![]() The nice thing is once you edit it down in your sequence, you can right click it and choose 'edit original' and it will open the AE project it came from. Choose your comp, and now it will act as a clip in your project. ![]() Make the image sequence in after effects, then in premiere, import the AE project, and then a window will appear asking to choose a specific composition. Yes there are times I will spit out an uncompressed/lossless file, but there are specific cases to do so (if it is a vector based graphic sequence for use on a specific digital display, LCD jumbo tron, digital billboard, etc) that require an exact codec that AE cannot create. thus why I tend to render my work to match my sequence. so in essence you are chewing up more storage space, and then redering time. it will have to be re-rendered to match the sequence setting. and I can hop right over to premiere and watch it.Įven if you choose the lossless setting (animation codec) and import that into premiere/avid/FCP. I love that feature as I do graphics and shot cleanup and compositing in AE. yes you have to render, but you can watch it at quarter resolution within the context of your edit. then your renders from after effects should be the same.Īlso, why not just send a clip to AE from premiere? No need to re render exports of speed adjustments, just right click the clip in your timeline, chose replace with after effects composition, and then do the work in AE and come back to premiere to see the results. so if you transcode them to Apple Pro Res 422. You should export it to a codec that matches your footage in premiere. and recently I've moved to a new studio and we edit on premiere, and still use Apple Pro Res for broadcast spots, as well as other content.Ĭonvert your DSLR footage to Apple Pro Res 422 and use those.Īs for After Effects, what codec are you exporting too? If you are leaving it at the lossless default (animation codec) that is overkill, and has a 220+ mbp/s bit rate. ![]() I've been editing professionally for a decade across multiple programs, and we always transcode to a friendly codec that works with the software.Īvid would be DNxHD, FCP is either Pro Res or DVCPRO HD if its from a P2. H264 is a processor intense codec to encode, as well as decode upon playback. Even though it can handle native h264, it is still recommended to flip the footage to a different codec. ![]()
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