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AE Comps (and Source) and Program not matching
I’ve been editing a short film for my wife, which was shot by someone who started the day great and ended the day … well, let’s just say I had a lot of work to do.
I have CS5.5 PP and AE on both my own Intel i7 PC and my wife’s 5,1 6 core 3.33GHz Xeon Mac Pro, and I have had an amazingly annoying problem creep into both systems, editing the same sequences. Both machines have loads of RAM and CUDA (nVidia) cards with the latest drivers.
This is a two sided (i.e. two location) story, so I generated two sequences. The footage is all DSLR 1080p shot at 24fps (23.976), and I’m more or less using the audio only as reference for timeline, good places for cuts, etc. as the audio was recorded separately. (Someone else’s nightmare, not mine!)
So this problem has actually happened in two ways: first, I replaced a clip with an AE composition (of that clip). Then I did the same thing to the next clip. (Like I said, the DP started the day well …) On a couple of different occasions, on returning to PP from AE, the clip would show the wrong video – usually from the previous/following clip (which are parts of the same source) – and usually for only part of what I had cut in.
The second way it happened, after working numerous times and finally getting the individual sequences to be correct, was in cutting the finished sequence from the other two. Everything is fine for the first three and a half or so minutes of film (under 4 minutes total), and then in the final cut (a long piece from the longer of the two sequences), near the end, half of one of the shots is part of another, completely different shot in that original sequence, not next to the shot now in question.
What is freaking me out is, in this last case in particular, I can watch the sequence in the source monitor, it is correct, I drag it to the timeline, and the random shot is there. I ripple delete, make sure nothing else is in the timeline, cut the inserts into two clips, and the randomness is still there.
This has turned a three day job into a four day job, with all of the re-doing of the sequences and AE compositions. I’ve had to deal with lighting, lens hairs, gear and people in the shot, and tons of stabilizing. Honestly, I thought between the two powerhouse computers and CS5.5 that a less-than-four-minute video would be no problem, even with the compositions.
If this has been addressed elsewhere, I apologize, I couldn’t find it, and I appreciate anyone willing to direct me to the answer should it already exist.
Thank you,
Steve
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7 Replies
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Is the content ok in AE?
If so:
you can use the “make proxy” feature of AE to render the comp at Full resolution in AE. (right click the comp entry in the project panel of AE)
The you’ll be sure to have both accurate frames in PPro and the ability to further modify in AE if needed.
lemme know if this works…
Alex
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Yes, the content is fine in AE. In the desperation of trying anything I thought might make a difference, I deleted the render files (the ones I’d done to ensure the AE comps actually ran and looked okay live in the timeline), and re-rendering the final timeline ran it okay.
I have to assume that was it, but if it wasn’t will the comp load as the rendered clip back in PP?
Thank you so much for your help.
Steve
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Comp objects in PPro are live links to Comps in the Associated AE Projects.
Just rendering out of the movie Queue in AE won’t change that.By using the Proxy method when Premiere Looks to the AE COMP in the AE project, AE will look to the render as opposed to looking to it’s live layers. If you need to edit the comp, simply disable the proxy, modify, and generate a new proxy. Proxy is a little misleading because ppl think that’s is less than full quality (which it can be), but it doesn’t have to be.
Depending on the complexity of the comp in AE, this can make you editing life in PPro (as by proxy, it’s just a single stream) easier, but still give you easy access to the comps from the PPro timeline if you need to modify it.
Does that make sense?
Alex Udell
Editing, Motion Graphics, and Visual FX -
That does make sense, and if I follow the logic of it does that mean the render time for the current work sequence will be shorter if I have AE point to the proxy instead of the composition?
Honestly I am considering the advantages of a massively powerful processing card of some sort (though the Quadro 4000 is nice), like a Red Rocket. It’s a gigantic investment but we are going to be editing 4K footage. I’m unsure whether I should put pennies towards that first or a hot RAID array? I will need both in the end.
Thanks a bunch, once again.
Steve
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[Steve Gresser] “That does make sense, and if I follow the logic of it does that mean the render time for the current work sequence will be shorter if I have AE point to the proxy instead of the composition?”
Well you are spending some of your rendering budget during production as opposed to pushing it to the end. But it’s my belief that by using proxies in this manner it makes the editing process more creative allows for better feedback.
As far as red rocket….well that works with RED footage…. but nothing else. Is that what you’ll be shooting?
Alex
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Not exclusively but yes, primarily we’ll be shooting R3D files. What suggestion would you have that might be more generally useable, or are those two things completely married (RED Rocket and R3D files)?
Steve
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Steve…
I’m no expert on Red workflows, but based on this forum alone….
I’d research very carefully:
1) the interaction between Red Rocket and Mercury Playback: Does having a Red Rocket free mercury to do other things?
2) Does the Red Rocket have benefits outside PPro (like in After Effects) where Mercury is not beneficial at all (at least today).
3) Is Broadcast display important to you while you work? If so, how does red a Red Rocket integrate in to an environment with other 3rd party hardware for Broadcast IO?
also…
see what NAB has to offer in terms of updates from Adobe. One never knows what they might do to Mercury. So when you’re this close in time…it’s worth the wait…
Alex Udell
Editing, Motion Graphics, and Visual FX
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