@Aksel Wow. Great news. Congrats.

Glad ColorGHear was able to help in both departments, the final product looks great! What'd you shoot on?

ALSO 25% off storewide this Labor Day Weekend, so if you've been waiting for a deal... now is the time. Even 25% off subscription renewals.

I watched the install video but still don't see how to install the presets for AE on Windows platform? I put the CG Universal folder into 'C:\Program Files\Adobe\Adobe After Effects CC\Support Files\Presets' and still don't see the gears under Animation Presets.

Oh wait.. I bought Pro and just noticed that the Downloads page shows a separate purchase for the AE Toolkit, is that correct? It looks like they are separate products.

per Vitaliy tech support should be handled through email or PM

Ha! I took advantage of the Labor Day sale to upgrade to "CGT Pro Plus", I know I need what you're selling. I also plugged you this morning over on the COW in the SpeedGrade forum. Hows that? Thanks again @shain.

Bought Pro and played with AE a bit and it seems to me that Resolve is actually the easier way to go, even when you have to deal with round tripping. Shian, do you have a tutorial for roundtripping from Premiere and Resolve? I'd like to see your method to compare.

Great, looking forward to seeing more. I've pretty much bought everything you have for sale now. :) BTW, on your re-import to Premiere, do you have issues with no audio track coming in?

@Shian

What are you using for audio? I'm still waiting on FCX/Logic X to have proper integration, but for now, I just use an ancient copy of Soundtrack Pro. Apple is soooo close (in my book) to having a stellar pair of programs for video and audio once again. Of course, Resolve is the ultimate in color programs, but from all accounts, it works just fine with FCX already.

Let me amend and clarify my workflow a little bit. This is my workflow exactly. I work on Mac computers. Adapt it to the software and machine that you own.

All Pro level film workflows are similar to this. Keep in mind, most 35mm feature films have a Digital Intermediate that consists of DPX sequences. So the workflow was established using a model that had separate audio from video. All pro workflows separate audio and video and so that audio can be handled by a specialist. Yes, audio is THAT important.

1) Edit in an NLE. ----GET FILM LOCK!---- (can't stress this enough. Film lock means you are done editing. No more cuts need to be made. Keep in mind, Resolve 10 will allow further editing if needed.)

1A - If I need noise reduction I will export XML to AE, use GHrain Killer to reduce noise, and export the selected clips individually as ProRes444, and replace in the timeline in FCP X. But I rarely have noise issues anymore. [I'm hoping the new Resolve 10 NR functions which include temporal NR controls and features similar to GK will eliminate this step. [NR only available on full version of Resolve and not free "lite" version]

2) Export audio to Soundtrack Pro (or) OMF to Pro Tools or Logic (or whatever) for final sound mixing/editing. (If doing music video type work, this isn't necessary, just skip to step 8 on the audio side) I do all my audio in Pro Tools unless I need BG noise reduction, then I use Soundtrack Pro

3) Export your Edit via XML or AAF to After Effects/Davinci/SpeedGrade/Baselight or whatever platform you are using for grading

4) Grade - [I now grade everything in DaVinci using CG Pro] When grading in DaVinci use XML roundtrip to FCP function [ProRes444], but import the resulting XML into AE rather than returning to FCP (use Xto7 if necessary)

5) I do all my titles and graphics in AE, so this is never a problem. BUT if your titles are created in Motion, or in your NLE, export them in a format with an alpha channel for compositing. (Quicktime Animation with Alpha, PNG sequence, TGA sequence, etc.)

6) If your titles and graphics are not being done in AE, composite titles and graphics onto Graded Narrative in AE. I can usually skip this step, as all my titles and graphics are done in AE.

7) Export final narrative video track with Grades and composites out of AE to ProRes 444 or DNxHD 444 file.

8) Export sound mix as wav or aif file. (or in the case of surround, multiple files, or ac3 file)

9) Marry sound to video either in NLE with 32bit color processing, or in Quicktime Pro QT PRO users can hit "save" and skip to step 11 because all QT Pro will do is weld them together with no loss.

10) Export final product to high data rate 444 codec.

11) Using final product - make DVDs, Blurays, web videos, etc. (replace stereo audio with Dolby ac3 where appropriate)

Yes it seems a bit complicated at first, but it soon becomes 2nd nature. Adopt this and thrive.

@B3Guy Actually, Avid is no longer expensive. $995. I understand that Avid is not for everyone, so I'll leave that discussion alone but if you are looking to get into it now is the time. You also get Squeeze with this as well. Pays for itself in one or two jobs. Top notch media management, ProRes is now being treated virtually the same as DNxHD, and there are some pretty seamless options for getting back and forth between FCP and Media Composer. Also, I have been finding that the roundtripping between After Effects has been improved quite a bit.

If FCP X is not your thing and Adobe has scared you away, download the free 30 day trial of Media Composer 7 and see if it is worth $995.

And just so this doesn't seem like a sales pitch, I use all of the major NLEs depending on project. I'm just amazed by this low pricing now because when I started in the 90's it was nearly impossible to afford an Avid system. An offline system would have cost me $40K. FCP broke that barrier and now Avid has come full circle to a similar price point. Interesting times.

FINALLY!!!

http://tv.adobe.com/watch/adobe-at-ibc-2013/after-effects-cc-mask-tracker

Now CGT users can track their power windows easily right from the Mask Dialogue in AE. It's not as awesome as Davinci, yet, but at least it's getting there.

Hi @shian, Please be kind to advise me on the possibility of using 16bpc effects along with GolorGHear 32bpc effects. For example, if I always work in 32bpc and use 32 bpc GolorGHear effects only, will it somehow screw my video in case I wanna use the 16bpc Shadow/Highlight filter along with 32bpc effects? AE CS6 warns me that using 16pbc effects may reduce precise color precision in the 32pbc environment... Do you personally use 16bpc filters in your 32bpc workflow?