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Sorry, but that s wrong.
At the moment, importing dngs in AE, making proxys and open this AE Sequence (not like in the video safe as premiere) in premiere, you have the best workflow.
no exporting, no xml, no metadata and no comlicated workflows with davinci.
unless Premiere is able to open dng s via acr, this is the best non destructiv workflow.
At the moment, Premiere only applys some Camera metadata to the dngs when opening them, no way to work with that.

If you re talking about premiere cs6, i can try it if someone has a file for me

As far as i can say from premiere cs6, it does not import any 14 bit files, except via dynamik link

Did you check this kickstarter Project?
Quite nice...
http://www.kickstarter.com/projects/primehd/raw-2-cf-raw-convert-your-frames-into-video-fast

The good thing on (mkiii) raw is that you can scale it up, the warp stabilizer is crap in my eyes, try to use the scaling- only method, with that you avoid wobbeling

The v210 format is a packed YUV 4:2:2 (UYVY) format with 10 bits per component.
(v210 is the avi number and means 10 bit 422. Best for us would be the Y416 standard with 16 bits and 4:4:4, which equals the cineform codec)

Which formats did you test so far?

There are several options for the uncompressed avi.
Check options- yuvv 10 bit

No, it s just about rendering out the debayered footage.
actually i have the same problem, 140 files to import, debayer and safe..

Yes, it s pretty easy. Check the tutorial from Andrew Kramer about proxys, it s well explained.

yes it works, but is for MK II.

One question- if i run rawanizer and export to cineform and open in premiere, i have no real acces to the debayer, like i have it in acr, right?

You can only import cdngs in premiere cc, other versions like cs6 don t support the import.

How do you go from premiere to resolve?

i never wanted to export a tiff sequence.
it s just a overall-workflow question to diskuss and see which workflows are the best for different systems.
i think there are 3 ways-
-importing the footage into davinci (cdng or via the nice vision log profile)
-exporting from acr via vision log into a uncompressed videofile via the log, opening in pp, davinci or something else to cut and grade
-opening the ae dng sequence in premiere, if you just want to use these 2 programs. this avoids exporting and having new files which blast your hdd.cutting and cc in premiere.

i did some heavy grading tests and watched the rgb parade. with the gaps in it, you can compare how much the footage holds up in grading.
there were no differences between lets say uncompressed avi yuv 10bit and the original 14 bit footage from acr. only the end of the highlights were somoother in 14 bit.
so  i totally agre with you that there is no main difference when you export the footage in 10 bit.

There isn t a dnxhd 12 bit, it only does 10 bit.
prores is mac only.
with the method to import the sequences from ae into pp, you get full colour range and don t have to export any files which will fill up your hdd

unless i am in 14 bit the whole time, like importing to a 16 bit ae sequence, and importing this sequence via dynamik link into premiere for editing and cc for example

Maybe i am overworked at the moment...
if i apply visionlog in acr, do i tweak the image like i want it in the settings? isnt the idea of log that the picture comes out flat in acr, and i apply a lut?
when i do this, does the vision log only work with lut from you guys? i tried the hunters lut in ae, but this wrecked my picture up like crazy

hm, i have to finish a big projekt within the next days, to learn davince would take to much time. i am cutting with pp and ae for 15 years now, so including davinci would double the time i need..

Speaking of sharpening, is there a way beside resolve?
i don t know if it is a good idea to sharpen in acr, and in ae or premiere you only have the unsharp mask

Allright,thanks

may i ask what kind of export settings you used for vimeo?

I forgot to mention-
exporting dpx in ae is only possible in 10 bit.
really, i tested footage in premiere, one via dynamik link, the other via dpx 10bit and yuvv10 bit- no difference.

you can see this by applying a dramatic curve effect and then watch the rgb parade- a lot of gaps menas 8 bit, at 10 or 16 there are no gaps.

anyway, there is a tool called dpx plus, it s for free and allwos you both to import and export dpx files even in 16 bit in ae and pp !

Noise Reduction AFTER CC!
From First to last Step:
1st CC: WB,White/ Black Point (levels, kurves,...)
2nd CC: Effects, Colour and stuff
Denoiser
Sharpen

Sidenotes: Do the Colour Correction AFTER doing titles if you want them to fit into the scene.
                  Set a vignette BEFORE the Colour Correction(worst mistake ever, even the tv stations do it wrong..)

Hi, there are 2 Formats in AE which preserve the bitrate-
dpx and tiff, both with 16(!) bit

is this the same workflow you're talking about?
http://www.youtube.com/watch?v=jTyl7t0DdQs

No, seems more complicated in this video.
First, check what Andrew says about Proxies: http://www.videocopilot.net/tutorial/proxies_and_workflow_tips/
i have the original dng sequence opened in ae, creating proxies for it, which i can toggle on and of in the explorer.
than open premiere, import ae sequence.