Return-Path: Received: from [208.97.132.145] (HELO homiemail-a3.g.dreamhost.com) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 5347409 for AE-List@media-motion.tv; Wed, 15 Jan 2014 19:07:45 +0100 Received: from homiemail-a3.g.dreamhost.com (localhost [127.0.0.1]) by homiemail-a3.g.dreamhost.com (Postfix) with ESMTP id DADFE284076 for ; Wed, 15 Jan 2014 10:11:35 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha1; c=relaxed; d=influxx.com; h= mime-version:in-reply-to:references:content-type:message-id:from :subject:date:to; s=influxx.com; bh=M6uBoRJrSawIYlvvGJT9AdKwnTI= ; b=vgkKBgnC312r2e2BpOv9pAk89tr1zjXP4Xe2fBFk0p6q3Fed/riSTwZ4eA9b RJ2jHL7nlkxJYCQSCCnWTzeLQFhuRjfuz0RgPKUfD/pHR1UGaf3+gCNRnXZXFUEF 0gapuHiPJS8xxMI3/rPur+NJCVmyPv5Jxnld1DAKZoQHp2k= Received: from [192.168.0.14] (cpe-98-148-138-81.socal.res.rr.com [98.148.138.81]) (Authenticated sender: adam@influxx.com) by homiemail-a3.g.dreamhost.com (Postfix) with ESMTPA id B7A51284071 for ; Wed, 15 Jan 2014 10:11:35 -0800 (PST) Mime-Version: 1.0 (Apple Message framework v753.1) In-Reply-To: References: Content-Type: multipart/alternative; boundary=Apple-Mail-2--814565200 Message-Id: From: adam mercado Subject: Re: [AE] premiere back to AE question Date: Wed, 15 Jan 2014 10:11:35 -0800 To: "After Effects Mail List" X-Mailer: Apple Mail (2.753.1) --Apple-Mail-2--814565200 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed I wouldnt say I have a typical workflow, but this recent project =20 worked out this way. I picked up an offline cut of the show with a hard drive full of =20 footage. I had to do the online and add motion graphics to almost all =20= of the shots. The offline was cut to a recorded VO track, so all the =20 timing was pretty close and set in stone. I would pull the PP =20 sequence into AE to match up several shots, or I would choose =20 "Replace With AE Comp" from the PP timeline. That would create a new =20 comp in the AE project I had open and I could do the tracking and =20 particles or whatever graphics work had to be done. When you go back =20 to PP the clip on the timeline has been replaced with the AE comp, no =20= rendering needed. Playback is not real time (not with an ATI 3870 =20 card anyway) but it is close enough to be useful. For really gfx heavy comps I would render out a low res PhotoJPEG =20 proxy to put on the PP timeline, then replace that with the native AE =20= comp at render time. That process has been a real boon for me on this project and one I =20 will use from now on. Nothing clever or special about it, I didnt discover or invent =20 anything magical here. just the way the clever Adobe engineers have =20 made it work, but hopefully it gives you some idea of how it connects. Adam Mercado Influxx Media Production Fullerton, CA Moving Images. For Business 714=B0928=B09896 http://www.influxx.com http://www.twitter.com/influxx http://www.linkedin.com/in/influxx http://influxx.tumblr.com/archive http://www.flickr.com/photos/influxx On Jan 15, 2014, at 9:29 AM, projects wrote: > Adam > > I am in the very early stages of moving to PPro (instead of Avid =20 > via Duck) for use with AE. What is your typical workflow? Do you =20 > have any tips for others who are making the move to PPro? > > > > > On Jan 14, 2014, at 5:22 PM, adam mercado wrote: > >> Yeah, I doing my first project using heavy AE and PPro dynamic =20 >> linking and I have to say I'm really impressed. Last time I tried =20 >> DL was in CS3 and it was horrible so I never considered it an =20 >> option. But in CS6 its pretty bloody faultless. Importing =20 >> sequences and comps in both directions has saved me tons of time =20 >> and space over the old worlflow. I really like it. >> >> >> Adam Mercado >> Influxx Media Production >> Fullerton, CA >> >> Moving Images. For Business >> 714=B0928=B09896 >> http://www.influxx.com >> http://www.twitter.com/influxx >> http://www.linkedin.com/in/influxx >> http://influxx.tumblr.com/archive >> http://www.flickr.com/photos/influxx >> >> >> >> >> >> On Jan 14, 2014, at 1:34 PM, pixelbot@comcast.net wrote: >> >>> Nevermind I figured it out (just import the Premiere Project) =20 >>> never done it before seems to work easily enough - back to =20 >>> regularly scheduled program >>> >>> tt >>> >>> From: pixelbot@comcast.net >>> To: "After Effects Mail List" >>> Sent: Tuesday, January 14, 2014 1:32:27 PM >>> Subject: [AE] premiere back to AE question >>> >>> I'm recreating a project finished in Premiere in AE (long story =20 >>> short we are an AVID house and are editing in AVID but the =20 >>> previous editors created transitions in Premiere which can only =20 >>> be recreated in AE) and I am able to import the project into =20 >>> Premiere CS6 even though it is a CC project. How can I export the =20= >>> sequence as an AE comp? >>> >>> TimT >>> >> > --Apple-Mail-2--814565200 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=ISO-8859-1 I wouldnt say I have a typical workflow, but this recent project worked = out this way.

I picked up an offline cut of the show = with a hard drive full of footage. I had to do the online and add motion = graphics to almost all of the shots. The offline was cut to a recorded = VO track, so all the timing was pretty close and set in stone. I would = pull the PP sequence into AE to match up several shots, or I would = choose "Replace With AE Comp" from the PP timeline. That would create a = new comp in the AE project I had open and I could do the tracking and = particles or whatever graphics work had to be done. When you go back to = PP the clip on the timeline has been replaced with the AE comp, no = rendering needed. Playback is not real time (not with an ATI 3870 card = anyway) but it is close enough to be = useful.

For really gfx heavy comps I would = render out a low res PhotoJPEG proxy to put on the PP timeline, then = replace that with the native AE comp at render = time.

That process has been a real boon for me = on this project and one I will use from now = on.

Nothing clever or special about it, I didnt = discover or invent anything magical here. just the way the clever Adobe = engineers have made it work, but hopefully it gives you some idea of how = it connects.



On Jan 15, 2014, at 9:29 AM, projects = wrote:

Adam

I am in the very early stages of = moving to PPro (instead of Avid via Duck) for use with AE. What is your = typical workflow? Do you have any tips for others who are making the = move to = PPro?



 
On Jan 14, 2014, at 5:22 PM, adam mercado <adam@influxx.com> = wrote:

Yeah, I doing my first = project using heavy AE and PPro dynamic linking and I have to say I'm = really impressed. Last time I tried DL was in CS3 and it was horrible so = I never considered it an option. But in CS6 its pretty bloody faultless. = Importing sequences and comps in both directions has saved me tons of = time and space over the old worlflow. I really like = it. 



On Jan = 14, 2014, at 1:34 PM, pixelbot@comcast.net = wrote:

Nevermind I figured it out (just import the = Premiere Project) never done it before seems to work easily enough - = back to regularly scheduled program

tt

From: = pixelbot@comcast.net
To: = "After Effects Mail List" <AE-List@media-motion.tv>Sent: Tuesday, January 14, 2014 1:32:27 PM
Subject: = [AE] premiere back to AE question

I'm recreating a project finished in Premiere in AE (long = story short we are an AVID house and are editing in AVID but the = previous editors created transitions in Premiere which can only be = recreated in AE) and I am able to import the project into Premiere CS6 = even though it is a CC project. How can I export the sequence as an AE = comp?

TimT

=



= --Apple-Mail-2--814565200--