Dan Callahan
Forum Replies Created
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Figured out my own problem. Importing a premiere project to after effects transfers over everything except for dissolves. My work around is to convert each solid section of clips to ae comps and extend out the beginning and end of the start/end clips so that the number of extended frames in the comp matches the number of frames needed for the dissolves.
Not exactly the work around I was hoping for, but it works.
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The only reason I ask is because I’m correcting a music video and individually converting each take to an AE comp will literally take hours.
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Or are you saying that importing a project file into After Effects essentially functions the same as a dynamically linked clip, provided you save in AE before previewing in Premiere?
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Right, I have used that workflow in the past but my question has to do with the workflow for importing a project file from Premiere and doing the final export in After Effects. Will my Premiere applied effects and transitions show up in the final output from After Effects? They are present in the timeline but playback on the monitor does not have them showing up. Or do i need to somehow reimport the corrected project file back into Premiere so that my modifications in Color Finesse are applied in the final export? I’m just curious about the workflow for this method, I think I’m missing a step.
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It’s primarily dependent on the degree shutter used while filming. A quick look up gave me a 45* shutter as being what was used for saving private ryan (degree shutter is at term appropriately applied to motion picture cameras; shutter speed is the appropriate term for dslr). You can approximately equate a lower shutter angle to shooting at a higher shutter speed on a dslr. Think of the difference you see shooting at 1/50th @ 24p on a dslr versus shooting at 1/500th or 1/1000th for the same frame rate.
For these commercials, there is also a great deal of sharpening in post that takes place to emphasize this effect
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My question in this thread is specifically related to Photoshop’s color correction capabilities and if it has any tools to provide a reference for color. Any thoughts?
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Thanks for the replies. Honestly the most difficult part of getting the track to stick properly has been the part with the cover of the frame being opened, the track is thrown off since the cover’s perspective changes 180* and Mocha doesn’t seem to understand how to read the footage. I have tried tracking the larger frame then linked it to the track of the spot that needs to have the image inserted.
I’ve attached two jpeg images of the clip I’m trying to track, one before the cover is opened, and one after. any ideas on how to go about tracking in mocha or what my x spline selections should be would be extremely helpful.
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Thanks Dave! is my methodology for implementing the tracked motion (using a precomp and applying the variable data to it) the most common method of applying tracked motion to an object?
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Might be a good idea to get some faster memory. or try this fix – https://www.youtube.com/watch?v=f28LH2fyYe8
