updating a premiere to resolve timeline (XML)

So helpful.

Years ago I gave Resolve a try and, indeed, found the interface confusing.  So went back to what I used long ago - Premiere.

So I hear what you're saying.  

Premiere still has more depth to its editing functions, especially as to say the number and variety of keyboard shortcuts. But for many editors, who don't use that full capability, some of that isn't an issue.

As someone who's been in both apps near daily for years, Resolve isn't nearly as "rock stable" as it used to be. As they've added in other things like editing capabilities, Fairlight audio, Fusion graphics/compositing, and tried to emulate the "ecosystem" of one sysem to fulfill all needs as within Adobe stuff ... they've hit a problem.

I think it is inherent in trying to be one size fits all media, systems, workflows, and delivery needs.

The most stable post app I know of is Baselight. You buy a computer from them, currently like three options between $13G and $19G, not cheap, right?

You do not ever add any app or function to that machine, it is only ever used for Baselight.

And you pay something like $1500/year for license and maintenance.

Right ... well, a wee bit above my paygrade, for a one-trick pony as it only does color ... though that right well.

Personally, after years of being in Resolve, the UI still is a huge turn-off for me. At times I struggle simply remembering all the places they've buried different options on different contextual things around the app. The limitations on monitor use or workspace setup are massive. And totally frustrating.

And of course, they limit what my Tangent Elements panel can do, and I do understand if it does annoy me. Resolve is a loss-leader, to get people to buy BlackMagic hardware, where they do make their living.

I don't have the money  nor the space to buy mulitple panels, and the BM panels only work at all in Resolve. Period.

In Premiere, I can use that Tangent panel for everything from color through resizing/rotating/moving any screen element, sound in the Audio track mixer, you name it. A major timesaver across the app.

BlackMagic color panels only do color, you can't do any editing steps with them. So to get the same functionality, I'd need a cut panel, an editing panel, maybe the middle color panel, and a Fairlight panel. At least four BM panels, to do only a good share of what my Elements panel does in Premiere.

And have you looked at the cost of those panels? The mid-color panel is spendy enough to match the Elemements, and the Fairlight panels ... hoo boy ...

Now a very good friend loves the Resolve workspaces, thinks it is by far the most intuitive design anywhere. Yea for him!

We laugh at each other as he gets frustrated in Premiere, and I struggle to find my way around Resolve. Plus, he doesn't understand why anyone would ever want to have Resolve's tool locations different than as they are, it's so freaking perfectly designed.

Whatever ... 😉

Your insights are always helpful, Neil.

If I can get Resolve to do multiple monitors in the way that I prefer, I think its going to be the choice for my next film.  I imagine the X number of weeks it takes to feel comfortable with it will be well worth it.

I always render out my After Effects work rather than importing the compositions themselves into Premiere.  My point is that I'm not dependent on the PP/AE relationship.

But my sound mixer wants to use Audition's connection to Premiere, so maybe that will still be in my workflow.  We'll see.

Thank you. 

There is absolutely no possibility of exporting full color adjustments in one app that are "understood" in another.

You mentioned MixingLight, abd I'm a contributing author there. Have been, and worked with colorists for years.

Take Baselight and Resolve, two fully featured grading apps, right?

You  can't do this between them. The tools are built so different there's no mathematical way to make one's settings somehow match another.

The only thing is the CDL, color decision list. Which is a very basic thing, essentially an overall exposure and per-channel R G B gain change.

Turnovers for color have always been a bit of a pain. "Picture lock" used to be A Thing, before sending to color. But not so much anymore. 

Six hours later, I've learned a lot.  (I would love to have folks correct me here!!)

1. Resolve can import multiple video tracks no problem.  Not sure why folks collapse all their footage to one track.
2. Resolve can handle Premiere's nested footage, but sending those sequences back to Premiere doesn't work.
3. Sound - in Premiere - should not be nested if you want it to export to Resolve.   
4. Paying $7 for a week's access to these tutorials - mixinglight - was worth it.  It taught me how to handle all the little inconsistencies that arose in Resolve with my shots' position and scale. 

The feature that is missing is simple - exporting Resolve color settings as metadata that Premiere can read.

With that, it would not be necessary to send Resolve the edit, a timeline at all.  I'd simply export from Premiere to Resolve a list of my used footage, grouped by scene.  I color grade each shot.  Then, from Resolve exports the color metadata that would say:

shot 777.mov has THIS color setting

shot 888.mov has THAT color setting

...and so on.  Premiere imports that metadata which associates the appropriate color settings with the shots that have long been sitting in my Premiere bins.

Without that, I'm sort of able to go from Premiere to Resolve and back, but I still feel strongly compelled to picture lock before I color grade.  For one, exporting from Resolve to Premiere includes rendering the footage again.  

Are folks returning their footage to Premiere to then do their sound mix?  Is there another reason?  Thank you.