Workflow question re: Premiere / AE

How does everyone else work with clips that need to be "enhanced" in AE?
For example, I am editing clips in Premiere, doing things like trimming, arranging, and adding few cross-fade transitions. Then I want to bring those trimmed clips into AE to add effects and correct the color.
Whats the best way to bring those trimmed clips into AE and the back to Premiere?
Thanks,
-Mike-

Thanks again for your help Steven.
Here, I still don't understand. I use Dynamic Link to make motions graphics in AE and bring them back into Premiere. Everything works great and I love it.
However, what I am trying to do now is edit my video clips in Premiere (you know, trimming and arranging my "story" in the timeline) then I want to send specific clips to AE for effects like color correction, compositing, keying, etc.
My trouble is that if I import a sequence into AE, I get the whole Sequence, even the parts that I don't want to affect.
When I import a clip into AE, I get the whole clip.
I only want the "trimmed" part of the clip. Then I want to bring them back into Premiere and replace only the "trimmed" clip at its specific position in the timeline.
What am I missing?
Thanks again,
-Mike Behrens-

Similar Messages

RED Workflow questions with Mac Pro (including third party plugins)

Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
Editing all footage off 96TB Raid 6 mini-sas server (getting about 1100mbs read/write rate according to AJA system test) which is faster than any Thunderbolt/TB2 drive array I have.
Media I work with is footage from the RED Epic (normally 5K) as well as DSLR footage from the 5d.
Software:
-PrPro CC 2014 (8.1)
-Magic Bullet Looks 2.5.2
My question(s) pertains to RED post-pro workflow in combination with third party plug-ins and the different approaches to make it more efficient.
Right now, majority of the clients need a 1080p HD master, and they are generally anywhere from 2-8 minutes (usually). So my sequence settings are as follows:
Video:
Editing Mode: RED Cinema
Size: 1920 x 1080
Audio: 48Hz
Video Previews
Preview File Format: I-Frame Only MPEG
Codec: MPEG I-Frame
1920x1080
Maximum Bit Depth unchecked
Maximum Render Quality unchecked
Composite in Linear Color checked
Export Settings
H.264
1920x1080
VBR 1 pass
Target Bitrate 12mbs
Max bitrate 12mbs
Maximum render quality/depth/previews unchecked
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
Would using offline editing help at all?
Do you place your effects on adjustment layers?
Is there anyway to improve export settings when using an array of filters?
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?

Hi This Is Ironclad,
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
The biggest issue is that most people have is that updating OS X causes certain folders to be set to Read Only. See this blog post: Premiere Pro CC, CC 2014, or 2014.1 freezing on startup or crashing while working (Mac OS X 10.9, and later).
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
It's a nice base system. How about an additional speedy disk for media cache files. You also did not mention which version of OS X you are running.
thisisironclad wrote:
Software:
-Magic Bullet Looks 2.5.2
The Red Giant website does not indicate that this software is yet updated to work with Premiere Pro CC 2014.1 (8.1). Proceed with caution here.
thisisironclad wrote:
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
I would not use this plug-in until you get the OK from the manufacturer.
thisisironclad wrote:
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
Again, I suspect your plug-in.
Keep in mind that exports are largely CPU based but you can make sure that GPU acceleration is enabled for AME at the bottom of the Queue panel.
thisisironclad wrote:
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
It's OK.
thisisironclad wrote:
Would using offline editing help at all?
No need when you should be able to edit natively. Relinking might also be an issue.
thisisironclad wrote:
Do you place your effects on adjustment layers?
That's one way you can do it with the benefit of being more organized.
thisisironclad wrote:
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
I do. Of course, that's a preference.
thisisironclad wrote:
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Try the following:
Sign out from Creative Cloud, restart Premiere Pro, then sign in
Update any GPU drivers
Trash preferences
Ensure Adobe preference files are set to read/write(Hopefully you checked this out already)
Delete media cache
Remove plug-ins
If you have AMD GPUs, make sure CUDA is not installed
Repair permissions
Disconnect any third party hardware
If you have a CUDA GPU, ensure that the Mercury Playback Engine is set to CUDA, not OpenCLYou have AMD GPUs.
Disable App Nap
Reboot
thisisironclad wrote:
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?
I really shouldn't answer that question.
Hope this helps.
Thanks,
Kevin

Yet Another Workflow Question

Ok I too, like many others here, am new to the Mac (thanks to Apple's I'm a Mac, I'm a PC ads that my wife couldn't get enough of). I have done some searching around and I see that there are quite a few iMovie workflow questions out there. I have not quite found what I am looking for however, so I thought I would make my first post tonight. So here it goes...
I have 3 different ways I capture video:
1. Canon Vixia HF10 (HD)
2. Canon Powershot (SD)
3. Blackberry Storm (SD...I know it isn't a good phone)
I record everything to SD cards. I am wanting to know the best way to store my raw video for editing at any time. Do I copy the AVCHD file structure (for the Vixia) and .avi files (for the other non HD) to my hdd, or do I just import into iMovie '09 and let it reside there, or both? I noticed that iMovie had an archival option (which appears to just copy the AVCHD structure to my hdd), which is why I ask. I want to always keep my raw video in case I decide to go back later and create a new video.
After I have the raw video archived, I would like to know the best way to use iMovie. Depending on where I end up storing the raw video, should I keep the imported video in iMovie once I am finished with a project, and then reimport it at a later date if need be? Or, do I leave it in iMovie as events? I guess this all rely depends on the first question...where do I store the raw video for archival purposes...
Finally, when exporting my iMovie project, should I store that in more of a, pardon the Windows reference, "My Videos" folder with a original size, web optimized size, and ipod optimized size? Thus, keeping the actual exported version of the project separate from the raw video?
I hope I have asked the right questions here. I appreciate any and all help I can get!
Ron

Welcome Ron to the  iMovie boards..
very interesting : 'switchers' care sooo much for 'storage strategies' ..
the by Apple intended workflow/concept for iApps is:
any 'photocam' related material (still or movin') comes-in via iPhoto, and is stored in an iP Library (=you can tell iP to create 2/many Libs, if you prefer to organize manually....)
any 'camcorder' related material HAS to be imported by iM - why? because, iM has some internal routines to make such material editable (codecs, thumnails, stuff....). the same material as 'file by Finder' does not import.. in most cases!
storage..
iP stores in its Library (local/internal HDD and/or ext. HDD)
iM stores in Events (local/internal HDD and/or ext. HDD)
to make Projects/Albums accessible to any iApp, you should keep your fingers off that structure.
Erasing Events 'kills' projects.
allthough, once 'shared to media browser' there's a 'copy' of your project WITHIN the project file. (= the socalled Media Browser is no single Folder somewhere hidden in the system)
there's this Spacesaver feature to erase any Event content which is not in use in any project to keep Events lean.
use the Archive feature from within iM to keep things easy and convenient.. if you miss a single file of the SDcard file-structure, the whole card's content is kaputt ..
summary:
• use iApps as intended.
• use iP for cameras, it stores 'raws' (the avi too)
• use iM for camcorders, use Archive to store raws..
• purchase a dozend of HDDs to store your material..

Sharpening export workflow question

I have a sharpening workflow question. Say I have pictures from a portrait session I just finished. I have to send 10 pictures the client ordered to a print lab and I also will make some small facebook sized pictures and upload them to my business facebook page. The level of sharpening needed for large prints (I upload to print lab as RGB JPEGS) and sharpening needed for the very small sRGB facebook-sized pictures is different. In Lightroom I have the option to set the sharpening on export and have a bunch of presets that alter the export size, color space, sharpening, etc(WHCC print lab, facebook, Client CD, etc). I don't see how to do that in Aperture. I see they have the option if you have a printer, but not on normal export.
For those of you that have to export batches of pictures in multiple different sizes (with different levels of sharpening), what is your workflow? I could use some photoshop droplets/actions after Aperture export but I was hoping there was a way to avoid the extra step. Am I overlooking an export feature? The BorderFX plug-in looks like the only other option.
Thank you in advance for time and help!
Scott

Frank Scallo Jr wrote:
The thing is guys - Once a file is sized down it WILL lose sharpening - what we are doing is sharpening the full size RAW file or rather what the full size output would be like. Once we export a version sized down it will lose some of the 'bite'. LR has sharpening options on 'output' which is not only smart but a necessity. Adobe realizes that output for screen needs another sharpen. Apple either doesn't know or didn't bother. It makes ANY output for screen less than best.
Bear in mind that there seem to be two separate issues going on here - sharpening adjustments not being applied on export, and resizing.
As far as resizing is concerned, Aperture appears to use something roughly equivalent to Photoshop's Bicubic Sharper setting. Because of this I've never had much problem with Aperture's exports when used for the web, but obviously everyone's taste for sharpening differs which is why an option for output sharpening would be good.
Sharpening adjustments not being applied on export is a separate issue and should be reported via the feedback form ASAP by everyone who is experiencing the bug.
Now printing is another animal - I wouldn't print directly from RAW in aperture either if I'm printing small. Again, LR beats Aperture here as well since they include output sharpening for print.
Aperture has had output sharpening for printing since 2.0 came out (unless it in was 1.5). In A3 you need to turn on 'More Options' and scroll down, I can't remember where it is in A2. I don't know how effective it is as I print via a lab, but it's there and it's been there for a long time...
Ian

Question on Premiere Forum Structure

Now that the Premiere forums have been restructured, I have a question. From the titles of the various forums, it appears that Premiere Pro CS2 is in the "Premiere Pro 2.x and earlier" catagory. Since there was but CS2, I wonder about the ".x" designation, there was never a 2.1, 2.5, 2.anything. I see the "Premiere (CS versions)," and Premiere Pro CS2 was definitely a "CS" version, and I am getting lost. It was hard enough trying to figure out the various version designations of previous editions of the software, especially when the "Pro" designation came in and then the CS/CS2 versions came out and was called PP and PP2, though they came out long after higher numbers in the non-Pro designations. Just where in the heck SHOULD questions on Premiere Pro CS2 be placed? While I'm asking questions about forum structure, has any thought been given to rolling the "Production Studio" forum into the Premiere forums? Where should Encore questions go? I'd still think in the Encore forums, but since it is only available bundled with Premiere, since CS3, I wonder. I saw a lot of Encore questions in the old CS3 forums. Would the MODs want them to be posted into the Encore forum? I'd think so, but do not really know. [Disclaimer] I am in no way advocating that Adobe change anything about the forums. That was tried, and I still vividly recall days of being without my Adobe forums. Please do not do that again! <Grin> Just trying to get this all straight in my feeble mind. Thanks, Hunt

While the Creative Suite moniker was introduced with 2.0, in my physical package, only Photoshop and Illustrator use the CS2 name. Premiere Pro is just called 2.0. After Effects is called 7.0. Encore is 2.0 and Audition is 2.0.
CS wasn't used across the board until CS3, so I can see why the forum headings are labeled as they are.

Workflow Questions - Premiere on Mac - for FLV file

Hi.
I want to add subtitles to an FLV file using Premiere Pro. I'm working on a Mac.
I know that I can't use the FLV so I would have to convert the FLV to an intermediate format first. Then Import that into Premiere, add the subtitles, render and convert back to FLV.
So my question isn't directly associated with Premiere, but I would like to know what you guys would recommend as far as the workflow I've described. What intermediate file format would be best so as lose minimal quality? Which software to use for the conversion from the FLV and back into the subtitled FLV?
Thanks!

Hi.
I want to add subtitles to an FLV file using Premiere Pro. I'm working on a Mac.
I know that I can't use the FLV so I would have to convert the FLV to an intermediate format first. Then Import that into Premiere, add the subtitles, render and convert back to FLV.
So my question isn't directly associated with Premiere, but I would like to know what you guys would recommend as far as the workflow I've described. What intermediate file format would be best so as lose minimal quality? Which software to use for the conversion from the FLV and back into the subtitled FLV?
Thanks!

(workflow question) - What is the best way to handle audio in a large Premiere project?

Hey all,
This might probably be suitable for any version of Premiere, but just in case, I use CS4 (Master Collection)
I am wrestling in my brain about the best way to handle audio in my project to cut down on the time I am working on it.
This project I just finished was a 10 minute video for a customer shot on miniDV (HVX-200) cut down from 3 hours of tape.
I edited my whole project down to what looked good, and then I decided I needed to clean up all the Audio using Soundbooth, So I had to go in clip by clip, using the Edit in SoundBooth --> Render and Replace method on every clip. I couldn't find a way to batch edit any audio in Soundbooth.
For every clip, I performed similar actions---
1) both tracks of audio were recorded with 2 different microphones (2 mono tracks), so I needed only audio from 1 track - I used SB to cut and paste the good track over the other track.
2) amplified the audio
3) cleaned up the background noise with the noise filter
I am sure there has to be a better workflow option than what I just did (going clip by clip), Can someone give me some advice on how best to handle audio in a situation like this?
Should I have just rendered out new audio for the whole tape I was using, and then edit from that?
Should I have rendered out the audio after I edited the clips into one long track and performed the actions I needed on it? or something entirely different? It was a very slow, tedious process.
Thanks,
Aza

Hi, Aza.
Given that my background is audio and I'm just coming into the brave new world of visual bits and bytes, I would second Hunt's recommendation regarding exporting the entire video's audio as one wav file, working on it, and then reimporting. I do this as one of the last stages, when I know I have the editing done, with an ear towards consistency from beginning to end.
One of the benefits of this approach is that you can manage all audio in the same context. For example, if you want to normalize, compress or limit your audio, doing it a clip at a time will make it difficult for you to match levels consistently or find a compression setting that works smoothly across the board. It's likely that there will instead be subtle or obvious differences between each clip you worked on.
When all your audio is in one file you can, for instance, look at the entire wave form, see that limiting to -6 db would trim off most of the unnecessary peaks, triim it down, and then normalize it all. You may still have to do some tweaking here and there, but it gets you much farther down the road, much more easily.Same goes for reverb, EQ or other effects where you want the same feel throughout the entire video.
Hope this helps,
Chris

VHS - DVD Recorder - PC - Premiere Pro CS6: Workflow Questions

Hello,
I hope I have this posted in the correct place. I am seeking advice and suggestions for VHS tape to digital transfers. Here is my current workflow:
VHS tape is played back on a Panasonic PV-D4744S VCR and is recorded directly (via composite A/V cable) to a Panasonic DMR-ES40V DVD recorder and onto a DVD-R, -RW, or +RW.
The disc is then copied into a Windows 7 folder with all of the contents of its VIDEO_TS folder intact; this folder is saved on several external hard drives for safe keeping.
I then open and import a copy of the .vob files into Premiere Pro CS6, where I minimally scale the video to eliminate the distortions (“VHS tearing”) on the sides and bottom of the VHS source video. The result is a very clear video which fits perfectly in a 4:3 project window on my 16:9 HD computer screen with minimal pillarboxing.
It is at the stage of export where I am stuck.
The final DVDs are going to be viewed on a 16:9 widescreen TV, as well as on an iMac computer. I’ve read all much about interlaced scanning (VHS, Laserdisc, TV) and progressive scanning (computer, LCD TVs), but I’m still not sure if I can make a DVD which will look proper on both TVs and computers. In addition to the scaling, I am using Premiere to add chapter makers and poster frames to the video, which I wish to then export to either Encore CS6 or NeroVision – I love Nero’s animated 2D and 3D menu selections. What export settings should I use in Premiere which are closest to the original, imported .vob files? I’ve exported some test videos in MPEG2-DVD format to folders, but they are huge compared to the original DVDs made on the standalone recorder, i.e., 12.8GB on Premiere export compared to the 4.7GB import.
Are there settings to make the Premiere export as close to the original DVD import of 4.7GB without sacrificing quality? Should I simply import the sequence into Encore as a timeline and let it perform the heavy lifting of automatically compressing the files to fit on a 4.7GB DVD? NeroVision seems to not accept the MPEG2-DVD files; it “sees” only the .m2v video files and not the .wav audio files.
In a nutshell:
I want to take a raw DVD-R (or -RW, +RW) recorded on a standalone and copy to hard drive, add chapter markers and minimal scaling in Premiere Pro CS6, then export and burn a DVD that will look good on both a 16:9 TV and computer screen.
I'm trying to get this project finished for a soon upcoming family get together. Any suggestions, tips, and general advice would be greatly appreciated.
Eric

Hi Eric,
The issue I would have with the workflow is that DVD is heavily compressed for delivery - not meant for re-compressing again. You're re-compressing a file that's already been compressed as small as can be. Most DVD recorders have different quality settings, like 1 hour, 2 hours, 4 hours. Use the 1 hour mode on the DVD recorder to get the "best" quality source if you must re-edit the stuff. The typical workflow would be to have some sort of capture device on the computer that records a larger, less compressed file to begin with.
As for export from Adobe using Media Encoder, choose "MPEG-2 DVD" of course, and select "NTSC DV" for the preset. Under the VIDEO tab, you'll need to adjust the encoding bitrate according to the video length. A good rule of thumb is to use 560/minutes=bitrate, and I will round down a touch for safety margin. This assumes Dolby Digital audio on the DVD (AME exports .wav audio and Encore converts to Dolby). Note that most folks don't go over 7 or 8, for best compatibility (the max limit is a bit higher, but quality of VHS source is not going to get any better anyway at higher rates, GIGO).
Regarding audio for the DVD, could be that Nero expects ONE file with audio and video. In AME, look under MULTIPLEXING and change from NONE to DVD, this will combine them. Then under AUDIO, choose DOLBY or maybe MPEG will work for you. Use a 192k bitrate for audio if going that route.
Note sure what you meant about the 16:9 screen - would recommend against putting the 4:3 source material into a 16:9 sequence in Premiere in you are, this will do more harm than good. Stay with 4:3 throughout, including the DVD creation - the DVD player and TV ought to know what to do with it. You're actually REDUCING the resolution if you use a 16:9 workflow. Note that if you encode a 16:9 DVD using 4:3 material in the 16:9 frame, and then play that DVD on a 4:3 TV, bad news - it gets letterboxed AND pillarboxed and you end up with a small video surround by black on all sides. Not cool.
I'd stick with interlaced - if you deinterlace the footage at any point, you are essentially throwing away HALF the resolution, which is weak to start with for SD. Most software players will have Preferences settings to let you tweak the playback/deinterlacing at that point, and TVs will handle it fine.
PS - if you use Encore, then just export the .m2v and .wav files using Media Encoder, import both to Encore, and Encore then does NOT recompress the video any further (as long as it fits), only the audio gets the Dolby conversion. Do NOT use Multiplexed files in Encore.
Hope this is all helpful
Jeff Pulera
Safe Harbor Computers

Premiere / RedCine-X Pro Workflow Question

Hi Folks,
I have been trying to find a solution for the last couple of months. I know out there someone has an answer for me.
So I keep trying.
Here is my question / problem.
1- I make my first color correction with Redcine, then save the rm.'s
2- Then I do my edit with Premiere. When finished export the edit as xml.
3- Import the xml to RedCine-X Pro again to do fine tunings according to the edit.
4- Do my fine tunings and save rm.'s again.
Here is the problem.
When I open my existing edit in premiere my fine tuned color correction should be available, instead I still see
my first color correction. And I have to click on source settings and again click on reload from rmd for each clip.
I assume that Premiere is reading the first color correction from a cache file or something like that.
How can I reload all clips with the new fine tuned rmd's ? Any ideas..
I was expecting this situation to be solved with CS6 but still continues..
Thanks
Koray Birand

I have no idea why Adobe continues to ignore this issue. You would think at least in the CC version of Premiere, there would be a function that would reload all the RMD's in your project. Very annoying. You can use a third party piece of standalone software, but Adobe really should take care of this in-house.
http://www.fallenempiredigital.com/blog/2012/07/29/batch-reload-redcine-x-rmd-raw-adjustme nts-in-adobe-premiere-pro/

After Effects - Premiere Pro workflow question...

Hi,
I have a basic question about workflow between AE and PP.
I'm editing an acting reel for a client which deals with a lot of different footage and bits and pieces here and there.
We already converted all the footage to DV-AVI - tweaking, color correction and effects are done in AE.
Here's the question that I'm thinking about:
Should I work on all my footage in AE first and then import it into PP for editing OR should I edit everything the way I wanna have it and then import it into AE for the tweaking.
Advantages for both options that come to my (newbie) mind:
AE first then PP
1. Final editing is done in PP which gives me flexibility if I wanna change things later editing wise
2. PP exporting options are huge - don't know if AE can compare to that
3. could import to PP via Dynamic link which saves me the hassle of exporting each little clip from AE to a lossless format - as mentioned we have lot's of different footage and little bits and pieces here and there
PP first the AE
1. if u apply a lot of effects, Dynamic link is a pain to scrub through the footage in PP because it takes so much time to render through the link - with exporting a final edited version from PP and then importing into AE would make things go a little bit smoother
2. I would have more flexiblity if I wanna change any effects in AE
What would u suggest ?
Thanx for your help in advance !!
Mike

Mylenium,
thanx again for your input.
Reading your posts - and PLEASE correct me if I'm wrong - it seems like the workflow would be:
1. PP for rough cut, then
2. AE for tweaking
3. back to PP for the final cut, export etc., since AE does not have the editing tools needed (transitions etc.)
But, as I did some testing the last two hours it is almost impossible getting PP projects into AE.
I read the manual and tried the following:
a. importing a PP project file into AE via the Import --> File dialog.
I specified only one PP sequence to be imported - it did import all of the footage of the PP project (including the footage that is not needed) and it imported 3 (not one) sequences, including the one I specified.
Besides that, the sequence is unusable - the in & out points of the footage are totally wrong - the transition I applied (dip-to-black) was unavailable.
I re-tried it without transitions but the in & out points of the footage are absolutely wrong.
The sequence deals with two different clips - both used 3 times in the sequence - and the first clip is okay in AE, but the second clip always (at all three points) starts from the start of the original footage.
b. I tried to copy & paste footage from the PP timeline to the AE timeline - which did not work.
As described in the manual, I did save that AE project and I did select the timeline in AE. I tried it through Edit --> Paste (which was unavailable), as well as through Ctrl+V. Did not work.
It seems to me like Dynamic Link is a One-Way-Street, it does work from AE to PP but not the other way around, at least not usable.
I had a thread about this a couple of weeks ago and other users experienced the same results.
I'm thinking about doing the rough cut in AE, the limited editing tools from AE should be okay...
Mike

Workflow question: Editing and replacing subclips from Premiere

I have a bunch of footage, each about 1 minute-long, that I'm cutting in Premier into a collection of 3-second highlight shots. What I want to do is take some of those 3 second shots and fancy them up in AE.
Problem #1:
When I select the trimmed shot in Premiere and select "Replace with After Effects Composition", all I get is a blank composition in AE that is 1 minute long (not 3 seconds like how I trimmed it in the Premiere sequence editor).
Problem #2:
What I did to resolve the issue above is select the trimmed clip, then created a Subclip of it. Then when I selected "Replace with After Effects Composition" it then created a blank composition in AE that was 3 seconds long.
Ok fine, but that still doesn't resolve the blank AE composition. It will be super tedious to import each of the 1-minute footage files into AE and then re-find the 3 second section I already set in Premiere. Am I missing a step somewhere? How do I get After Effects to import that subclip automatically into the library? I tried to export the subclip from Premiere but couldn't find that option.
Is there a better workflow for what I'm trying to do?
Thanks!

Ok I moved all my media files to my main project directory. In Premiere, I selected a clip in my timeline and chose "Replace with AE Composition"
After Effects started up, created a new project file and composition but the media file still didn't show up in the project window. Is it supposed to? Or do I manually have to re-import each movie file into After Effects? As I mentioned, it seems like it will be a tedious task to import the movie files into AE and find that 3-second section again that I cut in Premiere.
Any other ideas or ways I should go about this?
Thanks

What is the documetary interview workflow for Story/Premiere CS5.5?

I've looked in vain for the answer to this question, which I'm sure is thoroughly documented SOMEWHERE - I just can't find it. The few things I HAVE found online including at Lynda.com or other paid services involve CS5, which has a different workflow that involves OnLocation; this changed in CS5.5 but I don't see any on-point articles that incorporate the changes.
We've been using Premiere CS5.5 since its release but have never worked with dialogue metadata. At the moment we're working on a documentary with a number of lengthy interviews. In each case the interview subject is talking to an off-camera producer. Accurate transcriptions of the raw interviews have been prepared. Only the interview subject's ANSWERS are transcribed; the producer's questions are not (and are also barely audible on the soundtrack). So, typically, the producer will ask a question and then the subject will give an answer that could be ten seconds or a minute. Then another question, then another answer, all in the one clip.
So what I am looking for is a step-by-step workflow (for someone who has never so much as TOUCHED Adobe Story before) for importing the transcripts into the raw footage and then ultimately having Premiere match the transcript up with the spoken audio, and then maximizing the usefulness of this with the newly annotated clips as source footage. Realizing that the interview answers are separated by barely-audible producer's questions, I assume that one challenge will be to let the software know that it should only be paying attention to the answers, and lining the text up appropriately, and not getting confused by the questions. Perhaps the answers need to be subclipped?
If there's a tutorial on this subject I would very much appreciate being pointed to it. If not, if someone could do a step-by-step (beginning with an empty Premiere CS5.5 project and nothing in Story) I'm sure there must be a number of other folks in my position who would benefit from it.
As a product suggestion: for documentary applications it seems to me that it would be much better to be able to cut and paste text directly from a text editor into Premiere and then let it fit it to the audio instead of going through Story. While I understand it was even more cumbersome prior to CS5.5, I don't think interviews in a documentary need most of what Story offers (unless I'm missing something), so it seems like an unnecessary complication that could be eliminated.
Thanks in advance for any help.
Peter

Well, I tried following your steps, and I'm going wrong somewhere.
I created the film script and four scenes (one for each of four clips), giving the speaker's name as a character name (it's actually the same character in a continuous interview broken into several five-to-ten minute clips). I let Story number the scenes (1 through 4, as expected). I then exported an .astx file.
Within Premiere, I located the four clips and in the Scene column numbered them 1, 2, 3, and 4 respectively.
When I right-click on one of the clips, select "attach script file," and point to the exported .astx file, I get the following error message: "Failed to attach script file to the following clip: \MyProjectName.prproj\FolderNameWIthinProject\00019.mts [Matching scene number not found]" (of course I have replaced the path and folder names in this example with generic names since the actual names reveal my client company's name).
Opening and inspecting the .astx file in a text editor I confirm that it does in fact contain scene numbers 1, 2, 3, and 4, respectively, for the numbered scenes. Likewise I confirm the numbers 1, 2, 3, and 4, respectively, in the Scene number column for the four relevant clips.
Any idea what the problem is?
Peter

Pro Noob: CS6 Workflow - Coming From Premiere Elements

I have a question about workflow for Premiere Pro, specifically how to adapt my Premiere Elements workflow to Pro.
Currently, I'm using Premiere Elements to edit years' worth of home movie DV-AVI footage. More than once, PRE has crashed and left my project in an unrecoverable state (meaning I lost all the time I spent) so on the advice of some very wise Elements forum members, I developed the following workflow years back:
1. Open a new project
2. Import the next 100 DV-AVI files to be worked on (I import my tapes using SceneAlyzer which splits each scene into a separate file, so each file = 1 scene)
3. Cull the clips, plop them on the timeline, do the usual transitions / audio / music, etc.
4. Save my project about every minute (seriously, Ctrl+S is my best friend)
5. When I get to the point where I'd be uncomfortable if PRE blew up and I had to start my project from scratch, I export entire edited project to DV-AVI
6. Go back to Step 1.
When my exported DV-AVIs (from Step 5) total around an hour, I'll open a new "master" project, import all the "Step 5" exported DV-AVI files, plunk them down sequentially on the timeline, add menu markers, etc. and burn a DVD.
Now transitioning to Premiere Pro, I'm wondering
1. Has anybody ever had a Pro project get corrupted and become unuseable? It seems like one big project might be easier to work with, but I definitely have an aversion to "putting all my eggs in one basket".
2. Can I (or should I) use Sequences to accomplish what I was using multiple projects for in PRE? Sequences are new and foreign concept, and seem pretty powerful - like maybe I could use them in place of my "mini projects" in PRE. But unfortunately they are pretty much glossed over in everything I've read, e.g. the Adobe "Classroom In A Book" gives them maybe 1 page.
My #1 priority is not losing work. After that, whatever is easiest for dealing with the literally 1000's of files I have to go through...
So what's everybody's real-world / best practice advice for converting my Element workflow to Pro?

OK, I took a look at some of those resources, and read some more of the PP help. I think I have a much better understanding of what sequences are!
One "aha" moment came when the PP Help PDF pointed out that each sequence has its own separate, distinct timeline. I think part of my confusion was that in Premiere Elements, you just have a (single) timeline and all your clips go there. But in Pro, you can have multiple timelines. So in Elements, the timeline is by project (conceptually at least, not sure about technically), whereas in Pro the timeline is by sequence.
What was really helpful was a screenshot where they had 2 sequences in a project. And each sequence was "opened", so in the timeline frame, there were 2 timeline panels - and each panel's tab was the name of the sequence. I didn't realize until then that Pro could have multiple timelines, so that really illustrated how a sequence maintains its own timeline.
I even managed to grasp how in addtion to regular clips, a particular sequence's timeline could have other sequence on it, resulting in nested sequences. I'm not what would happen if you start trimming a nested sequence, but at least I get the concept.
So with a new and improved understanding how what a sequence is, that still left me wondering how people use them.
It seems one reason for sequences is when you different video types, say a project with DV-AVI and h.264 footage you'd create a sequence for each video type.
Another reason seems to be if you want to re-use a sequence. But I'm having a hard time thinking of an example where you'd want to do that.
Another reason seems to be simply to keep things organized and compartmentalized.
John mentioned he uses only one sequence. That would seem to be similar to how Elements does things.
Jim mentioned that he had a project with 1500 clips of one type of video, but used several sequences. So, I'm curious what each sequence was. How did you decide what a sequence should be?
How do other people use sequences???
That really clarified things, because Elements has no such thing - it has one timeline, period. Seeing how each sequence had its own distinct timeline made it come toge

Canon C100 + HyperDeck Shuttle 2 + Adobe Workflow Question

Hello Everybody,
I recently purchased a Hyperdeck Shuttle 2 to pair with my Canon C100. The C100 outputs uncompressed footage thru HDMI. I shot a film recently and I recorded uncompressed 10 bit 4:2:2 Quicktime files thru the shuttle. I need some help with the best way to edit/grade this footage. I searched all over the internet and I found references only to the DNxHD MXF file format or ProRes file format that the shuttle can do. Nobody seems to be using/discussing the uncompressed Quicktime 10 bit 4:2:2 workflow.
Restrictions: Workflow has to be Adobe + Windows
The C100 sends the 24p signal in a 60i wrapper and as a result the footage shows up as 29.97 fps.
1. Removing Pull Down in Adobe After Effects?
What is the best way to do this? I can go to Adobe AE and Interpret footage. This is converting video from 29.97 to 23.976. Once this step is done:
A. Do I need to render it and use the rendered file for further steps (Edit/Grade)? The original file out of the shuttle2 shows up as Quicktime 10 Bit Uncompressed YUV 4:2:2, Trillions of Colors. Do I need to render back to the same format or should I render to Uncompressed Avi (Internet is full of issues with QT on Windows). When I try AVI, it offers only Millions of Colors and not Trillions of colors. Will there be a loss in Quality? If I render to uncompressed AVI the file size is almost same as the original. If I render back to the original format (Quicktime 10 Bit Uncompressed YUV 4:2:2, Trillions of Colors) the file size decreases by 10% - 15% making me believe that there is some sort of compression happening.
B. Do I just skip rendering and somehow send the footage over to Premiere for Editing, Speedgrade for grading and then output for delivery? This would mean sticking to the same file format that the shuttle captured. I am not even sure if this can be done.
2. Removing Pull Down in Adobe PPro?
Is there any way I can remove pulldown in Ppro without having to go to AE? I see the Interpret footage option in Ppro. Even after I do it, the file properties still show as 29.97 fps.
Also, what would be the correct preset option in Ppro? I see a Blackmagic Capture
Any help will be greatly appreciated. The reason why I want to stick to the least lossy format is because I have a few shots that are underexposed and a few that have an incorrect white balance

Hi Jim... Yes :-). Foolish. Lesson Learnt.
But if you look at the questions, I guess they are general to Camera + External Recording setup rather than a specific brand?

Newbie question: will Premiere do....?

Hi, apologies if this seems a ridiculous question. I am an experienced Photoshop/Illustrator user but have never had any experience with Adobe's video packages. I work in an scientific research laboratory and more and more often now we are getting data presented in short video format. These come from various sources so are in all sorts of formats, and we need to be able to present them in Powerpoint presentations (and it would be nice to be able to do a bit of editing). At the moment we have lots of problems with compatibility. Would Premiere Pro or any of Adobe's other products help with this? I am currently trying to decide which edition of CS4 to purchase - just Design Premium or Master Collection - and would like to know if I would find these extra packages useful.

Jo-Maree Courtney,
You might want to look at the video handling capabilities in Photoshop Extended. Introduced in CS3 version, it might do all that you need to do, with regards to video. The CS4 version has been greatly expanded, if my info is correct, and will be available very shortly.
As Jeff states, Premiere Elements might also do the trick. It is more of a "big button" product, than is Pro. It handles more diverse media, than does Pro, though is still built around a DV-AVI workflow. That would be the best type of Asset to Import into either program. Elements can do a lot, but its target market is the video hobbiest, doing family videos. Still, behind those big buttons, there is a lot of power, but you have to search a bit to unlock it. Its strength is that one can take raw DV-AVI footage, press a couple of buttons and get a stylized product out the other end. It has a demo version and there is also a new book by Steve Grisetti (www.muvipix.com), that explains Priemere Elements 7 pretty well. He has also done a series of articles on PE7 that appear on the above site. You might want to read those, to see if you think this product will work for your needs.
Good luck,
Hunt

Workflow question re: Premiere / AE

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