I have never had a color correction job in 25 years that involved sizing changes for which I haven't had to do some degree of manual fixing. I have recently (in the last year) seen Avid 8.x do correct size changes and even dynamic repositions, but speed changes are still very dicey. (I'm thinking Barco Escape or something like that.)Įither way, I have never seen positional accuracy between Avid, Premiere, FCP, FCPX, and Resolve. The two possible exceptions I can think of would be 1) a convention exhibit or theme park ride where there's multiple monitors all over the place for some kind of advertising/promotional/ride kind of experience, or 2) a concert venue or play where there's monitors all over the stage to create a theatrical effect. I still think going with bizarre non-standard aspect ratios is fraught with problems. Regardless, standard aspect or not, the question still applies. last project was 2.61, previous was 12:1. We do events which very often require strange non-standard aspects. How are folks handling this? Is there a better way? Many times editors will need to do 'punch-ins' on shots with 4k< footage, in which case the best option seems to be to make cuts around what you want 'punched in', deselect 'Scale to frame size' and simply use the scale effect in the effects tab of premier to scale out to the desired composition.Īll great in premiere, but when an XML is exported from premiere and brought into resolve, the AE gets stuck needing to manually scale the shots appropriately as when importing the XML from premiere into resolve, there does not seem to be a solid option for handling premiere pro's 'Scale to frame size' math to scale and place the footage in the frame within resolve as it appears in premiere. With the given format within premiere pro it's most efficient for editors to opt to ' scale to frame size' using pPro's mercury playback engine which essentially live transcodes (as best as your GPUs allow) and treats the 4k however your sequence format is set up.

We do lots of work with 4k< footage in a 2.61:1 aspect (~2808x1080) sequence from premiere pro cc2015.

We work with raw camera footage mostly red dragon shot at 5K.Įditorial is done on nMP trashcans and loaded cheesegraters, our resolve system is a supermicro CentOS box w/ a K4000 and two Titan Black GPUs.

How to import luts davinci resolve