@wrr53

Just curious ... do you love the wrapper/codec, or the images? They aren't necessarily the same thing these days. A lot of pro editors working projects with AVCHD & other codecs either say use something like PrPro that can use multiple codecs in "native" form on a timeline or transcode for editing to even Lagarith or a high-quality form of ProRes or DNxHD.

Then your NLE of choice is clearly independent of any particular camera's wrapper/codec combos. Love Edius? Love FCP-X? Love PrPro? Pick one & "go" ... and if the one you want doesn't work too well with AVCHD (which would surprise me, it's so widely used) then transcode if you must.

Not a big fan of AVCHD myself, the folder/file structure using it is to me a pain. But that's only a personal issue of mine.

Neil

@tinbeo The problem with workflows is that they are dependent upon the desired result and the equipment available. I work in the Post Production industry and develop tailored workflows for each project. You are better off learning about the processes and developing your own to suit your requirements. For GH4 4k Apple FCPX is the easiest at present.

We are in 2014 , Premiere go cloud -;) Hot topic in PV is 4k with gh4. Do we have wiki work flow for gh2 yet?

@inqb8tr sorry for misunderstanding, could be my pigeon english :)

I don't want to import audio into Resolve, I never do it, it's just a habit. Should I?

Anyway...I edit the raw MOV-from-MTS files in Premiere until the project is over, so the audio is all done, edits, everything.

Then I export only video into Resolve, for grading, and after I'm done, export the graded footage into Premiere and then export the whole thing with audio to 264.

The thing is, I'm kinda worried about Premiere - Resolve - Premiere route. I don't want to lose any quality and so far the original GH2 mts gets treated 4 times

-from raw GH2 MTS to ProRes MOV

• in Premiere, from ProRes MOV to "Animation codec MOV" for Resolve

• in Resolve, from Animation codec mov to MPEG4 MOV

• and back in Premiere to H264

So I'm thinking, there's got to be a way to minimize the loss in the Premiere - Resolve - Premiere part of the workflow :)

I'm in W7, Premiere CS 5.5, Resolve 10...can't figure any other codec to use for the Resolve but MOV

These are the options I get from Resolve...don't know the difference between any of them :)

@inqb8tr _ so how do I go about converting that?

When I'm done editing, I need to make the footage ready for Resolve. Export settings in PP CS5.5 only gives me one Resolve friendly option, QuickTime

I've tried AAF, both regular and legacy, and Resolve gives me "The selected CompositeMob index is out of bound" error.

XML doesn't show up.

So that's why I export edited footage to Resolve for grading, and then export back to put it in Premiere with audio, and export the final result.

I know this workflow is flawed. So I'm looking for better options, if possible without changing away from Premiere :)

Premiere can handle most formats ... you might want to consider editing "native" in PPro, then in the export for Resolve do your first transcode. Of course, if you're running a stream of different formats into each project you might prefer an "ingest" transcode to a single codec. Otherwise ... skip the transcode till you're out of PPro might be wise. Less times messing with transcodes.

Neil

@riker

You should compress to mpeg4 or h264 only once, if that your delivery codec, at the very end. So IMO you should export from resolve lossless (Animation or ProRes HQ which is very close to lossless codec).

What is the correct way to dumping footage to hard drive? Clone the whole card? Copy just the Private or Stream Folder?

I'm working in Premiere as my main editor and I have NeatVideo for Premiere and After Effects but I want to do my color grading in DaVinci Resolve. I know that it's appropriate to denoise before grading the footage but what I don't know is the most intuitive way to go about denoising and then grading. Right now my thought is to denoise every shot individually (NeatVideo in Premiere), render each clip individually (DNxHD), and the slap all of the shots in a new sequence in Premiere. From there save it off as an XML and import into DaVinci and have a ball with ColorGHear.

Does that workflow sound about right or am I just brain farting and there's a way easier and less time consuming way to go about this? Any advice would be greatly appreciated as I'm on a fun deadline....

My workflow :

1. shoot footage with La7200

2. dump memory card into a folder

3. drag into iffmeg or squeeze and create prores 4444 2580x1920 pixel 1:1

4. drag MOV into vegas or Pr ( depends of OS.) minor color correction (only on clips that's needed)

5. export to whatever format is needed (obviously different for web, dvd, bluray) watch the video and make sure everything looks right, then export final.

Question: When transcoding GH2 1080p AVCHD footage to prores 422HQ with 5dtorgb, what would be the correct project settings in Premiere Pro CS6? DSLR 1080p, or do I still edit in AVCHD even though the footage has been transcoded?

@hay: I said "post", not that I'm not using NeatVideo in AE :) . Define hiccups. I put NV at the "top" (first downwards) in the filter stack, so it gets processed first.

I always use AME, yes, it renders out faster than AE, plus I can easily access my custom presets, and render multiple targets in parallel (e.g. 360p, 540p, 720p).

Actually I do it in two steps:

• render out to mastering codec (single target)

• render multiple (broadcast, web) targets from the master

If the project doesn't require substantial post (it happens) I skip AE and use Premiere for minimal finishing; in this case the master is AVC-Intra 100. If I do post in AE the master is an RGB/444 codec. I edit on an AVC-Intra timeline for speed regardless (Premiere is optimized for AVC-Intra). If I do an RGB master I create the appropriate sequence (say Cineform), and copy over the final cut from the AVC-Intra timeline.

With this workflow I can stay platform agnostic and Quicktime-free, avoiding the 32-bit QT engine on Windows, which is a drag for real-time playback. Windows is a requirement, since I monitor out of a Blackmagic Decklink card. Only the Decklink driver on Windows does real-time pull-down from 23.976 to 59.94i, which the TV/monitor requires. On the Mac (Hack) it only does 25p to 50i.

1. shoot footage
2. dump memory card into a folder
3. drag into vegas
4. cut, adjust audio levels of each clip (if necessary), minor color correction (only on clips that's needed)
5. export to whatever format is needed (obviously different for web, dvd, bluray)
6. drop the edit in premier pro to apply my custom magic bullet preset and film convert
7. watch the video and make sure everything looks right, then export final.

step 6 is only done if i'm applying film convert, and the step of opening PP is only temporary until they release the vegas version.

i've recently got a computer with enough power to run resolve issue free, so I'm in the process of learning it, then eventually my workflow will change. but honestly, my workflow isn't ALWAYS the same, it just depends if it's a documentary style video, artistic, test edit, music video and so on.