Premier to Resolve

DaVinci Resolve

Premier to Resolve

Posted by Alex Frankland on July 13, 2012 at 9:16 am

Hey Guys,

I will be colorgrading on a 45min doco pretty soon, of which will be coming from a client using Premier on a PC. Most of the footage was shot using a Red Epic with the occasional Canon DSLR used here and there for B-roll.

Anyway, main question is what would be your best advice in regards to workflow? Iv’e been reading around and noticed people having trouble with this particular workflow (Premier to Resolve) with regards to EDLs, XMLs etc. So would I better off taking the entire sequence and dividing it into 10 or 20min reels?

Another concern is file size… DPX and TIFF sequences are huge! (approx. 4sec(100frames)=1gb! at 2k ). Would I be better off working natively with R3D?

Any help is good help 🙂

Thanks

Alex.

———————————-
8-core, OSX 10.7.3, 16GB
RAID5 4TB,
Radeon HD 5770, Quadro 4000
DeckLink HD Extreme 3D
JVC DT-V24G1
Resolve 8.1.1 + Wave

Alex Frankland replied 13 years, 9 months ago 4 Members · 6 Replies
6 Replies

Marcus Smith
July 15, 2012 at 2:49 am

What version premiere are u running?
Alex Frankland
July 15, 2012 at 3:07 pm

[Marcus Smith] “What version premiere are u running?”

Hey Marcus,

Thanks for the reply.

They are currently using 5.5 but considering an upgrade to 6. Should I advise anything in particular?

Alex.
Marcus Smith
July 16, 2012 at 11:21 am

Firstly I’d strongly recommend you to move to CS6 if it that’s possible. Round tripping in Premiere, amongst many other things, works a lot better in the new version, but you may be ok with CS5.5.

In regards to the Red, I would convert all the footage to pro res 444 using something like Monkey Extract. Epic footage requires a lot of processing power and I feel you would have a bad time of it given your listed system specs.
If you want to get all the access to the dynamic range the Red footage offers convert all the footage to the Red Film Log gamma curve during transcoding. Your footage will come in looking flat and you’ll need a LUT in Davinci to convert it back, but the benefit of this approach is that you’ll have an incredible amount of range to work with. It’s also a better work flow when working with R3d natively, as making operations pre lut can yield more natural looking results.

As for the 5D, prepare for the worst. Depending on the camera your 5D TC tracks ay are not read properly in Davinci. Fortunately there are workarounds, but they all involve transcoding the media and re-writing the TC track.

Cheers,

Marcus.
Rohit Gupta
July 17, 2012 at 2:58 am

I believe Premiere 5.5.1 or 5.5.2 had some fixes for XML round-trip with Resolve. If you could update to that, you should be ok.
Michael Stirling
July 19, 2012 at 2:58 pm

I recommend qtchange for 5D stuff – force a reel name and timecode onto all the clips before the edit (ideally) https://www.videotoolshed.com/product/42/qtchange/
Alex Frankland
July 21, 2012 at 12:08 pm

Hey, Sorry about the late reply. I’ll see how everything goes with the XML after upgrading Premier and let you guys in on what happens.

Thanks for the responses. Much appreciated.

Alex.

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