Did you retain your 2015 Creative Cloud apps? I recommend working in them. If not, get them back -- you can get the apps all the way back to CS6 if you want. Personally, I'd go with CC 2014. It was the most bug-free.
In contrast, CC2017 is so full of bugs you need a can of Raid. Maybe a case of the stuff. This forum contains some good diagnosticians. I'll let them ask the questions. But don't count on fast resolution. This stuff can take days to get right.
Hee hee! This should be an interesting thread.
Yes, I can get those older apps back, if necessary. But let's see if anyone else here has a solution for this.
After trying every possible way of doing the dynamic link, from After Effects to Premiere -- I thought I was going nuts.
Maybe as a workaround I could make a dummy sequence in Premiere CC 2017 and then and doing a "Replace with after effects composition"
To put this question another way, is anyone successfully using Dynamic Link between After Effects and Adobe premiere CC 2017? Specifically starting a project in AE and then dynamically linking it to a premiere pro CC project. Or any variation of this???
I'm using Premiere Pro 2017.0.2 Release Version 11,9-0 Tanq
After Effects 2017.1 ReleaSe Version 220.127.116.11
You are not using the right workflow. File>Adobe Dynamic Link>New Premiere Pro sequence is working exactly as designed and exactly the same way it has always worked.
If you choose Fine>Dynamic Link>New Premiere Pro Sequence what you end up with new footage in the After Effects Project. This footage is an empty Sequence that opens in your existing or a new Premiere Pro Project. You can then add any media you have in the Premiere Pro Project and edit the sequence into something that can be used in After Effects. That new sequence will be dynamically linked back to After Effects and treated as any other media asset in After Effects. The original media (footage) used in the Sequence will not be imported or available in the After Effects Project. For me, this feature has very limited usefulness because there is no way to adjust any of the timing inside AE, you have to go back to Premiere Pro. I see a couple of situations where this is an efficient workflow. I probably use this feature about once a year to pull in an edited sequence where I am cleaning up an audio track or finding a specific part of a very long shot. I will also use the feature occasionally when I want to apply a specific effect to sequence of several shots. This is the only way to get an edited sequence into After Effects as footage without having to render.
If you want to use an After Effects Composition in Premiere Pro you need to create your composition in After Effect and then go to Premiere Pro and use File>Adobe Dynamic Link>Import After Effects Composition. This will not import the media (footage) used in the After Effects composition into your Project Panel in Premiere. The dynamic link server will launch and give you the opportunity to find a AEP project fine, look inside that project and then choose one or more of the compositions to import as media into your Premiere Pro Project. If you need access to the original media use in the Composition you will need to find it and import it into Premiere Pro.
If you need to have the original media (footage) available in After Effects for further editing you will need to select all of the shots you want in your Composition from a Sequence in Premiere Pro and then use File>Adobe Dynamic Link>Replace with After Effects Composition. When the Comp is created in After Effects the footage will also be imported to the After Effects Project. You just have to be careful when you select the shots used in the Premiere Pro Sequence and make sure that none of them are After Effects Compositions.
All of this information and more detailed instructions are available in the help files. You should probably spend a little time studying up on workflow. As you get to know both programs a little better you will get a better understanding of how the programs talk to each other.
Your detailed solution re workflow did exactly what I needed for this project.
I appreciate your help. And I see by your profile you have had years of background in network TV etc. I also come from decades of network TV (as a writer). I remember the days when the editors at NBC Burbank were cutting two inch video tapes using microscopes, bushing on frame revealing fluid, razor blades and metallic splicing tape. Or often doing edits on the fly with 3 Ampex machines -- lining up the two playback machines by using marker pens on the tapes. Machines 1 and 2 were for playback -- Machine 3 was for recording. Amazingly those editors usually hit the mark. We tried our best to keep as close to the original master tapes as possible, but sometimes we had to go down a generation or two (or 3!). You could tell when a show was dubbed down too many genrations when the video started having a reddish tinge. Those were the good "old" analog days!!
Now we do it all (and more!) on laptops (and towers!). Of course it is not all technology -- you still need creativity and a story to tell!
Thanks Rowby. I used to do that - cut tape with magnetic fluid and a razor blade... It was nuts. Then we got an Ampex AVR2's machines with Edittech... a giant leap forward in productivity. You and I must be about the same age - OLD.
Yup looks like you and me go WAAAAY back
I remember when the Editetch machines arrived (I'm pretty sure that was the name) at NBC, Instead of hearing a woman and man's automated voice calling out the odd and even "seconds", the tapes were controlled by "a computer". The show that I was writing on that contained all of those razor blade edits was Laugh-In -- and there were over a hundred physical edits in each hour episode. The editors in the basement of NBC initially edited the show on kinescopes dubbed from the master tapes. The edited kinescopes were used for sweetening and laugh tracks -- while the teams of editors worked frantically each week to confirn their copy of the kine to the two inch tapes as they sliced and diced. And then the shows were satellited to New York for broadcast on the east coast... As I recall it was the last year of Laugh-In when the physical editing ended with the arrival of the Edittech system.
Many years later, when Laugh-In was digitally remastered for new syndication most of those metallic splices held up. For the digital remastering the 2 inch tapes were played back on one of the few remaining 2 inch machines at CBS, as I recall.