Since we're talking about AE9, there could be a more fundamental problem than the proper workflow, especially if you shot this footage on an XDCam, any kind of Flipcam, an HDV camera or a DSLR. I'm talkin' about long-gop footage. It's a big problem for AE 9, one that AE 10 solved.
So if you're using any of that kind of footage, you need to consider this advice I used to give all the time on the Creative COW:
Dave's Stock Answer #1:
If the footage you imported into AE is any kind of the following -- footage in an HDV acquisition codec, MPEG1, MPEG2, AVCHD, mp4, mts, m2t, H.261 or H.264 -- you need to convert it to a different codec.
These kinds of footage use temporal, or interframe compression. They have keyframes at regular intervals, containing complete frame information. However, the frames in between do NOT have complete information. Interframe codecs toss out duplicated information.
In order to maintain peak rendering efficiency, AE needs complete information for each and every frame. But because these kinds of footage contain only partial information, AE freaks out, resulting in a wide variety of problems.
I'm a Mac guy, so I like to convert to Quicktime movies in the Animation or PNG codecs; both are lossless. I'll use Apple's Compressor, Adobe Media Encoder or Quicktime Pro to do it.
Thanks for the reply, Dave. I've read some of your work on Creative Cow and have admired and appreciated it.
I'm capturing from a Panasonic HVX-200p direct to OnLocation at 720p60, so I'm getting good AVI files. What I'm really after here is the best way to use Dynamic Link with PP so I don't have to key each clip individually. I thought an adjustment layer was the answer, but I don't know how to key it after creating the layer.
Thanks for stopping by and helping.
I'm pretty sure there's chroma keyer in your version of Premiere, and if you've tried using it you know 1) it's not all that great and 2) you have to do each clip separately. The same thing applies in AE, but Keylight is much better.
I've never had to fool around with Dynamic Link -- I cut in Final Cut Pro, you see -- so I'm unfamiliar with the process of moving from Premiere to AE. Again, I'm pretty sure you can import the Premiere project, and it comes in as an AE comp. And then you'd use Keylight on the individual clips. That's a good thing, too: since exposures and lighting conditions are rarely the same from shot to shot, you get the right key for the shot, rather than keying everything at once, meeting with varying degrees of success.
There isn't a whole lot that's automatic in pulling a good-looking key, I fear.
And since I'm typing, I'm going to crab a bit... it's time for a rant!
What on God's Green Earth is going on with this web site? This is the fourth stinkin' time today I've had to log in just to post a messsage... and the second time I've had to do it to post this particular message! Geez, talk about inconvenient! It sure makes me feel like I'm welcome around here.
The next time I get one of those surveys from the idiot company that runs Adobe's web site, I'm going to let those geniuses have it with both barrels. They'd have a tough time finding a certain part of the anatomy above the legs and below the back in the dark using both hands. They're giving Adobe a bad name in my book.
There. Now I'm down off my soapbox.
Glad to hear it's not just me getting logged off all the time (since yesterday).