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Davanci Resolve 12 Round Tripping with XML and Adobe Premiere Pro

For the past few weeks, I’ve been scouring the internet, calling Black Magic Design and the Resolve support staff and reading endless forums trying to find an answer on how to do a simple, yet effective roundtrip workflow from Davanci Resolve to Adobe Premiere Pro CC then Resolve for final color then Premiere for final editing – and yet I never found one. So, I sat down and kept trying different solutions until I had it figured out and mapped out.

I use the Sony FS700 with the Odyssey 7Q and often record to Cinema DNG format.

Here is what I found to work with pictures below:

1. Import DNGs in to Resolve
2. Basic Trimming on clips to save space and time when exporting proxies
3. Basic Color Correction (optional)
4. Deliver – Set to Round Trip to Final Cut, and export as DNxHD
**36mb/sec if your computer can’t handle editing anything more than that**
5. In Resolve, go back to Edit and export XML of the Timeline and save to same place as the exported files
6. Open PPro and Import XML
7. Do basic blocking and tackling for edits in PPro
**Keep in mind time remapping (rate stretch still works though), nests, PPro titles, AE comps and various effects may not transfer back to Resolve for your trip back there. Keep things simple for this, and be sure to move everything down as close to one track of video if possible.**
8. Export XML from PPro
9. Import XML in Resolve and uncheck “auto import”
10. Do your final grades to each clip
11. Deliver – Set to QuickTime Uncompressed 10bit RGB (these will be massive files)
12. In PPro – right click on folder of proxied footage and select “Make Offline”, then right click again and “Link Media” to the selected destination where you saved your final graded clips.
13. Turn on VFX, titles, AE comps, nests, time ramps, etc.

Step-1---Import-DNGs-to-Resolve1: Import DNGs in to Resolve and create a timeline

Step-2---Trim-clips-to-approriate-length2. Trim your clips to save time and space when you export proxies. You don’t have to if you want to retain the entire clip for editing.

Step-3---Apply-light-color-correction3. Do a light color correction on the image if you’d like, so you’re not staring at boring, dull footage during your editing session.

Step-4---Exporting-Proxies4. Export Proxies. Be sure to set the Render Settings to “Export to Final Cut Pro”. This will give your clips the reel and version numbers that will later correlate to your DNGs.

Step-5---Exporting-XML-from-Resolve-Timeline5. Export XML from your Resolve Timeline. Be sure to select “XML Files” not the FCPXML, those won’t work in Premiere.

Step-6---Importing-XML-in-PPro6. Start a new Premiere Project and Import your XML

Step-7---Do-your-basic-edits7. Do your basic blocking and tackling edits, etc. so you know what clips you’ll be working with for final color.

Step-8---Export-XML-from-PPro8. Export XML from Premiere


9. Import XML in to Resolve. Be sure to uncheck the Auto Import clips


10. All your edits should be there and lined up.

Step-11---Exporting-High-Rez-Final-Graded-Clips11. Exporting your final clips for final editing. Leave your Render Settings Preset to “None”. I generally use the QuickTime Format and the Uncompressed RGB 10-Bit Codec for my finals.

Step-12---Make-Proxies-Offline12. Go back in to PPro and Select the folder that your clips are in, right click, and hit “Make Offline”

Step-13---Relink-Media-to-Graded-Clips13. Click on that same folder and hit “Link Media”. This will replace all your proxy clips with the full quality, uncompressed clips


14. Pretty simple step, finding your footage in your “Graded” folder. Find one, and you’ll find them all. 

Step-15---All-Finished15. Yay! You have fully graded, high quality clips in PPro and you’re ready to make little tweaks if needed.

Let There Be Light

The power of lighting is easily one of the most important and challenging aspects of photo and video.

The difference between a good scene and a fantastic looking scene can come down to this one variable. Whether we are trying to find a flattering spot to shoot outdoors on a sunny day or capturing the excitement of children on a dim Fourth of July night enjoying fireworks, properly lighting a scene is an everyday creative challenge for us.


More often than not when you see a well-crafted scene with a captivating balance of properly illuminated skin and a nice blend of shadow, there has been a lot of work put forth to get to that one shot. Oddly enough, it’s usually the absence of light (i.e. shadows) that gives character and shape to a scene. On our most recent shoots, we had the luxury to take full control of our lighting situation – a luxury that doesn’t come quickly or easily. Taking anywhere from fifteen minutes to well over an hour, the challenge to shape light in a way we want can certainly be time consuming. However, there are no short cuts when it comes to delivering a quality scene that we envision, and that is key.

BM Capital Shoot (3 of 11)

“In the right light, at the right time, everything is extraordinary.” – Aaron Rose

Awards For Days


Earlier this year, The ESOP Association held their 37th Annual Awards for Communications Excellence (AACE) in Washington, D.C.

The candidates for this award come from all over the country, and reflect many different workforces of varying sizes. It is a chance to honor companies who have used various forms of communications at an expert level to showcase what they do. We were fortunate enough to be awarded a first place prize for our video we produced for Engineering America. We are very honored and thrilled to have been able to work with them in providing such a quality video to showcase their company’s work.


My RØDE Reel Film Competition – Still in the Hollow

Just last month we at Field Technique Films had the opportunity to participate in a short film competition sponsored by RØDE Microphones, and it was quite the experience.

Video production isn’t all business and every once in awhile we need to stretch those creative muscles; and what better way to show off our skills on the screen than competing in a national contest? With up to $70,000 in prizes (of some of the industry’s top gear including lenses, microphones, cameras, and software) we couldn’t pass this one up. It was our chance to escape from the constant workload and come together as a team, also it was just plain fun to get out in the woods and film something for us. You ask any filmmaker and they’ll tell you, there’s something special about filming on location, and add to that an opportunity to work with your closest friends and you’ve got one hell of a good time.


Filming in the north woods presented a few challenges for us so naturally the trip wasn’t all fun and games. For three consecutive weekends we had to share a cabin with each other (roughly six guys) and all of our camera equipment, plus the three feet of snow and non-functional shower didn’t exactly make it easier. Despite these inconveniences though, the experience really brought us together as a team and we ended up learning a lot about each other going forward. Just like bottling syrup can be a bittersweet process of beautiful scenery and hard work, filming in the woods of Northern Wisconsin can be as well, but if it wasn’t for that dichotomy the product wouldn’t be as sweet.


It’s a truly great thing when you can do something you love with the people closest to you. For us, going out on location to new and sometimes difficult places together to shoot these videos (whether they’re for a competition or for a business) is really what it’s all about, not only as a team but also as friends. Having the opportunity to shoot on location right in the heart of the story where the real magic happens gives Still in the Hollow a realism that otherwise would have been lost. All of us here at FTF had an absolute blast working on this video the past few weeks and we can’t wait to hit the trails again soon.


First State Bank and Trust | “Action Trailer”


Recently we got to work with one of the local community banks in our area – First State Bank and Trust (FSB&T), out of Bayport, MN. Man did we have fun on this shoot. From jet skis to car chases this little 30 second spot packed a wallop.

FSB&T had recently just opened up a new location in Hudson WI and wanted to shed a little light on the fact that they are still the same old bank that has been around for nearly 100 years (they were established in 1914). So naturally what better way to get the word out than a cool commercial. FSB&T first contacted us in the spring of 2013, with the idea that they wanted a commercial, although I don’t think they had any idea where we were going to take them. Rather than going with the cliche bank commercial of a man/woman walking into a bank, smiling and proceeding  to “open an account”, we decided to take a chance and  pitch the idea of creating a mock movie trailer, in the same vein as James Bond. Well – turns out they loved the idea, needless to say we were stoked.


Our concept was fairly straight forward – We had this guy that was in a hurry to get some where, and the whole time he has this accomplice in his ear harping on him that he is always late. We wanted to get as much diversity with the “chase” scenes as possible, which is why in only 30 seconds we go from car, to foot, to jet ski, all while keeping the pacing quick and moving forward.

It’s always a little nerve racking when a company puts all their trust in you to do something a little “different”, so when we heard that they loved the final product we nearly broke down in tears from relief. Over all we had a blast shooting this spot and First State Bank and Trust was a true pleasure to work for.



Son On A Mission


Not all project pitches have the level of passion and love in them quite like Jon Sadeh’s did when he came to us earlier this summer.

Sohrab Sadeh embodies the American dream, through and through. Arriving to this country almost half a decade ago, with virtually no money to his name and no foundation to step on here in a foreign land to him, Sohrab hit the ground running to survive. Taking any and all employment he could, he was able to start laying the ground work for his success here. Spending all of his time and earnings, he slowly started to build an All-American family. After raising 4 wonderful kids, he was able to both send all of them to college and provide them with a home to live in that they still can call home to this day. Unfortunately, Sohrab’s selflessness and desire to provide for his family came at a price. This is where his son, Jon, comes into the picture.


It’s difficult to hear Jon speak about his project, Send Dad Home, and not be struck with emotion for the love and passion he has for his father. With an extensive background in film and photography, Jon is just the kind of guy to support for such a challenging project. Traveling to Iran in this modern day is no easy feat in and of itself, but to film there at the same time is a whole other element of difficulty. After looking at every angle and any possibly road block, Jon has came up with a game plan to successfully bring his father back to his homeland and capture it to create what would undoubtedly be a breath-taking documentary.

By supporting his Kickstarter, supporters will not only get to help a hard working man return to where he came and be reunited with his family before it is too late, they will also get a wonderful piece of art in return. We want to help Jon reach his dream just as badly as he does for his father, so take a moment to read his story and help him reach his goal to Send Dad Home.

Help fund the project here @


Engineering America | Brand Video


In 2013 we set out to encapsulate Engineering America, one of the countries top liquid storage tank manufacturers.

We started shooting in January 2013, and wrapped last December. A total of 18 hours of footage was captured over the span of 12+ shoots. In the end it was all worth it. We came into 2014 with a wonderful project t, that gives the viewer an inside glimpse into the passion, drive and  professionalism Engineering America and its employees bring to the table on a daily basis.

The Magic of Natural Light

Any time I am given a job to light something whether it be a commercial, a narrative, or anything in between, I first ask myself what the project/story is asking for (in terms of light). More often than not I will need a variety of lights for a variety of different situations, but that’s not always the case. Recently I worked on a project for a little film festival in the boonies of Wisconsin with a few friends. In an ideal world we would have been given days and days to plan our lighting layouts and shot lists, but we weren’t, we were given two days. In order to keep on schedule while staying true to our story we opted to shoot bare-bones, natural light.

The name of our project was Won’t, a story about Tanner Lofgren the NHL’s best hockey player as he abandons his team during the middle of their playoff push. There were a few things I loved while working on this project. For one, I got to get together with some friends and make a movie, which seems to never happen these days, that was amazing by itself. Another thing that was a real breathe of fresh air was being able to utilize natural light, there is something so beautiful about how it wraps the face, it can be so incredibly gentle and also so aggressive.

I really enjoyed our indoor scenes during this shoot, they were elegant and strong, but with that said; our outdoor scenes did not hold the same emotion as the indoor ones. There are a few reasons for that I feel, one we were stuck shooting in the dead of the afternoon for a few of our scenes. This led to our image turning a bit flat and faces to loose a bit of that “grit”. Ideally we would have shot the sidewalk scene with the sun coming from the side, and a bit later in the day, but the location was a bit to good to pass and we needed to get rolling, the trails and tribulations of 48hr film festivals.

In the end I was very happy with our final edit. I felt we used our resources effectively and told a beautiful story. Sometimes you don’t need all the bells and whistles to get a wonderful image, you simply need a window and some talented friends.

Until Next Time.

Pat Shelton


Leukemia and Lymphoma Society | Paige’s Story



Last summer we had the pleasure of working on this project for Minneapolis LLS.

The video talks with Paige and the numerous others that stood by her side from diagnosis to her last chemo pill.  At times it was more fun than I have ever had on set, other times it was incredibly touching. In the end it was a blast spending time with the folks at LLS along with Paige and her family, we’re just thrilled we got to be a part of it.