Path of least resistance to Resolve.

[Kevin Monahan]

Hi Mark,
We just announced a consolidate and transcode function in Premiere Pro that would be perfect for your needs. Only trouble is that it hasn’t been released yet, but will be soon. Can you hang in there for a short time or do you need to get going now? For now, you can use Prelude or AME to transcode your footage before you get started.

Thanks,
Kevin

Kevin Monahan
Support Product Manager—DVA
Adobe After Effects
Adobe Premiere Pro
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[Mark Renz]

Thanks Kevin for the reply. The project I am trying to finish has to happen this week. Since this has already been edited, I am assuming Prelude and AME are out of the question because I would need to overcut all the transcoded material correct?

Mark Renz
Senior Editor
Outpost Worldwide

Mark Renz
Senior Editor
Outpost Worldwide

[Walter Biscardi]

Been doing Premiere Pro to Resolve almost three years now.

We do a Flattened ProRes or DNxHD file out Premiere Pro.

In Resolve I do a Scene Cut Detect which cuts the original file into all the individual scenes.

Grade in Resolve.

Render out either a ProRes or DNxHD file of the entire timeline or render out individual shots depending on the project.

This is how we do all our projects from corporate to broadcast to documentary.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

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[Mark Renz]

[walter biscardi] “In Resolve I do a Scene Cut Detect which cuts the original file into all the individual scenes.”

This is an option, the project is full of dissolves and I was trying to get a better handle on dealing with them.

Mark Renz
Senior Editor
Outpost Worldwide

[Walter Biscardi]

[Mark Renz] “This is an option, the project is full of dissolves and I was trying to get a better handle on dealing with them.
“

Dynamic Markers and Markers in Resolve. Super easy. Can do wipes too.

I sometimes do this within shots too if there’s a major change in iris.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

Craft and Career Advice & Training from real Working Creative Professionals

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[Mark Renz]

I’ll give that a look, sounds like what I need.

In my Symphony color correction, I would handle iris changes with keyframes or add edit with a dissolve over the top. With Resolve I have always had a non flattened file to work with so this will be something to to check out.

Thanks for the info!

Mark Renz
Senior Editor
Outpost Worldwide

[Walter Biscardi]

[Mark Renz] “In my Symphony color correction, I would handle iris changes with keyframes or add edit with a dissolve over the top. With Resolve I have always had a non flattened file to work with so this will be something to to check out.
“

The markers are the keyframes. Dynamic Marker starts the change. Marker ends the change. So you do the markers in pairs but you can add as many as you want to each clip.

Alexis Van Hurkman has an incredible series of training on Ripple. Highly recommend it as it will get you up to speed on Resolve very quickly.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

Craft and Career Advice & Training from real Working Creative Professionals

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[Robert Brown]

I’ve been doing this on a regular basis lately. First thing I’d try is export an XML from Ppro and see if it works. It might! If it doesn’t do the flattened QT.

For dissolves what I find works the best is to ignore dissolves in the scene cut detect step – it often detects a cut on every frame of a dissolve! If you don’t know there is a window on the right where you double check the scene cut detector. When you find it’s added a cut on your dissolve just hit the minus button on the lower left of the window and clear all of those out.

Then after all the cuts are good. Go into the edit menu and find your dissolves and add a cut to the middle of the dissolve with the blade tool or cmnd-b and then add a cross dissolve that matches the dissolve duration in your piece, then your grade will fade from shot to shot.

The reason I do it this way is that when you use the edit detector, it creates clips that have no handles even though there really is more media there. So you wouldn’t be able to fade your grade from one shot to the next. If you add the dissolves in the edit room it still has access to all of the frames.

The dynamic keyframes work but using my technique you can have completely different node structures on the from and to shots of the dissolve.

Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Pro

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