Create a new sequence from your 3 Sub clips then select them all at once or one at a time and use Dynamic link to open them up in an AE project, stabilize one at a time and then RENDER your stabilized clips and import them into AE. DO NOT attempt to keep these warp stabilized clips live in an AE project. First, your file size will be huge because of the stabilization data, second, it will take much longer to render through dynamic link than if you pre-render the clips to a PPro friendly Production Codes (DI - digital intermediate), and 3rd, any further manipulation in AE or Premiere Pro will be much more efficient with rendered clips.
Thanks, that works.
I don't understand why AE can't see and import subclips like other content, but I'm slowly learning to leave reason at the door with Adobe Products. One more secret handshake learned...
A sub clip isn't really physical asset, it is just a reference to an asset. When you copy and paste a sub clip you are copying and pasting the entire clip. Only inside Premiere Pro are the in and out points of the sub clip fixed. Sub clips are a feature that I really never use in PPro because you have to include handles if you want to change the in or out point you have to go back to Edit Sub Clip and work from there. It's a little off topic, but I usually arrange all of the takes for a scene in a single sequence, sync up the sound if shooting double system, eq and compress any dialogue and set the levels using Sequence Mixer - Effects tab, then cut my movie using these sequences rather than the original footage. I find tons of advantages and great time savings. Once I get picture lock I go back and do the visual effects and then complete my mixing in Audition. You get a much better product that is easier to fine tune later, and you are done in less time with fewer problems. I happen to be working on an edit right now. Here's What my PPro project looks like a few hours before final picture lock:
Very cool, and very organized. Thanks for sharing!
For now I'm stuck with subclips; I have a ten minute clip- one camera shot continuously dipping in and out of the water - it's an attempt to remove line from an entangled humpback whale, shot from a Zodac in rolling seas, 40 miles from shore, in 5,000 feet of water. I don't think the whale or the rescuers would have been up for a reshoot. I've got to subclip so I can color correct the above and below segments and try to stabilize the best of the shots.
Right after "don't fight a land war in Asia" and "don't cross the streams" should be "don't shoot close ups of upset 40 ton shiny black animals in the water".