Color work and AE work can happen simultaenously! As CUBE files come in, apply them in PR for the non-VFX clips and apply them in AE for the VFX clips.Turn the visibility off for all the VFX sequences in the master sequence - easiest to keep them all on one layer.Eventually you'll put your AE renders in this VFX nest as the top layer. Create a dynamic link between that duplicated footage, and turn the visibility off.
Within these VFX specific sequences, duplicate the footage.Duplicate the VFX nested clips as unique sequences from the other nests.Mark the in / out of all the clips within their nest.Nest all the clips at their full length.You can refer back to the OG edit later if you need reference. Remove any and all LUTs, color work, transitions.Prepare the timeline for an XML export, clean it up massively.Duplicate your sequence - 1) Original Edit 2) Resolve / AE Sequence.Edit the video in Premiere (ideally it's done in Resolve so you can skip some steps, but most folks are still on the Premiere train).What I've done for the last few years is: Worth mentioning that this should only happen after picture lock (ideally, but rarely!) There are many many ways to Roundtrip, work simultaenously between After Effects and Premiere, but this is the one I like most. Worth throwing an update here as it still comes up for me pretty regularly. I render a 10 bit or better DI without the LUT applied so that when the project goes back to color grading the original LUT can be applied. Then the LUT is turned off and on during production so I can see how things are looking. I'm on the latest version so I am using Lumetri instead of Resolve but you could do the same. The last option, which is only occasionally used, is that a LUT is applied to a clip in AE that matches the LUT used in Premiere.
This is the unusual workflow because most of the time color correction wipes out some of the data that a could be used in the raw files to help me do a seamless composite. If I generate a DI inside PPro it always is rendered to a 10 bit or better production format with color correction added so I match the look inside AE while doing the composite. If I'm working in raw I do all the effects in raw so the color grading is all done in PPro (Lumetri for the latest version).
These clips are brought in without any color correction and my DI (digital intermediates) are rendered without color correction. For most of my production work I bring the raw clips into AE to do the VFX that cannot be done in Premiere Pro.
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