: After Effects Mail List Content-Type: multipart/alternative; boundary=14dae94ede371c6fd004dbac053d --14dae94ede371c6fd004dbac053d Content-Type: text/plain; charset=ISO-8859-1 So I just got handed off a drive with an edit in premiere and maybe 30 clips in the timeline that need to be keyed and color corrected. I'm going to do the "replace clip with AE comp" so the projects are linked for the editor. Supposedly it is picture locked with "possible minor edits to come". I've seen how "minor" some of those edits can be, so I'm a bit wary of assuming lock at this point. Now logistically, I can either select every clip that needs keying, and import the whole thing at once as a single AE comp running underneath the rest of the clips, or I can painstakingly create a new AE comp for all 30 clips individually, inside a master project. If there is a massive edit this would make things a bit easier. I'm leaning towards importing the whole chunk of footage as a single comp, because then all the keying settings and color correct setting are in the same place. It's also much faster. Any reason I should go the other route? Or gotchas I should look out for? Thanks TG -- Animator & Editor www.teddygage.com Brooklyn --14dae94ede371c6fd004dbac053d Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
So I just got handed off a drive with an edit in premiere = and maybe 30 clips in the timeline that need to be keyed and color correcte= d. I'm going to do the "replace clip with AE comp" so the pro= jects are linked for the editor. Supposedly it is picture locked with "= ;possible minor edits to come". I've seen how "minor" so= me of those edits can be, so I'm a bit wary of assuming lock at this po= int.

Now logistically, I can either select every clip that needs = keying, and import the whole thing at once as a single AE comp running unde= rneath the rest of the clips, or I can painstakingly create a new AE comp f= or all 30 clips individually, inside a master project. If there is a massiv= e edit this would make things a bit easier.

I'm leaning towards importing the whole chunk of fo= otage as a single comp, because then all the keying settings and color corr= ect setting are in the same place. It's also much faster. Any reason I = should go the other route? Or gotchas I should look out for?
Thanks
TG

--
Animator & Editor
www.teddygage.com
Brooklyn
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