[Billy Sheahan]

Hello everyone,

I’m having the same Premiere time-remapping XML to Resolve issues, so I’ll be keeping an eye on this thread to see if anyone has any solutions.

Currently, my workaround to avoid creating a single flattened master export file to grade from, is to make a copy of the edit sequence in Premiere, remove all time remapping from clips (lengthening the overall sequence) and depending on the situation, adding handles to each edit. Then I export an XML from that edit, which has no speed gymnastics to sully the XML. That way, my colorist can still grade from the original media.

It’s a messy and painful conforming process, about as far from efficient as it could be, but it seems to work. And I’m not cringing that I’m grading from media files that have been dumbed down before grading.

Billy Sheahan
Director/Photographer/Editor
Billy Sheahan Photography/Curious Visuals
Chicago, IL

billysheahan.com

[Billy Sheahan]

Shane, I’m assuming you mean the “Reveal in Project” is present in the menu, but grayed out, correct? If so, try clicking away from the timeline or bin (whatever window is currently active) to another window and then returning to the window you’re trying to access Reveal in Project from and try again. “Reveal in Project,” should now, not be grayed out.

I’ve had this experience a few times in the past few months and the clicking away from whatever window you’re working in for a moment and then clicking back, seems to solve the issue. Not sure if it’s a bug or interface confusion.

Hope this helps.

Billy Sheahan
Director/Photographer/Editor
Billy Sheahan Photography/Curious Visuals
Chicago, IL

billysheahan.com

[Billy Sheahan]

Oh yes! I’ll second the timecode from sources in the program monitor. There have been a few times in the last few months when it would have been great to easily confirm timecode on clips in a sequence without have to match cut to see the timecode.

Heading over to the feature request page now….

[Billy Sheahan]

Hello Elliot,

I just came to this thread looking for a similar answer. I thought (or hoped) perhaps Premiere CC might have addressed this.

The previous answers are correct that Premiere has historically not used the .thm files to pull the camera time of day “timecode” into the file to create a sort of pseudo timecode as FCP used to when importing/transcoding DSLR files.

My workaround in Premiere for the past few years has been to use a third party program called qtChange prior to importing into Premiere to add the time of day camera timecode from the thm file to the mov file. You can also use qtChange to add a reel name to the mov file which can come in handy when sending edits for color grading as the reel name is sometimes very useful in color grading software.

Once qtChange has added the “timecode” to the mov file, you can import it into Premiere and now Premiere will see the timecode as it’s now part of the mov file and the fact that Premiere doesn’t read the thm is no longer an issue.

It’s an extra step before importing, but so far, it’s the only easy way I’ve found to make sure my DSLR files have a more useful timecode than the 00:00:00:00 since there technically is no timecode in the original mov file.

I hope this helps. And it would be nice if future versions of Premiere would be intelligent enough to notice the thm file and pull the time of day timecode from the thm file.

Billy