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Sony F55 Premiere to Resolve workflow issue
Hey guys,
unfortunately I am a bit short in time because delivery of our project is next week so any helpful comments are highly appreciated.
Setup:
– Red Dragon and Sony F55 production @ 6K/4K raw
– Edit completely in Premiere CC with tons of resizings and speed rampsPlan:
– Edit in Premiere, export XML, Grading in Resolve 12Issue:
I exported a XML from Premiere and copied all original files to a HDD using the Project manager. At our grading studio we imported the XML and all clips were instantly reconnected just fine.
The problem is that the XML didn’t include any keyframed speed ramps so the whole project is completely off.
We tried for an hour and then decided to export a ProRes 4444 flattened clip from Premiere and do grading on that.
The problem with that is, that I don’t see how I can export a ProRes4444 with flat Gamma Curves out of Premiere. The Red footage works just fine but for the F55 footage the only selection I can do is to choose between REC.709 and slog2 which are both unacceptable. Also before rendering a flat 4444 I would like to adjust ISO of all clips manually to get them close to an ideally exposed image as Premiere interprets the F55 material horrible.
I tried to direct link it to Speedgrade but unfortunately SG doesn’t let me adjust my RAW settings at all. So that is no option either.My question:
I need a way to somehow get my timeline to resolve without loosing all the speed ramps. A flattened image would be acceptable if in the correct color space/gamma curve.
There must be a way…i hope.cheers
Toni -
2 Replies
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Hey Toni,
So roundtrip workflow between Premiere and Resolve is not great for a lot of reasons, one of them being this specific example. One of the things I find myself doing is ignoring the speed changes in Resolve, grading the footage in the timeline and then exporting the graded clips with the same source file name to a different directory. At that point I duplicate my MS sequence, or save it as a new project, knock the original sources offline, and then relink to the graded clips. The retime data is stored in the project file so when you relink, all your edits will remain intact.
It’s not a perfect workflow, but if you want to work with RAW materials, its your best bet. At work we have sent work to a colorist via EDL, but I have never seen his WF so I don’t know how he is handling rebuilding the timeline in DR.
Until BMD and Adobe do something about this you have to get super creative with the roundtrip. Not that this helps you at all, but the roundtrip via FCPx and DR gives me hope!
Best of luck.
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Hey Buddy,
Thanks for your help.
Actually I found a workaround that seems to work quite allright.
Your workflow is allright to but you have the problem that you can never exactly get the perfect grade from one clip to the next as you can’t see the clips until the end.
That’s how I handled it:
I used the project manager to copy all footage to an external drive. I then imported all media into resolve with one timeline for each resolution.I then put all my clips into the timeline and roughly adjusted ISO and white and chose sgamut3.
Then I batch exported all clips to individual ProRed 4444 clips.
I opened the premiere project which was created by the project manager which only contains the required media.
I offlined all media and relinked everything with the now flat clips.
Within Premiere I adjusted the R3D raw settings and switched them to REDlogFilm.Now I exported a flattened prores4444 to resolve and did the grading.
Worked just fine.One thing that made me wonder is that even tho I went from RAW to PR4444 we had a couple of clips with banding artifacts in skies. We replaced those clips manually with a raw clip in Resolve.
Hope that helps.
Cheers
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