issue with braw 1.5 support in premiere

I am on a mac.
I am able to successfully import clips, playback, and edit in premiere. However, when I edit the raw properties in the master clip effect controls, some weird stuff are happening:

My playhead is in the middle of the clip. Whenever I make any adjustments (e.g. change white balance, ISO, exposure....etc), those adjustments are only applied at the point where the playhead is located & onward. When I move the playhead back to the beginning of the clip, there are no adjustments made, up to the point where the playhead was when adjustments were made.

In other words, the adjustments are not being effected globally. Almost kindda like placing keyframes when making the adjustments, except there are no keyframes applied/supported.

Any ideas what's happening here?

For the record, I installed Blackmagic Raw 1.5 from BM support page. I already had Blackmagic RAW player installed from the App store previously. Could this be causing it?

Thanks!

I also see this in Premiere. I was giving a demo of using BRAW in Premiere to an editor that wants to work in Premiere since they don’t really use Resolve. That’s when I noticed that after I changed the ISO of a clip to demo that capability the point beyond the playhead reflected that change, but before the playhead it did not.

Definitely something to be improved. However, for editors to just cut BRAW and hand off to a colorist using Resolve it’s not a major hindrance. So it works fine for now. Hopefully the next update can fix this.

Hopefully After Effects also gets the plugin in the next update as well.


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Tim - could you detail the workflow of how, after cutting BRAW in Premiere, you then go out to Resolve for color grading.
And then possibly going back out to Premiere for other work such as titling and so forth.

Tim - could you detail the workflow of how, after cutting BRAW in Premiere, you then go out to Resolve for color grading.
And then possibly going back out to Premiere for other work such as titling and so forth.

It would be a simple XML process. No different than what you do know.
I have time to finally edit a little model video. I was going to edit in Resolve since I prefer it over Premiere now. But if I must I’ll test BRAW in Premiere for everyone by editing in Premiere, going to Resolve for Color, and back to Premiere for final delivery. Although I may ultimately stay in Resolve once I XML in the edit since I can do all the titling in Resolve and final export from Resolve. I don’t know why I even need Premiere anymore.


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Hi,
We've seen the same issues, we made a little test of BMD plugin and a comparison with our own plugin here : https://autokroma.com/blog/BlackmagicRaw-Plugin-BRAW-Studio-Difference/

Although I may ultimately stay in Resolve once I XML in the edit since I can do all the titling in Resolve and final export from Resolve. I don’t know why I even need Premiere anymore.

So you can keep fattening adobe's wallet?

Although I may ultimately stay in Resolve once I XML in the edit since I can do all the titling in Resolve and final export from Resolve. I don’t know why I even need Premiere anymore.

So you can keep fattening adobe's wallet?

Haha, yeah. I mean, I do still use Lightroom, Photoshop, Illustrator, Dreamweaver, and occasionally After Effects for some things that AE makes more sense to use than Fusion. But nonetheless, Premiere is the main application that I don't care about anymore. Although, I do use Premiere when I color in Resolve and need to check the XML export that I'm going to deliver to a collaborator/client working in Premiere.

Haha, yeah. I mean, I do still use Lightroom, Photoshop, Illustrator, Dreamweaver, and occasionally After Effects for some things that AE makes more sense to use than Fusion. But nonetheless, Premiere is the main application that I don't care about anymore. Although, I do use Premiere when I color in Resolve and need to check the XML export that I'm going to deliver to a collaborator/client working in Premiere.

I moved to using Alien Skin's DAM instead of lightroom, and edit with either Topaz or IMerge so that I wouldn't have to waste money on yet another adobe subscription

I've never been able to make sense of AfterFX though. I think it's because my introduction to compositing was back around 2002 when NewTek partnered with Eyeon Software to include a copy of Fusion with one of the LightWave upgrades, so I learned in nodes. Plus, I'm a programmer so thinking about data flow is natural to me.

I did the XML test, and it works perfectly fine. So you can edit in Premiere, export an XML, bring the XML into Resolve, and color in Resolve. The same as any other codec. The same as REDRAW. Now, that said, I did have some small issues within Premiere...

For some reason if I created a new timeline using a BRAW clip I couldn't change the sequence settings and keep the BRAW clip showing in the timeline. What I mean by that is that the BRAW clip set the sequence resolution to 4,608x1,920. I changed it to 1,920x800 so that I could work in an HD timeline. Then the BRAW clip picture went black. Changing it back to 4,608x1,920 didn't fix it. So I'm not sure what was happening, but it seems maybe you have to work with the timeline resolution at full BRAW resolution? I don't know. This is a Premiere thing.

Again, I'll be editing in Resolve, so I'm only testing this to help others. It's not important to me. But for those editing in Premiere I can see it as being important for these things to work better.

I did the XML test, and it works perfectly fine. So you can edit in Premiere, export an XML, bring the XML into Resolve, and color in Resolve. The same as any other codec. The same as REDRAW. Now, that said, I did have some small issues within Premiere...

One thing I've found, at least with Redcode, is that if you sync audio + video in Premiere then Premiere mangles the timecodes and the conform process in Resolve falls apart. And it's definitely Premiere that's at fault, because the problems are the same with Mistika and Scratch, but with properly timecoded footage I can export an AAF from Resolve and get a nigh perfect conform in Scratch, Mistika, and even LightWorks (which even imported the right audio all synced and ready).

So there's probably no benefit in editing braw in Premiere unless you're a youtuber and not doing any real coloring anyway.

I did the XML test, and it works perfectly fine. So you can edit in Premiere, export an XML, bring the XML into Resolve, and color in Resolve. The same as any other codec. The same as REDRAW. Now, that said, I did have some small issues within Premiere...

One thing I've found, at least with Redcode, is that if you sync audio + video in Premiere then Premiere mangles the timecodes and the conform process in Resolve falls apart. And it's definitely Premiere that's at fault, because the problems are the same with Mistika and Scratch, but with properly timecoded footage I can export an AAF from Resolve and get a nigh perfect conform in Scratch, Mistika, and even LightWorks (which even imported the right audio all synced and ready).

So there's probably no benefit in editing braw in Premiere unless you're a youtuber and not doing any real coloring anyway.

Yeah, I can understand that. I didn't test any audio syncing in Premiere to then come to Resolve. But then with what you're saying about syncing REDRAW and audio messing up timecode in Premiere then I would venture to say that Premiere has a lot more problems than many of their users like to admit. I'll be over here editing in Resolve and happy.

Yeah, I can understand that. I didn't test any audio syncing in Premiere to then come to Resolve. But then with what you're saying about syncing REDRAW and audio messing up timecode in Premiere then I would venture to say that Premiere has a lot more problems than many of their users like to admit. I'll be over here editing in Resolve and happy.

I'm sure it does, but I edit in Resolve also, and most of the folks I'm working with are also, so it's becoming less of an issue -- especially since if you have a good DI workflow, then the editor doesn't need a big machine. Even a macbook pro is enough for editing then.

Thanks for testing the workflow of Premiere>Resolve>Premiere.
Sounds problematic.
Haven't done an edit in Resolve since version 12 ... and I am just faster in Premiere due to personal limitations of not having spent time in Resolve for a long while. But definitely will be retraining myself again in Resolve 16 as time becomes available.

Thanks for testing the workflow of Premiere>Resolve>Premiere.
Sounds problematic.

It CAN be made to work, but it does require some best practices that most editors don't pay any attention to. Probably close 95% of the Premiere project handoffs I've worked with have been utter disasters -- so much so that the producers I work with pretty much reject Premiere editors out of hand for our project on the assumption that if all the rest screwed it up, the rest probably will also, which is pretty logical given the history. And this isn't just a few projects, either. She got rather annoyed by the fact that the editor was mangling the workflow so badly that conforming mean re-editing, and the editor's delivery looked a LOT worse than the dailies...

Haven't done an edit in Resolve since version 12 ... and I am just faster in Premiere due to personal limitations of not having spent time in Resolve for a long while. But definitely will be retraining myself again in Resolve 16 as time becomes available.

It's a LOT easier now. Especially with the combination of the Cut page and the Edit page. You can put together edits surprisingly quickly in the Cut page, and once you learn the hot keys for the Edit page it's extremely facile. It shows that BMD is taking editors' feedback seriously.

Is there news on this working in after effects? Im just learning resolve for color, but I am not too keen to jump away from after effects yet.

Is there news on this working in after effects? Im just learning resolve for color, but I am not too keen to jump away from after effects yet.

We're working on it and close to a BETA version ! Nice website by the way