However, it also means that if you want any extra handles for dissolves, extra steps are required. That’s good in that you only stabilize the section of the source shot that you need. The comp is trimmed to the exact length of the clip in the Pr timeline. (If it is running with a project open, the footage and comp are added to that project and highlighted in the Project panel.) With multiple shots, you’ll decide whether to give each of them a separate project or build them all up in one AE project, which I’ll do in this case. If AE isn’t already running, it starts up and populates a new project with the selected footage inserted into a comp. Select a clip and right-click to choose Replace with After Effects Composition
…with a few extra notes at the end to help with some typical specific cases that can add a step or two.
Mark the comp’s region in the timeline with the work area in and out points and choose Sequence > Render Entire Work Area. Press 0 on the numeric keypad (or control + 0 on a laptop) to preview the result. In the AE timeline, right-click the layer and choose Stabilize Motion. Select a clip and right-click to choose Replace with After Effects Composition. The simple edit contains of shots that play back perfectly without transcoding thanks to Mercury Playback Engine optimization combined with an nVidia CUDA card, a huge Pr advantage unavailable in AE. The handheld shots are intended to be lock-offs, while the head-mounted shots are intended to be smooth and dolly-esque. I have a collection of shots that were taken handheld and head-mounted, with a 7D and GoPro, respectively. This article not only walks you through how to achieve shot stabilization on clips in a Pr edit, but it opens the door to how to use Dynamic Link generally, for those who’ve wished they had a better handle on it. Warp Stabilizer isn’t part of Pr, and it is relatively straightforward for basic usage even for the casual AE user. Once you understand how to use it, it’s a tool that can change the way you shoot if you find yourself without a tripod or any kind of stabilization with a camera as notoriously unsteady as a DSLR, even on a moving shot, you can end up with footage that can look as if a dolly or SteadiCam were used to take it.įor editors and shooters who work more in Premiere Pro than in AE, this is clearly a case where Dynamic Link, the technology bridge between the two apps, is useful. 
Warp Stabilizer was arguably the biggest addition to After Effects CS5.5.
The Dynamic Link process to stabilize a Pr clip in AE begins in the Pr timeline.
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