Return-Path: Received: from mail-wg0-f47.google.com ([74.125.82.47] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 5056785 for AE-List@media-motion.tv; Wed, 01 May 2013 21:05:47 +0200 Received: by mail-wg0-f47.google.com with SMTP id j13so1683788wgh.14 for ; Wed, 01 May 2013 12:14:22 -0700 (PDT) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:x-received:in-reply-to:references:date:message-id :subject:from:to:content-type; bh=bpzFRWxd5TnF962ig9EjXqKn38S8LrS3TXgVlz8J2Q8=; b=QJH3IsKDwruIAnq+d8W9zzv2O01G7lkizr2PEW/KATugaK/gnT/FIbUTEPevmJ694J ft7vr8nCk2BZU2QMEjNiDwSSwQRHE9T5msUbGpjRCjUzTpEtLYfuKWJ4M6kl4X0PuURl Ycy48mm8gE1F8fVpOXAo9uI3n9dM0w92njGluiau4aBZAI1YPGTEjAOe7SONjxVudf5Z UBDTFntrg1EI4SzgnR3+SkfO69T4oue0/t49z09ZTP9p9A0Qk/b3HIVnzFoQ3HU/gy/q TMHy/xqXZDesOnA5Tn0Qb394AquYNBuAVJoO8HK9ISbO0iXpNzKHnSoGtigGSTXFwHfk LG3w== MIME-Version: 1.0 X-Received: by 10.194.58.78 with SMTP id o14mr4110048wjq.39.1367435662513; Wed, 01 May 2013 12:14:22 -0700 (PDT) Received: by 10.194.236.165 with HTTP; Wed, 1 May 2013 12:14:22 -0700 (PDT) In-Reply-To: References: Date: Wed, 1 May 2013 15:14:22 -0400 Message-ID: Subject: Re: [AE] Workflow question - AE <-> Premiere From: rendernyc To: After Effects Mail List Content-Type: multipart/alternative; boundary=047d7ba977beeadc9a04dbacec0d --047d7ba977beeadc9a04dbacec0d Content-Type: text/plain; charset=ISO-8859-1 if the editor wants one render back id probably have one assemble comp in AE and then use a script to precomp all the clips as individual shots and then go from there On Wed, May 1, 2013 at 3:06 PM, Teddy Gage wrote: > Good suggestions, thanks. The frustration level has more to do with how > poorly organized the project is and less to do with the workflow. > > > On Wed, May 1, 2013 at 2:20 PM, Rendernyc wrote: > >> If you want them to be linked I'd copy the footage to a new layer and >> then replace that with the ae comp. this way the orig edit still exists. >> >> If you just want to move to ae you can replace in premiere and then undo >> and you will have the timeline in ae. You can also just copy and paste the >> clips from prem to an ae comp and get the timeline as well in one swoop. >> >> Any way you choose none of them should be painstaking. >> >> >> >> On May 1, 2013, at 2:08 PM, Teddy Gage wrote: >> >> 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 >> >> > > > -- > Animator & Editor > www.teddygage.com > Brooklyn > -- danny princz exposedideas.com --047d7ba977beeadc9a04dbacec0d Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
if the editor wants one render back id probably have one a= ssemble comp in AE and then use a script to precomp all the clips as indivi= dual shots and then go from there


On Wed, May 1, 2013 at 3:06 PM, Teddy Gage <teddygage@gmail.com><= /span> wrote:
Good suggestions, thanks. The frustration level has more t= o do with how poorly organized the project is and less to do with the workf= low.


On Wed, May 1, 2013 at 2:20 PM, Rendernyc <rendernyc@gmail.com> wrote:
If you want them to b= e linked I'd copy the footage to a new layer and then replace that with= the ae comp. this way the orig edit still exists.=A0

If you just want to move to ae you can replace in premi= ere and then undo and you will have the timeline in ae. You can also just c= opy and paste the clips from prem to an ae comp and get the timeline as wel= l in one swoop.=A0

Any way you choose none of them should be painstaking.= =A0



On May 1, 2013, a= t 2:08 PM, Teddy Gage <teddygage@gmail.com> wrote:

So I just got han= ded 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 "r= eplace clip with AE comp" so the projects are linked for the editor. S= upposedly 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 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

--
Anima= tor & Editor
www.teddygage.com
Brooklyn



--
Animator & Editor
= www.tedd= ygage.com
Brooklyn



--
= danny princz

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