DNxHR Resolve to Premiere

Florian Martiny Nov 12, 2016

  1. Hello everyone,

    I need some help with a workflow issue. I am on PC and I've always been exporting .dpx from Resolve, then importing the sequence in premiere and then exporting in Prores (Mirazon). I always verify my export by importing it back in Resolve and it works well so far.
    The thing is that .dpx is very very heavy ! I have to export a 25 minute short film in 4K and I can't afford my self 1-2TB of .dpx. So I've been trying out exporting in DNxHR but the levels are not interpreted correctly in Premiere. The levels are good in Resolve but not in Premiere so that leads to a washed out export. Is there a way to change data/video levels in Premiere Pro ?
    Thanks,
     
  2. Which flavour of DNxHR are you using and with which version of Premiere? Are the levels definitely wrong in Premiere or are you checking the exported ProRes back in Resolve?
     
    Florian Martiny likes this.
  3. Florian,

    In times past I've done a similar thing as you but with Uncompressed RGB (10-bit), wrapped in Quicktime.
    You could also try coming out Cineform RGB 16-bit, but at that point you'd technically be delivering a second-generation video after running it through an ffmpeg ProRes pass.
     
    Florian Martiny likes this.
  4. I am using the latest version of premiere (2017) and yes it definitely comes from premiere. I exported in MXF OP1A DNxHR 444. I would really like it to work as it would save me lots of space in time. I'am pretty sure you can't see a difference between a first generation Prores 444 and a seconde generation Proreres 444 (From .DPX or DNxHR 444).
     
  5. I haven't used 2017 for a round trip yet but for 2015.4 I haven't had any issues using DNxHR HQX.
    Could be that Resolve is putting video level into the 444 and Premiere is expecting it to be full range.
    When you check the files in Resolve, how it is it interpreting the levels, data or video?
    Unfortunately Premiere doesn't really have level control, so you need to play with every other variable around it, possibly putting Resolve into Data level if that's how Premiere wants 444. Or compromise on quality and go to HQX.
     
  6. I use this workflow every day. For me is like this:
    DNxHD or DNxHR in .mov file will be wrong (video) level in Premier if set in Resolve to auto
    DNxHD or DNxHR in .mov file will be correct level in Premier if set in Resolve to full
    DNxHD or DNxHR in .mxf file will be correct level in Premier if set in Resolve to auto

    DNxHD or DNxHR in .mov file will be correct level in Avid if set in Resolve to auto
    DNxHD or DNxHR in .mov file will be wrong (video) level in Premier if set in Resolve to full
    DNxHD or DNxHR in .mxf file will be correct level in Avid if set in Resolve to auto

    From this I use in 99% .mxf instead of .mov it even renders a bit faster.
    Both Premier an Avid uses video levels as their base. Not sure but editorial software will always use video levels if not changed in custom workflow.

    There is also an option to create yourself a preset in Premier to get correct levels. Use the Levels effect an write in exact numbers. Look here for numbers: http://www.lightillusion.com/data_tv_levels.html
     
  7. I assumed this would be a problem and Premiere Pro Interprets any 444 file as full. I would have thought that it would Interpret 422 as Video levels and that would work OK?
     
  8. Provide a few second of test material and we can take a look to see what is going on.
     
    Tim Whiting likes this.
  9. Ok so that's really confusing. I exported three versions of a clip in DNxHR (.mfx) , in Auto, video and full.

    The only one that looks correct in premiere is the "Full". But if I try this same clip in Resolve blacks are crushed.

    If I export the DNxHR "full" version from Premiere To Prores 444 it will look good in Resolve. So shall I export my DNxHR .mxf in Full even if it doesn't look corect in resolve and them export it to prores ?
     
  10. Is the DNxHR RGB (444) or can you use a 422 option? That might make things simpler (might). What's the export being used for, do you need it to be RGB rather than YUV?
     
  11. I will be sending the export to the editor and he will do the final export. That's why I would rather send him a 444 file. I will try tomorrow in 422 to see if it's any easier.
     
  12. I've noticed the same, Resolve can't correctly show dnxhr444 FULL that it has rendered, but AUTO is shown correctly...
     
    Florian Martiny likes this.
  13. Under clip attributes in Resolve you can set the interpretation to auto, video or data. Now, because in auto Resolve will assume dnxhr is video levels you have to manually change the interpretation to data on a clip that you exported with data levels. In a way this actually makes sense and is consistent behaviour.
     
    Florian Martiny likes this.
  14. The problem is that it is different for almost every Premier update. For example for premier cs6 rendering out a dnxhd with video levels works correctly, for cc 2014 you need to apply a 16-235 levels adjustment, for 2015 it s working as it should be. what I would like to suggest is, you should export out a few second and check out how does it look like in premier. In my latest test, if you set the output levels to video range for dnxhr it is going to look as should in premier 2017. Also the good news is, no more gamma and color shift in with the DNXHR codec with the new update.
     
  15. Good to know Szillard. I went the safe way this time by exporting in DNxHR HQX in auto but next time i will export in 444 full.
     
  16. Szilard, do you know if this is consistent with the Premiere versions, or does the operating system play a part as well? Will the same premiere version give different results on mac/win?
     
  17. Unfortunately I don't, but on windows it was different with every version. Now the latest versions seems to interpret the video level footage correctly. To make sure that you are in the right range I suggest to generate a black solid inside premier, and export out a black solid from Davinci in both video and data range. if the black is lifted in video range in premier just apply the 16-235 levels adjustment and you are good to go, if the black looks the same just render in video range. It's pretty crazy, I have no clue why didn't Adobe solved this problem in the previous versions...
     
  18. From my experience there is no difference if you use 444 or 422 flavors of DNxHD or DNxHR. I have .mov files just use .mxf instead and you will be safe.
     
  19. Just to confirm.

    For a project I'll be delivering roughly 20 timelines back into premiere where the editor will re-cut several lengths when color has been approved by the client.
    I decided to do a test run before the deadline sneakers up. These are my results:

    When I use the Premiere XML export preset with QT DNxHR HQX (Levels: auto) , Resolve (12.5.3, Win) will render video levels.
    When Premiere Pro (cc 2017, Mac) imports the file it, correctly, distributes the black to 0% and white to 100%.

    Didn't do any additional tests because this is exactly what I 'm looking for.
     

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