Terrified of AE workflow

You might look into something called Automatic Duck. It translates timelines from video editors into after effects, which might be helpful in your case.
 
I typically go into AE for certain shots... but I'd like to use AE as my main color corrector. Vegas is great and does an awesome job but you can do stuff with solids and gradients and stuff in AE a bit easier. Plus there's motion tracking for lightening up someone's face, etc. I'd rather do all my color correction in AE but I don't. I primarily use Vegas (it's my NLE). But to answer your question, I only go out to AE for certain shots and FX, but if I could, I'd use AE to color my entire project.



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SeanEmer said:
You might look into something called Automatic Duck. It translates timelines from video editors into after effects, which might be helpful in your case.
Click to expand...

As far as I know, there's no Automatic Duck plugin for Vegas to After Effects. Actually, I just checked now and there is none.... that's too bad... I wish there was...



Triple E Productions
Editing, Color Grading, Visual FX, Motion Graphics. Reasonable rates, AWARD WINNING work!
paul@triple-e-productions.net
www.triple-e-productions.net
 
SeanEmer said:
Argh, nevermind then. I thought I had seen vegas on their site... it was probably Premiere.
Click to expand...

It's not Premiere cuz Premiere already interacts with After Effects. I was seriously considering switching from Vegas to Premiere because of this, but as of right now, I just can't.

Here's the link for the Automatic Duck After Effects import. It's Avid, Final Cut Pro, or a project from Apple's Motion.

http://www.automaticduck.com/products/piae/


Once again, too bad there isn't one for Vegas.... :thumbdown:thumbdown
 
AE Workflow

AE Workflow

I edit in Premiere, so importing into AE is a breeze and keeps the cuts exact.

If you are wanting to Color Correct in AE and can only import your small chunks as Quicktime movies you will still need to cut your Quicktime movie into separate shots to color correct them especially if your lighting changes and for consistency.

You can cut them up in AE no problem. I would color correct in 16 bit mode though. Once you are done color correcting and applying your final look to that section, I would recommend exporting back out to a TIFF sequence or some other lossless Image Sequence format, that way if you needed to change one small section you could just make your work area for that section and rerender the work area instead of the whole movie.

I did this with my full length feature.

Edited and created the final audio for each 10 minute chunk in Premiere. Brought the chunks into AE and color corrected, applied transitions, letterboxed and final film look, (always color correcting in 16 bit instead of 8 bit) then exported out to TIFF sequence. I did this for the entire movie. Then I reimported all the TIFF sequences back into AE (it treats each sequence as a movie) and placed them on the timeline back to back. I also placed the final audio for each chunck underneath it so they would sync correctly. Exported back out to MPEG2-DVD in 8 bit. I then imported the movie into Encore and burned to DVD with menus created in AE.

I used the workflow that Stu Maschwitz recommended in his book DV Rebel's guide and it worked like a charm and produced great results.
 
zach72 said:
I edit in Premiere, so importing into AE is a breeze and keeps the cuts exact.

If you are wanting to Color Correct in AE and can only import your small chunks as Quicktime movies you will still need to cut your Quicktime movie into separate shots to color correct them especially if your lighting changes and for consistency.

You can cut them up in AE no problem. I would color correct in 16 bit mode though. Once you are done color correcting and applying your final look to that section, I would recommend exporting back out to a TIFF sequence or some other lossless Image Sequence format, that way if you needed to change one small section you could just make your work area for that section and rerender the work area instead of the whole movie.

I did this with my full length feature.

Edited and created the final audio for each 10 minute chunk in Premiere. Brought the chunks into AE and color corrected, applied transitions, letterboxed and final film look, (always color correcting in 16 bit instead of 8 bit) then exported out to TIFF sequence. I did this for the entire movie. Then I reimported all the TIFF sequences back into AE (it treats each sequence as a movie) and placed them on the timeline back to back. I also placed the final audio for each chunck underneath it so they would sync correctly. Exported back out to MPEG2-DVD in 8 bit. I then imported the movie into Encore and burned to DVD with menus created in AE.

I used the workflow that Stu Maschwitz recommended in his book DV Rebel's guide and it worked like a charm and produced great results.
Click to expand...


So even if you're shooting DV (from the DVX100a), you should color in 16? If so, could you explain to me why?


Thanks!


Triple E Productions
Editing, Color Grading, Visual FX, Motion Graphics. Reasonable rates, AWARD WINNING work!
paul@triple-e-productions.net
www.triple-e-productions.net
 
Daygola814 said:
It's not Premiere cuz Premiere already interacts with After Effects. I was seriously considering switching from Vegas to Premiere because of this, but as of right now, I just can't.

Here's the link for the Automatic Duck After Effects import. It's Avid, Final Cut Pro, or a project from Apple's Motion.

http://www.automaticduck.com/products/piae/


Once again, too bad there isn't one for Vegas.... :thumbdown:thumbdown
Click to expand...


Yeah, I meant Final Cut when I typed Premiere. I caught myself, but you caught me before I could edit my post, haha.

I've been an Avid editor for close to 4 years, so I sometimes get all the other programs mixed up... :cry:
 
16 bit gives you more headroom, so to speak, avoids things like banding, posterizing, etc. If you want to be really brave you can CC in 32bit float which will react more like real light, i.e. you can work in stops and such.
 
SeanEmer said:
Yeah, I meant Final Cut when I typed Premiere. I caught myself, but you caught me before I could edit my post, haha.

I've been an Avid editor for close to 4 years, so I sometimes get all the other programs mixed up... :cry:
Click to expand...

I'm actually going to be learning AVID soon cuz that's where a lot of the higher paying jobs are. Do you like AVID? I'm assuming so cuz thats your NLE hehe. One thing I absolutely LOVE about AVID is the three window color corrector. That thing is awesome!
 
oneinfiniteloop said:
16 bit gives you more headroom, so to speak, avoids things like banding, posterizing, etc. If you want to be really brave you can CC in 32bit float which will react more like real light, i.e. you can work in stops and such.
Click to expand...

I thought that 32 bit was only for HDR images, and it wouldnt benefit DV (DVX100a) footage at all.
 
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Daygola814 said:
I'm actually going to be learning AVID soon cuz that's where a lot of the higher paying jobs are. Do you like AVID? I'm assuming so cuz thats your NLE hehe. One thing I absolutely LOVE about AVID is the three window color corrector. That thing is awesome!
Click to expand...


I can't say that I like Avid so much as I can say that I have never been given a reason NOT to like Avid. I've had technical problems, yes, but the program has never once failed to let me do what I want to do. I have no intention of turning this into an NLE debate, but for me at least Avid is the big boy in town and FCP, Premiere, Vegas, and all the rest are - while good and useful programs - just not as well recognized and accepted in the industry. I'm not saying that they are bad. In fact, I'm sure they are fantastic, and that they work great. But Avid is Avid. Its the industry standard, even if FCP is catching up on the Prosumer market.
 
Daygola814 said:
I thought that 32 bit was only for HDR images, and it wouldnt benefit DV (DVX100a) footage at all.
Click to expand...

It doesn't make the footage any better, but it does let you work in real world light terms if you properly manage the workflow.

Go here to Stu Maschwitz's blog and find the posts entitled "Linear Color Workflow in AE 7" parts 1-7. After that, read the rest of any posts relating to linear color workflow and that should get anyone started.
 
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