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July 10, 2016 at 11:32 PM #90783AnonymousInactive
I’m sure this has come up often, but I’m lacking some clarity and hope sharper minds can offer guidance.
I’ve worked on several very small, simple video projects over the years (H264, into Premiere, some simple AE here and there, export). But I have a project coming up that will be substantially more involved, and I want to make sure my workflow is properly fleshed out.
Footage will be shot on a BMPCC (RAW). My thinking is that I’ll want to have come initial colour correction/grade so that I’ll be editing with footage that makes sense visually. So, export some colour corrected proxies, bring those into Premiere and do my major edits.
Here’s where things get confusing. I’ll also have some vfx to incorporate (set extensions, props, etc). I plan to do all my compositing in AE. So I assume, since I’ll be working in Premiere, I’d just select the desired segments, turn them into AE comps, and do my work in there.
Well, the footage I’ll be compositing won’t have a final grade on it. So I’ll be making compositing choices â€“ integrating foreground and background plates â€“ based on only roughly colour corrected clips.
And, maybe that’s fine? Maybe instead of exporting baked proxies from Resolve, I export like, ProRes 4444 proxies and a LUT which I can apply temporarily in Premiere and AE… in which case, as long as the vfx is well composited the log proxies, it should all turn out once it gets back to Resolve.
Maybe I answered my own question there… but I’m open to input!
So, once done with editing and compositing, it seems the next step is to export an FCP XML to finish up in Resolve. But how does that work? How does it handle nested AE comps? How on earth do you handle conforming the bg plate in an AE comp that’s nested in a Premiere timeline? Will I have to rebuild transitions? How on earth do effects (like, say, Twixtor) or keyframed properties (like clip location or opacity) get translated to Resolve?
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