Creating a Video From Start to Finish


Lesson Info

Export from DaVinci Resolve to Adobe Premiere Pro

Alright, so I'm gonna go ahead and open up Premiere. And let's pretend that we just got out of DaVinci, so now I'm going into Premiere, this sort of thing. Alright. Cool! Now, I'm just gonna go ahead and make a new project. Sure. Just click OK. Alright, now, to get an XML back into Premiere. Okay, get an XML back in Premiere, it's really super easy guys. All you do, is just go File, Import, and now you find that XML. So here I'm just gonna grab that final XML. Click Import. What it does, is it finds all the files that were related to that DaVinci export and it puts it into a project for you. Supposedly. There it is. And, it gives you a sequence. So, this is my color grade. Here's the thing, if you want to make a change here in Premiere, yeah you can, if you wanna make a slight little change, sure. You know before how I could extend the clip out? Oops, give me a second here. I think I imported the wrong one, just give me a minute here. Alright, here we go. I'm coming back in. Okay, so, ...

let's go back through that import, because I imported the wrong one. So, just make a new project, click OK. Sure. Alright, so click Import, here, and then, go into your DaVinci render and pick up that import. What's gonna happen is it's gonna give you all the stuff here. All of the clips, everything. So you can look, everything that had- you needed to be adjusted is now here. It's rest all in this project. So whereas, before we got into DaVinci it was looking at all the original footage, we got to DaVinci, it was still looking at the original footage, now we made that toast and now it's looking at a different set of footage. So at some point here, you've got two sets of footage. The toast that's been cooked, and the bread loaf that it came from. Now, the bread loaf that it came from is still a full loaf, it's over here that the toast is happening, that you just can't make it a bread loaf again, it's still individual slices of toast. So, if you need to make a change here, you've got to go back to that bread loaf. Okay? So, let's take a look at the sequence. Hey look, it's all there, it's coming in. It's all there, the first thing I'm gonna do here is just- So, when I come back from DaVinci, instead of scaling to frame size, I am now gonna come into effects controls and pull that frame size down in scale, and the reason I'm doing that is because, I wanna crop in a touch, because remember that little clip, that swinging bag there, see that swinging bag? I wanna crop that out. So, whereas scale to frame size gets the image in that box so you can see it, the scale function, now that I'm back into Premiere, I can use that function to finalize and wrap up my edit. You see the difference? Okay, there's a time and a place to use either. You gotta use it at the right time. So, if you were gonna add some little cinematic effect, to give it a film look or whatever, would you just, before you're all done, slap in an adjustment layer on top? Oh inside of Premier? Yes. Okay, yeah, so let's pretend I'm gonna apply a plugin- But you wouldn't do it in DaVinci, right? Yeah, so there's a couple of things I could do. If I wanna give it a cinema look, so, there's color correction and color gradient. Color correction is making sure your colors look correct. Color gradient is changing that correct color to a stylistic feel, making it blue or green or red. Now, inside of DaVinci, it's a very powerful grading tool, it's probably one of the most powerful grading tools in the industry. You could choose to apply a grade to that look, to that correction, and get a look out of it. That's very possible. You could do what we did. Bring it back into Premiere and maybe you have a set of plugins inside of Premier like Magic Bullet, for example, and you could apply Magic Bullet to this and get a look out of that. Now, everything you're doing at this point though, is now in addition to what you've done in DaVinci. So, just remember if you need to end up changing something here, you gotta change it back in DaVinci and it's gonna then change over here. Okay? So, what I do want to clarify, and this is something that I learned only because I saw it happening. So, let's pretend, let's pretend that this image, let's pretend I wanted to adjust the color of this image. And I can't do it here or I made an edit and I wanna do a complete re-grade of, I wanna do a complete re-grade of these images. This sequence here. Let me just scale this down really quick. In order for it to be quicker, if you guys go Copy and then just go ahead and select those clips and select Paste Attributes, it'll scale all that footage for you if you click Motion. So now, as I scrub through it's all the right size now. So let's pretend I wanna change the grade of this. I wanna start all over. If I go back into DaVinci. So, let's go back into DaVinci. If I go back into DaVinci, go back to that color module, and then change that sequence, here, change that sequence and then export out, what it's gonna do is update here. Because this guy is connected to which footage? The toast. Remember? Non-linear editing. So it's very powerful in this regard, so you don't have to re-open up and re-import the timeline. All you gotta do, is export out and as that file's updated, it's gonna reflect here in Premiere because it's hot linked to that file. So, the cool thing about DaVinci is it will overwrite all your renders as you kick out that folder, if you render multiple times, it'll just keep overwriting those renders. So that it can then update in Premier for you, so you can actually see the changes when the file updates. So, you don't need to go through that re-importing process over and over and over again, which can be really tedious. So, then, if you apply a filter in Premiere on top of what you got from DaVinci, that would update as well. So that's the one thing that no one taught me that I actually kind of learned and I was like oh my god, that's amazing.

"A tumultuous amount of technique and process info given by Victor in this class. Just wonderful. Well done." - Michael UK

Creating a film or video is a decision-making process from beginning to end. From what type of story you want to create, where to film, how to capture audio, editing your story together - the entire process can be overwhelming and confusing. Victor Ha will make this process attainable by laying out the foundation to set yourself up for success in the planning and pre-production phases. Victor will show you how effective planning can make your shoot and edit faster and easier. Understanding this workflow and adding video to your portfolio can increase your business and expand your creative offerings. In this class, Victor will cover:

  • Pre-production techniques like creating shot lists and shoot schedules 
  • How to use your DSLR to capture video 
  • Capturing the right footage for the edit 
  • How to piece together a rough cut in Adobe Premiere Pro CC 
  • Producing multiple pieces from one shoot 
This class will take you step by step from concept to completion so that you can begin creating films with your clients and friends within 48 hours.

"Love this class! Victor really knows how to break things to simple language so you understand and retain. He also teaches you all the fundamentals before you ever fire up your camera. Victor is Ha-mazing!" - Jerry Suhrstedt



  • m'k? ok? k? right? As others have said victor has lots of energy and lots of good stuff going on - but there are some really irritating ticks in this one making many sections of these vids almost unwatchable: after just about any explanatory statement - especially where it seems Victor is less sure of the technical rationale - he concludes each observation with an "ok?" and then leaps into the next sentence. On waveforms and scopes (vid 8) for example: we start with a discussion of an Atamos monitor " tells me how saturated i am in relation to that center point, ok? These are things that may be so daunting and scary [???] when you look at it, when you talk about it, but again, i didn't know about these three years ago and i was still doing content. I'm only telling you about this now because i think it's important for you to learn about what we call waveforms and scopes, ok? So waveform: confusing. Really really confusing, ok? [!!!?????} But it's a great way to check yourself on set, ok? Because there's things sometimes [hand waving gestures] we just don't know where we're at and we just have to check the overall scene value, as opposed to the exposure of a person, ok? So... And then at the end of the next run through this rather large if unmotivated section he asks "any questions"? here's where John Grengo would run a short exercise to see how folks were processing the information just imparted. It's not inspiring confidence, either, is it, to start by assuming /asserting that a concept is confusing - especially before it's been introduced. It suggests that it's still confusing for the instructor. The rest of this section continues in this way: with the ok's and concept jumps - by the end of the section, somehow the monitor as gear has entirely disappeared and we end up in adobe premier, and da vinci "Bring these values down in production - not in post" though, victor asserts How? with what? Victor doesn't make the connection between how the Atamos makes this "in production" adjustment possible (does it? i'm guessing) - or what the tradeoff is IN doing this adjustment in post - with the tools premier or davinci has with its various scopes. "Did you guys understand the concept there? i see some heads nodding. I love teaching: this is great." Actually, no, it's not clear that people really get this: so how about a scenario to test what to do to see if people get it? But really how about finishing the discussion about the monitor? We then get into vectorscopses (Victor doesn't distinguish between vectorscope as the tool and the chart generated by the scope - or why "vectors" vs any other kind of representation) we're then presented with a chart from the scope -but not the image from which the graph is generated - so we have no visual reference for an image that is "hue shifted, ok?" vs. not hue shifted. "the further the colors are away from center the more SATURATION you have. How cool is this tool" - how about showing an example of such an image? Still looking at this chart we learn: "You can immediately tell that your blues are oversaturated and shifted in hue, right?" - Again, seeing the image to map to this chart would have helped understand what was being asserted. "you show the chart, BOOM, perfect white balance" - YOu show the chart to what? when? "everything is on vector except the green that is slightly shifted" On vector? What is that? "Use this target in post" - Now we're talking post again. What happened to do this in production? So if post can do this and Davinci 12.5 is "free" - why buy the monitor? What we still don't know: the role/value of the monitor that has a vectorscope - where "vectorcsope wil save you" - which one? monitor or post? Kind of a big hole when that's a piece of kit well over a grand. How many students are going to go add a 1300 piece of gear to their camera for doing corporate profiles? how crucial is it? Plainly Victor is excited about it, and it may be fantastic. Intriguingly when talking about the monitors - esp the less expensive of the two Atamos models, he doesn't talk about why else one might want one - what the 4:2:2 ratios they offer mean (perhaps head to Ryan Connolly's Guerilla Filmmaking for that) How does this massive section end? Clean your sensors; have a monopod; bring a white card and light meter. What?? I'm sorry there's only a thumbs up or thumbs down for this rather than some kind of scoring. it sounds like i'm slashing this. I'm not. But there are some basics that would make this material even more effective and accessible. - Mr. Ha could watch himself on video to see all the "ok's" and work to kill them - they seem to be a sign of nervousness lack of clarity /confidence as shown in this section. - When going through (for photographer concepts) use more images - he has lots of example vids in his first course - same thing needed here. - use example scenarios a la grengo (and good teachers everywhere) to test a concept rather than saying "any quesitons?" and feeling validated from head nodding. - complete the circle: if talking about gear - talk about the gear before skipping into a new concept. I still have no sense from this of whether or not these monitors have real value - should be on the list ahead of a new camera body or glass - or are just treats if you have everything else. Again, lots of useful material; the course is worth it for the grounded progressions through the cycle of video crafting, but if you can only afford one vid course in the Victor Ha set, the HDSLR basics is a better organised, illustrated and presented course.
  • Victor is an incredible instructor, clearly passionate about teaching videography to photographers. His teaching style is engaging and energetic, and the content is interesting and useful. I was very fortunate to be part of the audience for this course.
  • Victor is a wonderful, knowledgeable and enthusiastic teacher - I learned so much. Thank you.