Tudor "ted" jelescu
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I am guessing that it’s just the way you’re trying to open your sequence in AE. When you import a Premiere sequence in AE, there will be a comp already set with the name of the sequence. If you try to drag that into another comp, you will get your sequence precomposed and thus just one layer. Try double clicking on the sequence in the project window- that should open your comp with all layers visible…
Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro -
Ok- first a word of advice:
don’t accept a paying job unless you know at least the basics of the software you’re going to use and you can do what is required. There’s no quick fix that will replace lack of experience. Read the manual and do tutorials first.
adobe and the cow forums are what you need.Now on to your questions:
If you have a clean plate (a frame, or a few, of the background that do not have the actors in, and you can paint out in PSD a wider image of the location) you may try to track the move of the camera, aplly the data to the clean plate and try to see if a difference matte will do the trick for ya, although I doubt it for your footage.
So that leaves you with roto.
In AE you can set keyframes to a path, but if you delete a point from that path at any frame, then you delete that point from all frames.
ROTO 101- keep the path point as much as possible in the exact points you put them in the beginning (eg. a point on the tip of a helmet should always stay on that tip)Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro -
Similar to what Steve was suggesting, I would try to put a person to move face down on a bed and cover it with a white sheet. This way you can get nice fold detail also and not just the person. Light the sheet from top making sure that there’s a nice falloff to black to the sides. Shoot from the top, straight down. Invert the final result. This way you may be able to get a animated displacement map.
Of course- do a test first.Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro -
same answer as in this post:
https://forums.creativecow.net/readpost/2/977740
Plus, if you want to export your key from AE to comp in FCP, don’t. Finish the comp in AE, that’s what AE is made for. Then bring in your finished comp in your cut.Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro -
Render your original footage to an uncompressed format. Then pull the key.
Here’s a great tip from Dave LaRonde:
“Dave’s Stock Answer #1:If the footage you imported into AE is any kind of the following — footage in an HDV acquisition codec, MPEG1, MPEG2, AVCHD, mp4, mts, m2t, H.261 or H.264 — you need to convert it to a different codec.
These kinds of footage use temporal, or interframe compression. They have keyframes at regular intervals, containing complete frame information. However, the frames in between do NOT have complete information. Interframe codecs toss out duplicated information.
In order to maintain peak rendering efficiency, AE needs complete information for each and every frame. But because these kinds of footage contain only partial information, AE freaks out, resulting in a wide variety of problems. “
Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro -
On the pink band aid layer (selected) use the pen tool to create a shape of her chin at the lowest point. That’s your mask- select “substract”(that will cut your band aid and reveal the chin- feather the mask so you’ll not have a hard edge) and animate.
Check Adobe site for more info.
Here’s some useful links:https://astro.temple.edu/~lerickso/class/aemasks.html
You may be able to use this tutorial and create a mask of the original band aid:
https://www.wonderhowto.com/how-to-create-masks-w-find-edges-auto-trace-after-effects-278699/view/
Good luck!Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro -
Work in 32 bit, do not set gamma to linear, make sure your QuickTime is set to display a 2.2 gamma (read below).
“Dynamic Link allows content from one application to be shared with another without exporting intermediate files or even copying projects. Edits and other changes are automatically updated across applications.You can use a Premiere Pro sequence as footage in After Effects. In After Effects, choose the File > Dynamic Link menu command. In After Effects, you’ll get a single linked clip that represents the duration of your Premiere sequence; you can still go back to Premiere Pro to refine your edit. Changes will be updated in After Effects. Premiere Pro sends a complete frame with all effects, transitions, etc. Nothing is lost.
Another advantage to using a Dynamic Link from Premiere Pro to After Effects is that you can then use After Effects’s render queue to export to a wide variety of image sequences and formats: 4K 2K, extended color range DPX, 16 – bit Tiff, TGA, and so on. Our initial tests have shown this option to be faster and more robust than using Adobe Media Encoder. This workflow is pretty straightforward — complete your edit in Premiere, then as a last step, import the sequence into After Effects, add to render queue, and export.” (from the first link below)
Here’s a few useful links:
https://www.studiodaily.com/studiomonthly/currentissue/10320.html
https://blogs.adobe.com/premiereprotraining/Red_Plugin_Workflow_112608.pdf
https://www.adobe.com/devnet/aftereffects/articles/color_management_workflow.html
https://www.vfxtalk.com/forum/red-one-film-luts-color-space-workflow-t15369.html
https://blogs.adobe.com/toddkopriva/2009/05/after_effects_902_update_red_r.html
https://www.red.com/faq/category/workflow/
https://vimeo.com/3700619Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro -
REDCine sees what settings you had in the camera, basically what you saw in your monitor at the shoot – however, AE sees the raw data without any interpretation. So, if you want to see the same thing as when you shot the footage, use the M settings- if you want to color grade from scratch, use the footage as it comes in AE. ( of course you have to set AE to interpret the RED color space the right way, but I think you’ve read the info from the RED site)
Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro -
Most plug-ins that worked in CS3 will work in CS4, but the 64bit may be worth the upgrade…
Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro -
If your source footage is interlaced ( it looks like DV to me) then make sure you interpret the footage in the project panel – de-interlace ( Fields and Pulldown > Separate fields > Lower field first for DV) and check the Preserve edges.
Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro