Figured it was time to dive into Davinci Resolve 12. I shoot a lot of slo mo and sometimes mix footage frame rates. I am trying to figure out the best workflow to roundtrip from Premiere to Davinci and have run into a few errors. I have been googling for answers, but figured I would ask you guys.
1. Every time I create an XML out of Premiere I get an error message "Please check the FCP Translation Results report (saved next to the xml file) for possible issues encountered during translation."
2. After I import that XML into Davinci half of my footage looks offline, and the stuff that is online plays out in 60fps after I already conformed it to 24fps to play in slo motion in premiere.
I got some advice awhile back to - right click the clips and change the clip attributes. This did work in making the footage go from 60fps to 24fps...but it made all my footage out of order and cuts pointless I did in premiere.
Kind of stumped here and would like to figure out a way so I can have a smooth workflow so I can finally take advantage of Davinci.
Framerate issues have been a bugbear since day one.
Every NLE has its own approach, and most of them are incompatible. There is a clickbox in the import dialogue to give Resolve a hint about where the XML is coming from, and specifically whether to select Mixed framerate format from a couple of NLEs (or none). Some NLEs offer major trouble when it comes to variable speed remapping.
Fundamentally, the application was originally designed to handle sequential image files, and for a long time where a specific frame might land was entirely dependent on getting the in-point correct, and then counting individual frames from there, according to the sequence base framerate... So the 30th frame in a 2997 sequence was at the one-second mark, but if the original source clip was 23.98, it would be 6 frames short.
If you are happy with the time-remap in Premiere, the only 110% bullet-proof method of grading the same frames ad getting them back in the same order is to "bake it out" as an independent clip, and re-imbed it, either in Premiere and then ship it to Resolve. Alternatively, re-map it in Resolve from the original source clip, taking advantage of the nearest/blend/optical processes. Then bake that out as an independent clip and re-imbed it in Premiere. It is unlikely that Premiere would be able to interpret the speed remap that Resolve generates and sends back in a roundtrip XM... and as far as that goes, exporting an AAF might be a better idea.
"I always pass on free advice -- its never of any use to me" Oscar Wilde.