Dynamic Link Blending Modes

Hello Premiere Pro´s
Is there a way where an After Effects Dynamic Linked comp imported into Premiere Pro can preserve its blending modes to the outside layers in a sequence?
A little like the logic of the continuously rasterize option that exists in After Effects.

That´s what i was suspecting, but that feature would be a great add. ( Plus solving another workflow issue i´m having also with dinamic lynk. )
My feature is very heavy on the use of dynamic linking. And in this case i have a Premiere sequence "edit" that i would like to be imported into AFX via dinamic link - then compose FX on top and then re-import that AFX Comp into the same Premiere Project into a "final" sequence. But this workflow gives me loop redundancy problem that makes Premiere dont update its dynamic linking, unless i close and open the app.
So my second try was importing the "effects ae comp" into premiere and hope there could be some workaround where the blending modes could pass into dinamic link, like the logic of the continuously rasterize option.
But thanks for the reply and help, Jo.
Regards

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Hi there,
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Best,
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Okay I'm getting errors when I try to import files in AE directly. I wasn't having this issue a few days ago.. dang! Error is:
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I was able to use dynamic link in AE to import my Premiere project, BUT I can't edit it because its the full project as one file. So when I put effects on one scene, it affects the whole project. In addition, when I drag or import my AE composition (with effects) to Premiere the footage comes up as color bars. So it does sound like AE is my problem.

Layer group blending modes

There was some discussion about defaulting layer groups blending mode being normal by default instead of pass through. While I do use a lot of smart objects as "normal" containers (albeit mostly to filter rather than blend), I'm interested in techniques which would make normal a more useful default. Any thoughts?

OK... Here's my 2 cents. I use layer sets (layer groups) often in color correction work. Some times to get color where you want it, you may need to use 2 or 3 adjustment layers. For instance a Hue Saturation layer and a Curve layer. rather tan masking both of them, I put them into a layer set, and make one mask at the set level. This is helpful if later you need to extend the correction to include additional areas... all you need to do is modify one mask. In this situation, the layer set has to be set to pass through in order to affect pixels below it.
Now, lets say I grabbed a head from a different image, to add a person to the image I started with. If the head requires brightening and color adjustments to make it match the existing image, I find it a little neater to place the head layer in a layer set, then all the adjustment layers can go inside the set with it. But I need the blend mode of this set to be normal, so that the effects of the adjustment layers within it do not continue past the set level. Make sense?
I realize that you can link the adjustments to the layer you intend to affect, but I find the method I described to just be a little neater as far as layer management. AND if I then need to paint in hair for the head layer and paint in some eye enhancements, I can do each on its own layer inside the set. Sometimes I'll make the blend mode of the layer set for the head (just to stick with the same example) normal then put all my color adjustment layers inside a sub set with a blend mode of pass through. Then I can mask the CC layer set to only CC the eyes let's say, and I can mask the head layer set separately to blend it into the scene.
I hope all that helps. :^)

Learning blending modes

I've learned most of what I know about PSE from a certain magazine from England. But in their step by step instructions, you are told to use this or that blending mode, but not why.
Are there any threads on here that expalin what the different modes do and when to use what? I've tried to do search but didn't work.
Thanks
Ricih

http://www.ronbigelow.com/articles/blend1/blend1.htm
The above is a set of tutorials that includes tables listing practical uses of blend modes for photographers.
His examples are done using photoshop but the blend modes are the same in both Photoshop and Photoshop Elements. Layer masking is used to constrain the blend mode effects to portions of the photos. With elements, you will need to use an adjustment layer so you can hijack the mask. If you are just going to blend the image with itself, create a levels adjustment layer...leave it at the default setting and click ok to accept. Adjust the levels adjustment layer's blend mode and opacity if desired. This will act just as if you were working on a duplicate of the image...and you have a mask.
If blending two different images, use a clipping mask/group. Here's a link on info about using clipping masks/clipping groups...same thing different name.
http://www.photokaboom.com/photography/learn/Photoshop_Elements/layers/layer_groups_clippi ng_masks/1_layer_groups_clipping_masks.htm
Other tutorials that cover blend modes...
http://www.northlite.net/ps/blend.htm
http://www.photoshopessentials.com/photo-editing/layer-blend-modes/
http://www.photoshoptut.com/photoshops-blend-modes/
http://www.psdtop.com/blog/basic/understanding-blending-modes/
Still one more...don't read #20 as it covers advanced masking (Blend If) that isn't available in Photoshop Elements.
http://www.teamphotoshop.com/articles-The-Techniques-Layer-Blend-Modes-Explained!-5,8,65a. html
Edit: That last link you'll have to copy and paste it into your browser to get it to work. It's not linking correctly.

New, Z-Buffer related blending mode

My suggestion is linked to Photoshop usage in still-image 3D composition. Specifically, it is about new layer blending mode what makes usage of depth channel (Z-buffer) information provided by rendering software.
Very often I would like to be capable of color correction of a single particular object of a 3D rendering. Though it is possible to make appropriate color correction in 3D package - this is nasty as that require additional rendering of the complete scene what is normally pretty time consuming.
Ideally, I would like to do such minor color corrections is a compositing software - in case of stills - in Adobe Photoshop.
But... how to do this?
I tried to make two render passes:
A) rendering the scene having one particular object set invisible to camera (but visible to GIobal Illumination solution)
B) rendering the scene having all objects but this one set invisible to camera (but visible to GIobal Illumination solution)
Then - these two images can be composited in Photoshop as separate layers.
That could work but it fails in case given object intersects with other in 3D space.
Normaly, 3D renderer only renders these object's parts what are visible to 3D camera, so these parts what are obscured by other object are not renedered. But if I render given object "separately" - then I have all its visible parts being rendered - even those what are normally invisible as obscured by intersecting object. And in his case alpha channel provides unsufficient information to perform appropriate selection to remove unneeded parts of the image.
Normally, this information if provided with depth channel: the Z-buffer what can be rendered in an extra pass. This is a grayscale image where shades of gray provide information about given pixel's distance to camera. But unfortunately, I can't see any use of it in Photoshop composition.
Ideally, some specialized "layer blending mode" should be implemented in Photoshop. It could work in the following manner:
Presuming there are two Photoshop layers:
- bottom layer containing (A) render image masked with its Z-buffer channel
- top layer containing (B) render image masked with its Z-buffer channel
Using new blending mode, only these pixels would be revealed what are actually "closer" based on appropriate Z-buffer data comparison between (A) and (B).
Is this suggestion worth implementation?
IMHO that would significantly faciliated 3D composition in Photoshop.

Here is a simple example of how a method is documented. (This is a stupid method, but hopefully you get the idea.)
* Prints a String. The length of the String is returned.
* @param toPrint the String to be printed
* @return   the length of the String
* @throws NullPointerException if the String is null
public int printAString(String toPrint) {
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Maximum bit depth-maximum render quality when dynamic linking

Hi
A bit confused by the use of Maximum bit depth and Maximum render quality as used both in Sequence Settings and also as options when rendering in AME.
1 Do you need to explicitly enable these switches in the sequence for best quality or, do you simply need to switch them on in AME when you render in Media Encoder?
2 When dynamic linking to After Effects, when should you use an 8 bit vs 16 or 32 bit working space, and, how does this bit depth interact with the maximum bit depth, maximum render quality in PPro?

Hi jbach2,
I understand your confusion. I'm like that most of the time I'm working. *chuckle* The two settings you mentioned are two completely different parameters affecting (or is it effecting) your video. You do not need to enable them within the sequence itself unless you want to preview video on you program monitor at the highest quality. I personally don't recommend it, as it's a tremendous resource hog, (the program even warns you when you try to click them) and unessecary for improving final output. Again, do not enable these options in your sequence settings if you are only wanting a high quality export. Doing so will greatly reduce your editing performance unless you have a high-end system. ...and even then I don't think its worth it unless you're editing on a huge screen with a Director who wants to see everything at a maximum quality during the edit process.
Keeping it simple...
Resizing your final output video? Use Maximum bit depth.
Starting or working with high bitdepth sources? Use Max Bit Depth.
When/where do I enable these? In the AME only. ^_^
Why?:
Enabling the Max bit and Max render only needs to be done when you are exporting. They both serve different functions.
Max Render aids in the scaling/conversion process only. My understanding is that you never need to enable the Max Render Quality (MRQ) unless you are exporting in a format/pixel ratio different from your original video. For example, when rendering a 1080p timeline out to a 480p file format, you'll want to use MRQ to ensure the best scaling with the least amount of artifacts and aliasing. If you're exporting at the same size you're working with, DON'T enable MRQ. It will just cost you time and CPU. Its only function is to do a high quality resizing of your work.
Maximum bit depth increases the color depth that your video is working with and rendering to. If you're working with video that has low color depth, then I don't believe it will matter. However, if you're working with 32 bit color on your timeline in PPro and/or After Effects, using lots of graphics, high contrast values, or color gradients, you may want to enable this option. It ultimately depends on the color depth of your source material.
The same applies to After Effects.
Create something in AE like a nice color gradient. Now switch the same project between 8,16,32 bit depth, and you will see a noticable difference in how the bit depth effects your colors and the smoothness of the gradient.
Bit depth effects how different plugins/effects change your overall image. Higher depth means more colors to work with (and incidentally, more cpu you need)
Just remember that "DEPTH" determines how many colors you can "fill your bucket with" and "QUALITY" is just that, the quality of your "resize".
http://blogs.adobe.com/VideoRoad/2010/06/understanding_color_processing.html
Check out this adobe blog for more info on color depth ^_^ Hope that helps!
----a lil excerpt from the blog i linked to above---
Now, 8-bit, 10-bit, and 12-bit color are the industry standards for recording color in a device. The vast majority of cameras use 8-bits for color. If your camera doesn’t mention the color bit depth, it’s using 8-bits per channel. Higher-end cameras use 10-bit, and they make a big deal about using “10-bit precision” in their literature. Only a select few cameras use 12-bits, like the digital cinema camera, the RED ONE.
Software like After Effects and Premiere Pro processes color images using color precision of 8-bits, 16-bits, and a special color bit depth called 32-bit floating point. You’ve probably seen these color modes in After Effects, and you’ve seen the new “32″ icons on some of the effects in Premiere Pro CS5.
jbach2 wrote:
Hi
A bit confused by the use of Maximum bit depth and Maximum render quality as used both in Sequence Settings and also as options when rendering in AME.
1 Do you need to explicitly enable these switches in the sequence for best quality or, do you simply need to switch them on in AME when you render in Media Encoder?
2 When dynamic linking to After Effects, when should you use an 8 bit vs 16 or 32 bit working space, and, how does this bit depth interact with the maximum bit depth, maximum render quality in PPro?
Message was edited by: SnJK

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Hi,
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Hi sravy,
Would you please let me know whether refer to Susan’s suggestion and check if it may be a hardware/harddrive
issue? Any find?
à
My laptop (Lenovo Amd athlonII P360 dual-core processor) with OS windows 7 shutdown accidentally during updates.
Did you find any dump file after the Windows 7 crashed? If find dump file, please refer to following KB and
check if can help you to analyze the dump file.
How to read the small memory dump file that is created by
Windows if a crash occurs
In addition, as Susan said, this forum is for Small Business Server. Based on your description, your problem
was just occurred in Windows 7 OS. I suggest that you would post your question in
Windows 7 Forum. I believe we will get a better assistance there.
Hope this helps.
Best regards,
Justin Gu

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Karen Hu
TechNet Community Support

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I have a tedious production task I'd love help automating.
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This might work.
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// 2011; use it at your own risk;
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// this line includes the layer groups;
//               allLayers.push(theLayer);
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Making it easier to cycle through blend modes

Maybe there is a way to do this that I'm missing. Learning or seeing how all the blend modes work is really tedious. You have to trigger the dropdown, go to the blend mode, click it, then repeat all that to try the next blend mode. Wouldn't it be a lot easier if you could just quickly cycle through the blend modes with a slider or the arrow keys? Is there such a thing? Or maybe a screen of blend mode thumbnails, showing all the blends for a particular overlay at once.

Matt Stow has created a command to cycle through the blend modes: http://www.mattstow.com/extensions/Objects/FW_Blend_Modes_1_2.mxp
You might need to right-click the link and Save As to download the .mxp correctly. Once installed, you can set keyboard shortcuts to easily cycle forward and back through the blend modes.

Dynamic Link Blending Modes

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