Mailing List AE-List@media-motion.tv — Message #53815
From: Lucas Maciel <lucasmpm@gmail.com>
Subject: Re: [AE] Workflow - colour grading with dynamic link
Date: Wed, 7 May 2014 11:04:09 -0300
To: After Effects Mail List <AE-List@media-motion.tv>

Premiere now reads LUTs, does animated masks, tracking, master clip effects,
adjustment layers, cc on whole sequences, secondary corrections, 3-way CC,
Curves etc. - all of it in real-time 4k from raw files with 32-bit per
channel glorious color. And it has waveform scopes, vector scopes and RGB
Parade scopes. That's pretty high-end to me. :-)


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Exactly, that's  what i said, the difference between high end and low ends are became unclear! Apps as Adobe Suite, making complex daily basics look's easy, only help the overall quality of content productions around the world. Speeding up the curve learning graphic's creating a chance for new filmmakers doing professional works as big productions houses, this is a game change for everybody, put competitions in a higher level. 


On Mon, May 5, 2014 at 6:58 AM, Roei Tzoref <yooofi@gmail.com> wrote:
Thats a great tip Chris. Thanks.


On Sun, May 4, 2014 at 5:14 AM, Chris Zwar <chris@chriszwar.com> wrote:
On 03/05/2014, at 6:34 PM, Jarle Leirpoll <leirpoll@online.no> wrote:
> The Master Clip Effect in the next version of both Premiere and SpeedGrade
> will help quite a bit. Color correct a clip in a bin, and it's corrected on
> all instances in all timelines!

When I used Premiere to export the edit to After Effects, I noticed that it was clever about the use of source clips, and re-used the same source clips multiple times in the AE timeline.  As I was editing a 'drama' that had lots of A/B cutting between the same clips, this meant that on average only two or three source clips needed to be graded for every 10 layers in the timeline.

So I precomped each piece of source media and replaced the source files in the 'master' timeline with the precomps.  Then I did all the grading / pan scan zooming / stabilisation in the precomps, rather than the "master" timeline.  This saved lots of time, I was working with about 40ish precomps instead of several hundred layers.

But still, I started this thread because I wasn't happy with the workflow and I'm looking forward to playing around with speed grade.  Glad to know it's promising.


-Chris
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Lucas Maciel, 


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