@rNeil Awesome info - thanks so much.

@rNeil Thanks for this great info. Yeah I was thinking same to do test mini project for workflow. Looking forward to trying it all out.

Better response as to working through P-Pro/Sg/Ae process from Dave Merchant over at the Adobe P-Pro forum. Yea, it's gonna be a bit different that I've done, as the grading stuff you do in Sg (if in the "Lumetri" tool) doesn't pass through to Ae yet.

"You can open a Pr sequence that contains AE linked comps in Speegrade and they will display the same as any other clip, so you can grade afterwards (which is the intended workflow). If you have AE text layers, lower thirds, etc. that need to be excluded from the grade, then you would create them separately (as a new layer in Premiere Pro) and grade only the underlying footage, that's how it's always been done.

If you want to convert part of a sequence into an AE comp after grading, then you have two options:

1) Apply the Lumetri effect to an adjustment layer and exclude that track when you send to AE. Of course the grade won't show in AE, but it will remain editable through Dynamic Link.

2) If you want to pass an Sg grade into an AE comp, you have to save it as a .look file then use the "Apply Color LUT" effect in AE rather than the Lumetri effect in Pr."

@rNeil That's good to hear. Have a project about to go into editing, and editor likes to grade while editing instead of waiting until the edit is locked, so that should work out well for us.

From the P-Pro & Speedgrade boards over at Adobe, there are several folks having issues with cinema DNG's, and from the answers ... there's a flavor or two of them that the Adobe software simply doesn't "read" period ... and others that for certain people and if the moon's in the right phase and they've thrown salt over the proper place on a Tuesday the 14th ... are usable. And a couple that people have had no issue with.

For that middle group ... I think perhaps that is a typical problem with a new major product change. Give them a month and seen how it does.

Um ... if you're in that group, I don't expect you to be thrilled with a wait, you know?

Neil

I'm also working with 5D Mark III DNGs. Right-clicking in the clip bin and choosing 'import' wasn't allowing me to import the image sequence (the box was grayed out) but I can import by locating the folder in the media browser. Once it's in my clip bin and reading as a single clip, I am seeing the same pink that @Oedipax is talking about. Even if I wanted to, I really couldn't do an edit like this because I cannot see what I am working with.

I just downloaded Premiere CC 7.1 and I am having trouble getting it to recognize Cinema DNG files. Once in the imported into the clip bin they show up as folders full of DNGs, not playable image sequences like in Resolve. I thought that this was supposed to be one of the major feature upgrades for this version. Anyone having any better luck with it?

I've been using the "new" updated CC versions today ... it's going to take a bit of getting used to, such things as using a DirectLink P-Pro -> Speedgrade, quite a few of Speedgrade's typical options are locked out ... such things as say, making a grading layer on the timeline that spans several clips.

However, if you put an adjustment layer over those clips in P-Pro afore sending the project over, you CAN then use that adjustment layer as a clip-spanning grading layer. There's some other odds and ends to get used to.

On the other hand ... the trip to Speedgrade is only a few seconds, as is the trip back. VERY nice. And my oh my ... rendering even a lowly H.264 clip could take HOURS ... now, the same thing is a few minutes. I am VERY pleased with that!

And to the comment still complaining about the cost of the CC stuff ... well ... I'm using P-Pro, Speedgrade, AfterEffects, Audition, Photoshop, Media Encoder ... for what, just under $50/month? $600USD/year?

You know what that slew of programs would have cost me piecemeal?

Neil

Looks like the mid-October update isn't going to make it out until November. I wonder if they pulled people off the video app teams to deal with the source code leak clusterfuck?

Adobe, like Netflix when they announced they were splitting the business (and then quickly recanted after the damage was already done), just screwed themselves over this Creative Cloud debacle.

There have been numerous calculations made that the normal, "Average Joe" Premiere user will be paying A LOT more for their cloud service over buying a disc every so often. Most do not work for big post production houses and cannot afford the perpetual cloud "shakedown." You can't rent it by the month whenever you need it for the occasional project. It's a YEARLY contract with no guarantees the rates won't get jacked up after the second or third year of use!!

After this theft of sensitive user and internal source code, Adobe is going to be drowning in a PR nightmare of their own making.

Winner gets. ..drum roll please...AN ADOBE MOUSEPAD...that's right ladies and gentlemen...an official Adobe mousepad! Jokes aside, Creative Cloud works for me and I consider it a good deal. Premiere for edit, Audition for sound, and Speedgrade or After Effects for grading. No problems or hiccups for me yet after 1 year of use.

Shall we set up an "office" betting pool? Winner gets ... what?

Just checked the Premiere Adobe forum ... and the last word officially (two days ago ... sigh) is that they are working hard at finalizing the 150 new features implemented in the product and will 'ship' as soon as they feel they have stable code.

In other words, have you got a crystal ball, and ... should we set up an office betting pool on when they FINALLY will ship?

I've got three different projects that would be SO much simpler if the new process works as said. They all came up for working right around the 15th, and I've had a couple other things to work on in the meantime ... but by the first of next week, I've got to move on them. I'm gonna be SO ticked off at getting half-way (or better!) through them and THEN the stuff comes out ...

Neil