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Rich: If your computer has adequate power, you can actually import the raw image sequence directly into After Effects. This can give you greater flexibility to make adjustments on the fly and essentially import twice. Let's have a look. I'll double click and navigate to a Raw image sequence. And let's grab one of those original files. Here we go. I'll select it and click Open. Notice, it brings up the Adobe Camera Raw dialogue.
It's the same dialogue that you saw over in Photoshop, Bridge or essentially Lightroom. And you can make any finesses or adjustments here as you see fit. When satisfied, just click OK and the image sequence imports. And it's as simple as that. You now have a Raw image sequence and I can right-click and choose Interpret Footage > Main. Dialing in the frame rate that I want for my Raw sequence and then dropping it into a new composition. Let's check the settings for that composition.
And make sure that we're using the standard classic 3D mode. There we go. I can now drop that sequence in. And treat it like any other piece of footage. Let's stretch that. And we can adjust the duration here to about five and a half seconds. There we go. Now, as you load it, it takes a little bit of time to cache because the Raw files are just that, Raw and big/g. But you have all the flexibility to make your adjustments. And I can resize this clip with the Scale properties.
Now, what's cool here, is I imported it once. I can go ahead and import it a second time and make a dramatic adjustment. Let's say I pulled that in darker. You'll now see that we have two instances of the clip. There's the darker one, there's the brighter one. Notice, both versions are loaded as separate files. What this gives you the option to do, is actually import a tough exposure. Maybe you're dealing with a sunrise or a sunset.
You can go and set the time lapse to be imported and adjust the Raw settings for, before sunset. Then re-import and adjust for after sunset. Now, the cool thing is, is that you have two clips with two different exposures. Simply lay one on top of each other with a little opacity dissolve there, and you can smoothly transition from one to the other. Allowing you that really difficult exposure ramping for changing from one lighting condition to the other. Now, I've imported this twice, I'm going to get rid of one and just work with it since it was a constant exposure but I wanted you to show the flexibility there of working with just the Raw file.
Remember though significant speed needs. You're going to want a fast hard drive, you need a computer that can really handle this. So, if you're working with a slightly older machine, stick with the method we showed you earlier of exporting out flattened files, like TIFs or JPGs and bringing those in.
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