Premiere Avid bridge

[Shane Ross]

Sorry, but there really is no clear path from Adobe to Avid back to Adobe. It’s one that pretty much requires Resolve to do conversions, and even then it’s problematic.

Your workflow plan isn’t one that I’d want to embark on. The issues of getting it to work outweigh any benefit you might get. Bit confused when you say Premiere to online…then to Avid to offline…back to Premiere to Finish. In my world, Online and Finish are the same thing.

Why are you going to Avid at all? You can offline/online in Premiere Pro…

Shane
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[Oliver Peters]

You can also offline/online in Avid Media Composer. Depending on your color correction needs, you may be fine with the standard version or, if not, add the Symphony option.

– Oliver

Oliver Peters – oliverpeters.com

[Stephen Eckelberry]

Thanks guys for the input. Shane I agree with you, in my world too online and finish are the same thing. Just not in this case, as I am doing a pilot which will have a lot of temp shots in it and I want a good looking presentation. Hence the desire to work in Premiere after an offline cut.
I love premiere, been using it every day for 4 years, and before that went back and forth beteeen FCP7, Premiere and Avid. I have cut 5 narrative feature films on Premiere, so I speak from experience when I say I prefer Avid for large projects. As this project grows I will be hiring other editors, and the ones I want to use are Avid guys.
Oliver, I will probably do it all in Avid. Or DaVinci/Avid.

Stephen Eckelberry

[Trevor Asquerthian]

Baselight Editions for Avid is excellent Colour grading plug-in. Deep, but worth it. Has a month trial. Symphony is still a good but very basic CCR and has relational grading (BLE inspired by it – Grade one shot and have it ripple others from same tape/master/subclip etc). Also balance show with sourceside CCR and apply look/trims with program side CCR.

Not sure why you’d prefer to finish in Premiere at all (Lumetri has no relative correction, does weird stuff around legal levels and hard to manage stacked grades ) unless you need AfterFx. And then you are likely to build at least temps to put in the offline.

I do quite a lot of ‘all in one’ short form edits in PP and generally take the time hit to round trip the grade through Resolve. Changes are a little painful but nothing as bad as trying to work with Lumetri.

[Ricky Barrow]

Not sure if it is helpful or what you need but we have had success on smaller Avid edits going to PPro by exporting AAF.

Ricky

[Stephen Eckelberry]

That’s a great tip, thanks. One month free trial is all I need! The only reason to go back to Premiere is to mess with graphics and manipulating images. I make templates In AE and export them as graphics I can use in Premiere Essential graphics. Lower thirds, etc.
although I must say the new color matching feature in Premiere is a great tool.

Stephen Eckelberry

[Greg Janza]

If you’re only using Premiere for graphics then why not just do all of that in Aftereffects? It seems very inefficient to add Premiere into your workflow loop.

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[Stephen Eckelberry]

Because I would do more than graphics, I might play with keyframes on a still, reframes, change a slow mo and do a nicer temp mix – tweak the edit essentially. Of course I can do that all in Avid, but I am more adept at doing that in Premiere.
Thank you guys for all your input.

Stephen Eckelberry