- [Instructor] In this tutorial we're going to look at how to export your edit to a colorist. Now, if you're going to be doing this work yourself, you could do some color correction in Premiere, of course. The dual Lumetri Color Panel is just incredible, in my opinion. There are also a host of other Premiere effects and third party plugins that you can use to color your film. And honestly, for smaller projects, commercials, that type of thing, I might just stay in Premiere to do the color correct. But color correction is kind of a different process than editing. So for professional jobs, I really like color grading in a separate application, DaVinci Resolve.
We'll have an entire course dedicated to color correction later in this series because it made such a difference on the assurance, and in that series we'll look at how to do color correction both in Premiere, we'll look at how to do it in REDCINE-X, we'll look at how to do it in DaVinci Resolve, and that's going to be awesome. But for now we just wanna worry about getting our edit out of Premiere and into DaVinci Resolve. Throughout this chapter we'll see the same thing over and over again. Avoid nested sequences. This is tough to do in the Adobe world, and what I had to do in some cases was do an intermediate render.
Which we'll look at how to do in the next chapter. But again, remember, that nested sequences will not come over properly into other applications, specifically DaVinci Resolve. I've also noticed that other data doesn't transfer over well, also. Like basic transform information, and also some speed changes, or lots of Adobe specific effects, like warp stabilizer, those don't come over as well. So to export your timeline, select your sequence in Premiere, again, either in the Time Line Panel or the Project Panel, and then go to File, Export, File Cut Pro XML.
This is the best format for getting your edit into Resolve and it's often the best format to use when exporting your edit to other processes, especially video processes. However, remember that some things just won't come over correctly in a lot of cases. So it could be good to also send over a reference render of the film to compare things to. And we'll look at some tips for doing that later in this chapter. Also, sometimes you'll send the colorist an offline version of the edit, and they will be the ones to connect the low quality proxy media with the original high quality source material, or we call this "onlining" and, you know, that process can take a while.
We'll look at the mechanics of doing this in the course on color, but just be aware that this is an important and often frustrating step in the coloring process.
- Telling stories with edits
- Syncing audio and video
- Matching eyelines
- Knowing when not to cut
- Controlling the pacing
- Controlling emotion with shot size
- Working with audio
- Creating a rough cut
- Creating end credits
- Rendering and output
Skill Level Intermediate
Creating a Short Film: 01 Producingwith Chad Perkins1h 6m Intermediate
Creating a Short Film: 03 Pre-Productionwith Chad Perkins2h 13m Intermediate
Creating a Short Film: 05 Directingwith Chad Perkins2h 27m Intermediate
Creating a Short Film: 07 Cinematographywith Chad Perkins4h 44m Intermediate
Creating a Short Film: 10 VFX Effectswith Chad Perkins4h 51m Intermediate
1. Understanding Film Editing
2. Preparing to Edit
3. In the Beginning
4. Editing Basics
5. The Art of Editing
6. Working with Audio
7. Refining the Edit
8. Creating End Credits
9. Editing The Assurance
10. Exporting to Other Processes
11. Rendering and Output
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