Premiere to AE to Premiere Workflow

I have a 2 minute sequence I'm working with in Premiere Pro.
I want to bring the sequence into an after effects comp, apply an adjustment layer to it, and then export it back to Premiere Pro.
What's the best workflow to do this?
Currently I: 1. export my Premiere sequence to an avi file - 2: import the avi into after effects, add it to a comp, setup the adjustment layer, apply some effects, 3. render the comp back as an avi file and import it back into Premiere.
Just wondering if there's a faster, more efficient way to accomplish this work flow.
FYI I'm using CS3 on windows XP.
Thanks!
FOO

You can open the AE comps in Premiere via Dynamic link or you can use the AE Render Queue to render the individual clips.

Similar Messages

Help setting up an efficient AE/Premiere workflow.

I am working on several AE/Premiere projects on a Pavilion M6 laptop and have a few drives that I can use for media storage/cache/exporting and am wonding what will be best way to use each one, or if I even need to. My internal drive is a Sandisk SSD 3Gb/s, my second drive is a WD MyPassport 256GB USB 2.0 5400RPM HDD, and my third is a Sandisk Cruzer Extreme 32GB USB 3.0 flash drive. I'm on a HP Pavilion M6-1035DX if you need any system specs to make a determination. I currently have all of my files on the MyPassport (because the Cruzer Extreme flash drive isn't here yet), and am wondering if I should:
keep the media files on the MyPassport, run AE & Premiere (and store the cache) on my internal SSD, and export to the Cruzer Extreme (when it gets here)
or, move my media and project files to the Cruzer Extreme and run AE & Premiere (and store the cache) on my internal SSD because the SSD is faster than the USB 2.0 drive (connection and read/write speeds, USB 2.0 vs SATAII and SSD vs 5400RPS HDD)
or, move my media and project files to the Cruzer Extreme, run AE & Premiere on my internal SSD, and store the cache on my MyPassport (so it's not on the same drive as my project files, programs, or media)
or, some other configuration I haven't thought of
I have ready in many places that you should use three drives for video editing and motion graphics, but because there are so many technologies and potential bottlenecks involved I want to make sure I do it right/efficiently.

First I wanted to say "thank you for all of the excellent answers and info". It is incredibly difficult for me to choose the 'correct' answer as so many people gave me excellent information and suggestions. I ended up keeping my programs, media files, and media cache & database on my internal SSD. I put my preview files on my flash drive, which is also where I put my export folder (which I learned from watching part of a After Effects & Premiere Pro Performance Workshop video). Since I'm not exporting video while I'm editing, and I'm not previewing my project while I'm exporting a project, this made a lot of sense to do. I will mark the last answer as correct just because it helped me the most being able to see the "priority rank-numbers for speed, with 1 for the fastest volume and 5 for the least speed-demanding category".The one thing I would ask 'cc_merchant', is if you could re-clarify the list so it shows which files are read the most, require the fastest read speeds, and when/how often they're being read; as well as another list that does the same for write speeds. I still don't completely understanding exactly what data is being read/written when, and exactly how much. If data cache & database (for instance) is being read from constantly, it may make sense to put it on my flash drive, since nothing is currently being read from it while I edit (if that makes sense). I do like the fact that my project files and original media are in the same folder, and would like to keep it that way if at all possible. I also bench-marked my SSD and flash drive, and know that I get excellent read speeds from my SSD and excellent write speeds on my flash drive. Although, I can also read and write to and from both simultaneously.
I actually just purchased a 2nd USB 3.0 flash drive (64GB, my other is 32GB), and am going to configure it as suggested in this similar discussion Generic Guideline for Disk Setup. The first posting there really answered my question the best so far, and if someone would have posted it here I would have definitely marked it as correct immediately. I would highly recommend checking out that discussion if you're new to configuring your Premiere Pro or After Effects workflow. It is a simple list that tells you where to put your files for the best performance based on how many drives you have.
Thanks again for all of your help!

Premiere Workflow With Lightroom

I have Adobe Premiere CS6 and Lightroom 4.1. I like both. But I'd like to figure out a better workflow for copying my AVCHD video files (Panasonic GH2) from SD cards to my computer and managing them.
Even though I've been using PhotoShop for years, I now do almost all of my still image post processing in Lightroom.   While it seems to have some new video editing features, it's still seems like it's focused on the traditional, photography, single-file paradigm - each file is a distinct piece of art that has little or no relationship with other files taken at the same time.
Obviously this is different from video where each piece of art is a combination of multiple media types (e.g. video, audio, stills, etc.) and most of the time there are multiple instances of each media type, all of which need to be combined into seamless end result.   Premiere does a great job of this. However...
It's the media import and management aspect that I'm unhappy with. Prelude is an option, but it seems to have some media management features but not as robust as Lightroom.   In addition, the position of Prelude in the overall video creation workflow is unclear to me.
So I'm perplexed. I'd like to manage all of my media in a single place.   Even though this post is about Premiere, I spend at least as much time working on stills as video. So a single media management tool (like lightroom) is my goal.   Unfortunately the overall Adobe management solution is still not as integrated as I'd like.   So...
How do you manage you media?   How do you deal with the first stages of your workflow starting with the capture tool (camera, sound recorder, etc.) media card?   What tools do you prefer?
Thanks in advance for any feedback.
Regards,
Dan.
p.s. I'm an amateur in this. I've been taking pics for 58 years (since I was 7), but I'm not a pro.   So my needs probably won't match a pro's needs.

IMO...
Photoshop and Premiere, and several other Adobe products are essentially products with a legacy approach - incredibly powerful tools for single purpose.   Historically, products and people were pretty much single purporse...
Photoshop did photography stuff and Premiere did video stuff.   Photographers and video guys (and ladies) were two different groups with two different languages. And there are also audio guys who did audio stuff, writing guys who did writing stuff, drawing guys who did drawing stuff, and web guys who did web stuff.
At the Pro level this is still true. But for many Pros and most amateurs, this single-purpose world doesn't exist exist any more. We wear multiple hats.   The tools (like the GH2) capture mutiple types of media.   The GH3 will extend this. Portable audio mini-recorders like the Zoom H1 extend it further. Powerful, easy to use script-writing tools like Celtx extend it further.   And then we have the internet...
I'm a professional software developer. I don't do web pages professionally, but I've created a few, including a weather website (in progress) for Bellevue, Washington. Web pages use multiple types of media. It's normal to see a website with text, still images, video, audio, drawings and combinations of the three.
So how do you manage all this stuff? Not very well, IMO. Adobe products don't do well here...
Lightroom comes the closest because it stores metadata externally in a database. For example you can apply metadata to .MTS files (try that in Bridge).   And you can group and stack files. BUT... It doesn't manage a very wide array media - just photos and videos.   And you can't create a stack of clips and send it to Premiere.
Bridge seems to work with well with certain types of media only. Try adding a keyword to a .MTS file.   And it seems to be Photoshop-centric.   Many of the Bridge features seem to be nothing more than a prettier interface to standard Windows (Mac?) features.   Lightroom easily does most of what Bridge does plus a whole lot more.
As I wrote above, I just don't get Prelude. It's UI is kinda/sorta Adobe-like, but uses unique terms like "ingest" (sounds like a bodily function).   What's worse is that it's media management and editing features are poor.   I.e. I don't see any added value over just using Premiere.
IMO, Adobe should extend Lightroom to be the entry point for all media-related products of any type.   It should have the ability to import, preview, and manage any type of file photos, videos, audio, text files, Word docs, Celtx files, etc.   For photos, videos, and audio, it should have modules that can provide at least some minimal editing features.   And most importantly...
To the greatest extent possible, it should have the ability to send media and other files to other applications for editing, and then manage the modified file that is returned. It's probably not feasible to do this with all apps, but it should be able to send files to apps like Premiere, Premiere Elements, Photoshop, Audition, and Soundbooth.
OK... /Rant = OFF.
Thanks,
Dan.

Adobe After Effect Adobe Premiere Workflow

Hi all....I am very confused with how to get a steady and clear workflow between after effects and premiere in cs4.
I've made my edit in premiere and its on one time line as little clips.
I've tried copying and pasting the clip into AE which works, I apply the effects (like colour balance etc) paste back into Pr....and it doesn't paste properly, theres a large white square where the effect should be, almost like premiere doesn't know the layers of AE.
Then I tried dynamic link which actually works.....until I reopened the premiere file today and the 2 clips I'd applied effects to where red with a message saying 'media offline'
The project>link option is faded out by the way!
I have to open AE open the file where I did the effects, and then go back to premiere and goto file>adobe dynamic link>import after effects composition....and then select my file to retrieve the clips and get rid of the message.
So then I save reopen and same problem.....there has to be a way of keeping the editied clips in premiere??????????
Any help would be appreciated
Thanks
Arvind!

thats what i were pretending since dynamic link came up.
3 weeks ago i visited an Adobe Workshop in Germany, man i tell you no jokes. as it came to show dynamic linking things started to get messed up in the middle of the presentation, then the tutor tried to break it up and switched to Flash Server wokflow, uploading and linking all the stuff together was just a mess. i've grabbed my jacket an left.
The core is somehow working, but the workarounds are still unacceptable if you mention that Adobe pretends that it works flawlessly - but it's not and you're whacked when you're in the middle of a huge project as i was into that nightmare a while ago.
i've sold brand new master collection because of a rant with adobe customer service (how they call it?) and the only two things i bought again was Ae and Ps, working with it - in the oldskool way.

Ikegami GFCam and Premiere Workflow

Hi all,
I am new to Premiere, but versed in Avid and FCP. Does anyone have suggestions for the best workflow with an Ikegami GFCam HDS-V10 that records to a GFPak? I believe the mxf files produced by the GFCam are most similar to XDCAM. In terms of our Avid workflow (I have yet to tackle this task with FCP) we must transcode each GFPak clip that is imported to Avid and moved to the storage drive. Considering the XDCAM similarities, can I expect the mxf files to be received natively?
For our P2 camera clips, I am simply working from the MXF files which are pulled from the cards to the storage drive before importation into Avid. If there is a better workflow for this too, please let me know, but based on the small bit of research I've done in teh 2 hours I've had my hands on the new software and computer today that hte latter method is common place because the mxf files are native to Premiere. Can a simliar approach be used for the GFPak clips?
Otherwise, the method I'm thinkign would be to import the mxf files from the GFPak into AME (this is Adobe Media Encoder correct? just making sure I've got my acronyms right as I dive into Premiere forums/discussions) and convert to another format which might be more compatible/efficient to work with in Premiere. Am I headed in the right direction? Any suggestions for optimal codecs to transfer to?
It seems the Ikegami shooter is few and far between, so any helpful suggestions will be greatly appreciated!
Thanks,
Lindsay

Just in case anyone's curious, I found a solution to the Ikegami import problem. It requries the plug-in at the link below. It's a little bit pricey, but seems to be the only option out there.
http://www.mainconcept.com/products/apps-plug-ins/plug-ins-for-adobe/codec-suite.html
Among other things I attempted, which all failed, was to pass it through Media Encoder first, but neither AME or PP had hte capacity to link the audio and video mxf files stored on the GFPak.
The plug-in allows PP to do so, and media may be imported using the Media Browser. While PP links the audio and video it does not hide the file structure like it does with P2, just giving you a thumbnail image. You need to be sure to pull your clips from the 'Video' folder. The audio will come right along with upon import, have no fear!
Happy to say I only really struggled with this for a solid day with the help of my IT staff . I thought it would have taken much longer to find a solution.
Lindsay

Eos Mark II 5D - Premiere Workflow

Hi erstmal!
ich bin bei meinen bisherigen recherchen nicht wirklich schlau geworden und jetzt probier ichs hier mal...
also ich hab einen kurzfilm auf der mark II 5D gedreht und gehört das die .mov dateien nicht in premiere cs4 importiert werden können?!?!
ich hab einen superfeinen UNI Rechner mit 16gig Ram und 2 TB harddisk.
ich möchte das material so unkomprimiert wie möglich bearbeiten und trotzdem einen guten workflow (auch zwischen premiere und after effects) erreichen...
wie und wo muss ich die mov dateien umwandeln?
wäre um jede antwort dankbar, der schnitt beginnt am dienstag nächste woche...
thx schonmal...

Also Apple Intermediate Codec ist nicht sinnvoll
Scheiss auf Premiere ich schneid in Final Cut Pro....

After Effects & Premiere - workflow

Hi
I am editing a film in premiere CS 5 - the footage is RED. Motion Graphics and Compositors are using After Effects. Will Premiere be able to open After effects projects (with all effects and layers intact)? So I can do the final edit.
Not very familiar with After Effects - so wondering if tracking, roto, masking, layering etc done in After Effects will be preserved when the After effects Project is opened in Premiere.
Thanks in advance.

My five pennies to this question given in AE Forum.

Deinterlace and Premiere workflow (need to nail this)

In AE one sets the (field) Interpretation for footage at the source. In Final Cut 7 there is a Deinterlace filter that can be applied en masse to clips in the timeline. Neither option seems applicable in Premiere.
If I have interlace source material and a delivery spec for Progressive, it is satisfactory to edit a native seq (interlace) then on export set it to Progressive? Or does one have to additionally go into Field Options for every clip in the TL and set it for "Always Deinterlace" ?
If it were the easy option 1 I would be surprised why so many on-line explanations suggest the time-consuming 2nd?
Thanks in advance,
Paul

Florian, in an earlier post you had said that the correct methodology is a 2 step process. First "To get real progressive you need to enable "always deinterlace" for all clips"
Second "settings level in your timeline and of course export to progressive..."
It seems I misunderstood Ann's post "If your footage is interlaced you set up an interlaced timeline and export to progressive."
I *had* thought she was saying the footage had to be reformatted first via exporting from the TL, it seems I was wrong. If that is not about reformatting (as I now understand) then she is saying the solution is a *one* step process and that would appear to contradict your original post that proposes a 2 step process. Ann does not seem to think part 1 of your process "To get real progressive you need to enable "always deinterlace" for all clips" is required. Yes?

Premiere Workflow Final Product Quality Question - General

Clarification: This is just a general workflow question regardless of hardware/software/cpu/gpu. I'm also not asking about rendering times - just how the final product looks.
Do any one of the following 3 workflow methods have any bearing on the "quality" or "look/feel" of the final output of a project.
Specific effects are named in my examples just for the heck of it - the root of my question is if any given workflow with any given effects applied affects the quality of the final export/render.
#1) Raw Clip => Apply Sharpness => Apply Levels => Apply Three-Way CC => Export final product.
#2) Raw Clip => Apply Sharpness => Export Clip => Import Clip => Apply Levels => Export Clip => Import Clip => Apply Three-Way CC => Export final product.
#3) Raw Clip (sequence 1) => Apply Sharpness => Create sequence 2 and drag sequence 1 onto it => Apply Levels to sequence 2 => Create sequence 3 and drag sequence 2 onto it => apply Three-Way CC to sequence 3 => Export sequence 3 as final product.

Jim's answer is probably based on the fact that no matter what you do to a video, exporting it will degrade the quality almost every time. But that is not only acceptable, but absolutely necessary. What video would you have that did not require some adjustments, even if just a straight cut.
In any case, I think the answer you really want is:
#1 looks normal. So that's fine.
#2 will degrade the image every time you export unless you export to a completely lossless codec like Lagarith - which creates HUGE files and is totally unnecessary. It is just a bad workflow.
#3 is technically the same as #1. It's fine. No problem. In fact, it can be quite handy sometimes to work that way. Nesting does not cause the problems that exporting does.

Poor performance of Premiere Pro on 2013 Mac Pro

A month ago I bought a 2013 Mac Pro mostly for running Premiere Pro CC. The configuration is 6 cores @ 3.5 GHz, 64 GB RAM, 2 x D700 graphics, 1 TB internal SSD. It runs OS X Mavericks 10.9.4.
I tried Premiere Pro CC today for the first time. The input--entirely stored on the internal SSD; no external disk was even connected--was about 100 clips shot as AVCHD (1080p25 PAL) at 24 Mbps.
I edited this in Premiere Pro and added small adjustments (mostly changes of levels) in about 20 clips. The rest had no adjustments. There were no transitions applied. For the most part, it just had to copy the trimmed input clips to the output.
I queued this for Adobe Media Encoder CC at H.264, 1080p25, @ 24 Mbps VBR 2 pass. Audio was 192 kbps, 48 kHZ,stereo. The output was written to the internal SSD.
While encoding, the CPU was running 50-70% idle (!!!) so it was using only 2-3 cores and half the memory (32GB) was unused. It certainly wasn't trying very hard. No other programs except Premiere, AME, and the activity monitor were open during encoding and I was just sitting there watching it lumber along.
The time to encode the timeline of 9:47 was 21:28. That is 2.2x real time. My 4-year-old Windows machine using CS6 could do that. What's wrong? Should Premiere Pro be this slow on hardware this fast? Is there some secret box "Use all the cores and all allowed memory" that I have to check (I set the preferences to allow Adobe to use 52 GB). Does Premiere get tired in the evenings? The internal SSD runs at 900 MB/s and there was no transcoding to do. What was going on?
This is my first test of Premiere and it is kind of disappointing. Did I just waste 6500 euros on the Mac Pro or am I using the wrong settings. Any advice is welcome.
Thanks.

Yes, should be great if someone put some light in all this performance thing in the new mac pro, I just did a test, 3 video tracks with 4K Red footage, 50% of opacity each one and I just play the 2 min sequence, and Premiere started to drop frames at half resolution playback and when I changed to full resolution playback the sequence was unplayable, I mean, they sold this MacPro/Premiere workflow as the way to edit 4K without compromises and now we are not capable to deliver jobs because the poor performance... and I'm not talking now about the constant crashes and freezes, I'm talking about that we can't play just 3 tracks without any effect.
Would be great if someone put some light on this, maybe we are blaming adobe and it's apple's fault and we should go to the apple store to return the machine... I did test on the Mac and looks OK, I'm more than confuse about this...

Applying video effects in Premiere at the track or media level?

Hello,
I am trying to adjust to the Premiere workflow, coming from Vegas, and have a question regarding the application of video effects. Premiere seems to apply effects at the clip level - for example, if there is a cut in the clip, the effect is only applied to a portion of the clip. Vegas allows for the application of effects at the media level - no matter how many cuts have been made - or at the track level. Is there something comparable in Premiere? I have been trying to apply the Neat Video effect, and the only thing I can think of is to select multiple clips when applying it, but it seems to crash Premiere when I do that. Any advice on making this work would be much appreciated.
On a related topic, does Premiere apply effects in a chain, as they are added, or does it automatically perform an reffect first if it should be applied first? In other words, does it matter in what order the effects are applied, and if so, is there a rough order of how they should be applied?

I'm running Premiere Pro 5.5 and have been able to lasso and apply my effects to several of my clips all at once.
Once you apply the effect and fine-tune (if need be), you can right-click and create a User Preset to help save time (say if all of your clips needed to be color corrected). The User Presets are the first folder listed in the Effects bin.
As far as the effects order are concerned, you pretty much have to play around with those yourself. I use a Video Limiter effect with a ProcAmp and have noticed that if they aren't in a certain order (the first listed effect is the first applied...) it changes how it looks and not always for the best. Best bet is to play around and see what order of video effects works best for you.
Good Luck!

Export to Premiere Pro

Hi all experts,
If I do an export to Adobe Premiere Pro:
1) Will it be rendered in Adobe Premiere Pro or Adobe After Effects ?
2) How I do I import the file in from Adobe Premiere Pro ? Just like importing a picture or video ?
3) I am thinking if I use Premiere Pro instead of Final Cut, will it cut down on input and output time ?
Thanks

After Effects always uses the AE Render engine to render files. If you export to Premiere Pro and then close AE the Render engine will open in the background to render from inside PPro. Dynamic link is similar to round tripping to motion from FCP. Personally, for most projects that require AE work I think the AE/Premiere workflow is faster than the FCP/AE workflow. Sometimes though, depending on the project, I'll use Automatic Duck to bring FCP elements into AE for FX work.
Hope this helps.

Problems exporting to H264 out of Premiere CC

I'm trying to export out of Adobe Premiere CC (7.2.1) to H.264 (quicktime specifically) and am having some rather persistent issues with image quality/artifacting.
I'm on Mavericks 10.9.2
I'm working with 2.8 Ghz Intel Xeon Processors, 32gb ram, and have tried two different graphics cards. An AMD Radeon 5770 1GB and a NVidia GTX 680 2GB.
My source footage is primarily ProRes 1920x1080 29.97.
My output setting is Quicktime .MOV H.264 1920x1080 29.97 at 20 mb/s using Maximum render quality.
I've set the video renderer to use Open CL, CUDA, and Software Only and have gotten identical results.
I've also tried exporting both out of Premiere and Media Encoder and have gotten identical results.
The quality of the export is dramatically lower than what I'm accustomed to with this bitrate and resolution. Our delivery format for TV and the Web is H.264, so I'm fairly used to this filetype. I know, what it's supposed to look like at certain resolutions and bitrates. In the past, when we used Final Cut, we would output to a ProRes master and export an H.264 MOV from Quicktime 7. If I use that workflow, (exporting to ProRes master from Premiere and then encoding that ProRes Master to H.264 using QT7), I get much better results. More detail in the image. Way less banding. A much sharper image.
The problem is that we've made the move to Premiere, and would like to take advantage of the Premiere workflow. Being able to skip the step of exporting a ProRes master would save time and storage. But I can't do that with these quality issues. Has anyone had similar issues exporting to H.264 .MOV from Premiere CC?

Just thought I'd update this post once more with a bit more information I've learned. I think what was ultimately causing the drop in quality for my encode was the keyframes option in Premiere. I think the way this happens is that when you select the "quicktime" format in the export settings menu, it defaults to the "NTSC DV" encoding preset. By default, the NTSC DV Keyframe value is "1" and the option to change it is grayed out. But, If you change the video codec (as opposed to changing the preset) to "H.264", the keyframe option is un-grayed, but it inherits whatever the value was in the previous video codec that was chosen, as opposed to automatically assigning a value that's appropriate to the resolution, codec, and bitrate you've chose. So, in my case, the H.264 codec had all the right information that I usually use (like resolution, bit-rate, etc.), but it was using a keyframe value that's normally used for NTSC DV. I'm not accustomed to adjusting keyframe values, so I didn't notice the discrepancy for quite awhile, and had bad exports as a result.

BM Ultrascope and Premiere

Anyone here running Ultra Scope in conjunction with an Adobe Premiere workflow ?
http://www.blackmagicdesign.com/products/ultrascope
I am interested to see how the pipeline is working for you and how it is set up.
Currently I have experience of it in another facilty where I master some of my TVCs... but it is set up in line after Mastering to Tape. ie Tape blays out to Ultrascope and dedicated monitor.
I am wanting to use Ultrascope on the the Digital Master File or better still...the Premiere Timeline before I export a Master.

Jim... (and anyone else)
Dont go near the Black Magic Pocket Ultrascope.
Its a real ***** to install and get running because its so hardware fussy.
(I can not get it to run on anything around here yet and most likely will return it to supplier)
Virtually nothing is certified by them to run it ( laptops, MOBOs or graphic cards)
It is seriously fussy about USB 3.0 drivers yet dont supply the specific version required. Its hard to find also..
They need to make this a Turn Key Solution if they expect to sell it.
(A beta tester told me that my experience is not unusual with this blasted thing!)
I am a bit pissed about this.
They advertise it as a simple solution on "compatible" computers.
Hardy anything is compatible so that lets them off the hook as to if it works or not.
They even say that expensive graphics cards are not necessarily going to work! WTF

Disk configuration and workflow help needed for lab video workstation

Hi All,
Setting up a video editing workstation for a research lab that will use Premeire to edit AVCHD Progressive clips (sometimes with 2 streams side-by-side, but usually single-camera) and export them to .mp4 for later viewing by video coders. We won't be using AfterEffects or adding anything to the videos other than some text (titles, maybe sub-titles).
The other purpose of this workstation is to act as a file server and backup system for other machines in the lab. Coders will be viewing the exported videos via other networked machines and working with Microsoft Office files that will be stored on the workstation's other HDDs. I'll have a physical backup drive and cloud backup via CrashPlan.
I've built a machine that is probably overkill, but the client (my wife) wanted it to be "fast," and the purpose of the machine might change in the future:
i7-4770K (overclocked a bit)
16GB RAM
Asus Z87-Pro
GeForce GTX 660
I have the OS (W7) and programs on a 256 GB Samsung 840 Pro SSD and currently have two 1TB Velociraptors to use for the Premiere workflow. I'm trying to figure out how to proceed with the purchase of the rest of the drives, and I want to keep the Premiere drives separate from the large storage drives from the lab that are networked and synced to cloud backup.
Following the recommendations for a three-disc configuration I've picked up on these forums, I could set it up like this:
C: (256GB SSD) (OS, programs, pagefile)
D: (1TB HDD) (media, projects)
E: (1TB HDD) (previews, media cache, exports)
F: (4TB HDD) (backups of media, projects, and exports and storage of other research files)*THIS DRIVE WOULD BE SHARED ON THE NETWORK
G: (4TB external HDD) (backup of F & drive that backs up to CrashPlan)
but it seems that would be a waste of the speed of the second 10k velociraptor. If I added another SSD and RAIDed the Velociraptors it would be:
C: (256GB SSD) (OS, programs)
D: (Two 1TB Velociraptors in RAID 0) (media, projects)
E: (256GB SSD) (media cache, pagefile)
but would I then need to add another dedicated HDD for previews and exports, or could I store those on the networked F: from above (which would be previews, exports, backups of media and projects, and storage of other research files) without taking a speed hit?
It seems overkill to have a dedicated drive for exports and previews (let's make that the new F:), then have them copy to the first 4TB drive (now G:), then back that up to the second 4TB drive (now H:), then back that up to CrashPlan. However, people might be accessing that network drive at any time, and I don't want that to slow any part of the video process down.
I appreciate any advice ya'll can give me!

Hi Jim,
Thanks for the encouraging response. I'm leaning toward the non-SSD option at this point.
To make sure I understand, are you suggesting I try using the Velociraptor Raid 0 in the 2 disk configuration suggested by Harm's Guidelines for Disk Usage chart? Like this:
C: (256 GB SSD) (OS, Programs, Pagefile, Media Cache)
D: (1TB x2 in RAID 0) (Media, Projects, Previews, Exports)?
Where I'm still confused there, and in looking at Harm's array suggestions for 5 or more drives, is how performance is affected by having simultaneous read/write operations happening on the same drive, which is what I understood was the reason for spreading out the files on multiple drives. Maybe I don't understand how Premiere's file operations work in practice, or maybe I don't understand RAID 0 well enough.
In the type of editing we'll be doing (minimal) aren't there still times when Premiere will be trying to read and write from the D: drive at the same time, for example during export? Wouldn't the increased speed benefits of RAID 0 for either read or write alone be defeated by asking the array to do both simultaneously?
Maybe the reason the Media Cache is on the SSD in the above configuration is because that is what will be read while writing to something like Exports? But that wouldn't make sense given Harm's chart, which has the Media Cache also located on the array....
Another question is, given that the final home of the exported videos will be on the big internal drive (4TB) anyway, could I set it up like this:
C: (SSD) (OS, Programs, Pagefile, Media Cache)
D: (2TB RAID 0) (Media, Projects, Previews)
E: (network shared 4TB HDD) (Exports + a bunch of other shared non-video files)
so I don't end up having to copy the exported videos over to the 4TB drive? Do you think it would render significantly faster to the RAID than it would to the 7200 rpm 4TB drive? I'd like to cut out the step of copying exported videos from D: to E: all the time if it wasn't necessary.
Thanks again.

Premiere to AE to Premiere Workflow

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