Davinci workflow with CS6
So I have this project I'm editing all with CS6 and Resolve Lite, and what I would like to know is, what is the best proper workflow for editing, color and special FX in AE.
Do I edit all the clips together in Premiere, render that out as an XML to Resolve, grade all of that, and then render that to a DPX sequence for AE to add the effects, and then render that yet again for web?
If I add the color before FX, that will affect the coloring on the 3D text I'm going to add in, so I need to color grade before that, correct? or no.
Any advice on the matter would be super helpful.
(Shooting on Canon 7D with cinestyle)
This week I have also been wondering more about best practices going from PremiereCS6 to resolve and back - as more editors are moving away from fcp7.
There are still MANY issues with Premiere XML last time i checked, and the normal practice I have seen and actually done myself, is 'washing' them thru fcp7 in order to get things functioning properly. Another part of this problem is the fact that there are ALOT of dslr h264 projects in CS6 being done, and people want to avoid having to transcode to better codec for playback and performance like proresHQ with added timecode (FCP EOS plugin, 5D2RGB, etc). Kinda makes me wonder if learning Speedgrade just to check it out might not be a bad idea for this type of job?
I am wondering how best to handle a workflow where they have cut in PremiereCS6 using the camera original h.264 files and want to grade in Resolve and send back to Premiere for finishing. Should I be advising assistant to send me xml and transcoded w/timecode ProResHQ files or just stick with the h264? As far as I am aware Premiere CS6 XML's are still not coming into Resolve as they do from FCP7 and I imagine not having metadata will show many issues when trying to match the the offline reference file. I would love to get some opinions on how best to handle this workflow as of today on the latest 'stable' version of Resolve 9.0.4 (I have read there are some issues with Tangent control surface so will have to wait for 9.1.bug fix :)
Every time I try to use XML prom PP, it just doesn't work consistently. So, I agree with the previous suggestion of running the project though FCP and exporting XML from there. Works like a charm.
I' ve some questions on this topic.
I know how to get the timeline from Resole to Adobe CS6. But how can I get the Premiere timeline back to Resolve?
I use the BMCC and record RAW-Files. First I create proxy-files like ProRes Proxy 1080p. I cut my projekt the normal way and now I have:
-my applied plug-ins (like prodad mercalli)
-AfterFx work with clips
Whats the best workflow to render this out after colorcorrection in Resolve? And whats about the resolution? I applied all my work (AfterFX, PlugIns, Parameters) to the proxy-files. But the RAW files have higher resolution. I want to render in 2K.
Some good questions, I think a lot of People seaching the answer :(
Hope you can help!!!
What I started doing is getting my draft all ready (cut, transitions, texts, etc.) in PPro and then exporting an XML of that timeline. But inside of my timeline, I have different tracks for all the footage that needs grading, usually tracks 1 and 2, and ones that dont - text, special FX overlays and all. When I bring this XML in to Resolve, I simply turn off all of the video tracks that do not require color. Also, I needed to do my 3D text and tracking in AE, so i tried exporting an .avi or MPEG, but when I brought that clip in to Resolve, it affected the color of the text as well. So my solution is to duplicate the clip on the timeline, dynamic link it with AE (replace clip with AE Comp) and then do all of my tracking with a 3D camera, allowing me to turn off the clip inside of the comp. so in PPro, all I have is text with an alpha background on one track and the footage on the track below to be graded. When I have finished coloring in Resolve, I export a DPX sequence. Going back inside of Premiere I duplicate the sequence that contains all the footage, just to keep it safe and untouched, and drop the DPX in where the RAW footage was, from there, I can export the colored footage, without affecting the resolution or the VFX. This workflow has been working for me very well. Hopefully all this makes sense. If someone has developed a better workflow, I would love to see it.