PPro won't render proxies, it only works at sequence resolution. I'd like to know a little more about your project. Too often beginners will try and cut an entire project in a single timeline when it's much more efficient to break the show down into scenes, edit the scenes in individual sequence timelines, then bring all the sequences into a final timeline to complete the show. That's the way all features are cut by professional editors. Nobody just starts at act one, scene one, shot 1 and cuts the entire project in a single timeline.
Thanks for the input Rick. I am talking about working at full res. I use the proxy functionality in AE to render full res pre-renders of complicated bits and then "use proxies" when rendering out of AE for full res, full quality comps. It's a workflow that lets me pre-render elements I'm reasonably sure I don't want to work on more, but if I change my mind it's as easy as disabling the proxy and continuing work on the pre-comp. But I think "PPro won't render proxies" answers my question. It's just a shame 'cause it's a handy workflow technique in AE proper.
I still think your whole workflow needs review. I recently went through the workflow on a friend's project that he had been working on for about 3 months. It was taking him days, sometimes weeks to make changes. Once the workflow was properly organized his time per shot and his time per change was cut by about 75%.
Take a careful look at how you're organizing things. Take a careful look at how you set up your AE projects. Re-use as many elements and settings as you can. Build your VFX shots with plenty of handles (extra frames) so that you can make editing decisions easily later on. Tweaking timing is the most important part of visual storytelling.
Personally, if every shot in a sequence has a FVX element or needs other work in AE I'll either bring the entire project into AE or I'l bring each footage element into AE as a separate project. I only use dynamic link when I'm doing something like adding a motion graphic element (chart or something like that) to a scene. I sometimes use it for keying and compositing in a tv spot or very short scene, I occasionally use dynamic link for lower 1/3's or titles, but I never use dynamic link for shots like this:
This was a shot for a made for TV movie I did a while ago. The fire in the fireplace is a composite because the fireplace is made if styrofoam. The composite involves tracking, roto, lighting effects and other effects in a comp that included about 20 layers. Once we picked the best take I ran the effects for the whole shot and rendered it. When I cut the scene I adjusted the timing about 20 times trying to get the best performance. If this was a dynamic link in the time line it would have been a mess. BTW, the color grading for the shot isn't complete. We did that last after the whole movie was put together.
I hope this helps.
I do bring every footage element into AE, mostly as a separate project. It's a 8-minute per episode web series, all shot on green screen with PS + AE for the backgrounds. I just don't render out of AE, I render via Premiere because rendering in AE would be a major pain if I wanted to change anything. Yes, it's a tough workflow and asking a lot o dynamic link (I certainly don't get real-time playback; I have to render everything but the very very simplest bits in the timeline). But it's far less cumbersome than rendering out of AE. The ability to pop a clip open in AE and make a tweak to the composite after seeing it in the cut is invaluable. So I'm not quite sure what you're suggesting differently.
Short teaser clip to show the sorts of shots the show is based around. This one doesn't have any cutting, most of the show has a typical TV cutting pace. www.gwendolyndangerous.com
Thanks for the suggestions.
I'd probably cut for performance, make notes, then do all the keying for the shots that wold be used, then build dynamic link comps for the compositing using the rendered files with alpha channels. The most efficient workflow is the one that involves the least amount of rendering. In many cases where I have had large amounts of keying I've just dropped the keyed shots into a sequence in PPro or FCP, dropped in the backgrounds as a placeholder, then once the performance was signed of, I've completed the compositing.
Most of my editing hours are always spent cutting for performance and story. If there are major story elements in the background then you'll have to cut them there also.
It looks like an ambitious project. It looks like you've got a pretty good handle on the production. Just keep examining your workflow to try and find shortcuts.
I hope that your web series pays off for you in the long run. Most labors of love end up being like that girl in the second seat on the left in home room on the first day of high school; nice to dream about but never available for a goodnight kiss.