-
Resolve back to PPro, or stick to Resolve for finals? Advice wanted
So I’ve got an indy feature cut in PPro and I’ve just finished colouring it in Resolve. My initial thought was to bring all of it back into Premiere by exporting individual clips, exporting HD DNxHD 8-bit Quicktimes (shot on sony a7s ii); shot and edited in 23.976. But once Resolve hit the 120FPS slowmo footage, it exports 1KB worth of the file and shoots an error message at me: “failed to encode the video frame”, then just stops the export altogether. I moved the in and out on the timeline to export just that single slowmo clip and it just resulted in the same error. I’ve cut the 113 minute film over 6 timelines. I’ve just tried exporting the first timeline when I hit the snag with the first slow mo clip.
Then I thought, what if I stay in Resolve for the rest of it? So I tried importing an AAF from PPro into Resolve (The master AAF full length). So far, its one big mess; all of the sound files have been renamed in the media pool and 30% of them have not linked. Now, I wont be doing the sound work. I’ll have to export that later to pass on to a soundy. I read in a post on CC however that Resolve is not the friendliest to export AAF’s out to soundys to work on. I’m more comfortable dealing with PPro TBH, so I’d prefer trying to sort out the slow mo export issue.
This is my first feature edit. As well as the colourist, I was also the editor… and DoP lol.
Thoughts?
(Sorry about the letter ‘u’ when I type colour. Aussie aussie aussie). -
5 Replies
-
I would stay in Resolve. I used to round trip back into CS6 but haven’t for years once Resolve got some decent title tools and I also used Boris Continuum for titles, credits & some VFX. Now with Fusion you can fully finish in Resolve.
Also export the audio as an OMF out of Pr for the sound post people. Most importantly ask them what they need. Resolve is still pretty bad at importing XMLs or AAFs for the audio. It’s been really good with picture imports but sound in and then back out is a mess.
Personally I ask for XML from Pr in Resolve rather than AAF. They are using the old Final Cut 7 xml format. There is a great comfort in old EOL formats like FCP7 XML and OMF. They just work and no-one is fiddling with them anymore. As a picture & sound post facility I always ask for OMF over AAF. I really don’t want the editors audio work. It all usually needs to be changed, both track config, bussing & processing so I often delete all clip gain anyway. So most of what AAF offers over OMF is not needed.
-
I’m not sure what either method is going to do to solve your problem. You have a render issue on 1 particular clip. At some point, Resolve is going to need to render out that shot….whether you try to send it as an individual clip to premiere, or the entire movie – as a master out of Resolve, or a color timed master back to Premiere.
Before you go too far down any road of new lists…you need to figure out why Resolve can’t render that clip.
Have you tried slowing your render speed down for that particular clip?
What else is going on with that clip that is stopping it from outputting?
Can you cache it for playback within Resolve?It seems to me you need to solve this issue first.
Glenn
-
Well it seems like I can get it to export as an AVI and MP4 h264, but it doesnt come out in slow mo, it exports the clip at its native 120FPS. I tried slowing doing render speed and losing the handles, but i got hit with the error again. I also tried going to clip attributes via right clicking it in the Edit tab, but the framerate is already set to custom, and when I try to make it 23.976, it doubles the slow mo so its too slow, because it was successfully imported from PPro’s XML as a slowmo clip.
The only time I got it to export successfully as a DNxHD Quicktime was when I went to the Edit tab and selected the clip specifically to Render Cache Color Output, if thats what you meant when you said cache it for playback Glenn? But again, it didnt export as a slow mo, it went back to native 120FPS. But that was the first time I successfully got it to export with the desired codec. Guess I can take that into Resolve and just re-slowmo it =/
-
If you’re exporting individual clips any speed changes won’t be used. The point being when you’re roundtripping it back the clips would have the same speed and timecode as the original so it could be reconformed.
-
Ahhh. I see I see. Perhaps if I put the slow mo clip on its own timeline and exported that as ‘Single Clip’ i might get what i want then.
Reply to this Discussion! Login or Sign Up