[Buddy Brett ramker]

Hey Toni,

So roundtrip workflow between Premiere and Resolve is not great for a lot of reasons, one of them being this specific example. One of the things I find myself doing is ignoring the speed changes in Resolve, grading the footage in the timeline and then exporting the graded clips with the same source file name to a different directory. At that point I duplicate my MS sequence, or save it as a new project, knock the original sources offline, and then relink to the graded clips. The retime data is stored in the project file so when you relink, all your edits will remain intact.

It’s not a perfect workflow, but if you want to work with RAW materials, its your best bet. At work we have sent work to a colorist via EDL, but I have never seen his WF so I don’t know how he is handling rebuilding the timeline in DR.

Until BMD and Adobe do something about this you have to get super creative with the roundtrip. Not that this helps you at all, but the roundtrip via FCPx and DR gives me hope!

Best of luck.

[Buddy Brett ramker]

I would at every tier of that folder archive with Prelude and try to get it to read it. If it can read it it will stitch the clips together and make them ready for an easy workflow. It looks like the original folder structure from the media card is intact on that drive.

[Buddy Brett ramker]

Use Prelude to import your assets from the Media Card. That should sort it. We used to have the same issue with spanned p2 clips.

[Buddy Brett ramker]

Couple of things with Rendering. First check where your “Preview” scratch disk location is set. This is the folder Premiere writes to. If it is in a directory that doesn’t have sufficient privileges, Premiere will not be able to render. If the directory is ok, I would suggest throwing out the project folder of renders inside the Previews folder and letting it start over. Many times Premiere Jams up while trying to render due to old or existing render files.

Hope this helps!

[Buddy Brett ramker]

Pan channels 7&8 left and right with the audio track mixer.

[Buddy Brett ramker]

That technology is coming. The only fully supported GPU in an external chassis comes in the form of the RED Rocket. They supply instructions for using the card in a Sonnet Chassis. The issue with getting reliable performance to and from a Thunderbolt chassis comes from Drivers. The GPU drivers have to have specific language for “hot swapping” for them to work via TB. I can’t speak to throughput because PCI is measured in GTs, not GBs.

But it is coming. With Apple pushing TB tech so hard it is only a matter of time before vendors are creating standalone GPUs, which will be awesome!

[Buddy Brett ramker]

You may have success rendering out your final sequence by reducing the FPS Resolve will attempt to render at. Basically, Resolve will also you to try a 24fps render regardless of system. However, if you system does not have the power Resolve will crash. I learned this the hard way color grading on a MBPr. I saturated my GPU many times before I found the happy medium for export FPS. On my system I think it was around 15. I would lower this setting and try again.

[Buddy Brett ramker]

It sounds like your computer should have plenty of power to process 1080 footage. I could see the ethernet possible creating a little bit of loading time. So with Prelude, the dynamic link is pretty cool, but it doesn’t hard rename your clips. Generally the Prelude workflow I use is to create subclips, and then export them in native format but tell Prelude to rename them to your subclip names. To be honest, Prelude should really be a function in Premiere, not a separate app. But that is how Adobe does it, an app for everything.

If you are a small boutique house, I would look at FCPX, especially since you have Macs. Don’t believe the stigma, its a powerful and more reliable app. The errors you are seeing sort of come with the unforgiving nature of Adobe’s apps. They are powerful, but you better be technical and pay attention to every move, other wise you will achieve inconsistent results.

Best of luck.

[Buddy Brett ramker]

Hey Roddy,

Could you list the system specs on the iMacs that you are using? Are you transcoding the media or leaving it native? What logging workflow are you using in Prelude? Tagging metadata or creating subclips? How many users are accessing your SAN at once?

[Buddy Brett ramker]

I don’t see how that is an issue with ProRes. The limit of allocated system memory to me seems like it should be independent of a codec.

Brett Ramker
Technical Operations Specialist
NASCAR Productions