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Dynamically Linking PPRO in AE
Hi,
I am just curious about the point of using Dynamic Link from Premiere Pro into Aftereffects. I definitely see the value of using it from Aftereffects and then importing the Dynamic Linked Comp into Premiere.
I don’t see the same value in taking things from Premiere and doing it the reverse way. Once you take a dynamicly linked “clip” into AE it still must be put in a AE comp then “played with” and rendered to get it back into Premiere.
I know this may seem like a dumb question but I am just trying to wrap my head around it where the need is. Is it more for if you are exporting final renders as say an SWF out of Aftereffects ? Or something along those lines.
Just an FYI I do :30 spots and some long form. Maybe that’s why I don’t see the use of opening the Premier Project and Dynamic Linking a sequence. I’d rather use Import Premiere Pro Project regularly and then Dynamically Link my Master AE Comp into Premiere. But my final delivery is from Premiere 99% of the time
Can anyone shed some light? Thanks.
Chris
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3 Replies
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hmmm…
The tools of the NLE allow you to play long swaths of footage and time elements against one another without ram preview limitations or necessity.
The fact that you can do this in PPro and even approximate fx then send it off to AE for finish FX seems like a natural to me.
Maybe what your overlooking is that you can a group of clips not just an individual clip and “replace with AE comp” in Ppro. this creates the comp for you and you can just get started building in AE right away. And whatever you design is already dynamically linked to the PPro timeline no import necessary. (though it must still be rendered in Ppro.
alex
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Hi Alex. Thanks for responding.
I get the fact of cutting something together in Premiere and the use of it as opposed to just doing everything in Aftereffects.
I guess I don’t see the value of taking it into Aftereffects as a dynamically linked Sequence though because then it is one big chunk and to get it back into Premiere with your AE effects you still have to put it into a comp and render it to get it back into Premiere as an adjusted asset. I guess if you wanted to just color grade the entire project or add something to the entire thing it would work.
Like I said I guess if you do the majority of your work in Premiere it makes sense. We take so much of our work into Aftereffects that we are better off importing the Premiere Pro Project into AE and then dynamically linking the AE Comp to Premiere. Problem arises when you have to make changes to an actual cut later on and not just the animations or effects.
Wouldn’t replace with comp do the same thing as I am doing basically. Although it would save a step Once it is made into and AE Comp you can only adjust it in Aftereffects to make changes and as great as AE is as you said it’s not meant to be an NLE. So for long form it would only make sense to do that when you were sure your cut was set.
Chris
Chris Holland
Editor/Animation/Design
hollandedit.com -
Right, but you don’t have to take the entire Sequence with replace with comp. Could be be just a section of a sequence, like for a VFX fix.
It also addresses workflows where there is some specialization in the group….for example allowing producers and editors to determine what needs to be “fixed” and at least timing the sources elements that need to be used in the fix in the editing environment and then sending that comp off to the AE gods. Sometimes this is crucial when it comes down to matching to final audio sweetening when you
I agree with your point about having to be a “picture lock” in the edit and it being a bit inflexible. I’m not sure Adobe really thought through working in “parallel” which is a necessity these days with compressed schedules and budgets.
In order to really pull this off, you need to save master versions of your sequence and then maybe develop a workflow for using sequence copies or nested sections to identify what needs to be effected.
So it requires organization and planning, particularly in long from projects.I just had to cut a video in a similar fashion in FCP and Motion. What I did what get the edit as close to picture lock as I could, then pushed to Motion. Organized and set up the fx in motion pipe as best I could. As edit changes came in, I made them on upper layers of the video edit, and then sent only those changes tracks to motion and stacked them accordingly in the motion comp.
The biggest thing I reinforced with the producers was that I wanted to avoid the run time of the piece changing. That’s where I saw the biggest headache occurring and was happily able to avoid that.
Alex
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