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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Ideas for best workflow from Premiere to Davnici.

Asif Limbada

Asif Limbada

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What should be done, I have the following possible scenarios in mind. Let me know if I am in the right direction.

1. Import native footage into Premiere, start editing.
2. Select the shots that need primary color correction either in "Source Settings" of the clips or Open the folder the clip is in and do it on REDCINE-X Pro (I like this option better, as the GUI is much responsive)
3. Save the .RMD of the clip in REDCINE-X Pro and load it in "Source Settings" in Premiere.

Once the primaries are done, this becomes interesting, as there are so many possible options:

Option 01: Make a 4K render in ProRes of the footage, open it in Davinci do the secondaries, Output in ProRes or H.264 2K, 1080p etc (I think there will be too much generation loss)

Option 02: Export the EDL from Premiere to Davinci. Open it there do the secondaries on the Native .R3Ds and output ProRes or H.264 2K, 1080p or 4K for that matter. (No generation loss, I have not tried that yet. Will be doing it tonight)

Are there any better options or workflow for almost no generation loss.

Thanks in advance.
 
I edit in premiere cs6 in native .R3Ds, my preview are in 1/2 or 1/4, export the EDL to DaVinci which I put in 1080 to quarter res for preview and mastered to Cineform,I switch from Mac to Windows because the flow is faster.


I7 six core overclocked to 4.5 Ghz, 3 nvidias GXT 580 3GB
 
I've done the 2nd option and it seems to work fine, though none of my video effects roll over into davinci such as plugins/transformations. This is a problem, since i can't really roll back over to premiere without an export. Anybody solve this?
 
Here's how I do it:

1) Lock cut in PP. Make sure you are cutting in the final mastering resolution (i.e. if you are mastering in 1080p, cut in 1080p sequence). If you don't cut in final mastering rez, then non of your re-frames will carry over to Resolve, and you'll potentially waste a lot of time rendering an offline reference video. Remember - in this workflow, PP is completely removed from the image quality part of this pipeline, it's only purpose is to edit the story.

2) duplicate sequence and prep - reduce to as few video tracks as possible.

3) Export Final Cut Pro XML

4) Export 'offline' video to use as a reference when conforming the cut in Resolve

5) Create a new Resolve project with the appropriate project settings (i.e. resolution, framerate)

6) Go to transform page and right click on sequence list window (upper left of display) - import XML. If you had multiple sequences in PP, click on the timeline drop down in the dialogue box and select the correct one. Accept defaults, plus check 'use sizing'. The import process will automatically add all media from the XML to the media bin, and assemble the sequence in a new timeline.

7) Go to media page and right click on reference video rendered from PP 'add as offline video'

8) Back to conform page, right click on new xml sequence in sequence liist window, 'link to offline video' and select the correct offline

9) check your conform - I like to use the 'mix' mode, but any overlay mode (horizontal, vertical, angle, mix) can be used and each has its benefits to make sure that every single frame of the conform is correct.

10 ) once conform is verified as correct, time to start grading.

JT
 
Obviously plugins from one software program are not going to work in another. Speed changes and re-frames (transforms) will work, however, but you're best bet is to use FCP XML as your exchange format as it can exchange far more information from an edit than EDL can. EDL is limited to cuts, dissolves, and speed changes, no transforms.

For your purposes you'll want to do a 'round-trip'. When rendering, select the FCP Round Trip pre-set from the delivery page, and choose the file format you'd like to work with and the folder you wish to render to, but leave the rest of the settings as is.

Once the render is finished, save the project right away, then go to Conform page, right click over appropriate timeline in the timeline list window (upper left in UI), and export XML.

This will export a new XML that you can then import into PP and use as a basis to reconstruct your effects. Basically, if you put your original sequence with effects on tracks above, you can just copy/paste to the new graded clips.


John T.
 
Thanks john. I think thats the best explanation so far. I will print this page and keep it as step by step reference as i'm still starting out in davinci. Still i wish there was something that communicates better with both pp and dvr. Thanks john.
 
Thank you all for participating in this topic. Really got a good insight on this.
 
Alfonso Cammarano said:
I edit in premiere cs6 in native .R3Ds, my preview are in 1/2 or 1/4, export the EDL to DaVinci which I put in 1080 to quarter res for preview and mastered to Cineform,I switch from Mac to Windows because the flow is faster.


I7 six core overclocked to 4.5 Ghz, 3 nvidias GXT 580 3GB
Click to expand...

+1 for Windows and its ecosystem yay!
 
Glad I could help. PP > Resolve is a really great combo, I just love being able to work from the original files in both editorial and grading sessions, removing the transcoding step saves so much time and removes another possible point of failure.

I have had some 'quirks' coming from PP to Resolve in the past, but they seem to be largely ironed out now, with the last few jobs working flawlessly.

cheers,

JT
 
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