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EDL’s from Premiere Pro (6 & cc) unusable in Resolve…?
Hi there, guys. I sincerely hope someone can help me get to the bottom of this. Because, as much as I love resolve, I’m spending more time trying to conform than grading… I’m slowly coming to the opinion that it simply is not a feasible part of the workflow if PP is involved as NLE. Both for Resolve9 & 10b.
Workflow: Due to data logistics constraints and MTS media used by the editor, the only way to get the program into Resolve is by importing a flattened single rendered ProRes file that contains the whole program.
Scene cut detection is not an option since the program contains lots of grunge flashes & motion graphics that is analyzed as much higher cut reads than actual cuts. I’ll end up having to remove around 100+ invalid cuts per episode…
Next up: EDLs. I’ve had TONS of problems with Resolve & EDLs from PP in the past if there are speed changes using PP’s time-warp feature. (Something that is use a lot in this picture). So what I’ve done is to create a single timeline from the editor’s original cut. Removing all filters and consolidating all video tracks into a single simple timeline. Then export an EDL. Also exported an XML for reference.
Split & Add into Media pool.
Resolve9 breaks the program file up nicely and the total runtime of the timeline created from the EDL is close to what it should be. However – there is drift in the cut positions. It does not resemble actual cut points of the program at all. 23.98 fps timebase.
R10b breaks the program file into much fewer clips than it should. And the timeline it creates is not even close to the TRT of the actual program.
XML import crashes R10b.
XML import to R9 works OK.Just to test I’ve actually imported both the XML and EDL into FCP7. Both opened but reported errors. Which leads me to one conclusion. EDL & XMLs from PremierePro (6 &cc) are unusable to get cut data to Resolve.
Anyone out there able to work successfully with flattened programs from PP to Resolve?
Please brighten up my day? I would really like to stick to Resolve for this series…
Thanks!Francois
FireTrigger Inc.
https://firetrigger.com -
8 Replies
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[Francois Driessen] “I’m spending more time trying to conform than grading…”
I am afraid it is highly depend on the type of project you color grade. Right now I am working on a feature length extreme sport documentary, and I have to deal with all kind of cameras, from Gopro Hero 3 to Sony
F55 or RED cameras. I want to be able to get every possible bit out of the footage, so thru conform, I make sure I keep as much as possible of the original footage all the way to Resolve. In my case conforming is a big part of my work, including understanding the codecs used.[Francois Driessen] “Workflow: Due to data logistics constraints and MTS media used by the editor, the only way to get the program into Resolve is by importing a flattened single rendered ProRes file that contains the whole program.”
There is a way 🙂 It is true that .MTS files are not recognized by Resolve (9 or 10). You need to re-wrap the .MTS file into a Quicktime file. I used Clipwrap which allows you to re-wrap files in a batch. Make sure you keep the same file name than your original and when you relink in Premiere Pro, uncheck the option that looks at the file extension.
[Francois Driessen] “EDLs. I’ve had TONS of problems with Resolve & EDLs from PP in the past if there are speed changes using PP’s time-warp feature.”
I have not tried PrP EDL for a while. My understanding, your best bet to go from PrP to Resolve is to export your sequence via FCP XML. This is what I do. Any special effects won’t translate, but unfortunately I believe you will have the same issue with a different NLE. PrP Speed/duration on a clip will be honored if you are not exceeding a frame rate limit (I am still figuring this one out!)
I hope this help,
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
[David Baud] “I am afraid it is highly depend on the type of project you color grade.”
Totally. Anything other than a conservative style drama seems to be a mind bending exercise. Especially with mixed footage and speed warps.[David Baud] “You need to re-wrap the .MTS file into a Quicktime file. I used Clipwrap which allows you to re-wrap files in a batch.”
Unfortunately I hit a serious wall here:
1. Re-Wrapped clips from the FS700 & FS100 does not work in Resolve for some reason. They show up but I don’t get proper RT playback. (Yes I have two CUDA GPUs + Raid storage – I can handle RT CineDNG 2.5K Raw and more. So that’s not the problem).
2. Transcoding the MTS to ProRes with ClipWrap reads the TC from the MTS file and embeds it in the new MOV. PrP uses 00:00:00 as start code for every MTS clip that is cut. Thus there are SERIOUS TC mismatches between the XML from PrP and the transcoded clips. = crash & burn for me trying to conform the XML to the new media… I’ve contacted Clip Wrap’s guys to see if there’s an option to manually enter TC start / ignore TC. Unfortunately not. And they mentioned that I’m the only one to ever request it so they don’t foresee an update that includes that feature. Sadly… The only solution is to cut the Cross-Coded media from the start. A workflow section that is out of my control. Editor cuts MTS directly to timeline since it saves them a ton of storage space & data wrangling.[David Baud] “your best bet to go from PrP to Resolve is to export your sequence via FCP XML”
Yup. XML is the way to go. Unfortunately if you use the PrP time warp (or some other issue I’ve yet to identify) the XML crashes Resolve. And with the issues of the cross-code & TC mismatch XML sits dead in the water for me now…[David Baud] “PrP Speed/duration on a clip will be honored if you are not exceeding a frame rate limit (I am still figuring this one out!)”
INTERESTING! Keep me posted? I’d really like to get to the bottom of what causes PrP to create XML data that makes Resolve choke.My only feasible solution in the past has been to import XML into a new timeline in Resolve (Ignoring actual media completely) Just to have the cuts on a timeline. Then Add a new Video Track which I place the flattened rendered program in. Skipping from cut to cut with my control surface and using the Blade to cut the new video track where the playhead is. Switch to Local Grades, delete the original XML track on the timeline and there you go.
A crude, but fail-proof solution. – As long as you’re dealing with SHORT PROGRAMS like commercials…
Doing 2000 cuts manually / piece is a bit over the top for me…Any more ideas out there?
Thoughts?Francois
FireTrigger Inc.
https://firetrigger.com -
A rendered out export of your video only (minus graphics) is problably your best bet.
Export in Premiere,
Import it back in, and razor the edits to match your cut. This should only take under an hour, or less.XML that into Resolve, and you’re good to go.
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I recently received my first project from Premiere CC and all of the clips with speed effects had the TC’s modified, irregular offset, in Premiere….
I posted a question about it on the Premiere forum because the issue starts there and noes not appear to be a Resolve issue, but there has been no response…
eric b johnson
online editor | colorist | workflow
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Thanks, Eric
Crude but fool-proof. Actually worked quite a lot faster doing the razor work in PP to the flattened render than it took before in doing a similar thing in Resolve timeline.
Weird thing is, however. Even the clean project (with no speed changes or anything other than simple cuts) is creating problems in R10b with the XML it produces. – It opens and links perfectly in EDIT. But the UI is incredibly choked whenever your zoom or scroll the timeline. And Resolve eventually crashes.
Going the Split & Add route via EDL works perfectly, though. Super fast responsiveness in the UI. Back to work! Yiy!
Francois
FireTrigger Inc.
https://firetrigger.com -
[Francois Driessen] “1. Re-Wrapped clips from the FS700 & FS100 does not work in Resolve for some reason. They show up but I don’t get proper RT playback.”
That is strange. It works just fine here. Have you checked the option for converting the audio to LPCM in the Clipwrap/Preferences? Maybe your issue of playback is related to your frame rate speed change in PrP?
[Francois Driessen] “PrP uses 00:00:00 as start code for every MTS clip that is cut.”
Why is that? all my MTS file in PrP use the original TC from the camera… when I rewrap them, TC is retained as expected…
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
[Eric Chase] “A rendered out export of your video only (minus graphics) is problably your best bet.”
My only problem with this solution is if you are dealing with some over range signal with the original camera codec, then when exporting you might just clip that information with no possibility to recover it in Resolve
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
I’ve had the same issue with FS700 footage.
We already use ClipWrap for other purposes, but Resolve does NOT work in RT with these at all.i’m in sorta the same boat as you. I have lots of varied source clips, and EDL and XML do not seem to work.
I have 4×3 clips that are scaled and moved in PP, and Resolve doesn’t seem to recognize this well at all.Another huge problem seems to be missing clips. I have flattened everything down to one track, and yet it still seems to ask me if I want to look in other folders for clips.
Sorry to hijack your thread, but it seems like there should be an easier way to do this.
I tried using SpeedGrade, but I don’t really have time to learn the UI. It does however export DPX’s. Can we use those in Resolve easily with XML/EDL?
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