The timeline above has 10 layers of video, but the colorist only needs the main video layer (V1). Thankfully, we don’t need every bit of it. Loading all of these unnecessary assets into Resolve will just slow things down. As a minimum you want to make sure that the timeline is as close to finished as possible.įor grading, your timeline doesn’t need every layer of video, audio, VFX, and graphics available to the colorist. Sadly, a firm sequence lock isn’t always an option. So make sure that everything is locked in the edit, and no further changes need to be made. Coloring is usually one of the last steps in the editing process. The first step in this process is to prep your Premiere timeline for a high-quality export to transfer to Resolve. For simplicity’s sake, we’re going to outline the most simple/standard process for this sort of workflow. That said, there are lots of minor tweaks or extra steps different teams will use for this process. Visit practically any post house these days and you’re bound to see something similar at play.
Other times you might be working on a super high-end project in ACES that requires a different process than what we’re about to outline.īut for many of us, this type of round-tripping between our editing bay and color suite is common. Sometimes you won’t need Resolve’s precise color tools, and Lumetri Color ( or just a LUT) will do the trick. It should go without saying that not every project is the same. We”ll highlight some of the top benefits, biggest hurdles, and key tips for this common workflow. In today’s article, we’ll look at the process for round-tripping from Premiere Pro to DaVinci Resolve. Using the unique strengths of Premiere and Resolve, you can work faster, deliver better results, and focus on creativity. This often means the software you cut in is not the software you use to grade. That usually means you should pick the fastest and most flexible software for any given task.
The same goes for Resolve’s editing tools, which are quite capable, but don’t have the same pedigree that Premiere has built for itself over the past two decades.Īs a filmmaker, your primary goal should be to provide the highest quality product with the tools and time available. Of course, Premiere Pro has its own color tools, but grading in Resolve allows for more control and thus a higher quality product. While Resolve has carried the weight of digital color grading supremacy since back in the mid-2000s. You just need to understand how to make them play nice together.īetween the two, Premiere Pro is arguably the more powerful (and established) editing system. This complicated relationship is a good thing, as it opens up a plethora of technical and creative benefits to filmmakers. These powerful tools complement each other wonderfully but are constantly competing to steal each other’s lunch.
The relationship between Adobe Premiere Pro and DaVinci Resolve is complicated.
0 kommentar(er)
