This class by Darren Mostyn is equivalent to "MIT Media Lab Class". The text on the left and right adds extra flavor. Very professionally presented new useful information on EDL. Thanks again ! Have a LOVELY day !
Damn he's good. These tutorials are fantastic, even topics I know nothing about are put before me in such a clear and concise manner than I can't fail to understand by the end. Thanks for the work you put into these videos Darren.
Thank you so much!🙏🙏🙏 You saved my hairs from being pulled out. I've been trying to round trip my multicam edit, but since they were not original resolve couldn't detect. You are doing an fabulous job man! The concepts are so well explained in detail, that now I understand everything step.
Hi Darren, thanks for another incredible episode, really useful. Hope the house move went smoothly without any hiccups Thanks again Darren and welcome back
Really informative Darren. I am not sure why you have it as a Beginner ( newbie ) seems like at minimum an intermediate level in my opinion. I haven't used an EDL in a long time and it was a refresher for me. I know you mentioned the the Scene Cut detection. Last few times I used that, it worked flawlessly, but didn't handle the transitions as gracefully. The problem I have had with the level of editors that a lot of stuff comes to me is that it is a lot more work to get them educated to make the edl than it is to do a scene cut detect. So my advice to people watching this as colorists is to use the "Save" on this ( or bookmark it ) and send this video to an editor to explain what you as a colorist expects from them. Not sure if you have covered Scene Detect - but if you haven't that might be an idea to do, so you can point to it, when you reference it in the video. A new user may have no idea what that is. Good to see back, Cheers.
Hi! Darren, you are doing a fabulous work here. Just a suggestion please make your videos in at least 2k resolution so that we can see the whole interface more clearly. Appreciate your work! 👍😎
Something you might not know is that the maximum quality setting in premiere actually doesn't benefit quality here - if anything it is something that you want to leave off for midlines and masters. It basically just does a little sharpening (that we don't necessarily want). It also increases render times. Windows users of premiere also have access to ProRes now :)
The way you explain things in a nutshell is just marvelous! This is pure gold! A bit overwhelming though as I have just started using Resolve. I am really struggling with the entire roundabout trip being a newbie. I have made my primary edit in Davinci and I need a small chunk of it to be edited in a specific manner by a different editor who uses FCPX(the ins and outs have been already marked by me though. He is just going to line them up, use certain transitions, some speed ramping, probably use some effects and scale the footage). What's the best possible way to go about this as the transitions the other editor is going to use are going to be FCPX specific which won't translate back when I open the xml file in Davinci once he is done. I wish to retain all the information and changes he does in FCPX. Colour and audio isn't a problem as it's going to be handled in Davinci before exporting. Thanks a ton for this video. It would really mean a lot if you could help me out with this. Peace and love from India! :)
This didn't work as simply as described for Final Cut Pro X. Perhaps because parts of the process for FCPX was sort of an afterthought and added on at the end. I'd love to see a video on how to do this specifically with FCPX.
oh my god what the f**k.... what the f**k.... YOU SAVED MY LIFE!!!! MR DARREN MOSTYN I REALLY APPRECIATE FOR YOUR HELP, THANK YOU THANK YOU VERY VERY MUCH.... i've been watching all tutorial but this is match with the issues.
Thanks for the info. When I export the EDL into Resolve following these steps in a small project... some of the cuts are missing and most of them don't actually match the cut points in premiere. *shrug* The cuts seem to be off by a half second to a few seconds.
Great tutorial and love the channel in general. Just one point, when you removed Lumetri, you had all the other parameters ticked which could erase any motion, opacity, scale etc on the clips themselves.
Thank you for your comprehensive coverage I appreciate very much Darren I'd like to use the DaVinci Resolve for stabilizing only. How different I need to do it from Premiere 22.5 to Davinci Resolve 18 Beta 6 please and what precautions I should take into account such as: -do only these edits in Premiere -then stabilize in DaVinci -then how to continue editing in Premiere please all the best
I'm having an issue where for the first 4 minutes of my 20 min project, the cuts are off by about 6 frames. After 4 minuts, the cuts are perfect. Not sure what is causing the cuts to be off by 3-6 frames.
Hi, I just don't understand, I'm on fcpx I just created an xml and then a EDL from DR, when I import the edl all the clips are just offline. Please do you have any suggestions ?
Mmm the problem I am running into is that if the EDL points to more Clips names. In premier it import as media offline and let you to select each file to each clip, as I understand in resolve I can only have one?
Hey Darren what do you prefer using on a short film/music video/feature film, a XML or an EDL workflow? And also can you please please do a tutorial on workflow (like color management, node tree, etc) when grading a short film/music video/feature film? Can we use Davinci wide gammut or should we prefer Aces (in color management tab)?
It really depends on how much time they are budgeting for. Feature definitely not flattened file workflow. Always prefer to go to originals via XML but I have no problem using flattened files for speed if production budget requires it that way or indeed logistics of getting files to me. With Covid we saw a huge increase in non XML workflows. Ideally XML, but this workflow works really well - i am comfortable with it as long as high resolution exports and I always talk to the editor first. Hope that helps.? best, Darren
@@DarrenMostyn hey darren I wanted to open my own DI Color suite. I've worked with someone for about 3 years. I've worked on marriages and short film. But where I live there's no concept about Coloring. It's like Shoot>>Edit>>Release. Now I've separated my work with that men I used to work for. But how to get that client/ how to built a studio from ground. It's the one question that bugs me everytime, i.e., how to get that first client?
This is an amazing video. Unfortunately, I'm still getting errors bringing timelines over from FCPX. It seems the only method that fixes it is setting time codes of every single clip to 0000 one by one. I think i'll have to color raw clips in resolve first and then edit in FCPX. I'm only 3 months into resolve, and recently 6 months into being a full time freelancer.
sometimes I can explain quicker , but when its aimed at newbies I like to take a bit more care to not miss any steps and explain WHY not just HOW. hope it worked for you anyway.
Hey great video! Was wondering what steps exactly exporting the graded DaVinci Resolve clip back into final cut would be? Do you export/inport an edl, xml or graded clip in prores? And what the steps once back in final cut? Thanks man and congratulations on 100k subs!
Hello Darren, very informative video thank you! But it would be nice to see concretely what happens when importing the color graded file to premiere, and re-enabling effects and titles. I am wondering if there are tips and tricks to reduce the workload for the editors as they reconform the file on Premiere
Yes, you export the XML from resolve, re-import in Premiere - it then links to the new graded files and then just copy paste the titles/GFX on top. OR even better stay in Resolve!
Whenever I use this method, my cuts are off at the end of each clip...my first few clips are usually accurate but then some kind of drifting's going on. anyone experienced this issue?
Hi Darren, The original file I’m working with is captured from VHS and it’s 654x480p ProRes 422. Should I export it at 444 as you suggest or 422 or 422HQ
i am doing the following experiment: i have just made a very short test timeline in Resolve 17 with one video and two audio tracks. i have exported this as an 'EDL with Audio' and i can see that the EDL data appear to be correct (in a text editor). however, when i try to import the EDL straight back into Resolve where it has just come from, all i get is the video track. i have scoured the manual and the web and i see no mention anywhere of what happens to the audio tracks nor how to make them appear. without the audio metadata my clips are worthless as they are all talking heads! can someone tell whether in fact EDL import just ignores all the audio metadata, or is it to do with not being able to find the audio files for some strange reason?
Hello there, I always had problems with FCPX and Sony files when going to Davinci showing up as all missing files. Yesterday I was trying to color grade a project in Davinci 17 with an XML from FCPX 10.6.3 and same things happens, but even worse is since I made synchronized clips with external audio recording Davinci does not recognize the original clips because they are in FCPX and not in my original files folder which I imagine Davinci needs. Driving me crazy actually. But Davinci is giving me the missing files links on all my files. Any suggestions and is there a work around when you have made synchronized clips in FCPX, which I assume is normal when syncing external audio recordings? PS> I just tried your method by exporting a Pro-res copy clean timeline and importing an xml from FCPX 10.6.3 and it does not separate the files when trying to color grade, it just is one long strip of the timeline and all clips have to be color graded and not separately. Unless I am doing something wrong. I eliminated any color from FCPX sound etc etc and exported a Pro res file and imported in Davinci and it is just one long file not individual clips. Arrrrg
Fantastic tutorial. By the way, is the "Rec709 Gamma 2.4" in Color Management best for Mac monitors? I have an iMac Pro, so I'm wondering if I should be using this setting as well.
@@BelinskiyDenisLKS You set your monitor for your viewing environment then set the color management gamma to match the monitor - most important thing is to be able to make decisions on a grade, with software matching the monitor. not sure what "instrument" Belinskiy is referring to. The output gamma for your target can be entered on the delivery page before rendering.
@@JimRobinson-colors For example on the timeline I have logC and the timeline colorspace in project settings I put logC so that the HDR wheels "feels" what material I am working with. Control is carried out by the lut that is the last node on the timeline, which in turn leads to the 2.4 gamma in which my monitor was calibrated. My English is not the best and I hope I was able to correctly convey my thought.
@@BelinskiyDenisLKS The last line in your sentence is what I said - your color space is matching your monitor. That is the most important part - Scene to Display - then target the gamma tags for output on the delivery page. Whatever you do between with LUTs etc. still outputs to your display.
Strip off any grade from the edit first. Yes you lose RAW metadata but not color. of course some compression with pores etc, but negligible in many instances.
... what do you do if you just want to change one shot after you've done the baked files after the fact? a whole new version of baked file? an alt that you need to just edit back in. Messy !!!
Hey Darren, This workflow was great however I notice that my footage falls apart more easily in resolve. Color banding is much more prevalent when I color in resolve as appose to premiere. Footage is 4k 10-bit log from pana S5. I exported as proress444 to work in resolve. Side by side export comparisons show resolve exports with more picture degradation. Any idea here? I am only working with the free version of resolve. Thanks
I have been having this same issue. Its not a davinci problem, its the exported file from premiere. If you put the original clip straight to resolve it has no banding. Not sure what the fix is here. Let me know if you figure it out
Hi Darren, can you please change the title of this video? I send this tutorial to a few people I've graded for and I got slated for calling them newbies
I don't see the advantage of doing this method when you can just use the XML and use scene cut detect. This method seems more time consuming and takes more storage space on your drive as well as creating unecessary compositions and files.
Oh please, no baked files for grading. It' makes it much more difficult if you're going back after, ( especially if you're a new editor coming in cold ). It doesn't add that much more work to have separate files thur edl, aaf or xml.
Hi Paul. Baked file is a professional broadcast workflow where it is needed. I grade BBC docs for nearly 12 years now and we have used this workflow where required. Ideally use the camera rushes of course. As I mention in the previous video to this the pros and cons - you may have 1-2TB associated to a doc - the last one I worked on had 8TB of footage, whereas the baked file was less than 200GB. You may not have time to copy that amount of data. Im pretty sure Ive covered when and why you would use each workflow if you look at the previous episode to this on how to import via XML - I cover both ways. Hope that helps my reason for making this episode. All the best Darren
![How to EASILY Import to Resolve for Newbies [No XML needed]](/img/logo.svg){kind=logo}
