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Workflow von Film Post Production in After Effects

Workflow of film post-production in After Effects



Frage von sawdust:
Juli 2007

Hi

times I wanted to ask what a typical workflow of a film post production with After Effects looks.
Example: I cut my film completely in Avid. Now I would like the post-production completely in After Effects make. I then copy the whole movie in my composition, give each an average level and treat it with the respective effects (Color Correction, etc.)?

I can see this principle quite complicated than imagined when the project is slightly longer and you have millions of levels.

Is there a better way? How do you propose?

Regards



Antwort von Markus:

"Sawdust" wrote:
I then copy the whole movie in my composition ...

Yes, if all or much of it should be corrected. If only a few scenes farbkorrigiert, then it is sufficient individually to export from Avid.

"Sawdust" wrote:
... give each section a plane ...

For heaven's sake, no! That so many levels that we hopelessly lost the overview. From the work would grow. - Prefer to experiment with only one layer and keyframes.



Antwort von Axel:

... or you have the whole project into several sequences, for longer projects any more, and importierst sequence for sequence.





Antwort von sawdust:

Mh .. my concern is to stop vorallem of aligning the individual takes. For example, I have a gun, shot counter recording of a dialogue, and one of two camera settings is a bit brighter than the other. Would I then cut each time the new set keyframes and adjust?

;)



Antwort von Markus:

In this case I would not go into AE, but the brightness directly in Avid adapt. AE is used for more complex color correction (gradation, etc.).



Antwort von PowerMac:

404ERR



Antwort von sawdust:

okok! I could almost feel the s.dafür is not really thought.

thank you again:)



Antwort von urban-orange:

"Mark" wrote:
In this case I would not go into AE, but the brightness directly in Avid adapt. AE is used for more complex color correction (gradation, etc.).


So this is not the "typical" workflow is so completely cut the film (without apertures) than A-and B-trace in AE to pass, then the primary and secondary color correction to make them and the visors. 16 bits for color correction is simply the very least, if not the risk of artifacts in the purchase wishes.

And on the plains and Keyframes: Keyframes with is generally not made color. That is simply too complex and confusing! This one has the A / B tracks!

Gruß,
Bernd




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