Hi all. I've been having this weird issue with conforming XML files (either from FCPX or even Premiere Pro) and I'm not sure if I'm missing something. Basically the workflow is such;
1) offline editor provide a xml based on the edit ( media file linked to proxy files normally )
2) colorist grab the xml , grade and export the graded clip in proress 4444 but in separate folders (just to avoid same shot diff in out point issue )
3) online editor grabs the graded clips and conform using whichever software.
In my situation, I'm the online editor and I worked my timeline on Premiere Pro ( somehow seems easy and fast for me to make simple changes ) and my composition on NukeX ( export shots that need to composite from premiere pro ) but the issue is I can never conform the XML from the offline editor in Premiere Pro. The common issue would be;
1) media timecode / duration does not match ( works well if i did my steps below )
2) having to locate each folder of the graded files to link ( anyway around this ? )
3) speed ram ( this is the biggest headache of all time. most of the time i have to eye match the and if that don't work i'll most likely ask the offline editor to give me the keyframe timecode )
Hence, my workaround at the moment ( its redundant but somehow works for me and also speed up my time of conforming) is to import the XML in Resolve ( had to learn about resolve just to solve this issue) , link the graded clips to it and re-export back an XML so that when I import the new exported XML from resolve, it will automatically sync all files into premiere pro.
Am i missing anything that I do not know of ?
I've heard of colorist pals needing to do the import to Resolve/XML/import to PrPro thing at times. While at other times, the XMLs worked.
So I think some things don't pass through the XML as well as others when coming from FCPx or at times, even a PrPro XML.
Weird that a trip through Resolve fixes it though. Time-consuming extra step.
Guess I'm not the only one. Haha.
Wonder why this hasn't been rectified by Adobe. Would be great if they have the same similar conforming from bin like Resolve does. At least that saves the time of conforming to resolve and export a new xml to premiere.
The worst will be speedram actually. It could be as simple as from premiere pro to premiere pro. That data just lost in translation when exported to XML. I'm sure there's an easier way to find out how to fix this issue.
Some users I know go from PrPro to Resolve via XML routinely with only a few bumps. Besides not wanting anything with at most two tracks ... preferably only one ... in the project when the XML is made ...
First, they NEVER take speed-ramped clips. They want all time changes removed prior to the XML.
Second, they want all transitions removed also.
Third ... they want all graphics removed.
Fourth ... most want any resizing to have been done with "set to framesize" for items simply plopped upon the timeline and auto-resized by PrPro, and for all other scaling, they want a list with timecode, clip name, and scaling.
And fifth ... they must have an H.264 of the project to overlay over their timeline in Resolve to check all conforms.
Other than that, it's a piece of cake supposedly. Ahem.
I've tried conforming with 8 layers or more and its still fine if I do it in resolve ( minus the speedrams issue) . Some offline editors will remove all graphics and generate a tclist for the grader ( which makes it much easier ) but that only happens once a blue moon haha. And yea, they will also send us a reference clip to for us to overlay to check our conforms. This whole process seems the same everywhere and yet there's always a flaw somewhere down the pipeline.
As for the speedrams, normally I would request the offline to provide a timecode stamp onto the h264 file so that i know where the speedram happens. Or if i personally know the offline editor, i'll just ring him up and ask him to send me his project file for me to copy or follow the keyframe on premiere pro. Again, another tedious step whereas the conforming should be a touch of a button haha.
Wouldn't it be incredible if the dev's for FCPx, Avid, Premiere, and Resolve got together and worked out a common format they'd all use?
I guess that's a dreamer's dream though ... like having eveyone (especially including the Big A here) actually agree uipon and follow a standard color management routine. Sigh.
We'll never know. Maybe they are reading about this post and decides to come out with something in the next update? Haha. Another dreamer's dream.