[Stephen Eckelberry]

Going the circular route (Pr>AE>Pr) I can open the AE comp in Pr, put it in the source monitor, but I can’t drag it into a sequence. I tried everything I could think of. But if I import the same clip directly into AE, mark in and out and do the same work, I have no problem with DL once back in Pr.

Stephen Eckelberry

[Stephen Eckelberry]

No, thank God. Works as advertised. Are you going just one way, from AE to Pr? Or are are going Pr>AE>Pr?

Stephen Eckelberry

[Stephen Eckelberry]

I am working with R3D files; Red Camera media.

Stephen Eckelberry

[Stephen Eckelberry]

Update:

Have successfully imported an AE comp into Pr created on another machine using the workflow described above. What does not work (for me anyway) is using dynamic link out of Pr to AE then back to PR. So I simply send the name of the clip and the in and out points to the AE guy who creates a new AE project which I then DL into Pr.
I have also use DL to go from Pr to AE for color correcting and export to delivery formats.

Stephen Eckelberry

[Stephen Eckelberry]

I’m a mac guy who spent way too much money on my system, so I can’t help you. However, there are several post here on this very subject and on the Adobe forum: https://forums.adobe.com/community/premiere
The problem is how to find the thread. I searched for “system” and came up with this, but it’s an old post:
https://forums.adobe.com/message/1719249#1719249
500 quid is not a lot, but with student discounts you could get lucky. Ask a gamer friend for a good cheap computer, gaming computers tend to have similar requirements to editing computers (we need more HD space though), and gamers I know tend to obsess on systems and know the best deals on the net. Then before you buy, vet the system on this or Adobe’s forum and see what the experts think.

Stephen Eckelberry

[Stephen Eckelberry]

Sorry, I may have spoken too soon. This last week we have been doing simple comps in PrPro and cutting back in nested clips of the finished effect. That of course works fine. By the end of this week we will be cutting in the first AE shots, which are traveling mattes.

The workflow as of now is like this: copy the AE project from the B workstation to the A station, relink the clips in AE, then open up the AE comp in PrPro. Stay tuned…

Stephen Eckelberry

[Stephen Eckelberry]

I am doing this currently with 2 stations. However each station has a 4TB raid with the exact duplicate files, using the same file structure. So all we are doing is swapping projects, not data. This is partially because of the paranoia with R3D files, you want plenty of backups, since there is no tape to go back to. So we figured we might as well put one of the backups to work.

Stephen Eckelberry

[Stephen Eckelberry]

You are lucky that this is a music video, because with a music video you can get away with strange looking footage. Make a virtue of a mistake, go for a stylized look. I would play with color correcting, add lots of contast, de-saturate or over saturate. Whites can look a lot more pleasing if you add filters, colored grad filters for the wide shots and maybe a sepia tone overall.

Stephen Eckelberry

[Stephen Eckelberry]

Mac OSX 10.6.4
2×2.26 GHz Quad-core Intel Xeon
8 gigs ram
NVIDIA GeForce GTX 285
CS5
All drive eSATA

currently editing HD 4K R3D footage, seems to handle it okay at 1/4 resolution.

Stephen Eckelberry
Currently using PP to edit “Sucker” a feature film shot using R3D footage

[Stephen Eckelberry]

Or if your sound guy uses Protools or Soundtrack Pro (and probably other programs as well, I know those 2 work) export an OMF.

Stephen Eckelberry
Currently using PP to edit “Sucker” a feature film shot using R3D footage