Return-Path: Received: from nk11p03mm-asmtp002.mac.com ([17.158.232.237] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 5056791 for AE-List@media-motion.tv; Wed, 01 May 2013 21:09:37 +0200 Received: from [192.168.1.68] ([99.152.153.100]) by nk11p03mm-asmtp002.mac.com (Oracle Communications Messaging Server 7u4-26.01(7.0.4.26.0) 64bit (built Jul 13 2012)) with ESMTPSA id <0MM400F9QWA71190@nk11p03mm-asmtp002.mac.com> for AE-List@media-motion.tv; Wed, 01 May 2013 19:18:08 +0000 (GMT) X-Proofpoint-Virus-Version: vendor=fsecure engine=2.50.10432:5.10.8626,1.0.431,0.0.0000 definitions=2013-05-01_05:2013-05-01,2013-05-01,1970-01-01 signatures=0 X-Proofpoint-Spam-Details: rule=notspam policy=default score=0 spamscore=0 ipscore=0 suspectscore=0 phishscore=0 bulkscore=0 adultscore=0 classifier=spam adjust=0 reason=mlx scancount=1 engine=6.0.2-1302030000 definitions=main-1305010193 From: Jim Curtis MIME-version: 1.0 (Apple Message framework v1283) Content-type: multipart/alternative; boundary="Apple-Mail=_3E7EE94F-F9C4-4111-BC48-F014D6D3F645" Subject: Re: [AE] Workflow question - AE <-> Premiere Date: Wed, 01 May 2013 14:18:06 -0500 In-reply-to: To: After Effects Mail List References: Message-id: X-Mailer: Apple Mail (2.1283) --Apple-Mail=_3E7EE94F-F9C4-4111-BC48-F014D6D3F645 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=windows-1252 I think you've assessed the challenges accurately. =20 Not knowing whether the picture is locked could force you to make some = time-wasting choices, if it turns out it was locked after all. I say: Charge by the hour, and let the chips fall. If it's a total = re-do=85 Their lack of planning is a cost that should be borne by them. On May 1, 2013, at 1:08 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. >=20 > 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. >=20 > 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 >=20 > --=20 > Animator & Editor > www.teddygage.com > Brooklyn --Apple-Mail=_3E7EE94F-F9C4-4111-BC48-F014D6D3F645 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=windows-1252 I = think you've assessed the challenges accurately. =

Not knowing whether the picture is locked = could force you to make some time-wasting choices, if it turns out it = was locked after all.

I say: Charge by the = hour, and let the chips fall. If it's a total re-do=85 Their lack = of planning is a cost that should be borne by = them.

On May 1, = 2013, at 1:08 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

= --Apple-Mail=_3E7EE94F-F9C4-4111-BC48-F014D6D3F645--