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Premiere Pro CS6 (fs100 AVCHD clips) to Devinci Resolve or similar workflow
Hi. I’ve been looking for this answer for a while.
I’m shooting a long documentary so I have thousands of clips. I decided to not transcode everything since Premiere handles AVCHD just fine and I could save a ton of space by just editing natively.
The question is how I get those edits into color grading software that does not work with AVCHD. What I want is a workflow like FCP to Color that makes separate transcoded clips (with handles?) for each clip in the timeline and then bring the corrected timeline back into Premiere so I can continue to work with them in After Effects or even continue to edit in Premiere.
What I don’t want is a single flattened file with dissolves and I don’t want to transcode all the unused material.
I think this should be fairly straight forward but it’s giving me a headache. Thanks for your help. -
3 Replies
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There is no straightforward workflow for this one, sorry. It’s a royal PITA if you really want to keep all the clips separated.
We cut long form documentaries and episodics in our shop. We flatten everything from Premiere Pro into a ProRes file.
I send that into Resolve and use the Scene Cut Detect to break up the show for color grading.
I’ve gotten to the point where I can prep a 30 minute show in about 10 minutes.
Dissolves are easily handled with Dynamic Marks in Resolve.
A “Transcode / Consolidate” is the Number One Feature Request for the next version of Adobe Premiere Pro from me. They already have Project Manager, all they need to do is add the Transcode / Consolidate function to that and it’s done.
In the meantime, just flatten and go. MUCH faster. If you need more handles on a few shots, you can just send those back through Resolve separately, pull the original grades from the the Gallery. It’s quick and easy.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Thanks Walter, that’s what I was afraid of. I was so happy to ditch FCP for Premiere but this one caveat is the single thing that is keeping it from being a truly seamless workflow. I’ll try your method. It doesn’t sound too bad. I’ve been doing color correction in AE and it is nice to take care of other stuff while I’ve got the footage there but It’s not ideal for matching shots and some other things. I hope Adobe includes consolidate/transcode soon.
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[David Kessler] “Thanks Walter, that’s what I was afraid of. I was so happy to ditch FCP for Premiere but this one caveat is the single thing that is keeping it from being a truly seamless workflow. I’ll try your method. It doesn’t sound too bad. “
You’ll be frustrated at first at having to do the Scene Cut Detect. I was. Took me almost 2 hours to set up the first show because I was “all thumbs” and trying to figure out the best way to do the Scene Detect. Also, the first time I did it, I cut all the scenes at the dissolves which is a big no-no.
If you haven’t already, download Alexis Van Hurkman’s training series from Ripple Training. Awesome tool and he does a nice job walking through the Scene Cut Detect.
Like I said, now I’m down to around 10 – 20 minutes to set up a 30 minute show through Scene Cut Detect as I’ve prepared about 20 shows now. Yes I would LOVE to have Transcode / Consolidate like Avid, but for now, we flatten. If SpeedGrade ever opens up to AJA / BMD output I’ll consider that tool, but nVidia output only keeps me away from that.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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