[Alex Udell]

Prelude ought to handle this as well..

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

Hey Dustin…

I don’t think anyone ever stated that dynamic link would be faster for rendering.

The point of dynamic link is that it allows you to build effects soft linked or really dynamically linked…meaning that the iterative process between how individual shots are comp’d and how they work in the context of an edit let you see the big picture in a connected way that promotes easy access to fx iteration. So there is a productivity benefit.

I’d suggest, as I often do….

1) making sure your comps are full global performance cached in AE if you have the disk space for it.
or
2) Set Proxies in AE. Full Res if your looking for final output quality thru PPro or low res if you just want to see how things work in ppro. This will allow a couple of things…1- motion blur to be included in your dynamic linked comps…2- faster rendering in PPro…because the dynamic link clip will see thru to AE which is already pointing at a Flat file via the proxy. (but still maintain the editability of the AE comp should you need it by disabling a proxy)….and proxies can be batched pretty easily in AE as well.

so i hope that helps….

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

yeah….there’s the same….and then there’s similar….story of my life here at the agency…

conditionals make automation difficult…

but I think you have the right thoughts on it.

if you look at the line share of the set up of each job being automated….

then the tweaking is done by hand….

let me know how you progress….

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

How Complex are the edits?

Much of what you do in PPro can be translated to an AE comp via copy and paste between apps.

there is a great versioning tool for After Eeffects called CompsfromSpreadhseet

https://aescripts.com/compsfromspreadsheet/

which allows a ton of automation in versioning in AE.

There are also a lot of tools for automating Photoshop from spreadsheets as well…so you could get this down to a very efficient pipeline with a little elbow grease…

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

How did you get to Audition?

Render and Replace?

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

ABout managing Custom Schemas:

https://forums.adobe.com/thread/1260015

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

Well….spent some time digging in Bridge/PPro this AM (I have no life)…wow…it’s actually genius….

Let me preface this by saying that I’ve been doing some back end web development which has required scraping and parsing XML (XMP’s cousin)…so I think that helped me with this….

The amazing part of XMP is the X part (eXtensible).

I now get it…

You can really mark you data up anyway you want….meaning you can create fields of description that don’t even exist….

and custom tag it anyway you want.

Wanna keep a running list of projects you used an asset in? No Problem…

create the schema, create the field, add tags, save. And since it’s the asset that is tagged it will be available in any project you use it in.

The part I had trouble with was how to see it in Bridge…

Bridge starts from the premise that there is a fixed defined common set of Metadata. This is what covers most needs of asset tagging and because it’s the common core of tags, this is what it knows it can show you.

However if you use “All Metadata” (thanks Pierre Breton) as part of your search criteria, any of the tags, common or custom are now queried.

So Bridge will find what you are looking for.

once found, if you select the file and choose File info from the context menu, navigate to the Raw Data tab…

you will see the complete XMP tag associated with your file, and if you navigate towards the bottom….you’ll see your custom tag and the data string it contains.

I’m not saying that it’s important to understand the raw XMP data. But knowing that this is how the elements of the workflow fit together give me a lot more confidence in utilizing it.

So there is almost no end in the descriptors you can append to a file. It’s really quite brilliant.

Think I’d like to see the option to build a predefined pulldown list as one of the schema options. no biggie.

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

lol…that’s awesome!!!

🙂

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

a key is…

name your proxy set the SAME as you full res set….but put in a different path…this should make relinking to the full res easiest…

please TEST this…

I’m going on other things I’ve read.

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

In some software in the past, and under Quicktime architecture, you could create “virtual clips” that were essentially containers with pointers to the underlying media files.

The next step was “smart rendering,” where by, rendering and exporting with some codecs was sped up by simply “copying and pasting” render files as part of the final export as long as it was the same codecs as the source and no new media needed to be generated for things that didn’t visually exist in the stream (thinks like color changes, transitions, titles really anything that generated a unique frame).

While PPro does support Smart rendering with ProRes and XDCam codecs (I think)…h264 is not one of those areas where smart rendering is supported to my knowledge. So new media needs to be created on the way out, regardless of the simplicity of the edit in the timeline.

That’s my understanding…

Alex Udell
Editing, Motion Graphics, and Visual FX