Downscaled RED PP timeline > Resolve 12 = Bad Workflow?

[Kyle Weerheim]

Footage shot at 5K HD. RAW footage was imported into a PP 2K timeline and downscaled to 40% to fit the canvas. When importing this XML into Resolve 12 and viewing the timeline, the image is tiny...when zoomed in it is pixelated. My Resolve 'Camera Raw Quality Decode' settings are set to Full Res. When viewing the original R3D files in Resolve 12, they look great. Is there a workaround for this?

 

[Kyle Weerheim]

Solution: Upon import of XML, uncheck the box that reads "Use Sizing Information"

 

[Hal Long]

True story.

 

[Juan Melara]

Only issue with that solution is that Resolve will ignore any reframing you've done in Premiere. To get around this in Premiere go to Preferences > General and tick "Default scale to frame size." Now all footage will automatically scale to the size of your sequence.

 

[Daniel Pearson]

Another thing to check is in Resolve's preferences under "Image Scaling" go to Input Scaling Preset and try "Center crop with no resizing"

 

[Sandro Klopfstein]

this is really something blackmagic should finally work out!

 

[WesG]

Just completed project which had been cut in Premiere, where a huge amount of resizing, key framed zooms, rotations and reframing had occurred.
Resolve didn't play with this sizing info at all, and required a heap of work to match to the offline.
Would be great to see a solution to this

 

[Nick Burridge]

I've never had a problem bringing in 1080p Premiere sequences with 5K R3Ds on the timeline when I've been right-clicking each clip on the timeline and selecting 'Scale to frame size' (NOT 'Set to frame size') before doing any work. This sets the clip scale baseline to be 100% (despite being downscaled to 40% or whatever), so any scales/transforms should be applied correctly relative to the full-res masters when imported into Resolve.

 

[Marc Wielage]

this is really something blackmagic should finally work out!

It is worked out. This is what professional colorists do: they understand how to get the workflow going for color.

In cases where the project still has to be manually reframed, I'll routinely just schedule a day to go through every shot and reposition it manually. As long as there's not 1000 of them, it can be done and it's not that hard. It's just tedious. I've had good luck with Avid 8.x sessions coming through with repos. In low-budget situations, I'll just tell the client to send over files with baked-in repos, and we use those for the final. If they're high-res 444 files, I don't have a problem with it as long as the correction range is reasonable.

 

[Joshua VP]

Kyle, are you referring to Davincii or PP?