For the OP's base question, the Comparison view in Premiere works pretty much like the same in Resolve ... and if you've set your second or reference monitor for the Transmit Out, you get the full screen comparison view. Which you can't in Resolve (yet) unless of course you've got a hundred or so bucks in BM gear between your computer and the monitor. (Thankfully, they've announced that will change sometime relatively soon.)
But ... there's not, as noted above, any auto-skip of the reference image down the line. I don't know of an app currently doing that (but could easily be wrong!). I'm not sure how much I'd even use such a feature ... I normally want a particular section of a clip for comparison, not just any frame. But we all work differently.
To Salvo, having multiple hero shots of a scene is of course sometimes required, as the view from a different angle can be very much different in colors and contrast besides the camera levels being off. Still, one does normally prefer having the one 'master' to refer to for skin tones and such ... whatever is most critical visually in that scene.
You're right in Premiere not having the full grading tool-set, such things like the (essentially) banks of grades that Resolve can 'store'. Which is very handy. Premiere's presets aren't nearly the same thing. That ability to have a still showing the grade is so useful. I also liked SpeedGrade's function of being able to get to a clip, and simply key-short application of a grade from 1-5 clips either way onto the current clip. That ... was a wonder at times especially for a first step, a neutralization run down a line. Well ... and once you had thing neutralized, applying a feel for the scene also.
Premiere's tools require a completely different thinking process in many ways. Using say multiple bins for different parts of the coloring process ... the way Premiere stores data about changes to a clip are 1) in the sequence and 2) for certain things in a bin. If you're using anything with a Master Clip property ... RED r3d files, Arri/BM raw, Sony Log ... you can use one set of bins for neutralization using the MC properties of the clip. But if you duplicate those clips to a new bin, and apply another layer of MC settings to them, you can do a second pass using the base controls of the media rather than relying on Lumetri to affect the image. With some of that awesome modern media, this is a Very Good Thing.
Every app is different. Watching the process in Mistika or Baselight ... it's very different in each.
Neil
Neil
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