CC to CS6 to CC to CS6 workflow

I'm on a MacBookPro with a Retina screen. InDesign CS6 looks horrible, and CC looks great. However my designers are all using CS6.
My layouts are pretty basic, text and graphics, no fancy moves, no CC specific features.
Wondering how realistic it is to go back and forth from CC to CS6 and back to CC using the IDML export feature. I know it is possible, just wondering what issues I may encounter in a real world scenario.
Thank you!

I understand IDML is only a backward solution, and I would have to re-import back into CC each time.
re: reflowing text - What kind of issues should I look out for? Any particular text formatting I should avoid?
Besides the reflowing text, any other common formatting issues to avoid/look out for?
Thank you...

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    Look here for other approaches: http://ppbm7.com/index.php/intro-part-1

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    Is really hard also understand how dale this work flow between AE and Pre Pro if you want to make CC in Pre Pro after compositing in AE.
    I try to present a work flow for this (very common) situation:
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    and a 3d (pre-multiplied) object U.F.O. on sky.
    When I have done compositing, how make I a right CC of all footage if I have two clip (3d object and green screen keyed shot) still  pre-multiplied?
    I think, but I'm not sure, that should be a good idea to send to Pre Pro a composited Comp with separate layers (by dynamic links)  to have  all single separate layers (Background, 3d object and green screen keyed shot.. but also the Color Warping...!). Than, in Pre Pro you should make a CC (Grading)  just for a BG and than try to Match (Matching) this color corrected BG with 3d obj and keyed shoot. But we have a problem at this point cause our 3d object and green screen keyed shot are still pre-multiplied, and before make matching we have to re- multiplied theme, but how? And if we re pre-multiplied them, compositing will be also right?
    Or maybe, before exporting comp from AE to Pre Pro, he have to create both layers for 3d object and green screen keyed shot, one pre-multiplied and one "Stright"? But, again, how to combine them to have a right compositing and a a right CC?
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    Many, many thanks!

    Dave is correct. (And so is Mylenium. No need to be rude, when he was jsut trying to explain that you were introducing unnecessary complexity.)
    The color matting is removed to interpret the alpha channel when you import the footage. After that, any color correction that you do to a layer based ont hat footage item doesn't have anything to do with whether the channels were straight or premultiplied for the source item.
    You color-correct your individual items to amke them match as part of the compositing process in After Effects. Then, if you want to do a color grade of the shot in Premiere Pro along with other shots, you'd be working on the single rendered/flattened composite, so the details of the original elements that went into the composite are irrelevant.

  • Photoshop Help | 3D workflow in Photoshop Extended CS6

    This question was posted in response to the following article: http://helpx.adobe.com/photoshop/using/3d-workflow-cs6.html

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