Each clip is precomposed when dynamic linking a timeline from Premier

When I'm sending a timeline from Premier Pro CC to After Effects CC all of my video clips are being pre composed individually in the after effects composition.
The last project I worked on had the same workflow except when they came into after effects the videos were not pre composed.
From the PP timeline, I'm selecting all the timeline media and choosing 'replace with AFX comp!
Is there a way to choose to precomp everything or not from a Premier timeline? I don't want each media to be precomposed!

Thanks Todd,
I can see that's the case as I went from a 1080 timeline down to 720P and used 'Scale to Comp'
Causes havic in AFX if you have used different sections of the same clip in your edit.
So I guess the work around would be to manuelly scale everything in the clip settings.

Similar Messages

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

Dynamic Link to Encore from Premiere Issues

I created a simple After Effects composition and Dynamic Linked it to Premiere Pro. (All CS4 Programs) I completed the editing process, and Dynamic Linked my timeline into Encore. In Encore, the Premiere Pro timeline appears, but it does not represent the After Effects composition within the Premiere Pro Timeline.
I am unsure as to why this occurs.
Also, I have issues with getting the DVD's I burn to play in other computer/DVD players. The discs I create work perfectly fine in my computer, as well as my DVD player but I am unsure why they do not work in other people's devices. The discs are DVD-R discs.

So you must downrez at some point in the workflow. Some users have problems and/or think they get better quality out of direct PR/AME exports than using DL for this purpose.
I would test the workflow by creating three short test sequences - one with a clip from one camera, a second from the other, and a third with both in a sequence using the same settings you are using in your edit. I would use the "drag a clip" to the new item method for making each of the first two sequences. By short I mean 30 seconds to 2 minutes with a mixture of still and action.
Export using whatever method you pick of those recommended, but use CBR 8 instead of VBR etc. Bring the resulting files into Encore. Yes, look at the files exported on the computer, and look at Encore preview, etc, but also burn to a disk and watch on multiple TVs. There are lots of issues in best quality.

Error when creating link to documents from material

Hi all,
while creating the purchase order the error message "Error when creating link to documents from material 61260224060" is displayed.
why this error message is displayed.?
Regards,
GaneshRaja

Hello Ganesh
Please check material master - view 'Bases data 2'.
There is checkbox 'No link'. You can activate this checkbox if you are not storing any drawing/designe docuemnt for this material.
Try to do this and check out again.....
If this helps you in resolving your issue, i would appreciate if you reward the answer with suitable points.
Best Regards
Avinash

How can I retain Speedgrade Lumetri effect on a Premiere clip when dynamic linking that clip to Afte

I'm trying to streamline the workflow between me (editor) and the animator at my office.
Right now we are exporting clips as ProRes files to be tracked and rotoscoped by the animator in AE and then dropping them back in Premiere. We work off a server so it would be much faster to simply dynamic link my clip that needs screen replacement animation into an After Effects comp. Then the animator could open that After Effects file on the server and do their work then just save it so it will automatically repopulate in my timeline with the tracked shot.
The problem is here. I want to color correct in Speedgrade before animation so I'm not having to track around screens. So I color correct and the clips come back to Premiere with the Speedgrade Lumetri effects applied. Then I dynamic link to AE. But when the tracked shot returns from AE, the Lumetri color effect is completely lost, which causes me to have to re-color and track around the screen replacement animation.
Does anyone have any tips for this? The help is much appreciated.

I just responded to this on another thread, but let me repeat it here for convenience:
Like you, I too (and I presume most everyone) first send to SG for color correction and then (actually after another SG trip for grading) replace with AE comp for effects work. And when I try that with my CC 2014, I have the same issue (all SG effects disappear after replace with AE comp). But I believe I've found a simple workaround (at least working great so far):
Instead of replace with AE comp, open AE and drag the PP comp to the AE projects - it will appear like a clip.
Create an AE comp with that and do your thing.
Save as AE project and import it into PP - it will appear like a clip that you can use in PP (as if you'd done a replace with AE comp).
Everything will be dynamic: if you change the SG corrections, the changes will get reflected everywhere (in AE as well as the AE project imported in PP), and what you do in SG will apply BEFORE the AE stuff, which is exactly what we want. Looks like Adobe put all the capability in, but the replace with AE comp is not making use of it yet - I will report this.
One other related issue is that for some weird reason, you can't drag the imported AE project in PP onto a PP sequence, BUT you can select it and ask to create a new PP sequence! Go figure.

How to keep files from disappearing when using Dynamic link to AE from PremProCS4?

I am at my wits end here and hope someone can offer a solution. I use Dynamic Link in PremProCS4 to link a clip in my timeline to AfterEffects. I follow the instructions in my book and everytime I close my files and reopen..I loose the clip along with the effects...I get the place card instead. Here are the steps I do as per the Adobe Classroom in a Book Explains:
I double click on my .MTS file in the Project Board so it comes up on my Source Screen.
I take select the part of the clip I wish to use in my timeline and drag it to the appropriate spot on a video layer.
I then right click the "clip" and select "Replace With After Effects Comp"
I then name the new file. name or whatever.aep
It opens in AE
I then apply two simple effects... keying and a cartooning effect I use from NewBlue Cartooner.
As instructed I then go directly back to PremPro and do a "render" by pressing the Enter Key. This does not work since I only get a yellow bar above the clip instead of a red on???
So then I save the PremPro project and close it then go to the AE project, save and close it.
When I reopen PremPro the file has a place card in it and in AE it says I am missing a file.
I have tried many different ways to do this process including re-importing the .MTS file.
I can close PremPro and reopen it and all is the same as long as I don't close the AfterEffects project. Once AE is closed it looses the file. On a note here I keep all my computer source files in the same place and it never changes plus they are in my PPro Project as well. I never change the names so this isn't this reason.
Is there a tried and true method to select a piece of clip in the video layer in Prem Pro and add effects from AE and not have it misplace the files?
Thanks Kate

Hi Mylenium, and thank you for taking the time to respond.
Your idea of renaming comps got me to thinking..hmm.
So I went back with a fresh mind this morning and tried something else..and it worked...so far anyway.
So far I figured it out...
Since the normal process to do this doesn't work for me ..and apparently many others..here is the solution for those of you having similar issues.
In PremPro select the desired clip you wish to place effects on
Rename it and save
R click and "Replace with AE composition"
Name new file
You will see three files pop up in AE in the project panel.
The original source clip .. in my case.. shows an icon that lets me know it isn't the true file.
Highlight this file with a click and then go Ctrl H (for PCs)
The group of computer source clips you use for your project will come up.. double click on the original clip you had imported into your PPro project.
The source file icon in AE will change to an icon that denotes the true file...save
Go to your still open Ppro project and make sure it carried the effects over..save.
Now you can save and close the AE project.
So for this works for me today and I hope this helps anyone else dealing with a similar issue.
Thanks.

Sb not displaying waveforms when dynamic linked to PR...

I posted this in Soundbooth, but it seems appropriate here as well. Hopefully there's an easy answer:
I have the following programs open - Premiere Pro CS4, Adobe Bridge CS4 & Soundbooth CS4.
I create a new multitrack file in Sb. Click File\Adobe Dynamic Link\Import Premiere Pro Sequence and select the Project and Sequence. Click OK and the Video Track appears with the project name & (reference). There are thumbnails of the video images from the Pr timeline and a wide green band but no audio waveforms. No other audio tracks contain anything at all.
The video track will play with audio and the meters indicate stereo audio but there is no audio visible anywhere.
Workspace is "Edit Audio to Video," and Properties show the proper sample rate. All sample rates are the same throughout the timeline.
One anomaly is that the Properties "Last Modified" entry is wrong as it shows today's date but about 4 hours later than the actual system clock.
I guess I was under the impression that this workflow would enable me to open my 9 tracks of audio to do sweetening in Sb and that that work would be reflected in my timeline in Pr through the Dynamic Linking.
How is this supposed to work? The documentation is less than useful in both Sb & Pr. There are implications, but no real information on what's what.
Anyone doing this, and, if so, how???
TIA,

I'm really confused with the whole multitrack thing in Soundbooth. Seems all it is good for is combining multiple files that you can change over again. I don't see how this is useful at all when editing with an NLE. Once the tracks are in there they are stuck and can't be movied if you tweak any tracks.
Like you I don't understand the point of the new soundbooth multitrack file at all. Seems like they stuck it in so that there would be a new feature for CS4.
If you could open an OMF exported by premiere and work like that dynamic linked that would be great. Maybe someone can suprise us with an actual real world use.
Since the update I use Audition anyway. Awesome music app.

Sb shows no waveforms when Dynamic Linked to Pr....???

I have the following programs open - Premiere Pro CS4, Adobe Bridge CS4 & Soundbooth CS4.
I create a new multitrack file in Sb. Click File\Adobe Dynamic Link\Import Premiere Pro Sequence and select the Project and Sequence. Click OK and the Video Track appears with the project name (reference), thumbnails of the video images and a wide green band with no audio waveforms.
It will play and the meters indicate stereo audio but there is no audio visible anywhere.
Workspace is "Edit Audio to Video," and Properties show the proper sample rate. All sample rates are the same throughout the timeline.
One anomaly is that the Properties "Last Modified" entry is wrong as it shows today's date but about 4 hours later than the actual system clock.
I guess I was under the impression that this workflow would enable me to open my 9 tracks of audio to do sweetening in Sb and that that work would be reflected in my timeline in Pr through the Dynamic Linking.
How is this supposed to work? The documentation is less than useful in both Sb & Pr. There are implications, but no real information on what's what.
Anyone doing this, and, if so, how?
TIA,

Research has revealed that this does not work!! Read this thread:
http://www.adobeforums.com/webx/.59b76657/2
Dynamic Link is a marketing Pipe Dream, not a Pipeline!!

Color timeline starts each clip at 00:00:00:00 after sending from FCP

When I export a sequence from FCP (7.0.3) to Color (1.5.3), the latter shows a timeline with clips of the proper duration, but with the wrong in/out. Each clip in the Color timeline starts at 00:00:00:00 of the source file, as opposed to the "in" I had selected in FCP.
The video originated as h.264 files from a 5D. I transcoded the files to ProRess 422 for editing, and am sending them from FCP to Color as such. The FCP timeline contains nothing but these ProRes video clips.
Thanks for your help...

any way to use an edl with these kind clips?
That poses an interesting option, maybe. For starters, though, the Send To... COLOR command instructs FCP to write an XML export that is decoded by COLOR, and that should take care of things.
There is a strategy that AVID users sometimes employ, and that is to export a CMX EDL, open that under COLOR and link to the media directly under COLOR (this works for RED flow). I am mystified as to why COLOR defaults to the first frame of your exported clips -- unless the time code is faulty in some way (or is not present), and so COLOR is simply beginning at the beginning as a kind of default.
Even if the in-point is wrong, are the clip durations correct?
Are you absolutely sure there is timecode on the ProRes clips? Apparently this is a problem shared with Final Cut Express, where exported QT clips always start at zero, but this is hearsay on my part as I have never dealt with FCE.
An alternate strategy at this point might be to export a complete Quicktime of your finished (textless) project, re-import it into FCP and "razor" cut it using your original timeline as a cutting guide. That sequence would go to COLOR with no issues.
A lot of users do this as standard procedure if they want to avoid a lot of "baking" and conforming if they've got a large number of mixed, or unsupported, media clips on a timeline. As a brute-force solution, its the Big Unifier.
jPo

InfoPath form opens in the browser instead of InfoPath Filler when a link is clicked from the Approval Task email

I have an admin approved InfoPath 2010 form that is web enabled. It is published to a SharePoint 2010 Forms library and an Approval Workflow is attached to it.
The form needs to open up in the InfoPath Filler with the Workflow Task bar at the top so users can approve the task from within the form and not go to Tasks list to do so.
Here's a problem I am experiencing: sometimes the form opens in InfoPath Filler and sometiems it opens in the browser when the link to approve the form is clicked form the email that is sent by the workflow.
Windows 7, IE 9, MS Office 2010:
The form opens up in InfoPath filler like it supposed to. The Workflow task bar is there for users to approve the form.
Surface Pro with Windows 8.1, IE 11 and MS Office 2013
The form opens up in the browser and there is no Workflow task bar at the top.
Things that I've already looked at and tried which didn't solve the issue:
- The forms library is exclusivly set to open documents/forms in the Client Application
- Set the browser compatibility mode in IE 11, that doesn't work too well, because you have to do it every time you open the browser.
- Setting browser compatility in IE 11 reintroduced another issue, of multiple login promts, which was fixed by entering the SharePoint site in question into the Trusted sites by a group policy. Adding the site to trusted sites made the forms open up in the
browser.
- Researched compatibility issues with InfoPath and Windows 8.1, cannot find anything.
- Researched compatibility issues with InfoPath 2010, Windows 8.1 and SharePoint 2010, also didn't find anything.
Can someone offer a suggestion on how to fix this problem, preferably with no code, because we are not allowed to put custom code on the server?
I need to force InfoPath form to open in InfoPath Filler when the link to the form is clicked from the Workflow email. Also the login prompts should not pop up. Need it to work on all the platforms: Windows 7, and Surface Pro Windows 8.1.
Thank you.

Hi,
Thank you for your response.
[Steps about how to capture the capture the fiddler log]
===========================================
1. Download fiddler from
http://fiddler2.com/
2. Install fiddler and launch fiddler.
3. When the fiddler be launched, the log will be enabled automatically.
4. You can click “X” to remove all the records before you reproduce the issue.
5. If the web site has been configured to https. Please enable https option:
Click “Tools” -> “Fiddler Options”
Switch to HTTPS tab, then check “Capture HTTPS CONNECTs” and “Decrypt HTTPS traffic”.
6. Then repro the issue.
7. Click “File”->”Capture Traffic”, uncheck the Option “Capture Traffic” to make sure the “
” is not shown, that mean the logs has been stopped.
8. Click “File”->”Save” ->”All sessions”, save the file.
Any quesitons, please let me know.
Best Regards,
Dats Luo

Adobe Dynamic Link or Export from Premiere and load into Encore?

Hi
I'm making some tests about authoring DVDs and Blu-Rays from Encore CS6. My video editions are made in Adobe Premiere Pro CS6.
Looks like I have 2 ways to send contents from Premiere Pro to Encore.
1) I can set all my editions in Premiere Pro, then Export the entire timeline to a MPEG-2 DVD or MPEG-2 BLU-Ray file, then start a new Encore project and import this video file as a timeline.
2) I can finish my editions in Premiere Pro, then use the Adobe Dynamic Link > Send to Encore options. So, it's not necessary to export files, since the task of transcoding is an Encore's task.
Question is: Any advantage of using way 1 or 2??? Thinking about speed to finish the job, is one way better than other?
What do you use do choose?
Thank you for these tips
Gustavo.

Hi Stanley
Thank you very much for your tips. Just one thing:
In Premiere we can choose, for Blu-Rays, the MPEG-2 or H.264 codecs. You mentioned the H.264 Bly-Ray choice.
Any advantage regarding the H.264 instead of the own MPEG-2 coded?
Best Regards and thank you very much again.
Gustavo.

Godaddy is showing that the businesscatayst has been redirected correctly but when i link to remote from dreaweaver it shows a ftp error

dreamweaver connects to server correctly, godly is showing my business catalyst site has been redirected correctly but when i access remote from dreamweaver it says there is a ftp error. How do i resolve this

Apologies
Http://www.whanaucentred.com <http://www.whanaucentred.com/>
I can access it from the web but enter the url.
When I try to upload from dreamsweaver it says ftp error even though:
-Server password and other info is set correctly in dw . and dw says it has link to the server correctly
- but When i edit site in dw and upload the changes, it says ftp error.
-When I login to businesses catalyst site on line, i can edit it from there and link to the site from there.
- when i log into godaddy it says domain is configured correctly.
Sent from my iPhone

Dynamic Link not available from Premiere Pro CC to After Effects CC

Hey, I cant click on the Dynamic Link in Premiere pro CC and in after effects i can. how i can fix it?

Hi,
Please go to the following location and drag the Adobe Folder to the desktop,
C:\Users\<Username>\AppData\Roaming\
C:\Users\<Username>\AppData\Local\
And please Rename Adobe folder to OldAdobe in Documents.
Hope that helps
Thank you,
Mohd Naseem

What is the best compressor setting to use ... when exporting a 720p timeline from FCP for a project that will only be played back in a standard def monitor?

What is the best compressor setting to use for DVD StudioPro ... when exporting a 720p 30 timeline from FCP for a project that will only be viewed in a standard def monitor?

Update: The iBook can play any 480p video and higher if I encode them with DivX and in AVI format. But of course this is not compatible with my iPhone 4. At least I can shrink my library now and get away from the full MPEG-2s. I don't get why I can't use Apple's h264 though. There has to be a setting I am missing. The sample Apple h264 videos from the days of Tiger worked flawlessly on my iBook when it was new so the CPU must be capable of decoding it. I really can't understand this.
Also, since I made my videos in English for my family, I had to create soft subtitles for my wife's Chinese family, and I can't get players like QT with perian or MPlayerX to sync them properly to an AVI encoded with DivX, they only sync well with the iPhone 4 m4v/mp4 formatted files I made. This is a real pickle.
So now I may need three or four copies of each video, LOL. I need to hardcode the subtitles if I want to use AVI to playback on older machines, and keep the mp4 file for the iDevices too, while keeping higher quality h264 videos for my American relatives...
If h264 is compatible with my iBook, what is the proper encoding settings? Must I dramatically lower the settings or frame rate? I can settle on 2 copies of each video that way. One iBook/G4/eMac compatible video that syncs correctly with my srt soft subs, and another version that works well with my iPhone 4 and iPad.
All in all, I will end up with more than 3 or 4 version of each video. On my late G5 dual core I have the full 720-1080p uncompressed master files. On my i5 iMac I have the h264 compressed versions for distribution, and lower versions for my iDevices. Now I need to keep either full MPEG-2 files for the iBook to play, or convert to older formats like DivX AVI for our family's legacy machines. I am running out of hard disk space quick now, LOL.
Is there an easier way?

How can I get Premiere cs 5.5 to open AE 6 when dynamic linking instead of 5.5

Just wondering, or do i have to buy Premiere 6 for it to open AE6?

do i have to buy Premiere 6 for it to open AE6?
Yes, you do, or more to the point yopu will need to buy a whole suite. DL only works within the same version and only inside Production Premium and Master Collection.
Mylenium

Each clip is precomposed when dynamic linking a timeline from Premier

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