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Premiere CS6 roundtrip?

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Ben EdwardsPremiere CS6 roundtrip?
by on Jun 9, 2012 at 11:11:37 am

Done a bit of googeling and searching forums without lock.

What is a good way to do a Resolve Premiere Pro CS6 rountrip?

Ben

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Margus VollRe: Premiere CS6 roundtrip?
by on Jun 9, 2012 at 11:15:04 am

Try XML ?

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Pasha PatrikiRe: Premiere CS6 roundtrip?
by on Jun 9, 2012 at 2:34:04 pm

This is a great topic. I was literally going to start this discussion today, and here it is!
I am yet to see a succesfull conform in Resolve from Premiere's EDL OR XML. Usually a bunch of clips don't connect, and the ones that connect have wrong in and out points.

I have tried two different types of projects.

1). Original footage - R3D. Offline picture edit was done using Quicktime Prores dailies in FCP. I brought it into Premiere via XML and reconnected the .mov clips to original R3D files. (SIDE QUESTION - anyone knows a way to batch re-link media in Premiere, like you can do in FCP? seems like in Premiere I have to do it clip by clip).
Export EDL (or XML) with R3D clips and then import that into Resolve. Everything falls apart.


2). Same project as above - this time I used Clipfinder to reconnect the clips to original R3D files. Import Clipfinder's converted XML in Resolve - VOILA! Worked like magic. HOWEVER! Import that XML into Premiere, works fine, and then re-export EDL or XML from Premiere, then import into Resolve - everything falls apart.

3). This project originated in Premiere. Source files - R3D raw footage. Exported EDL and "Final Cut Pro XML" - neither version assembles it correctly in Resolve. Same problems over and over.

I would like to add that I recently switched from Mac Pro to PC Resolve, and these problems existed on both computers.

So I think at this point I pretty much singled out Premiere's EDL export as the one causing the problems.

What is the trick to properly and painlessly roundtrip between Premiere and Resolve???????


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Michael GriggsRe: Premiere CS6 roundtrip?
by on Jun 9, 2012 at 7:27:19 pm

Check out Walt Biscardi's Article on this.....very enlightening.

http://magazine.creativecow.net/article/a-cautionary-tale-for-the-fcp-switc...

The quick version: you're gonna hafta export a master file and cut it up in Resolve.


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Ben EdwardsRe: Premiere CS6 roundtrip?
by on Jun 9, 2012 at 8:42:06 pm

Ouch, so there is no round-trip. Just read the article. You flatten the project and use scene extract in Resolve. There is no round trip so if you, for example, have to cut a feature to a 1 hour TV size you kind of have to redo all your grading;(.

Anyone given speed-grade a try?

Ben

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http://www.funkytwig.com

Macpro1,1 2007 6GB RAM 2*2 3Ghz Xeon


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Paul NordinRe: Premiere CS6 roundtrip?
by on Jun 9, 2012 at 10:01:46 pm

This is the NO1 issue for me WRT using Premiere. I really like CS6 in all other respects. For long form projects, the only success I've had is in PPro:
1. break the edit-lock sequence into 20min reels,
2. bake in any speed changes or other non-XML friendly effects
3. Remove any temp effects
4. FCP XML export the reels.
5. Import the XMLs into FCP,
6. In FCP clean up any import problems,
7. Generate FCP v5 XMLs for each reel.
8. Load the FCP generated XMLs into Resolve.

VERY VERY cumbersome. I had high hopes that CS6 would improve the weak XML interchange, but that was not to be. Now, I'm hoping Resolve v9 might have some mojo to help with this.

I spend a lot of time hoping. :(

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Ben EdwardsRe: Premiere CS6 roundtrip?
by on Jun 10, 2012 at 12:08:03 am

Not seem anything is the v9 improvements that seem to indicate an improvement. I have Speedgrade as part of my CS6 bundle so may have to give that a look;).

--
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http://www.funkytwig.com

Macpro1,1 2007 6GB RAM 2*2 3Ghz Xeon


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Sascha HaberRe: Premiere CS6 roundtrip?
by on Jun 10, 2012 at 11:43:45 am

As if Adobe is interested in people leaving their world...
Especially not with Speedgrade now being part of the package.

A slice of color...

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Mike MolendaRe: Premiere CS6 roundtrip?
by on Jun 15, 2012 at 4:50:58 pm

I've been able to successfully roundtrip to Resolve via EDL. I think a big hangup is that you need Reel identifiers and unique clip names, which is a problem for a lot of card-based media.

I think I was able to get it to work by modifying the Tape Name in the Premiere metadata. The integration between Premiere and SpeedGrade is obviously a lot tighter, but a Premiere/Resolve roundtrip can be done.

I've also had some luck roundtripping from Premiere to Color using XML and FCP as an intermediary.

Paul's process above might be a pain for some, but reads to me like pretty standard operating procedure. It's a good habit to remove as many variables as possible so you don't end up with any unpleasant surprises later.

Temporarily remove effects and transitions, and break longer cuts into 20-minute "reels" before grading. Also to take the little bit of extra time to enter metadata when you're ingesting your clips. A little extra work on the front end usually saves a lot of headaches down the pipeline.


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Rohit GuptaRe: Premiere CS6 roundtrip?
by on Jun 15, 2012 at 5:29:35 pm

Hi Mike,

What sort of issues are you running into if you export an FCP7 XML and import into Resolve?

If you could send us your XML, and Resolve project, any screenshots, etc. at our help address - davincihelp (at) blackmagic-design.com, we'd like to sort it out for you.

Regards,
Rohit


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Mike MolendaRe: Premiere CS6 roundtrip?
by on Jun 15, 2012 at 10:27:52 pm

I don't think I was clear. I've actually been able to successfully round trip Premiere to Resolve with EDL. And I've done FCP7 XML to Resolve successfully, too. Thanks for the offer to help, though!


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Clay ColemanRe: Premiere CS6 roundtrip?
by on Jul 28, 2012 at 12:43:19 pm

Having similar issues. I was handed a PPro CS6 Project (90 second mixed timeline with mostly ProRes4444 and some .r3d all at 25fps) to grade and tried the following:

1. select sequence in PPro >export > edl. This works, sort of. In Resolve, the edl didn't bring over the resizes or the numerous retimings and speed ramps the editor used rather extensively. If I had asked the editor to go back and bake in all those effects and give me the project back, it probably would have worked far better. Not very elegant, but at least I would have had my back covered that all the shots were timed and sized as the editor intended.

2. select sequence in PPro > export > fcp xml. This does not work at all well and I can't see using it again anytime soon. The first couple of shots came over ok, but once I hit the shots with speed effects and resizes, things pretty much went haywire. In and out points were no longer accurate. Other shots froze up entirely. Not a workable method.

3. exported a QT ProRes 4444 from PPro via AME. Brought the QT over to Resolve and ran Scene Detect. Works great, but only because the entire show is hard cuts only. Still, it's seems currently the best method as it is the only totally reliable one.

To work really well together with PPro, Resolve either has to be able to read the FCP7 xml's better, or, PPro has to have it's own PPro xml export function and not rely on the fcp7 route (probably not a viable alternative over the long term). At the moment the colorist has to be moderately adept at both PPro CS6 and FCP7 to troubleshoot and solve the issues.

Kinda clunky. Needs a fix.


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Michael GriggsRe: Premiere CS6 roundtrip?
by on Jul 28, 2012 at 2:07:00 pm

According to the manual, speed change effects (as in ramps) are not supported. The entire clip has to be one speed (be it faster, slower, etc.) for it to translate.

Having used the export-the-entire-sequence-as-one-file method, I agree, Clunky to say the least...especially if/when anything beside straight cuts are used. Obviously you can still get away with keyframing for dissolves and such, but if there are any "special" (read: third party plug-in) transitions, that would make things MUCH more difficult.

The next project I get that comes from Premier, I'm gonna try using xml to bring it into FCP7 first; then round trip from there. (Had plenty of success running projects through Legacy.) At least I won't have to keyframe all the dissolve transitions again...not to mention the fun of trying to scene detect and split a 90 minute feature.....


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Ross WilsonRe: Premiere CS6 roundtrip?
by on Jun 12, 2012 at 8:39:18 am

I've got successful conforms..

I brought all my DNG files into resolve, made a quick grade and rendered them out via XML roundtrip then edited in Premier 6. Exported the XML, loaded it back into Resolve and had it all match up perfectly.


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c-deeq raphealRe: Premiere CS6 roundtrip?
by on Aug 14, 2012 at 5:10:18 am

WOW,

This is the error message
"the project contained a sequence that could not be opened. No sequence preview preset file or codec could be associated with this sequence type "

I used to color correct in After Effects. I have since got my hands on the Red Epic, the Scarlet, and I plan on buying two Black Magic cameras. Therefore, I decided to change the way that I color correct. I first sterted using speed grade. Speed grade has the capabilities of being a great software. However it has some Major flaws that need to be resolved ASAP .....Which brings me to my point. Adobe Premiere can import and export FCP XML v4 However, davinci can import FCP XML v4 and FCP XML v5 but only export FCP XML v5. What that means is, if you want to import any new XML's that use FCP XML v5, you can't. I don't know what needs to happen but we need Adobe to make an update so that they can support 5.0.


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Joe MauriciRe: Premiere CS6 roundtrip?
by on Jan 21, 2013 at 3:39:23 am

Hi guys,

Looks like this thread died in the you know what mid last year.

I think I have found a workaround, using CS6 and Resolve 9. If i'm missing something obvious please don't hesitate to tell me.

In Prem Pro I am using native R3D files to edit. Once the edit is does export a XML file as is.
Import the XML into the Timeline section of Resolve and it should bring in the clips needed but have trouble linking them to the Timeline itself.

So once you have your clips in Resolve, go into the Media Pool and Select your clips in Reels. I.e. Select all of your A001 clips. Then right click and select Clip Attributes. Click on Reel Name. Select 'User Defined and put in '001'. Do the same for all your other reels '002', '003' etc

Go back into Premiere and choose only the A001 clips you have edited and change the Tape Name to '001' as we did in Resolve. Do the same for any A002 clips etc. Then export an EDL from Premiere.

Go back into Resolve and into the Timelines section import your EDL and it should all re-link perfectly... Should!

I tested this with a Speed change in the EDL and XML.

All the best
Joe


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Margus VollRe: Premiere CS6 roundtrip?
by on Jan 21, 2013 at 8:23:50 am

You can only have constant speed changes not variable speed change or it will not work.

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Jake RussellRe: Premiere CS6 roundtrip?
by on Feb 6, 2013 at 6:04:09 pm

I am trying your method, but in Resolve media pool, User Defined is grayed and not adjustable out when I click into Clip Attributes.

How do I lift this restriction?


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Margus VollRe: Premiere CS6 roundtrip?
by on Feb 6, 2013 at 6:48:33 pm

what did you mean by that ?

if you have constant speed changes in footage it should work fine out of the box so to say.

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Jake RussellRe: Premiere CS6 roundtrip?
by on Feb 6, 2013 at 7:57:31 pm

Using Joe's method above, I am unable to manually change the Reel inside of Davinci. There were no speed changes in my footage.


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Margus VollRe: Premiere CS6 roundtrip?
by on Feb 6, 2013 at 8:07:35 pm

you get reel already in edl on xml or from file name folder name etc.

you can not do it manually clip by clip

--

Margus

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GTX 470 / Quadro 4000
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Jake RussellRe: Premiere CS6 roundtrip?
by on Feb 6, 2013 at 8:34:07 pm

I think there's some confusion. According to Joe above, his timeline has a few clips with edit points from Premiere did not come into Resolve correctly and he found a solution. I am having the same problem. My timeline has a couple clips that are not the correct edit points from Premiere.

Here's what Joe said in his post above:

[Joe Maurici] "So once you have your clips in Resolve, go into the Media Pool and Select your clips in Reels. I.e. Select all of your A001 clips. Then right click and select Clip Attributes. Click on Reel Name. Select 'User Defined and put in '001'. Do the same for all your other reels '002', '003' etc"

This is what I'm having an issue with:
I am not able to do what Joe said to do because the options are all grayed out.

Here are my steps to recreate Joe's solution:
1. I have my xml from Premiere and I brought it into Resolve and I loaded it in Resolve.
2. I went back to my Media Pool and selected my R3d files with A001 and I right clicked on it and selected Clip Attributes.
3. A box opens up and I went to click on Reel Name, but the options are all grayed out and I can't select them.

My question:
Is there a way I can fix this so that I can create a User Defined reel name based on Joe's suggested steps?


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Nick AndersonRe: Premiere CS6 roundtrip?
by on Jun 28, 2013 at 9:52:51 am

I have had 100% success with all types of footage using this simple workflow.

1. Edit in Premiere with a Resolve friendly codec. If you are using something like AVCHD, transcode before editing or relink later. DO NOT USE NESTED SEQUENCES!!!!!
2. Bake in any effects that won't translate via XML.
3. Open the Project Manager and use it to create a condensed version of your project with only the clips you are using and give them unique file names if they don't already. You can also choose to rename the files to what they are named in Premiere. This will consolidate all your files into a new location of your choosing that is perfect for Color and Sound.
4. Open the new project file and export and XML (as well as all other timeline formats just to be safe).
5. Open Resolve and go to the project settings before importing any footage (VERY IMPORTANT!!!). Set your master timeline frame rates and select for mixed frame rates to be interpreted as Final Cut 7. Otherwise, you will get false IOs due to Resolve interpreting your 30fps timecode 23.97fps (creating a slight slow-mo effect).
6. Import your XML and make sure all the setting match your premiere timeline.
7. For any clips that don't link up, just import them into the media pool manually and they will automatically relink (no window will pop up, they will just show up in your timeline)
8. A WORD OF CAUTION: If any two clips have the same name, for example a RED clip and an MOV proxy, Resolve will associate with the first one.
9. When you are done, render out your new clips with the FCP Roundtrip preset in whatever codec you want and then export out an XML from Resolve.
10. Import the new Resolve XML into Premiere and your timeline w/ graded clips will import.

I have used this workflow on many projects with RED cameras and HACKED GH2s and it has work very well.


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steve bockeyRe: Premiere CS6 roundtrip?
by on Dec 12, 2013 at 5:54:26 am

Thanks Nick!

I have a couple of questions. I shoot on a canon 600D and a Go-Pro hero 3+ black. My workflow will consist of Cineform studio, PPro, Resolve 10 (to my understanding, now supporting Go Pro studio AVI files...something they did not support in version 9) & sometimes After effects when needed. My current thoughts on workflow are to:

* = there is a question i have for you in this step :)

1. import all footage (600D & gopro) and convert to Cineform AVI Codec.

2) edit my clips, use nesting sequences to twixtor variable frame rates into a 24p timeline (23.976). Also, Push in on 2.7K footage where applicable.

My questions:
*3) I WANT TO "BAKE IN" the non xml friendly footage at this time (including nested sequences) but I am not sure what that means exactly? (Im a bit of a noob). Can you help me here? Do you mean export just those clips using the same file name and a format that is lossless? Is this any different (quality wise) than exporting your sequence and having resolve then auto detect the clips? Can you elaborate on "bake in" as it pertains to files in premiere pro? If i will need to choose a settings to "bake in" the effects, what is the most lossless one?

*4) I will then export xml to reslove. Can you elaborate on "creating a condensed version of your project" prior to this step? How Is This done in PPro? it sounds like a time saver!

*5. Usually, at this point Ill open the xml in resolve and begin color grading (ill usually have to fix sizing, and various other xml issues, then color the footage. But your method seem to point to my being able to get grading right away! is that correct?

*6. At this point I export to final cut xml and then export a new xml file for roundtrip back to premiere. Do You have a good lossless format to export these graded clips in? Im not sure what the best format to retain image quality will be for the gopro footage and t3i (remember, the grade will have been done to Cineform AVI files I first created in Cineform Studio)


*7. You said "When you are done, render out your new clips with the FCP Roundtrip preset in whatever codec you want and then export out an XML from Resolve." What codec would you recommend? now that you know my source files, my cineform avi files they have been transcoded to (cineform, avi). Note: I have a pro membershiop to vimeo and my footage will be posted in 24fps (or 30fps) at 1920x1080. I dont upload much and final product file size is not an issue for me. I just want the most visually stunning material that also wont get screwed up by vimeo when they compress it (most of my work is only 5mins-10mins long).

8. I know how to Import the xml back to PPro.. as you said, ill then "Import the new Resolve XML into Premiere and your timeline w/ graded clips will import. I need to get back to ppro (and not just export out of resolve at this point) because at this stage I will add neat video denoise (i only own it in ppro). Usually I will add some shapening as well. If need be, Ill use adobe dynamic link to do After effects work prior to exporting from pPro (via Adobe media Encoder).

FYI:
-Resolve lite wont work with anything over 1080P (or a bit larger). so my gopro 2.7K files need to have pan effect, resized/pushed in/croped and stabilized prior to getting to after effects. Otherwise, resolve will re-size it to 1080 (problem here: say i want to stabilize footage and have to zoom in a bit, I just lost quality where I wouldnt if I was working in 2.7K in a 1080 project.)

-I know you may ask why am i putting 600d footage into cineform avi along with my gopro footage. I like coding it this way because my system seems to like it better (when working in premiere pro) and I also enjoy the metadata White balance and protune settings that i can alter in cineform studio and will show up in my clip imediately when in Premiere pro (I havent tried this yet but I am hoping that Resolve will read that metadata as well and I will be able to start with the protune log I sometime apply to my gopro footage when in cineform studio). Do you know if it will?


Thanks in advance for considering to assist me with wrapping my head around all of this!

~Steve
PPro cs5.5
AE
Resolve 10 lite
Neat Video
Twixtor
i7
12gb ram
GTX 670
125gig SSD (scratch, Project files & Renders)
2 tb (external backup)
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Nick AndersonRe: Premiere CS6 roundtrip?
by on Dec 12, 2013 at 2:27:53 pm

3) I recommend that you never nest any sequences, when you are thinking about roundtripping with Resolve. They become a nightmare and you have to spend a lot of time conforming. What I mean is, never put a sequence on your timeline. You can however just make one "Twixtor sequence" and put each of the twitor clips into it and export them individually. Yes, you Don't need to export them with the exact same name. Instead, you should simply replace the original clips in the timeline with the baked in ones. This is because the Relink function in CS6 is unlikely to let you relink to the new clips because they won't be identical. I recommend that you use either Prores or DNxHD since you are only working with 1080p. However, DPX is the best format to use if you want to be 100% lossless. I do all my work in those formats or the native formats for RAW cameras.

4) In the task bar, there is an option called "Project Manager". It is under either file or edit, I believe. I think its location may have changed between CC and CS6. You can choose to create a new project with only the clips used on the timeline as well as renaming files with non-unique names so that they are unique (which is necessary for resolve). This copies all your used clips to a condensed folder and creates a new project file that is linked to the new clips. Also, you can choose to just export the portions of your clips that are in the sequence, which I wouldn't recommend unless you are really needing to save space. This whole process can take 10min-3hours depending on your project. Also, with CS6 I did have a problem in the past when I did this process from one FW800 drive to another, so either make the destination folder on the same drive or on the desktop.

5) At this point, I would create a duplicate of your master timeline and remove any and all effects (not including transitions). You should preempt this and bake in any effects you can't create in Resolve. That way, you are able to start from scratch in resolve. However, with sizing issues, I think that if you make all the 2.7K footage "resize to frame" THEN do your resizing, the sizing will translate into resolve (just a theory though). Either way, the goal is to get as little XML issues as possible. If sizing doesn't transfer over, then why include it in the XML and get a funky resizing that needs to be changed anyway. Regardless, this is not an XML issue, it is Resolve that works in a single framerate and resolution timeline. All clips are conformed to that resolution, so you could set it to 2.7K and have the 1080 clips upscale. Just have that in mind for resizing and try to start all the clips from a standpoint of being at the same resolution. With Resolve Lite 10, they have actually lifted the resolution limitation, so now the only difference is the ability to add multiple GPUs and RedRockets.

6) For maximum quality, DPX is the codec to use, but it is huge and difficult to manage. It sounds like you are on a PC, so I guess Prores is not an option. DNxHD is basically identical to Prores in terms of quality. If you download the free trial of Avid Media Composer, the zip file will contain an installer for the Avid Codecs, which will give you all the DNxHD codecs if you don't have them. These work like Prores, but the higher the number is after the DNxHD the higher quality (possibly mb/s, not sure) it is (unlike Prores which uses color space). Lossless formats like Blackmagic and others are much like cineform, from my experience, where they work well with proprietary programs, but generally have flaws in their design (excessively large file sizes or inferior quality).

On another note, I highly caution anyone from using the Cineform codecs. There was a point a few years ago when I got into using them, because of the metadata control. However, the quality is not even close to "virtually lossless". From doing my own comparisons, I found that I was losing up to 20% of the details sometimes, if I zoomed in. If you are wanting the best quality, I wouldn't use those codecs. You will be able to fix any of these issues in Resolve anyway (though it isn't as simple of an interface). Instead use either DNxHD or Prores, as they will give you the best quality for 1080p when starting from a H.264 codec. Also, the myth about transcoding a 4:2:0 colorspace to 4:2:2 for more color control is completely false. All it does is make the footage look blotchy, since it just fills in the extra color with repeats of what is around it (which is even more visible with Cineform), so just stick to a 420 color space.

7) So, you export using the roundtrip setting and then go back to the edit page, select your timeline, then go to the task bar and export .XML to get the roundtrip XML (if you didn't know that part yet). Anyways, as I've already stated, DNxHD,Prores, or DPX are the way to go. However, with Adobe Premiere CC, DNxHD is far superior, since you can "smart render" which dramatically reduces export time by eliminating the need to render (as long as you don't have any effects). When you export out of premiere, choose the Vimeo preset that matches your clip, but check the boxes for maximizing render quality.

8) I'm a little confused here. You do HAVE to export from Resolve, since the color is not transferred using metadata. What you get is a new timeline that is linked to the new colored footage and not the originals. Also, there is noise reduction within Resolve Lite 10 as well as the ability to use NeatVideo within resolve. I am a bit confused by your workflow though. Everything that is going into resolve should typically be the finished version, which all effects baked in. Any effects added afterwards will be harder to do with the graded clips. If you want the grade on the clips when doing effects, you can import the clips into resolve early on, grade them, and then export LUTs. Then, you can use those LUTs in Premiere and AE (Use LUTBuddy from RedGiant, which is free) to work with the color non-destructively, then remove the LUT before exporting the XML. That way, when you bring the clips into resolve, you can just apply the LUT there. NeatVideo works better before grading, since manipulating color breaks apart the codec and harder to repair than if you applied the denoising before color. There should be no reason to use AE after you have graded. Setting an exact order of operations is one of the most important parts of a workflow, so you don't over complicate your project and make it unable to alter if you need to. For example, you should always sync audio before doing any else, because it is significantly harder to sync audio after the edit has begun. The same is true with altering your timeline after you have begun working in Resolve.

On the FYIs:

- Again, this is not true since version 10. Even 9 would work with any resolution, the only limit is export resolutions. My theory is (because there have been several projects that have imported sizing no problem) that, because resolve always conforms to a single resolution, if you make your premiere sequence conformed the same way the sizing will translate. You can do this by making all the clips "scale to frame size" before doing any resizing. You will see that all the clips will start from the same base level in the effects settings, instead of being set to what would normally be the starting value for scaling to that size. Also, the clips are just automatically resized in Resolve, but not transcoded or reinterpolated. So, you can still expand the clips and use the stabilizer in Resolve.

- Again, I am asking why you are using that codec at all. I understand the draw and I felt the same at one point. The only use I see for Cineform is in time based competitions like 48 hour film fests, since you can color without having to export, which saves tons of time. However, this is eliminated for me with Adobe CC because of the new Speedgrade roundtrip. However, you should try and find a way to have pro tune applied to the clips before transcoding to any other format, since it is far superior for grading. There is also no reason to think that any Cineform metadata won't appear in any program, since the way the codec works if within the file and so programs just read it like it is a normal file with the metadata changes burned in. It was a good notion to try and have a single codec throughout your workflow though, since that simplifies things.

Let me know if you have any other questions, hope this helped.


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steve bockeyRe: Premiere CS6 roundtrip?
by on Dec 12, 2013 at 6:05:54 pm

Thanks for your quick reply! Im learning so much from the creative cow forum and It seems like for every question I solve/answer, I have 5 more questions that come up. Im really enjoying the journey of diving in and learning this process (although sometimes I admit, I wish i could focus more on creative as opposed to tech, codecs, & compatibility issues across programs/software) :)

your post pointed me towards a bunch of things to try to learn how to do. im really happy to get this direction from you. You opened up a few ways to think about the roundtrip issues ive been having for sure!

I am positive that once i dive into this a bit more, i may have some additional questions (but i will hold off on them for now). I will probably follow up with those questions at a later date.

For now, a few do come to mind.

1) you said that once i export to resolve i should be ready to export my final product direct from resolve is that correct? you stated that there is no reason to roundtrip back to premiere (and dynamic link to after effects). but, suppose i want to add a complicated title (maybe with tracking), If i burned that in prior to sending to resolve then my color grade would be applied to the titler as well (ie: i have a white text in the clip, I push the clips highlights toward the yellow side a bit and now the text looks yellow and not white). What am i missing here? Am i understanding you correct?

2) Id like to delete cineform studio from my workfolw but there are a few tools that I would miss.....
you said "However, you should try and find a way to have pro tune applied to the clips before transcoding to any other format, since it is far superior for grading." I imagine you mean the protune Metadata LUT you can apply in cineform Studio? How would you suggest i do that outside of cineform studio? Is there a Protune LUT I can download somewhere that I can apply in PPro or Resolve? ...or would i transcode my footage to cineform with protune added and then take all those clips and transcode them again to DNxHD (or DPX) in resolve or premiere, and then begin to use those newly transcoded DNxHD (or DPX) clips to begin cutting in my Premiere Pro timeline? Any suggestion would be helpful as I do appreciate having protune applied (to taste) to help balance out my source files (sometimes i apply protune preset to t3I footage as well becuase for the right scenes, it actually really gives a good starting point when added to the technicolor cinestyle picture style).

Thanks again for your reply and sharing your knowledge on this topic. I look forward to the day when I wrap my head around all this so much that I can pay it forward and contribute to this forum in a constructive and pragmatic manner.

~Steve


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Gabriel NaylorRe: Premiere CS6 roundtrip?
by on Dec 22, 2013 at 7:01:06 am

Thought I'd share this video. Life saver.






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