A good Davinci - Premiere pro workflow with BRAW...?

Hallo everybody,
I always use Premiere Pro as NLE but I love to film in Braw and I'd like to use the Color Correction and Grading tools of Davinci.
And sincerely, actually I have no time to lead how to edit (cut) in Davinci...

So, I tried to find a good workflow between both software for my purposes.
My idea is:
1 - Film in Braw
2 - import Braw file in Davinci
3 - Make a (primary) Color Correction
4 - Export XML for premiere Pro
5 - Edit in Premiere (and if needs, maybe add some FX via After Effects Dynamic links)
6 - back in Davinci, importing edited XML in Premiere Pro
7 - go on with Grading
8 - Export for delivery

In this way, I don't make any transcode..., I just use XML and return in Davinci still working with the Braw original files.
But because I am a Newby in Davinci, I'd like to ask you if this it could be a decent workflow or maybe there is something wrong I cannot actually see...
Many thanks for a reply!

Hi Duca Simone,

I believe FCP XML

1) doesn't carry color grade (between step 3 and 4 it won't keep it)

2) is buggy sometimes when trying to link medias, it doesn't always find the filepath

3) doesn't contain lots of others stuff (between step 5 and 6 you'll loose a lot of editing, visual effects, transitions, AEfx comps etc.)

4) make sure you are using the last version of Premiere Pro 2020 to get the right BRAW timecode bug fix https://www.autokroma.com/blog/BRAW-Wro ... miere-Pro/


My advice would be to use .BRAW .sidecar files to keep the color grades between the two applications. The downside is that there is only ONE .sidecar of each .BRAW file, so only one "global" color grade per "source clip". In our plugin & panel suite BRAW Studio there are buttons to "Load Sidecar" and "Update Sidecar" in batch for all selected .BRAW clips this would be handy for this kind of workflow

Hi Duca Simone,

I believe FCP XML

1) doesn't carry color grade (between step 3 and 4 it won't keep it)

2) is buggy sometimes when trying to link medias, it doesn't always find the filepath

3) doesn't contain lots of others stuff (between step 5 and 6 you'll loose a lot of editing, visual effects, transitions, AEfx comps etc.)

4) make sure you are using the last version of Premiere Pro 2020 to get the right BRAW timecode bug fix https://www.autokroma.com/blog/BRAW-Wro ... miere-Pro/


My advice would be to use .BRAW .sidecar files to keep the color grades between the two applications. The downside is that there is only ONE .sidecar of each .BRAW file, so only one "global" color grade per "source clip". In our plugin & panel suite BRAW Studio there are buttons to "Load Sidecar" and "Update Sidecar" in batch for all selected .BRAW clips this would be handy for this kind of workflow

Hi Antonie,
I didn't understand what you mean with "I believe FCP XML"…, do you mean that the problems 1), 2) and 3) are in FCP?

About 4), I have the Autokroma plugin for Premiere pro and AE and I have the last Premiere pro version. So I shouldn't get any problems..., correct?

If you correct timecode yes, we have version 2.2.3 release soon today or tomorrow with a bug fix for 29.97 fps.

About "FCP" it's the name of the method via XML because it originally comes from the old Final Cut Pro. But this "standard" is used in Premiere Pro and DaVinci Resolve

My advice would be to use .BRAW .sidecar files to keep the color grades between the two applications. The downside is that there is only ONE .sidecar of each .BRAW file, so only one "global" color grade per "source clip". In our plugin & panel suite BRAW Studio there are buttons to "Load Sidecar" and "Update Sidecar" in batch for all selected .BRAW clips this would be handy for this kind of workflow

I add this question:
when and how to use BRAW sidecar files?
I mean: when I export XML to Premiere Pro the first Color Correction has to be there: so in Premiere I have to get the color corrected XML, otherwise I don't need this workflow...
And when I came back to Davinci with my XLM cutted and composited, I will surely have added some other color changes (even if it is not a grading, which I will do at the end on Davinci).
I get it or not...?
Because otherwise it would be completely useless to work with XLM (if it doesn't keep the color correction and compositing changes ...) and then I will be forced to transcode to DNX or ProRes ...

If you correct timecode yes, we have version 2.2.3 release soon today or tomorrow with a bug fix for 29.97 fps.

About "FCP" it's the name of the method via XML because it originally comes from the old Final Cut Pro. But this "standard" is used in Premiere Pro and DaVinci Resolve

Hi Antonie, I just now recognize the Autokroma logo in your avatar!
Okay, tomorrow I'm gonna update all.

But I am confused now:
if a correct the time code I won't meet all three first problems you said? In other world, my workflow should work good?
Or, even if I have all updated, I could/will meet these problems 1,2,3 you mentioned?

If you're not using 29.97 fps .BRAW and you're using Premiere Pro 2020 updated to the latest version, there should be no Adobe Timecode bug anymore

Last time I checked the .XML doesn't contain color grade information. You can check this for yourself i.e. simulate/try your workflow step by step before doing a real project.

The .sidecar can be used at both step 4 and step 6 : when you're in DVR and tweaking some color grade of the .BRAW you hit up the "Update Sidecar" button. It will only save the BRAW Settings, it is a (non small) subset of all the color grading tools you have in DVR.

When you're in Premiere Pro, either with BMD plugin or with BRAW Studio the same happens, in the Source Settings (or the Layer Settings for After Effects !) you will be able to Load Sidecar, tweak BRAW Settings, hit Update Sidecar (or Save Sidecar whichever it is called) and when you'll open up DVR for each .braw filepath it will look up if there is a .sidecar file with the same filename (different extension) and same folder

Hope that clears up the issue. It would be great if others people chime in and tell us about their own workflow.

If you're not using 29.97 fps .BRAW and you're using Premiere Pro 2020 updated to the latest version, there should be no Adobe Timecode bug anymore

Last time I checked the .XML doesn't contain color grade information. You can check this for yourself i.e. simulate/try your workflow step by step before doing a real project.

The .sidecar can be used at both step 4 and step 6 : when you're in DVR and tweaking some color grade of the .BRAW you hit up the "Update Sidecar" button. It will only save the BRAW Settings, it is a (non small) subset of all the color grading tools you have in DVR.

When you're in Premiere Pro, either with BMD plugin or with BRAW Studio the same happens, in the Source Settings (or the Layer Settings for After Effects !) you will be able to Load Sidecar, tweak BRAW Settings, hit Update Sidecar (or Save Sidecar whichever it is called) and when you'll open up DVR for each .braw filepath it will look up if there is a .sidecar file with the same filename (different extension) and same folder

Hope that clears up the issue. It would be great if others people chime in and tell us about their own workflow.

Very good Antoine,


Anyway, please a further small explanation:
- at point 3) in DVR, after first Color correction in Braw , you have to hit up the "Update Sidecar" button and then go to step 4) to export XML, correct?

- at point 6) when you are read to come back in DVR, how to update sidecar file? Because you are in XML...
Sorry, I ask this because I still have to test my workflow... (it was just a theoretical idea).

Waiting for your answer, in the meantime, however, I try to test this workflow.




The aim is to check if this workflow can avoid transcoding and remain in Braw in DVR when you start and when you can back to grade your work.

FCP Timeline .XML only contain the edit "this filepath from frame N to from M has to be placed at this moment on the timeline" etc.

- at point 3) in DVR, after first Color correction in Braw , you have to hit up the "Update Sidecar" button and then go to step 4) to export XML, correct?

Correct, and it'll only work if one file = one color grading (and not two or more, for example if you put insert the same .braw file multiple times on the timeline and want different color grade). Also, if you only need the color grading and not the editing, you don't need FXP Timeline .XML

If you only need DaVinci Resolve for a quick color grade, you might as well use Premiere Pro for that directly. And it will be more practical if using BRAW Studio PrPro Panel because you'll have more features (Copy / Paste buttons, Presets, Custom A/B etc.)

- at point 6) when you are read to come back in DVR, how to update sidecar file? Because you are in XML...

It's the same thing, you hit the "Update Sidecar" or "Save Sidecar" inside BRAW Settings. BRAW Settings can be found at several places :
1. and 2. BRAW Studio Source Settings (Premiere Pro Panel or inside the Master tab)
3. BRAW Studio Layer Settings (After Effects)
4. and Blackmagic Raw Premiere Pro Plugin Source Settings inside Master tab according to which plugin you are using (you are using BRAW Studio but some readers here might not so I'm explaining the general case)

Then when you get into DVR it will load automatically the .sidecar

FCP Timeline .XML only contain the edit "this filepath from frame N to from M has to be placed at this moment on the timeline" etc.



Also, if you only need the color grading and not the editing, you don't need FXP Timeline .XML
This workflow has a sense only if I can color correct and grade in DVR working with BRAW and above all, using the DVR grading tools, which are incomparably better than those of Premiere pro ...!

If I don't need some special color correction and grading, I have to avoid to use DVR and I'll work directly in Premiere Pro. But this is another thing...

- at point 6) when you are read to come back in DVR, how to update sidecar file? Because you are in XML...

XML contains editorial information, which clips go where in timeline. It does not carry ANY color correction information, so you can’t use it to move your braw grade from Resolve to Premiere and back.

Sidecar file is basically a metadata override for braw development. Braw file has internal metadata that is used for processing it (in some, but not all cases, for example ACES project bypasses it all), and if sidecar file is present, braw decoder finds it and uses metadata in it to process the image. So if you change development settings in Resolve, update sidecar and open the same clip in Premiere, it uses new settings and should look the same now (it depends on color management settings in Resolve and Premiere too). In Premiere you can use the braw studio to do additional modifications, update sidecar again and you should see these changes reflected in Resolve. You are not “in XML” at any point in time, xml is a data carrier, if you import it, ordinary native timeline is created in Premiere.

So XML will not and can not carry any color information for you, to get color grades through you either have to use the sidecar workflow or bake your grades into intermediate file (prores, dnx etc).

XML contains editorial information, which clips go where in timeline. It does not carry ANY color correction information, so you can’t use it to move your braw grade from Resolve to Premiere and back.

Sidecar file is basically a metadata override for braw development. Braw file has internal metadata that is used for processing it (in some, but not all cases, for example ACES project bypasses it all), and if sidecar file is present, braw decoder finds it and uses metadata in it to process the image. So if you change development settings in Resolve, update sidecar and open the same clip in Premiere, it uses new settings and should look the same now (it depends on color management settings in Resolve and Premiere too). In Premiere you can use the braw studio to do additional modifications, update sidecar again and you should see these changes reflected in Resolve. You are not “in XML” at any point in time, xml is a data carrier, if you import it, ordinary native timeline is created in Premiere.

So XML will not and can not carry any color information for you, to get color grades through you either have to use the sidecar workflow or bake your grades into intermediate file (prores, dnx etc).

Okay Hendrik,
now is clearer.
Have you maybe some link o tutorial suggestion about how to setting up this sidecar workflow?
Otherwise, even if it is always better to shoot in Braw for quality and storage, I think maybe the best way remain to transcode ...

Okay Hendrik,
now is clearer.
Have you maybe some link o tutorial suggestion about how to setting up this sidecar workflow?
Otherwise, even if it is always better to shoot in Braw for quality and storage, I think maybe the best way remain to transcode ...

It's the opposite here, With the metadata .sidecar workflow Blackmagic RAW offers you new possibilities : you can share (without camera file alteration) some decoding & color grading settings between DaVinci Resolve, Premiere Pro, After Effects and all others NLEs that support BRAW. Those settings are what I called "BRAW Settings" earlier with the 4 points list. If you transcode to ProRes for example, you loose that ability.

But what you can do is color grade on DaVinci Resolve and then render the clips color corrected, export them from DVR to files you can import into PrPro. But then the color grade will be baked forever in the files and you will loose a lot of hard drive space

Okay Hendrik,
now is clearer.
Have you maybe some link o tutorial suggestion about how to setting up this sidecar workflow?
Otherwise, even if it is always better to shoot in Braw for quality and storage, I think maybe the best way remain to transcode ...

It's the opposite here, With the metadata .sidecar workflow Blackmagic RAW offers you new possibilities : you can share (without camera file alteration) some decoding & color grading settings between DaVinci Resolve, Premiere Pro, After Effects and all others NLEs that support BRAW. Those settings are what I called "BRAW Settings" earlier with the 4 points list. If you transcode to ProRes for example, you loose that ability.

But what you can do is color grade on DaVinci Resolve and then render the clips color corrected, export them from DVR to files you can import into PrPro. But then the color grade will be baked forever in the files and you will loose a lot of hard drive space

Hi Antoine,
this step I didn't understand, sorry.
When you say "render" the clips color corrected what do you mean...? Because the idea was to don't transcode... but export in XML.

I am providing you with an alternative. Another solution that has nothing to do with the workflow you described here. It has different pros and cons for sure. I like the .sidecar workflow personally

I am providing you with an alternative. Another solution that has nothing to do with the workflow you described here. It has different pros and cons for sure. I like the .sidecar workflow personally

Sure, of course!
But my question was different...
So, with sidecar workflow, have you to transcode (when you finished your first primary Color Correction?)in whatever intermediate format, or you export XML (with sidecar info..)?
Because you used the word "render"...

The word render has been used in the sentence describing the other kind of workflows you could have. So I don't understand what you're talking about

I’ll try to take a step back again.

XML file describes edit, which clips go where. It is an intermediate export-import format that allows moving timelines from one software to another. It does not carry any color information and it does not know anything about sidecar files. It is not a video format and it is not a project file. XML file contains no information about sidecar files.

Sidecar file is an exported braw metadata container. Only braw decoder itself knows it is a thing and does anything with it. Other softwares don’t do anything with sidecar files, it is something braw decoder uses for processing braw file. Sidecar can only carry braw settings that are visible in raw panel. If you import your xml file to Premiere, braw files that have accompanying sidecar files will use settings in there to show those files as they were in Resolve (in practice depends on how color management is set up).

If you don’t use sidecar files,only way to get your braw color changes from Resolve to other softwares is to export shots or whole timeline with baked in color correction to invermediate video file or image sequence. Prores for example.

Coming back to your original question, if you want to add effects that are not simple overlays that you could export separately in Premiere and add in Resolve later, you need to export your shots/sequence to some intermediate anyway, you can’t add effects to braw files.

I’ll try to take a step back again.

XML file describes edit, which clips go where. It is an intermediate export-import format that allows moving timelines from one software to another. It does not carry any color information and it does not know anything about sidecar files. It is not a video format and it is not a project file. XML file contains no information about sidecar files.

Sidecar file is an exported braw metadata container. Only braw decoder itself knows it is a thing and does anything with it. Other softwares don’t do anything with sidecar files, it is something braw decoder uses for processing braw file. Sidecar can only carry braw settings that are visible in raw panel. If you import your xml file to Premiere, braw files that have accompanying sidecar files will use settings in there to show those files as they were in Resolve (in practice depends on how color management is set up).

Ahhhh, okay,
but anyway, so it seems you have to export XML [b]and sidecar files? Are two different step do you make in Davinci?
And when you are in Premiere, what happen? Do you import both XML file AND sidercar files?

Sorry, but it is really hard to understand if you don't explain in practice what happen.
I mean, the concepts are now clear (XML is an intermediate export-import format that allows moving timelines from one software to another. It does not carry any color information and it does not know anything about sidecar files.)..., and
Sidecar file is an exported braw metadata container. Only braw decoder itself knows it is a thing and does anything with it. Other softwares don’t do anything with sidecar files, it is something braw decoder uses for processing braw file. Sidecar can only carry braw settings that are visible in raw panel.

...but not the practical application in DVR, in Premiere and back in DVR...
So, in DVR, first I export my timeline in XML to external NLE. Then I make I make a primary color correction and this time export sidecar files. So, they are already two transcoding process...

But what happen in Premiere? Do you import both XML and sidecar files and than? How they communicate? Or you simply superimpose the sidecar file in TL to "color" the XML files?
What happen if you use Dynamic links in Premiere to access AE?
And finally, what happen when you come back to DVR for final grading...?

If you don't clear this point is impossible (for me ) to understand...

Anyway is very hard to see the real advantage of this workflow... even if was my primary idea...
As usual, after preliminary operations in DVR (i.e. neutralize Log clips, primary Color Correction...) transcoding in Prores or DNX or whatever image sequences (VFX) it seems to be still the best workflow.
[/b]

Thanks Hendrik for the explanation.


Duca Simone you don't need to use bold we read you perfectly fine it is a bit distracting to have everything in bold.

Yes those are different steps. The .sidecar files are read by the BRAW decoder : either Blackmagic Raw premiere pro plugin or BRAW Studio. You only import the .XML, Premiere Pro creates the clips and calls the importer which loads automatically the .sidecar files. You don't need to import .sidecar files yourself.

"So, they are already two transcoding process" No transcoding is when you re encode the files. a XML file is just some metadata saying "this .braw filepath goes at this place on the timeline" and the .sidecar says "my .braw file has Exposure + 5". Those files are lightweight and do not destroy your original .braw files, so it is very practical and non destructive.


You can use .braw inside After Effects and have a dynamic link back to Premiere Pro, no problem.

Your main issue is going to be from Premiere Pro to DaVinci Resolve at the end, you can't keep all the features of Premiere Pro (visual effects, stabilization, color grading, titles, dynamic link AE etc.)

Thanks Hendrik for the explanation.


Duca Simone you don't need to use bold we read you perfectly fine it is a bit distracting to have everything in bold.

Yes those are different steps. The .sidecar files are read by the BRAW decoder : either Blackmagic Raw premiere pro plugin or BRAW Studio. You only import the .XML, Premiere Pro creates the clips and calls the importer which loads automatically the .sidecar files. You don't need to import .sidecar files yourself.

"So, they are already two transcoding process" No transcoding is when you re encode the files. a XML file is just some metadata saying "this .braw filepath goes at this place on the timeline" and the .sidecar says "my .braw file has Exposure + 5". Those files are lightweight and do not destroy your original .braw files, so it is very practical and non destructive.


You can use .braw inside After Effects and have a dynamic link back to Premiere Pro, no problem.

Your main issue is going to be from Premiere Pro to DaVinci Resolve at the end, you can't keep all the features of Premiere Pro (visual effects, stabilization, color grading, titles, dynamic link AE etc.)

Ho Antoine,
sorry, for the bold text I didn't want to shout!

Okay, your above "underlined" answer now clarify this aspect, but again, something is missing or still no clear:
1 - after primary CC I go to Deliver to export in XML but I don't see any sidecar slot in the Deliver tab:
So how do you activate this sidecar in DVR before export XML?
2 - then, when I come back in DVR and if I "...can't keep all the features of Premiere Pro (visual effects, stabilization, color grading, titles, dynamic link AE etc.)...", what's the point of using this workflow?
The only advantage seems to be the ability to do the primary Color Correction in Braw before exporting to XML ..., correct?
But at this point it doesn't seem like such a decisive advantage in most cases.
I repeat, if the sidecar workflow works like this, then it seems better to do the primary Color correction in DVR with the Braws, then transcode into ProRes, Dnx or similar, so that when you go back to the DVR for the final grading you will have all the changes made in editing and compositing...

1) Yes and there is an "Update Sidecar" button inside DaVinci Resolve as I explained earlier, you have to click it for each .braw. It's not a delivering option because the .sidecar is stored next to each .braw it'll always be used it's not a delivery/export options

2) You should use the most appropriate workflow for your use case and yes .sidecar is only for color grading the .braw with the same name in the same folder, nothing else.

1) Yes and there is an "Update Sidecar" button inside DaVinci Resolve as I explained earlier, you have to click it for each .braw. It's not a delivering option because the .sidecar is stored next to each .braw it'll always be used it's not a delivery/export options

2) You should use the most appropriate workflow for your use case and yes .sidecar is only for color grading the .braw with the same name in the same folder, nothing else.

Okay, now is really all clear!
But sorry, I am trying to test this workflow but I still didn't find it, I mean this "Update Sidecar" button inside DVR, Where is exactly?

Anyway thank you!

It is in camera raw panel of clip, same place where you have raw development settings.

It is in camera raw panel of clip, same place where you have raw development settings.

Got it!

Sidecar.jpg (232.33 KiB) Viewed 4875 times

Now I go on with XML export: but what do you suggest about as export settings?

XML export.jpg (297.08 KiB) Viewed 4875 times

I.e., the resolution of my braw files was 4K DCI, but the TL was 2K DCI. Have I to set the same in XML Resolution XML export?
And which Format, Codec, Type...?

(By the way, this XML export is very similar to and intermediate transcode...)

Those UI controls are disabled

As said before, XML is an editorial carrier, not a video format so it has no codec and so on. And as Antoine points out those settings are disabled, for exactly this reason.

Hi Antonie and Hendrik,
unfortunately you are both wrong...
It is disabled because, when I took the screen shoot, I was just exporting ("transcoding"...?) the clip, as you can see in the image on the right.
To clarify it I now post the same screen shoot BEFORE starting the export in XML. How can you see, you have to choose whatever Format, Codec, Type..., and Resolution.
For these reasons it doesn't seem to me a "simple export of metadata" but a sort of transcoding...
Again, I believe you when you say "...XML is an editorial carrier, not a video format so it has no codec and so on..." but what I actually see is a true transcoding process... .
Please see carefully the attached screenshots of my entire sidecar workflow test so that we can find what is wrong...:

Setting up TL.jpg (238.97 KiB) Viewed 4833 times

Primary CC and sidecar update.jpg (233.38 KiB) Viewed 4833 times

XML export.jpg (270.54 KiB) Viewed 4833 times

You can try it by yourself...
So, what is wrong...?

Hello Duca Luchini,

I hope you don't mind me taking part in this conversation. I was reading it all. I won't discuss your workflow, I just want to comment your last reply, pointing out what I believe can be the source of your misunderstanding of what a .XML file is, based on your 3rd screen cap.

When you choose "Premiere XML" in DVR Render settings, you will export 2 kinds of files at once: a bunch of individual media files, plus a .XML file. You can check this going to the folder where you exported you files to.

Taking your screen cap as an example, you will have X (10, 20, any number of clips you had on your DVR TL) .MOV files (I am using .MOV as an example, based on the settings you have chosen on your screen cap) and only 1 .XML file.

The info under the VIDEO, AUDIO, and FILE tabs refers to the actual media files to be transcoded, so they will determine what settings and what wrapper you are using for these files (the .MOV files in the example).

But these settings are not related to the .XML file. This file, as Henrik and Antoine have well pointed out, is an editorial carrier, meaning it carries your edit decisions (which clips you put on your TL, their order, their duration, their ins and outs, all timecode based), but it does not determine anything regarding the actual media export settings.

Again, take a look in your export folder. You will notice the .XML file is very small, and you can ever open it with a text editor.

When you import this .XML into Premiere, this file will tell Premiere which media files to import (your .MOV files, in the example), their location, and how to organize them in a TL, which will be exactly like the TL exported from DVR.

So, what you will see on this new Premier TL will be the media files you exported from DVR, "organized" following the instructions contained in the .XML file, not the .XML file itself.

I hope I could help you understand what a .XML file is. If not, please let me know.

Hello Duca Luchini,

I hope you don't mind me taking part in this conversation. I was reading it all. I won't discuss your workflow, I just want to comment your last reply, pointing out what I believe can be the source of your misunderstanding of what a .XML file is, based on your 3rd screen cap.

When you choose "Premiere XML" in DVR Render settings, you will export 2 kinds of files at once: a bunch of individual media files, plus a .XML file. You can check this going to the folder where you exported you files to.

Taking your screen cap as an example, you will have X (10, 20, any number of clips you had on your DVR TL) .MOV files (I am using .MOV as an example, based on the settings you have chosen on your screen cap) and only 1 .XML file.

The info under the VIDEO, AUDIO, and FILE tabs refers to the actual media files to be transcoded, so they will determine what settings and what wrapper you are using for these files (the .MOV files in the example).

But these settings are not related to the .XML file. This file, as Henrik and Antoine have well pointed out, is an editorial carrier, meaning it carries your edit decisions (which clips you put on your TL, their order, their duration, their ins and outs, all timecode based), but it does not determine anything regarding the actual media export settings.

Again, take a look in your export folder. You will notice the .XML file is very small, and you can ever open it with a text editor.

When you import this .XML into Premiere, this file will tell Premiere which media files to import (your .MOV files, in the example), their location, and how to organize them in a TL, which will be exactly like the TL exported from DVR.

So, what you will see on this new Premier TL will be the media files you exported from DVR, "organized" following the instructions contained in the .XML file, not the .XML file itself.

I hope I could help you understand what a .XML file is. If not, please let me know.

Thank FranciscoS, it okay, not problem.
So, when you export in XML, DVR transcode anyway you Braw file in .Mov or whatever, AND save a XML file, as well.
Right?
I ask because if I have to transcode (saving also a XML file) this workflow has no more sense...
In other words, this workflow was designed only to be able to work in Braw in DVR, both before exporting to an NLE, and after the editing and compositing process has taken place.
But it can't be done ... so the best solution remains to transcode to an intermediate format ...
And I believe that if you transcode in ProRes or DNX (10 or 12 bit 4 4 4) you will have no problem with both external NLEs and compositing programs.
And when you return to the DVR for the final grading, you will always work with a 10 or 12 bit 4 4 4 without fear of losing editing, vfx and compositing data along the way!
It seems to me that this still remains the best solution.

I didn't know about it thanks for bringing this up Duca Simone, it seems like you can either (export XML that links to source files) OR (Export sequences + XML that links to those new rendered files). Maybe it is explained in DaVinci Resolve Manual, would be worth it to check it out.

best solution remains to transcode to an intermediate format ...
And I believe that if you transcode in ProRes or DNX (10 or 12 bit 4 4 4) you will have no problem with both external NLEs and compositing programs.
And when you return to the DVR for the final grading, you will always work with a 10 or 12 bit 4 4 4 without fear of losing editing, vfx and compositing data along the way!
It seems to me that this still remains the best solution.

Exporting to temporary intermediate files with such codecs is a good idea yes. It'll take more time and more hard drive space but it'll allow more flexibility and more features

Export the xml from File > Export AAF, XML... command and choose appropriate file type for Premiere. FCP 7 XML should be good enough I think (I don't know if Premiere supports the newer variants).

Whether to transcode or not transcode or use sidecar and render to intermediate in Premiere/AE is something you must try out and see how it actually fits what you need to get done, there are lots of but's in all the steps that depend on what exactly you want/need/can live with in the end. Stuff can look good on paper (and in suggestions) but whether it actually works for you can only be found out by trial and error.