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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 :)

Problem matching footage Resolve to Premiere

J

Johnny Hurberg

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Been grading away in Resolve these past days and used a lot of Phil´s wonderful LUTS, impressive work Phil and thank you for putting the work into making these.

The problem im facing is something I haven´t been able to find a answer for, been searching all over and either im just good old stupid or something else.

Exporting a DPX or DNxHR with Auto or Full data levels, size and debayer to highest quality......been testing all kind of stuff.

When bringing these into Adobe Premiere they look pretty far from ok, loosing lots of gamma and color. Importing the clip into Resolve after exporting from Resolve they look perfect.

Exporting them out of Premiere and they come out they way they look in Premiere, loosing that gamma and color.

This took me into exporting directly out of Resolve and everything looks as it should, only problem is that files are smaller and contain more artefacts than the ones exported with Premiere.

Using a Black Magic Design Decklink Mini and a calibrated Eizo monitor.

This have been driving me crazy for a couple of weeks now and I hope someonw can help!
 
I haven't used Premiere Pro in about 2 1/2 years, but maybe this video will help you with your problem

Adobe Premiere To DaVinci Resolve 14 Round Trip Workflow

The guy is a little obnoxious but appears to know of what he speaks.

 
Thanks for the answers, roundtrip is not a problem. Using Premiere, After Effects and Resolve. Its the grading done in Resolve that gets "washed" ot when back in Premiere no matter how im doing it.

From what I found out so far is that Premiere doesn´t use Rec 709 for ease up of CPU usage while playback and to that point I think its ok, but exporting projects with lots of effort in shooting and grading that doesn´t look close to the things I see in Resolve is just bananas.

It got to be something im missing here, I want a working consistant chain in Editing, effects, colorgrading and exporting where it all comes out the way its intended to (or pretty darn close), otherwise it all seems a bit useless to be honest.

Sorry for sounding a bit like a B*tch but im trying to get this to work out pretty hard.
 
Johnny,

No worries man! Getting two or three programs to work together exactly the way you want them can be a bitch sometimes. And in the final analysis, it was always one or two settings from preventing them to do just that.

If you don't mind, could you post , as Sterling said, the import and export settings in Premiere and import and export settings in resolve?
 
Johnny Hurberg said:
When bringing these into Adobe Premiere they look pretty far from ok, loosing lots of gamma and color. Importing the clip into Resolve after exporting from Resolve they look perfect.
Click to expand...
Three ideas:

1) include a second or two of test signals like SMPTE color bars and a grayscale ramp at the head of the project, and check those on the scopes within Premiere. This will tell you immediately if the levels are being interpreted incorrectly (like a Full vs. Video Data Level issue).

2) don't try to judge image quality unless you have a color-managed output outside your operating system. In other words, you need a display card and a calibrated display to make sure that the software (Premiere in this case) isn't adversely affecting the image.

3) consider finishing entirely within Resolve. It's fine to do your initial edit in Premiere, but there's nothing to stop you from doing final color and finishing in Resolve. Deliver the project there, and one hopes it will look correct in the end. It's done all the time.
 
46503168151_b1e37b9518_c.jpg
[/url]Master Settings by Johnny Hörberg, on Flickr[/IMG]

45590232345_740e3d403e_c.jpg
[/url]Image Scaling by Johnny Hörberg, on Flickr[/IMG]
45590232565_a912d58a8c_c.jpg
[/url]Color Management by Johnny Hörberg, on Flickr[/IMG]

45590232215_b91efa3f00_c.jpg
[/url]General Options by Johnny Hörberg, on Flickr[/IMG]
45590232305_8da3a231b0_c.jpg
[/url]Camera RAW by Johnny Hörberg, on Flickr[/IMG]
45590232515_30be4e61cf_o.jpg
[/url]Export01 by Johnny Hörberg, on Flickr[/IMG]
45590232435_48a5e3360d_o.jpg
[/url]Export02 by Johnny Hörberg, on Flickr[/IMG]
 
Johnny,

Thanks very much for all the screengrabs!

a few questions and observations.

1) I see you used a Rec709/ Gamma 2.4 in Resolve, do you have that same Color space and gamma setting in Premiere?

2) I also see that you chose "Camera Metadata" in the Raw settings, Do you have a Red camera that can utilize IPP2 in-camera? and is that IPP2 Output Tone Map and Highlight Roll-Off selected in Premiere? If your Red camera can't it's probably using a Legacy Color space. Is that same Legacy Color space selected in Premiere? Are you maybe using IPP2 in one program and Legacy in another? Lastly, did you use a Lut or setting In-camera that possibly didn't translate in Premiere?


3) Are your Black Magic Design Decklink Mini and your calibrated Eizo monitor using the same display settings?(color space, Gamma...etc). Have you also matched the same "Data Levels" amongst all your programs and display devices?


Edit:

Do you mind posting the Premiere Import and export settings?
 
Last edited:
Thanks for all the help, preventing me from going insane!

I will post premiere settings.

I exported a DPX and just found the DPX settings within Premiere, gamma, black point and so........im looking at that right now and will be back later with updates and hopefully some answers.

Once again....Thanks!
 
You're Welcome Johnny! Hopefully there is a simple solution to this problem.
 
Try it with Data Levels VIDEO in the Resolve export settings and see what happens.
 
As Adobe often tries to synchronise color settings over all its apps (not only video, but graphics/illustration, layout and so on)—I'd suspect a default gamma of 2.2.

As Rand mentions above, there is no screenshot showing the actual setup in Premiere.
 
Will post additional information tomorrow. Thanks for all the help so far!
 
Some more screenshots of settings inside Premiere

44721608470_c14c8bf164_o.jpg
[/url]Sequence Settings by Johnny Hörberg, on Flickr[/IMG]
32665595108_54871261aa_o.jpg
[/url]DPX Effects Controls by Johnny Hörberg, on Flickr[/IMG]

I have tried Data and Video levels and they result in the same thing.

Researched the SMPTE levels a bit, how is it done best? Is it to download a testpattern, import it in Resolve?

Thanks for the help!
 
I have tried messing with the settings in the effects control, but they are Cineon settings and the values of for example Gamma makes no sense when changing them.
 
Johnny,

I see next to "Editing Mode" you have selected "Red Cinema", do you know exactly what "Color Space" and "Gamma Curve" that represents? I don't use Premiere Pro anymore so I don't know if there is a better alternative to choose from in the dropdown menu.

When you chose "Camera Metadata" next to "Decode Using" in Davinci Resolve's "RAW" tab, you told Resolve to use either what IPP2 "Output Tone Map" or "Highlight Roll-Off" curve you selected in-camera or what Legacy "Color Space" and "Gamma Curve" you selected in-camera. I don't really know what "RED Cinema" translates to in Premiere. Maybe check that out.

But I don't really see anything else in your Premiere Import settings that could be causing your problems.

I also sometimes use "Auto" instead of "Video" or "Full" to let Resolve determine what's best at export. Sometimes it does a better job.


Is there a way for you to post a screengrab of the graphical interface for the display setup of both your Black Magic Design Decklink Mini and your Eizo monitor?
 
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Back after some more digging, been able to match DNxHR 12-bit footage from Resolve pretty good when back in Premiere. It still got some "milkyness" to it compared to the final grade.

The best solution so far has been to skip my usual steps in Adobe, with camera movement and stabilize and make these in Resolve instead. After all that has been done and grading as well I export in Cineform 16-bit and make the final touches in Premiere, the Cineform looks identical when brought in to Premiere from Resolve. It also looks really close on the Reference Oled and Plasma.

Im still tweaking things a bit and Adobe slips further and further away for me to having some use of to be honest.

Still learning tons of new stuff and sometimes (pretty often) I bite of more then I can chew and that gets me frustrated but also very happy when it gets solved.

I will check this thread out now and then and make updates aswell, try to get my head around some of the codec, export, import, NLE´s.........massive world.

Thanks for all the help so far, and happy new year!!
 
Johnny,

Glad you got some resolution to your problem. Everyone else here on this forum at one time or another had to go through the same things to get the knowledge they have today, I don't care if some would have you believe that they came out of their mother's womb with this knowledge. It will kick you in the ass in the early stages, but you'll kick it in the ass once you have it sorted out in the later stages. Good luck, and happy new year to you as well.

rand
 
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