When you move a Premiere Pro timeline to AE, it automatically sequences each cut as an individual track and there is no way to change this behavior - this is by design.
A couple of things you could try (though I'm taking some guesses at what you're trying to accomplish)
- multi-select the clips that need keying and then pre-compose them into a new sequence moving the assets. Then you can apply Keylight to the whole timeline
- Have you tried the Ultra-key in Premiere Pro? It really works quite well. Unless you need multiple masks and a complex key, Ultra is definitley the faster way to go.
Hope this helps,
1 person found this helpful
Definitely check out Ultra if you haven't yet, as Dennis suggested. It works quite well. However, don't use it on the edited sequence; instead, go into the sequence where you synced your three angles, and apply it there to each individual clip. Actually, I'd go a step further, and I'd nest each individual clip into its own sequence first, and then go into the nest and apply Ultra there; this makes management and clip replacement a lot easier.
If, however, you still want to use AE and (presumably) Keylight, instead of trying to send/copy the edited sequence to AE, send each individual angle and key those. Assuming you have Dynamic Link, you could go into your sync sequence, select one angle and invoke the Replace with After Effects Composition command. This will send the clip to AE and replace its instance in your sequence with a DL'ed AE comp; do this for each of the camera angles in the sync sequence. In AE, you can key each clip individual, and all of those effects will trickle down into your final edited sequence.
Hope that makes sense, and helps somewhat.
I have to agree with Colin on this one. Do the keying first, and then do your edit.
Well, to clarify, I actually am advocating doing the editing first, and then doing the keying. Even on a fast, hardware MPE-enabled system, editing with the unprocessed clips is going to be a smoother multicamera experience. However, instead of trying to key the finished edit, you are keying the constituent clips at a level below the edit sequence, and you can do this after you complete the first pass edit. The end result is the same--you are editing the keyed clips, but without the added overhead of multicam editing keyed clips. Semantics, perhaps...
Another added benefit of this is that you only have to do three keys, instead of three keys times copying and pasting to all your different edits. It certainly makes tweaking the key a whole lot easier.
An excellent clarification.
I thank you, sir.
@Colin I don`t understand the part about constituent clips at level below sequence?
What do you mean by this?
Thanks for help
1 person found this helpful
Let's say that your to-be-final sequence where you actually do the edit is called "SEQUENCE A" (just for argument's sake). This is the actual multicam sequence, where the syncing sequence, which we'll call "SEQUENCE B" is nested. In SEQUENCE B, you would ordinarily have two, three, or four tracks that each contain one of your multicamera angles (or as I called them, constituent clips--a ten-dollar word for "parts").
It is here in SEQUENCE B that you would do your keying of each individual camera angle, instead of on the edited SEQUENCE A. This way, you only have to apply your keying (whether you use Ultra in Premiere, or you send the clips to AE for keying) to those three clips, instead of all the edits in SEQUENCE A. If you need to tweak a chromakey effect, it's much easier to do it once and have it apply to all of the edits, instead of having to remove it from all the edits, change the effect, and then copy and paste it to the edits again. In this way, your changes to the effect are instantaneous and trickle down from the clip in SEQUENCE B to to all instances of that clip in SEQUENCE A.
If that doesn't make sense, let me know and I'll put together a graphic or a quick screen recording or something.
Thanks Colin I understand now, so you mean that I use Dynamic Link for that..
You can, if you prefer working in After Effects, but I'd encourage you to check out Ultra in Premiere Pro first. It isn't a magic bullet--I can pull better keys more consistently with Keylight--but on a well-lit subject and background, it works incredibly well. Plus, if you have a supported GPU, you can use hardware Mercury Playback Engine and the keying will be done in realtime--something that Keylight won't let you do. It's definitely worth a look.
I think I mentioned this in my first post, but if you do use Ultra, instead of doing your keying in SEQUENCE B, I would nest each individual clip/track into its own sequence, so you end up with SEQUENCE C1, SEQUENCE C2, and so on. In each of those, I'd do the keying, because the clip will be isolated from the others and doing key work will be easier (i.e. you can drop in a background matte to test your key, etc.)
If you use Dynamic Link, there is no need to create the third level of sequences, since by virtue of selecting an individual clip in your sequence and replacing it with an AE comp, you are isolating it from the other clips.
1. Export multicam Premiere project into Final Cut XML
2. Create new AP project
3. Import XML
4. Save AP project
5. Import project to AE.⇄Detect language » Russian⇄Detect language » Russian