Great tutorial and excellent footage Brightonti.

I can now see why you need a Nikon D850 and this instrument is in perfect hands with you!

Two questions:
From the tutorial I couldn't deduct whether you use Bezier keyframes (ease in/out) in AE or not and

Do you upload to P5 only or also to other stock agencies?

The reason why I haven't done it is that at the moment with D850 files, After Effects is pushed to the last limits, take over the whole PC resources and sometimes crashes.
I will upgrade my RAM from 32 to 64 and also start to experiment converting files to DNG to see if it makes a small difference

I've never had a problem with After Effects crashes...

...until today! After the 15.1 (April 3rd) update.

Now I can't even export a RAW sequence without crashing. I have to do it 2 seconds at a time... This was never a problem until the update and I could work on other things while it ran in the background.

Interesting how they can screw up something this bad with an "update"...

Anyone else with this problem after the update?

Update:

I downgraded back to CC 2017 (14) and everything works as it should again, not a crash in sight... Quite a few good work hours lost though... oh well. 

I was going to suggest to roll back to a previous version and wait until a solution is found.
Adobe is usually quite good at that.
I have not updated mine yet, at the moment very busy analysing the new Lightroom, big, big change

Working on raw footage can be processor consuming indeed.
I always convert my raw NEFs to TIFF16 sequences first before doing image transformations on them.
Works a lot faster on my 2014 MacMini with AE CS6.5 and I don't need to upgrade anything.
From raw to tiff I make the image very dull so both the foreground and sky have all the greys that I need for masking etcetera.

Yes, this is pretty much exactly what I do, but I make a HQ video file (tiff takes so much space) directly from the RAW images and then work from there. The problem was converting the RAW files with CC 2018 in the first place. 

From VJ-ing with Resolume Arena I learned that decoding compressed files takes a lot of processor power while working real time.

On a MAC working with ProRes files you might notice that there are one or more other programs like "Adobe helper" eating your RAM and processing power.
These programs do the decoding of the Quicktime files, AE doesn't do the decoding itself.

That's why I often use TIFF sequences or even JPEG sequences (!) uncompressed when working with large images, pingponging between two external harddisks.

Manual purging RAM helps a lot too and I'm glad you solved the primary problem by rolling back to a previous version of After Effects.

Just to confirm, I ran a couple of tests in After Effects. I could just not believe there was any way a TIFF sequence was faster to work with than ProRes...

A short clip (5760x3840) with some basic color correction effects applied. I purged all memory and RAM between each test. I ran each test twice. Only After Effects was running (on macOS High Sierra).

They are in the same composition with the same adjustment layer. The layers that weren't used were deleted.

ProRes (HQ) Export - 48 seconds the first time, 45 seconds the second time.
JPG Export - 57 seconds the first time, 58 seconds the second time.
TIFF 16-bit uncompressed Export - 1 min 28 seconds the first time, 1 min 29 seconds the second time.

I also had to test TIFF 16-bit compressed - 1 min 26 seconds.

There is no question what's faster on my system. I encourage you to do the same tests. They may differ, especially if it's on a PC.

Quarter RAM previews were faster of course, with ProRes #1, TIFF not long after, and JPG being much slower.

And of course, a TIFF 16-bit uncompressed sequence takes up 13.5 times more space than ProRes (HQ). 

The only advantage with TIFF is of course 16-bit (which is really 14-bit or 12-bit in this case) instead of 10-bit.

But why work with TIFF at all when you can work directly with RAW then?

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These first tests were done from the harddrives I normally work with, so that they would be real-life situation tests for me.

I also did the same tests from my internal SSD, and these were the results:

1. ProRes (HQ) - 45 seconds.
2. TIFF 16-bit Uncompressed - 54 seconds.
3. JPG 100% - 56 seconds.

I added RAW and DNG, both from SSD:

4. RAW - 1 min 29 seconds.
5. DNG - 1 min 17 seconds.

Smaller difference without the slower disk bottleneck. But still, ProRes (HQ) is significantly faster for me.

I didn't know TIFF16 is actually 14bit but why not, thanks!

Well, TIFF16 CAN be 16-bit, but not when the source is single RAW files, which are 12-bit or 14-bit from your camera, depending on what you use. 

I can recommend denoising in After Effects with Neat Video or one of their competitors. That way you can use time-based noise reduction and also spot any banding issues before printing the noise reduction.

I've started to uses uncompressed JPEGs as intermediate files a lot though, when converting from 25fps to 24fps ProRes files, and found out that they work fine also when doing things like time stretching through multiple layers.

This makes no sense to me. Can you explain further what you mean?

If you want to convert from 25 to 24 you just choose Interpret Footage in AE and export again. Takes a few seconds.

Ha, yes, JPG images sequences as in-betweens I use only after I've done all grading towards a ProRes444 archival file.
Mainly for doing many multi-layered VFX in AE, not for landscape work.

With doing 24 <--> 25 fps conversions I've had problems in the past like skipped or doubled frames so when I doubt I go from a ProRes 25fps to a ProRes24 fps file through single frame sequences.
Perhaps I'm doing something wrong? Interpret frame rate doesn't always work for me.

Glad I'm not the only one 
I burned my fingers once (2013) in Adobe Premiere and since then I often just do it the hard way with important timelapse files.