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Premiere Pro CC 2019 to DaVinci Resolve 15 Problem: video files go missing, and so far I cant seem to manually relink
Hello, and thank you in advance for your attention. I’ll try to make this a succinct as possible.
Currently attempting to take my project from Adobe Premiere Pro CC 2019 into DaVinci Resolve 15 free beta for the purposes of color grading only.THE PROBLEM: Every time I attempt to import the XML file DaVinci Resolve cannot locate 46 video files.
What I have done so far:
1. Used the manual search option of directing resolve the exact folder where the missing file resides. It will successfully find all but 24 of the 46 missing.
After opening the file with the 24 missing a window with the list of error messages. The error messages indicate there is a miss match between time codes, and there is no overlap between specific time codes?
— Is this a problem I created in Premiere pro? How do I identify it and fix it ?
What I have done so far:
I attempted to manually relink the clips to the source video files by importing them manually. Following that, I then right click on the clip in the time line and select the option to connect to the video file in the media pool. It makes the connection, but looses the original selection from the time line in premier pro.Suggestions ???
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6 Replies
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What specific type of source files are they? Are they possibly from DSLRs that have no “real” embedded timecode, but instead start with 00:00:00:00?
If it’s only 24 shots, I would just conform those by hand. Note that this is not a Resolve-specific problem: XML has limitations in terms of clip names, reel numbers, timecode numbers, and issues like speed changes, reframing, and so on. Timecode conflicts within identical clip names is a particularly problem. If you were to try to transport a Premiere session to FCPX or Avid, similar problems will also happen.
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Hello,
Thank you for taking the time to address my problem. To answer your question, yes, the video files in question were taken with a DSLR. When you say conform the clips, I assume you mean inside of premiere pro. I’m not certain as to how to go about doing that inside the timeline. I’ll have to research that.
If there are any tutorials on conforming individual clips inside of premiere pro that you recommend please let me know.
—-Is there another format that you would recommend over XML and the others you mentioned ? I did see a tutorial where a person used AFF files? I’ve only ever used those when sending a project to a sound editor.
—- As a standard work flow practice, would you recommend that prior to creating the XML file I remove all effects and transitions?
I’ll get into fixing the time code inside of premiere and follow up
Again Thank you !
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Hello Marc,
I’d like to ask you what you meant by confirming the individual clips? When I began the project I confirmed all video files with different frame rates to match the time line. I’m working with video taken with a Sony a7 series camera. I’m presently unfamiliar with the confirming process you mentioned. If you could point me in the right direction. I’m not sure if you mean to do it in resolve… or premiere pro.
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[Daniel Parker] “I’d like to ask you what you meant by confirming the individual clips? When I began the project I confirmed all video files with different frame rates to match the time line. I’m working with video taken with a Sony a7 series camera.”
CONFORMING.DLSRs are often a nightmare to work with because you wind up with “fake” timecode starting at 00:00:00:00 per clip, meaning there are hundreds, potentially thousands of timecode conflicts in a project, and some cameras (like the A7) will create identical file names on different days like DSC0001, DSC0002, DSC0003, and so on. One mandatory issue of any proper workflow is to have different filenames for every file, so there are never any naming conflicts, and another is to avoid timecode conflicts when possible by using time-of-day. (Sequential timecode like Hour 1, Hour 2, Hour 3 and so on can also work in some cases.) Without that, it’ll all go to hell very quickly.
I see no solution except to go in and manually force conform shot by shot. Next time, don’t do this. I think a good tactic immediately after shooting is to append the shootday at the head of the file name, so it becomes 123118_DSC0001, 123118_DSC0002, and so on. If there’s more than one camera, consider a camera letter, like A123118_DSC0001, B123118_DSC0001, and so on. I also suggest avoiding Long-GOP H.264 compression entirely and transcode all the files to something benign like ProRes 422HQ or DNxHD (or DNxHR). All these things are part of good workflow practices, at least in my opinion. If you don’t do this, you’re in for a world of hurt.
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Marc,
Thank you for clarifying the problem! I appreciate the insight, this answers the world of hurt that I am in. Not to mention the night mare of handling SLOG footage, bizarre skin tones, every thing else balances perfect, yet everyone else looks like they have a nasty sunburn. I’ve never managed footage from a DSLR before. So far I’ve been lucky it’s been RED cameras and such. This will solve a lot of issues. I’m new the post production regarding video.
Thank you for your time!
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One last question.
If I am understanding you correctly, I need to rename all the files as per your suggestion on the hard drive, and then manually change their time code inside of premiere pro ?
Thank you.
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