#Color finale pro premier movie#
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There is a great paid tool that I recommend called XtoCC which can convert your FCPXML into a standard XML PPro can understand.

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This is a bit tricky and unreliable in my experience but it's free so worth a try. You import the FCPXML and then export a standard XML that PPro understands. There is a clever workflow that uses Davinci Resolve as an in-between. Unfortunately, FCPX uses a propriety XML format that is not compatible with Premiere Pro. So the very first step is to get your project out of FCPX and into Premiere (or better yet, edit your project in Premiere - but hey, I work for Adobe, so you'd expect me to say that - right? ). Unfortunately, I am not certain that you can do this in FCPX (somebody please correct me if I am wrong). You will want to media manage your project, which basically reduces it to just the regions of the source media that you are actually using (with handles preferably). If there are tons of edits, it's going to get really old really fast - at that point and XML solution will be essential.

#Color finale pro premier manual#

Naturally, the manual notching approach only makes sense for very short pieces. Of course, if you really want to go that route, I can explain a few different approaches. This is by no means the only way to do it, but possibly the easiest with the least amount of messing about with media management, XMLs and such.

He then lays back in the graphics and renders out the final version.

Render out your masterpiece and send it back to the editor.

Throughout this process, you can always compare to the dirty version by turning the track visibility back on V2 - but be sure it gets turned off before you render.

The transitions you put in there will dissolve the color correction effect between the clips too.

Now you can color correct each individual clip.

if there are transitions, add a dissolve that is the same length as the original transition.

You are just going to find these the good old fashioned manual way - just watch the video.

go through the Clean version and manually add an edit with the blade tool at every edit point.

drop the Dirty version into PPro onto V2 - but turn the visibility off with the track eyeball.

drop the Clean version it into PPro onto V1.

If it's truly a 1-minute video, you can probably 'notch' the file by hand.

Dropbox/ google drive/ whatever - get these two files.

#Color finale pro premier movie#

Also render out a movie with all the graphics and everything for your reference (can be less quality, small file - it's just for your reference) some editor choose to burn in timecode to this version, but you probably don't need to - this is your 'Dirty' version (with graphics).

Have him disable all graphics and render out a flattened movie file in a high-quality format (Prores 4444, probably 422 is good enough for a web series) - this is your 'Clean' version (without graphics).

Here is a very manual, but easy to understand approach. If you are talking about short 1-minute videos, I bet you could avoid having to transfer/ship all the raw content. There are several different ways to approach this. putting the media on an SSD or old-style spinner & shipping it just might make more sense. There isn't anything in PrPro that I can think of to do that, however. I think Resolve has a similar tool for auto detecting clips out of a long bit of media.

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Export a high-quality file out of Sg, set to export clips not a full sequence, import those clips into PrPro, recreate the sequence, and grade then. If Sg can read you media, you could try installing the last Sg version (available from the previous versions options in the CC app), create a project & import that media into Sg, and do the auto-correction/manual-cleanup process there. It's been a while since I've done that myself, Ann may have more experience with it. one with the grade going out, the other in, and blend the two clips for viewability. I've seen people do this on a single track, but more that dupe sections and place them above each other. You then need to make a cut for the frame before the transition begins, one a frame after the transition, and using a process start with one correction and blend out to the other correction. That doth have it's limits, especially dealing with video transitions. I know that SpeedGrade (now officially EOL, sigh) had a method for auto-detection of scenes, where you could have it auto-cut and then do some manual adjusting.