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Both Adobe After Effects and Premiere Pro are incredibly flexible when it comes to formats and resolutions and frame rates. And pretty much anything that you might want to change or mix-and-match inside a composition in After Effects or inside. A sequence in Premiere Pro, you're probably going to get away with it. It's probably going to work fine. Which means that you can, if you want, do pretty much whatever you like with a composition in After Effects in terms of resolution. See, here I've got a, a 1280x720 pixel composition made from one of these pieces of media that I'm actually using in Premiere Pro as well.
Or, you can, you can do whatever you like. You can make a composition that has, for HD resolution if you like, and then throw that into Premiere Pro and let Premiere Pro scale it for you. And to be honest, these days, the playback performance is so fantastic, especially if you have one of the supported CUDA cards or the new OpenCL cards in the new Mac Book Pro's. You'll probably forget that you were mixing and matching formats in the first place, it's absolutely wonderful. But actually, it's probably not necessary for you to concern yourself that much with the image resolution, framerate and so on.
Before I get on to the shortcut though, it's worth noting that if you do want to have the ideal setup, the absolute perfect media feature import into Premiere Pro. It's simply going to be whatever matches the media you're working with right now, or in particular, your sequence settings. If I toggle over to Premiere Pro, you can see I have a sequence here and, there we go, it's 1280x720 resolution. It's 23.976 frames per second. So, if I make media in After Effects that matches those settings, I'm going to find that it's the minimum amount of work for Premiere Pro to playback.
And I suppose that's going to maximize my performance. It's also going to minimize the destructive effects of scaling and changing frame rates and so on. So if you wanted to match perfectly, then just as you would specify a sequence conforming setting. You go and well let me go here and make a new sequence. and you specify your frame rate and so on, just as you would do that. Then make sure that you match that over in After Effects, when you make a new composition. Over the years, I've heard alot of debates about whether you want to be working with 8-bits per channel, 16, or 32-bits per channel in After Effects.
Just click on the Bits per Channel button here in the Project panel, to get this window up. I've for to say the jury's out for me. I think that what I tend to do now is work at 16-bits per channel, because it's given you that extra finessing of effects rendering. A lot of the effects now are 16-bit since the release of After Effects CS6, that they weren't in CS5.5. So, you might as well go 16-bits per channel, but I suppose if I were working on a particularly high budget, particularly important project. I'd be tempted to go 32-bits, even though it's that extra bit of work for rendering and so on.
Of course, we can also specify a working color space for our project. Right now, we're not using any, which means that After Effects isn't going to particularly convert from the color space assigned to our video clips, to the color space of our project. But that's something you are probably going to want to do. Maybe you'll choose HDTV 709 that's the ITUC 709 standard, which is used for broadcast television. And then, you just need to assign a profile to your clips if I just click OK here.
And then I'm going to right-click on the item in the bin here, choose Interpret Footage > Main. And if I just pull this on screen, so you can see it, we've got a Color Management tab. And there you see Color Management is on. And we've got an embedded profile in that clip anyway. In fact, it already is the HDTV Rec-709 YCbCr sets, a YUV clip anyway. So, that's fine. So once you've got that Color Management turned on, and you've got After Effects making sure that everything conforms to your project settings.
I guess you can produce your media and you can go to the render queue. You can render out your file, make sure it matches perfectly. You're going to want your composition settings, if possible, to match the output settings which themselves, which you want to match the sequence settings that you have in Premiere Pro. Of course, this may not be possible. It may be that you've got such a mix and match of media. Go for a higher resolution option if you're mixing and matching HD media and SD media, and then bring it down to Standard Def if you need to at the end.
So, you can do all of this and this is what I would call the manual long way around for creating media in After Effects. Of course, you could do anything you want. Put in some text and put words on the screen and produce whatever composition you'd like. But there is a shortcut to make sure that you get these settings correct. And in fact, it's a shortcut that triggers the use of Dynamic Link, this dynamically updating interaction between Premiere Pro and After Effects. So, if I just leave this on screen as it is, I'm going to toggle back to Premiere Pro and I have a sequence onscreen already.
So here we are, it's 1280x720, 23976. With this onscreen, or at least with this panel selected, so I have this sequence with these conforming settings applied. I'm going to go to the File menu, and I'm going to choose Adobe Dynamic Link, and I'm going to choose new After Effects composition. Here you'll see that I get my settings based on my current sequence. This is very similar to making a new title. In fact, the width and the height and the time base and so on. I'm going to click OK, and you can see here a dynamically-linked composition has appeared inside of Premiere Pro. Now, just toggle over to After Effects and there is the dynamically-linked composition displayed in my Project panel.
Let's open that up. It's an empty composition, it's blank, just to how you what this looks like. I'll get my Text tool here, and I'll type in some words. There we go, it's not exactly amazing typographic work, but at least you can see it. Now, I'm going to toggle over to Premiere Pro and I'm going to grab that composition and drop it into my sequence. And you can see it right away. Now, I didn't actually save. I didn't save, I didn't export or import, or specify any settings at all. In fact, all I had to do was have my sequence on-screen inside of Premiere Pro, go to the File menu, choose Adobe Dynamic Link > New After Effects Composition.
And having chosen that, Premiere Pro is going to tell After Effects exactly the settings that it needs. Notice I've got a red line along the top of my sequence here which might imply that I'm going to drop frames when this plays back. Actually, it's just a warning. And very commonly, everything will play back perfectly well. Let me just turn the Audio off. No problem at all. And in fact, if I go to my panel menu here and I bring up my Show Dropped Frame indicator and Play. Let's stay in green, it's absolutely fine.
I'll just turn the Audio off so you can hear a bit more clearly. So, if you want to if I toggle back to After Effects, there's no reason why you can't send things to the Render Queue and produce a file that matches whatever settings you need. Choose your output module, make sure it matches. You can do that if you like but you don't need to. You can even use the meter encoder if you like. You can now have the Adobe Media Encoder imported into After Effects project, and output multiple compositions in a queue. Totally unnecessary in my view. You can always generate the composition automatically.
And I suppose then, if producing files is your workflow, you can still do that. Or if you're working on the same machine, it's not necessary because you can just use the Dynamic Link feature. So, that's preparing your content for Premiere Pro in After Effects.
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