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colour correction between premiere and after effects
I have a question about the working order of colour correcting video material. I have DV footage cut in Premiere Pro, and now I want to individually colour correct all the clips with Clor Finesse in After Effects. What would be the ideal way of doing this, while keeping maximum quality.
The way I’m doing it now is rather time consuming and can get confusing: once I have the edit completed in Premiere I export all the different clips without compression (QT animation codec), then import these in AE, do the colour correction and export again as QT animation to import back into premiere (god I wish premiere has a “replace footage” option like AE!). So basically I get three version of all clips: the original captured footage, the cut footage exported from premiere, the corrected footage exported from AE.Anyone have any tips to make it less cumbersome? I’ve tried just importing the premiere project into AE but it doesn’t always translate perfectly with all the fades and crossdissolves or different layers, so that’s not really a good option. Well, I tried it with premiere 5, or whatever the previous version was, so maybe it works better with pro.
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4 Replies
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Its a good thing that you brought up this issue, cuz I’m also having the same issue. Man it takes for ever to color correct and bring them back as QT Animation, plus these clips become huge size after import as OT Anim. -Patrick.P
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I’ll say between FCP and AE I’ve never really found a perfect way. Even with the Duck, it’s a pain to dump to and fro. I think the ultimate solution is that Color Finesse works native in your NLE. It works in FCP, I wonder if there is one for Premeire. Unless I missed something, I keep waiting for CF 2 that is supposed to be more friendlier to use (realtime feedback to monitor, presets, power windows?). I’ve said it so many times that CF is so close but so far away at being a perfect corrector.
I’m amzed overal how there is almost no way to do good / pro color correction simply to clips in a working edit timeline without getting an Avid DS or Symphony. If you have all day to mess around with it, there are many ways (like I created a DaVinci set of nodes to correct in Shake) but dumping in one shot at a time is grueling.
The FCP Color corrector doesn’t look good/have enough control. AE’s internal PS like color correction is a joke for quick, pro corrections. Arrgh. Combustion seems pretty smart about although I haven’t played with it. They have the edit node that will hold your clips then you can use their very nice corrector on them.
Okay, this was more of a rant than anything helpful.
Chris Smith
https://www.sugarfilmproduction.com -
I’m not sure if this will work in Premiere, but I’ve been doing a lot of green screen with Keylight and FCP lately. What I do is edit with the raw captured video in FCP. Whenever I get to the keying (which I do in After Effects) I import the entire raw captured video that I digitized and key that. I name the clip similarly to how I digitized it and let it render overnight. Once it’s finished, I go into FCP and “Make Offline…” the raw green screen clips and then reconnect them to the new rendered clips. Works pretty well. Just be careful if you are using digitized audio that you don’t blow it off too, or at least be sure you include audio in your AE output.
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Every version after premiere 6 translates perfectly over to after effects.
Premiere pro is the most reliable though.
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