4/10/2023 0 Comments Davinci resolve lite support avchd![]() ![]() Go back to Premiere pro, open the project, import the new xml, point to the folder with the new rendered color corrected files if asked. Open resolve, conform the XML you just exported from Premiere Pro, Color correct, render as something loss-less (dpx etc), go back to Conform tab and XML out from there. Use Media Encoder to transcode that entire folder (at the highest render quality settings) into one of the loss-less or visually loss-less codecs that Resolve understands (tiff, DPX, Open Exr etc) (and not h264 mov - you will lose quality) Project manage in PPro to create a folder with only those parts of your clips (plus optionally handles) that you used in your edit Optionally transcode with Cineform or 5DtoRGB at the highest settings to get rid of ugly edges in colors esp reds, edit your footage in PPro optionally offline the clips for edit, than reconform for online with Resolve ![]() You workflow should be something like this: Ingest your footage ![]() In DaVinci Resolve manual: all about conforming and FCP roundtrip, plus how to save an xml. Now if you really wish to use the Davinci resole in your PPro workflow read up on the following: in PPro manual: Project>Project management File>Export>FCP XML One could pontificate about how inflexible Resolve is on Windows (on Mac of course all of the video should go through Quicktime, hence a stronger codec support there) regarding the ingestion of the sources, but then, of course, if they were to support both Window's directdraw (or whatever they are using now) and all of the quicktime codecs, one would assume that both licensing and stability issues would arise that would not make robustness or cost (it is free for HD after all) any better. One could pontificate about the Adobe's lack of strong mxf infrastructure, but in reality Adobe is playing a different game. mts wrapped AVCHD sources and file structure are under the AVCHD group and the BluRay group control. The rest are either uncompressed or industry standard exchange codecs, with the exception of Avid's DNxHD mxf, and even that one is, arguably, an open standard. mov (for some Sony) and h264 mov (for other broadcast and Canon DSLR (which are established firmly for some workflows). If you look at the supported codecs list for Windows you will see that it in fact supports most of the high end acquisition (ari, r3d, cine, canon mxf) mid-level broadcast mpeg 4. You must realize the DaVinci Resolve working paradigms are based on the Offline-Online philosophy of the yore which is aimed to support a traditional labour separation of the studio system, and not towards owner/operator one man shop. mxf capability in Resolve is only for the benefit of the Avid Composer users. I can't really tell which ones I want to use until I interpolate footage, and play At the moment there is no way to transcode anything to DNxHD mxf in Premiere or AE. I probably shot 30-40 clips slow-mo of smoke rising. I think AF has some setting to render a clip and replace it in the time line. Is there anyway in the premiere timeline, to transcode the MTS to DNxHD in place. I'd love to play with this workflow but it needs to be more streamlined. Plus the 5Dto RGB guy said Resolve doesn't decode AVCHD natively that well. What I've seen on the PC is to terminal based for me. I would prefer going out XML, then perhaps transcoding to DNxHD transparently, then input to resolve with the transcoded footage, then hopefully back into premiere.Īre you guys actually transcoding all your footage before you start rough cutting in Premiere? Seems like a waste of time and disk space.Īny solutions for the PC like on the mac where they have a Clip rewrapper program. I don't want to transcode all my rough footage to DXnHD first. I haven't found a simple Premiere-Resolve workflow. Any highlight soft clip method like "limiting".Īnyways I'm thinking loud here and I will investigate further. Where are my RGB and CMY controls divided by master,shadows, midtones, highlights? where is my luma range preview of footage? No luma range definitions? Also what about scopes? I can't live without an overlay waveform. Now to the downsides, and again this is very preliminary so correct me for anything wrong, but when it comes to actual color correction control, where the hell is everything? I mean seriously, color wheels and curves? Curves suck balls, and color wheels, although very useful at times, are generally too sloppy and annoying. I like a lot that you have some editing control over footage, which you don't have properly within AE. It's clear that it is designed with larger projects in mind and with reviewing the footage in motion which is important. But from my crummy old laptop, my very very initial thoughts: the interface I like a lot, very clever and intuitive, and offers a better workflow than AE plugins such as Color Finesse. Just arrived at Athens for Christmas break so I'm away from my beast desktop back in UK. ![]()
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