Premiere Pro to DaVinci Resolve Workflow (AND HOW TO FIX MEDIA OFFLINE ISSUES)
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Premiere Pro to DaVinci Resolve Workflow (AND HOW TO FIX MEDIA OFFLINE ISSUES) - In this video editing tutorial, Will teaches you how to export a project from Premiere Pro and open it in DaVinci Resolve. He also teaches you how to fix media offline issues when the Premiere to Resolve workflow has media offline.
In this video, I'm going to quickly show you how to get projects from Premiere Pro into DaVinci Resolve. Now, there's a bunch of reasons why you may want to do this. Let's say you want to color grade in DaVinci Resolve and then finish in Premiere, or if you just are sick of editing in Premiere and you want to complete the edit in DaVinci Resolve. Either way, there is a way to do it where there's a workflow. You can export a file that will be compatible with DaVinci.
So that's what we're doing in this video. And if you're new here, we have over 200 videography-related videos on the channel. Lots of content for you to learn from, and if you want to know any of the music or the equipment we use to make our videos, all links are in the description. Let's jump in.
Okay, I'm in Premiere Pro, and I have my media loaded into the sequence. I have a basic edit, and we're going to take this edit, export it as an XML file, and then use that XML file to convert this project into a project that DaVinci Resolve can read. XML files are great because every professional video editing program can read XMLs. It's basically a file with very basic text in it that gives directions on what track the media is, where the music is, at what point which clip exists in the timeline, and some other data like that. It'll capture and store all that file for where all the media is in your sequence, and then another program will be able to tap into that data and reassemble all of the media in the new program.
To test this XML workflow and to show you what's possible, I've also made an adjustment layer and I've added some fades to the audio. So we'll see if that gets transferred over when we open it in DaVinci Resolve.
To get started, you want to have an edit ready to go in DaVinci Resolve. Now, it doesn't have to be obviously a completed edit, but you should have some media on it to make this workflow worthwhile because the point of this is to save you time, so you don't have to recreate the entire edit from scratch in the other program. You can simply just export the edit as it is, send it to DaVinci Resolve, do your color correcting, color grading, and then send it back if you want or just finalize in the other program.
It's super easy to create an XML. You just go up to File, Export, and then you find the one that says Final Cut Pro XML. Then you can navigate to whatever folder you want. In this case, for the purposes of the tutorial, I made an XML export folder. You can give it a name or just leave it as it is based on the sequence name from Premiere Pro. Click on Save. It'll analyze and do its thing and then create the XML for you. Depending on the size of your project, let's say you have hours and hours of footage, it might take a little longer, so just be patient with it.
With DaVinci Resolve open, I'm now in the Edit page. We'll go up to File, Import, and click on Timeline. We won't click on the XML, even though that would make sense. We'll click on Timeline. Once there, navigate to where we saved the XML. We'll click on it, go to Import. Next, this window will pop up and it'll show you the source file to the XML under the Import Timeline. This is going to be the sequence name for the sequence from Premiere Pro that you're importing into Resolve. Then for the name of the timeline, I would add CC at the end for color correction. This will give it its own unique name that's separate from the Premiere Pro one in case you're going back to Premiere Pro or to a different program at a later date.
We can keep the time code to default. We can automatically set project settings; that's fine. Automatically import source clips into media pool, yes, that's what we want. We can leave ignore file extensions when matching as unchecked. We'll leave use sizing information checked, just in case we've made any sizing changes in our edit. For the last one, we can leave that unchecked as we want the audio to just remain as default. Then we'll double-check that our resolution for our sequence, or in this case our timeline in DaVinci, is accurate so that it does match the footage we're working with. In this case, it does. 3840 x 2160 is 4K, and that's what we had in Premiere Pro.
For the last option, if you're not working with mixed frame rates in your sequence, then you can just simply leave it to none. However, if you are working with mixed frame rates, it can get complicated when bringing it between programs. So in that case, you can try starting off with Final Cut Pro 7. If that works, great. If not, then you can experiment with the other ones. For us, we'll just leave it at none. Click okay.
I'll say that Premiere Pro's way of relinking offline media is significantly better than DaVinci Resolve's. That's an area where they definitely need to improve. However, we are stuck on this error message, so you can try to navigate to the folder first, and if it does work that way, great. But in this case, I'll show you a workaround if it's still not working. So click on No. You'll get this error message saying that this is the problem. You go to Close. You can see down here that it was able to find the music. However, it couldn't find and locate the media. We have offline media.
To fix this, let's highlight the media. We'll right-click it. We'll make sure that conform lock enabled is off. Then we'll go to our media pool. You can manually bring in all of your footage. Then up in your media pool, right-click on the timeline, go to Timelines, and then Rec conform from bins. Then you'll see the issue here. Under conform options, DaVinci is trying to search for the time code instead of the file name. So let's uncheck time code and instead click file name. Click okay, and then that solves the problem. That's a lot easier than trying to change the time code of every single clip or manually trying to rebuild your edit, especially if you had a huge project with hundreds and hundreds of clips. It's a lot easier this way to just highlight the clips, make sure that you have the conform lock enabled unchecked, and then change the settings in your timelines to make sure it goes from time code to file name.
Now, you'll also see that we have media offline for our adjustment layer. That is because the adjustment layer could not be brought over into the XML. So that is something to be aware of. So we will delete that and we'll have to build that one up again from scratch. But in terms of getting our media with our in and out points, the music, and the fades into our edit, and not having to do a ton of time code changes to all the clips, working with the actual file names is the way to go when you're working with XML imports from Premiere to DaVinci Resolve.
As a quick note, if you're in Resolve and wanted to send it back to another program via XML, you go up to File, Export Timeline, make sure that you're using the standard XML, which you can see up here, and then navigate to where you want to save it and hit Save. Then inside Premiere Pro, you can simply go to File, Import, and click the one with the CC for color correction, and you're good to go.
Alright, I hope this video was helpful. Let's say you wanted to do some color correction or color grading in Resolve and then send it back to Premiere. This would be the workflow to use, and it's pretty straightforward once you know where to click and what to do.
Alright, that's how you get projects from Premiere Pro to DaVinci or DaVinci to Premiere Pro. If you like the video, give it a thumbs up and subscribe to see more videos from us in the future. We have over 200 videography-related videos, so lots of content for you to learn from. And again, if you want to know the music or the equipment we use to make our videos, all links are in the description. Thanks so much for watching. We'll see you next time.
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