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Question

Mixed Framerate XML doesn't mathc in Davinci Resolve

Forum|Forum|8 years ago
January 13, 2018
6 replies
17161 views

I have a project with a 24fps sequence. Some of my clips are at 29.97 and they get adjusted fine. The problem is when I export an XML for color grading in Davinci Resolve 14. The In and out time codes jump in some cases few frames but in others up to 12 seconds.

I dig more and found that Premiere changes the time code to the clips that are edited in the sequence and export them with that wrong time code.

This is really annoying. What could I do to fix this?

Thanks in advance.

Roy

This topic has been closed for replies.

F

FPS_Fish

Inspiring

Ok. I had TREMENDOUS deviation from my timeline in Premiere vs Resolve and my XML export.

But I figured out what was going on - thanks, in part, to this post.

We invested HEAVILY into a NAS system to centralize the media and to allow our colourist to use the ORIGINAL footage files (rather than a flattened, recompressed version of the file) . With this workflow we have to use proxies to edit with (original 4K and 8K footage is too heavy a task for most systems) . This means we cannot adjust the primary frame rate of the clip because Premiere's software isn't smart enough to apply the same frame rate interpolation to the proxies. (WHY???? I do not know.) So, as many editors suggested, we simply batch changed the speed of the source clips inside the bin. All the clips will now play at the intended slow but smooth frame rate. It's basically the same thing as a frame rate interpolation.

Except it isn't.

Because while the XML can tell the NLE what the adjusted frame-rate of the source clip should be, it doesn't have a clue you adjusted the speed of the source clip has been changed to. The XML doesn't forward that intel.

This means for every future project rather than batch processing all my clips to play back at a different speed, I have to add the clip to my timeline first and then adjust the speed.

Or...give up exporting an XML that related back to the original footage, strip out all the LUTS, flatten the video, and then scene-detect the whole timeline either in Premiere or Resolve. (We prefer doing this in Premiere so we can break out the clips different cameras so the colourists know which clips came from which cameras)

I have to say, both options suck

and all this is very avoidable if Premiere simply tweaked the code to tell the proxies to match the adjusted frame rate of the original footage.

Hello? Adobe????

Kevin-Monahan

Community Manager

Hi @FPS_Fish,

Thanks for the note.

Hello? Adobe????

These are user-to-user forums with only some participation from the product team. To get their attention on this issue, please file a bug here.

Thanks,
Kevin

Kevin Monahan - Sr. Community & Engagement Strategist – Pro Video and Audio

V

Vatziuka

New Participant

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E

elnarvideo

New Participant

I know this is an old post but I have spent months looking for solutions and I finally found it. Its a pain, but it works well and takes less time than manually adjusting each clip in DaVinci.

So I have a 23.98 timeline in Premiere with 23.98 footage and 60 footage.

When I XML to DaVinci, 23.98 match perfectly but 60 are off.

The solution I found is as follows:

1) Export XML from Premiere as 23.98 and import into DaVinci.

2) Color it ignoring the fact that some clips are off. Very important at this stage to use Remote grades, not Local grades. You can adjust clips to a rough position if needed for more accurate grade, but 60 clips will be replaced later in the process.

3) Before, during or after coloring (doesnt matter when) move all your 60fps clips to a different track. This is just so it is easy to identify them later on.

4) Once done coloring, go back to Premiere. Duplicate the sequence just in case. Now change the sequence framerate to 60fps and export another XML.

5) Import a new 60fps XML into DaVinci. You will notice that now 60 clips are fine but 23.98 are off. Thats fine.

6) Switch your grades for this timeline to Remote grades. Your grades from 23.98 timeline should transfer immediately. If some clips used multiple grades, you would have to manually show which grades you want. Its also a bit of a pain but not too difficult or time consuming.

7) Now, delete all 60 clips from 23.98 timeline and delete all 23.98 clips from 60 timeline (still in DaVinci)

8) Render each timeline using a Premiere XML Round Trip preset in DaVinci and make sure framerate for each render matches timeline framerate.

9) After rendering is done, go back to Premiere, import both new sequences and copy 60 footage to a 23.98 timeline. It matches perfectly and all is colored.

It seems like a lot but its actually quite simple. To recap all you do is color 23.98 sequence, then import the same sequence as 60fps. Delete clips that dont match timeline fps from both sequences. Render them separately and combine in Premiere.

I hope it can help some of you as it was driving me crazy. I frequently deal with mixed framerates from other editors that use Premiere and this is finally a solution that only takes about 10 more minutes than my regular workflow. Im happy now:)

J

johns73022792

New Participant

Question: If the 60fps foortage is already modified/interpreted to 24 fps to fit the sequence. Do you need to revert the footage back to 60fps when duplicating the (24fps sequence) and changing it to a 60fps sequence?

R Neil Haugen

Brainiac

Try it you'll get a very quick answer. Sometimes duplicating a sequence then testing something is the fastest way to figure it out.

Neil

Everyone's mileage always varies ...

Jeremy Castillo

New Participant

After importing an XML into resolve, I also bring along a reference file. I put the reference file on top of track of the timeline, and set the opacity at 50%, that way you'll see if things drift. If you have a drift, right click the clip and go to clip attributes, from there choose how to interpret the footage. Hope that helps.

R Neil Haugen

Brainiac

This is the only way to be sure you have the right ... action? ... down the sequence/program. It catches things like resizing and time-ramp issues also.

Neil

Everyone's mileage always varies ...

E

excited_Genie16B8

Brainiac

You guys might be expecting too much from an XML. Resolve in particular handles timelines and media frame rates differently than Premiere Pro does, so it's not necessarily surprising when oddities like this don't perfectly translate.

About the best recommendation I can make for a successful transfer is to use one frame rate for all your media and sequences. Don't add any effects or transitions.

Captivating_Canvas0D44

Participating Frequently

Hi Jim, thanks for the reply. I understand it's not surprising, but I can find people mentioning this problem from 2013 - so it hasn't been fixed in 5 years which I find simply bizarre - and more so I do thiink this particular problem is how PP writes XMLs when you have conformed footage inside PP.

For me the issue is usually when I conform all the clips in PP to the same frame rate and then retime a few of these clips. When I import this into DaVinci I import all used media first, conform this footage to the same frame rate I conformed in PP, and then import the XML. The results is that everything that isn't retimed is fine but anything retimed tries to take into account the conform and is way off.

e.g. I conform a 50fps clips to 25fps in PP, and then speed this up to 80% on the timeline. In DaVinci I add this clip to the media pool, again conform the clip to 25fps, import the XML and check the timeline but the clip is now retimed to 40% instead of 80% because PP has tried to account for the conform but not bothered with the other clips.

So the main issue for me is that PP only takes into account on an XML any conform you have done on a retimed clip, if you have not retimed a clip the conform will be ignored. This therefore feels like a bug/mistake as PP should treat all footage (retimed or not) on the timeline exactly the same - the silly half and half method it currently uses is utterly useless.

WORKAROUNDS:

- back in my FCP days I used to use Cinema Tools to conform footage instantly. Now that is no longer an option and sadly it means waiting hours for AME to transcode everything with the conform. This is an option but not a good one if you have lots of footage.

- The second option i have found is to change all the footage on the timeline to have 'optical flow' on even if it's at 100% speed. This makes PP think that everything has a speed adjustment and therefore treat all footage like it's been conformed and apply the correct speed in DaVinci (you don't need to conform the clips in DaVinci). However this is not fool prop and clips can slip a few frames.

Sure this is a relatively simple fix in the grand scheme of things for Adobe??

Captivating_Canvas0D44

Participating Frequently

FYI - if you use the method of changing everything on the timeline to have optical flow so that PP recognises conform on all clips to import the sequence to davinci you should removed this once you get into davinci on any clips that shouldn’t have optical flow on as otherwise you may get some horrible results.

Captivating_Canvas0D44

Participating Frequently

I have the same issue - can someone please answer. From the forums I've seen online PP has had this issue with exporting XMLS with speed ramps for years, surely this should be sorted by now or there is something I'm missing??

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