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Bad Workflow?: BRAW/audio -> Resolve -> Premiere -> Logic Pro
Hey everyone,
I’m hoping you can help me improve my beginner/hacked together workflow for audio and video.I’m shooting 2 subjects in front of a green screen using a BMPCC6K in 12:1 BRAW. Audio is captured by 2 mics, running into Logic Pro on a Macbook Pro.
My convoluted process, which jumps between Resolve, Premiere and Logic Pro:
1. Bounce both audio tracks from Logic, import them and the BRAW footage into Resolve.
2. In Resolve, manually align all bounced audio with the video.
3. Do a very light colorgrade on the clips (balancing only). Apply Resolve’s native skin-smoothing effects to one of the subjects, who is having a rough time with a skin condition.
4. Render the video and both tracks of audio, move the whole thing over to Premiere
5. In Premiere, use Red Giant’s Primatte Keyer to key out the green screen – it’s the only tool that ever gets me 100% there, since we’re shooting in my apartment with less-than-ideal lighting.
6. Replace the green screen with a motion graphics loop I’ve made in After Effects.
7. Edit the footage, color grade, add text, etc (still in Premiere)
8. Export the audio tracks back to Logic with a lo-res video render
9. Clean up the audio, add effects, mix and master
10. Bounce audio as a single stereo file, replace the audio in Premiere and then render the final video.The limitations I’m encountering that I’d love to find a way around:
– I don’t know how to get Premiere to automatically recognize the BRAW color space like Resolve does. Sorry if I’m not using the correct term here. Also, AFAIK, Premiere lacks the skin-smoothing effects Resolve gives me.
– I would LOVE to find a way to record both tracks of audio and the video so I don’t have to manually align them later.
– I can’t use Primatte Keyer in Premiere, which is really the only thing that prevents me from just staying in Resolve.
– I’m a music producer, and I wouldn’t be able to do nearly as well with the audio in an NLE as I can in Logic, where I feel at home.
I know nothing about XML and moving projects between NLEs and DAWs. If there’s anything obvious I’m missing that I should look up, please let me know! I love the results of this process, but I have a feeling that it shouldn’t be this painful to get there.
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9 Replies
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I have a BMPCC4k, not 6k, but with a mini spliter, i can send two different mics into the camera for recording on separate channels. Your audio workflow seems a bit convoluted, rather than recording in camera. I could also send 1 via mini, 1 via xlr…there must be some way of sending two mics to the 6k.
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It should be possible to get the audio straight into the camera. That would solve so many issues. Also Fairlight in Resolve is a much better place to do all your audio post.
I only see one reason to not stay in Resolve and that is keying. Are you saying you can’t get a decent key in Fusion or are you trying to do it on the Color page or with an OFX plugin like Boris CC? I don’t key much so it’s not an area I am able to offer that much advice but I do know Fusion is often used for that.
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My best advice would be to keep it simple: just do it all in Resolve. You’d be going through far fewer steps and less trouble learning the basics of editing and color and mixing, and just doing it there.
To me, camera audio is often problematic, and you’d be better off using an external sound recorder and recording in multitrack.
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The audio in BM cameras is actually very good. I have the option when shooting to use an external Sound Devices recorder but usually for interviews I go straight in the camera as it sounds almost as good. Tiny improvement with the external pre amps but not enough to worry me on dialog.
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Hey guys, thanks for giving this some thought for me.
Michael – I haven’t tried to key the footage in Fusion. So far, I’ve tried and failed to get a good key in the color page, and I’m comparing those results to using Red Giant’s Primatte Keyer in Premiere.
I’m still fairly new to Resolve – are the keying possibilities much greater in Fusion than in the color panel? I wish I could use the Red Giant VFX plugins in Resolve, because so many of my issues would be solved.
Marc – For sure, staying in Resolve has become my goal based on this feedback. Keeps things simple.
Glenn – Thanks for getting me to look into the dual mic – if it’s possible on the 4k, it has to be possible on the 6k. That would save me a lot of time right away.
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There are political reasons why Primatte is not available in Resolve. Other Red Giant plugins are available as OFX plugins. Fusion is a bit daunting at first but I suggest you look at a few Youtube tutorials to get your head around the nodes, then try the Fusion keyer. It’s used in really high end work as is much better than trying to pull a key on the Color page
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Fusion studio used to come with Primate. I think it now ships with keylight? Pulling proper greenscreen in Fusion is not difficult once you know the workings of the program. Its masking capabilities and combining of Keyes will outshine most base plug-ins…plus with some practice and experimentation, you can build your own custom keyers.
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Didn’t have much luck at first with trying to key in Fusion, but I need to get deeper into it. I’m sure something good is possible if I learn more. Also, all of this is making me realize that better green screen lighting/a cleaner separation in-camera would go a long way in speeding up my workflow here.
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Many seem to think that no thought really needs to be put into a green screen shoot….to those people I say…”then you pull the keys”
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