1. Davinci Resolve Vs After Effects
2. Davinci Vs After Effects
3. Davinci Resolve 16 Vs After Effects
4. Davinci Resolve After Effects Roundtrip
5. Import After Effects Davinci Resolve

After the render is finished, the After Effects script calls a tool I wrote called Projector in non-GUI mode. It creates a new Resolve project and imports the rendered files into a bin. The location of the rendered files and the bin name are defined in the.json template file. Here you can match DaVinci Resolve 14 vs. Adobe After Effects CC and look at their overall scores (9.2 vs. 9.0, respectively) and user satisfaction rating (100% vs. 82%, respectively). You can also browse the specifics of pricing, conditions, plans, services, tools, and more, and find out which software offers more benefits for your business. I'd like to share a little proof of concept on automating import of After Effects renders into DaVinci Resolve Studio. I kept the basic building blocks very simple, but they could be expanded quite a bit to offer a high degree of automation. The project files are on GitHub. After the render is fini. The reason for choosing between Davinci Resolve Vs Adobe After Effects is their efficiency and functionalities which they acquire. Both of these software render and produce professional style videos to be made and are even used in the Hollywood film industry for producing and making high-quality films.

So you’re interested in working in Resolve, but you need a few more options. These plugins may be just what you’re looking for.

Motion Imperia is a membership based resource for downloading exclusive high quality DaVinci Resolve templates and macros, as well as incredible templates, presets, scripts, plugins for After Effects.

It would be fair to say that Resolve has something of an identity problem. Many know Resolve as a professional color grading platform; some know Resolve as a free non-linear editor; and (since the release of v.14 & 15), we’ve also seen the introduction of dedicated audio and VFX pages with Fairlight and Fusion. Color-grading software, editing software, audio mixing platform, or compositor? That’s for you to decide.

However, one element that often gets missed is that Resolve can also accommodate plugins just like Premiere and After Effects. We often think of Resolve as a one-and-done application since it offers next to everything one might need to create a film. However, there may be a time where you need that extra bit of spice.

So, let’s have a look at a few plugins that can take Resolve to the next level.

FilmConvert

FilmConvert, by Rubber Monkey, launched back in 2011 as a tool for emulating film stock. The plugin, or standalone application, uses archival scans and algorithmic data to change the curve and color properties to make your footage appear like you shot it on one of many different types of film stock. Although, as co-founder Nigel Stanford states, there’s a little bit more to the plugin than other “film look” assets:

We can control how the color is decoded and make sure that each color is transformed to the correct film stock equivalent. Film look plugins can’t tell which camera you shot your footage on, and so just apply a contrast curve and change the color. It can look ok, but it is not a film stock emulation.

FilmConvert continuously updates the available camera profiles to make sure that the curve it’s applying is specific to your camera’s base data. The software costs $199, but it is a worthy investment for filmmakers of all levels. If you’ve yet to use FilmConvert with Resolve because you think it’s redundant, stay tuned for a tutorial on FilmConvert in Resolve in the coming weeks.

An alternative to FilmConvert is Magic Bullet Film from Red Giant. MBF includes over 20 film stock presets designed to mimic the look of film stock. While both plugins offer the ability to emulate the film look, the difference between the two is that FilmConvert is tailored to your camera’s image data, whereas MBF works from an average based on whether you shot your footage with a video, flat, or log profile. Magic Bullet Film also costs $199.

De: Noise

You may remember back when the 5D Mk II was king of YouTube and a company called RevisionFX made a splash with a plugin called Twixtor. It optically blended frames together to allow footage shot at 24fps appear as if you shot it at a higher framerate. It was magical. De: Noise will also assist with removing both film grain and digital noise, and this too is just as magical.

I’ve never held much regard for Resolve’s built-in noise reduction. I find it cumbersome; the effects are initially hard to diagnose; and in general, the results are patchy. I often find that many denoising plugins make your footage too soft, but with many adjustable parameters, and because DE:Noise uses spatial and temporal filtering to reduce noise while preserving details, you get a clean, sharp image. De: Noise looks to “resolve” your grain and noise problems with an easy to use plugin, which costs $149.

Red Giant Universe

If there’s one thing that Resolve lacks, it’s a library of pre-made effects and motion graphics that you can drag onto a clip with minimal adjustments. Don’t get me wrong — Resolve has a vast library of transitions and effects. But the transitions are basic, and the effects are usually geared toward professional use. There’s not much in the way of quirky vlog effects or quick looks. However, Red Giant Universe is out to change that.

From sci-fi text to camera shake transitions, the Red Giant Universe plugin has everything for the startup creator. The only catch is that it’s subscription-based at $30 monthly — or $199 annually. I’m not a fan of subscription-based software; neither am I a fan of subscription-based plugins. However, since Resolve is free, you can weigh the benefits of using Resolve and Red Giant Universe vs. an Adobe product with fewer of these available presets.

Davinci Resolve Vs After Effects

Sapphire

Let’s get the price point out of the way first. Sapphire is a $1,695 VFX suite, or a $495 annual subscription. It is a visual effects suite that you can use to create everything from photorealistic lighting to stylized looks. The suite (and other tools from its developer, BorisFX), see use in Hollywood feature films and your favorite artist’s music video. When you think about After Effects plugins like Optical Flares, and how powerful they are, Sapphire takes that intensity and crushes it. Like many of the other plugins on this list, many of Sapphire’s tools open in their own user interfaces, which you may find either beneficial or annoying.

Two years back, Sapphire would have been a no-brainer for those who wanted to work only in Resolve but also wanted VFX options. However, with the addition of the Fusion page (and with the inclusion of new and updated built-in effects like Resolve’s Face Refinement), Resolve now offers a variety of VFX avenues to explore without the addition of third-party plugins. Still, though — Resolve does have its limits.

Resolve is extremely powerful, and as I said in the introduction, it’s common to think it is an isolated application that doesn’t accommodate third-party plugins. However, next time you’re browsing a plugin store, keep an eye out for the OFX symbol in the compatibility key, as that will suggest that it’s more than likely compatible with Resolve.

To get you started, here’s a handy list of the most popular plugins compatible with DaVinci Resolve.

• Neat Video
• All BorisFX plug-ins (Continuum, Sapphire, Mocha)
• Digital Anarchy Beauty Box
• Digital Anarchy Flicker Free
• All Digital Tools plug-ins
• FXHome Ignite Pro
• Koji Studio
• RE:Vision Effects; DE:Noise, DE:Flicker, Effections, RE:Lens, RE:Match, REELSMART,
• Red Giant’s Magic Bullet Suite (Looks, Denoiser, Colorista, Cosmo, Mojo, Film, Renoiser)

Looking for more Resolve tips and tricks? Check out these articles.

Register

Davinci Vs After Effects

• Access to orders in your account history
• Ability to add projects to a Favorites list
• Fast checkout with saved credit cards
• Personalized order invoices

Hi all. Hope you are all good. Today I bring my After Effects Round Trip Workflow.

Davinci Resolve 16 Vs After Effects

I bought a few months ago the new Blackmagic Pocket Cinema Camera 4K.
I have been playing a little bit with it. (You can see more frame grabs in my instagram)

I mainly decided to buy this camera because it records in RAW giving me a high dynamic range. I wanted to be able to work with HDR images while time ago.
But recording in RAW brings new problems as I already had a stablished workflow. Before, I used to record in 8 bits, edit in Premiere Pro and make any kind of composite in After Effects. But with the RAW format this worflow gets tricky. I would like to do all kind of composites and editions and be able to do the color grading after them without losing any bits depth.

Before the black magic pocket recorded RAW in “.DNG” format. The files size were really big but Premiere Pro and After Effects can work with it. With the latest update on the bpcc4k, it records in a new file format called “.BRAW”. I found this file format really good as it reduces pretty much the RAW file size. But the new problem: Premiere Pro and After Effects don’t support natively this format.

Davinci Resolve After Effects Roundtrip

Besides, with the camera I got the Davinci Resolve Studio version. I were testing it and I found it is a really good editor (I’m in love with it now).
So I decided to switch Premiere Pro to Davinci Resolve. But now the problem resides how to do the image composites in After Effects and edit in Resolve. I know, the easiest solution is to use the new tab called “Fusion” in Resolve. This is a node base compositing program inside Resolve. I think that would be the best solution, but it is a different software so you have to learn it. So meanwhile, if you want to still using After Effects here it goes my workflow.

Before I used the dynamic link between Premiere Pro and After Effects. Using that, as Fusion in Resolve too, let you do your composites and have them in your cut without rendering them, so if you have to tweak anything in the composition, you have it updated in the cut. As we will use now Resolve and After Effects, there is no link option, so we will need to render the composite to bring it back to our cut. But let’s start from the beggining of the process as before we have another problem I commented before, the format “.BRAW” is not supported in After Effects.

We create a new project in Davinci Resolve. And under the Project Settings, Color Management we change the settings as in the following image.
We will be using ACES. If you don’t know what is that and want to know more visit the official web page: ACES

Once we have the previous settings we can start editing our cut. Once we have a clip we want to edit in After Effects we jump to the “Delivery” tab (as we will need to render it to be able to use it in AE, remember BRAW can not be used in AE).
For exporting the clip we need to change the project settings again.
This time as output we choose ACEScg, as we don’t want to export the clip in Rec.709 (if not we will lose all the RAW magic)
We will export the clip in “.EXR” format. EXR is a high dynamic-range (HDR) image file format (as any other RAW format). If you want to know more about it and download on your computer yo can do it here openEXR
Ideally, we will choose codec “no compression”. The problem with this is that the file size are really big.
Once we have exported the clip, we can change our settings in Resolve back to Rec.709
Now After Effects time.
We create a new composition in AE, and under project setting, we change the color settings
And we change how to interpret our footage too and we check preserve RGB
We have setted up our AE project to use our HDR images correctly. But now we need to tell AE how to interpret our ACEScg footage. For that we will use OpenColorIO. You can download the AE plugin here OpenColorIO AE
We create an adjustement layer (this one will be ALWAYS our top layer). And we apply OpenColorIO on it with the following settings
That indicates that our input image is ACEScg and we want to see it as Rec.709
If we need to add any other clip, image or whatever that is not HDR or ACEScg we will need to create an OpenColorIO on that layer to convert it from Rec.709 to ACEScg.
We do our magic in AE, and when we are done and we want to export the clip back to our edit we need to render it in AE. But first we diable our top Adjustment Layer (the one with OpenColorIO) as we want to export the image as ACEScg again and not Rec.709
In the Output Module Settings we set everything to export “.EXR” correctly.
Back again in Resolve. We import our new clip. We right click on it, “ACES Input Transform” and we choose “ACEScg”. That way Resolve knows that our clip is ACEScg.
And finally we have our HDR clip in Resolve, comped and with no data loss ready for our color grading.

The biggest problem of this method is the file sizes. As we need to convert the “.BRAW” format first to “.EXR” to be ready for AE. Then again render our composition in “.EXR” to bring it back to Resolve. I did some tests to compare file sizes using 4K footage and using different EXR codecs. All the following sizes are just ONE FRAME!

Converting our “.BRAW” plate to “.EXR”
EXR no compression: 47.4 MB
EXR ZIP: 25.8 MB
EXR PIZ: 23.8 MB
EXR DWAB compression: 6.49 MB
EXR DWAB compression HD: 2.10MB

Import After Effects Davinci Resolve

Rendering our Compositing in AE
EXR no compression: 47.4 MB
EXR DWAB compression (from EXR no compression): 6.83 MB
EXR DWAB compression (from EXR DWAB): 5.01 MB

Using the Dreamworks compression you get the smallest file size, that is because it is not a loseless format.
My recommendation on which format to use depends on the project and the budget you have.

Hope you enjoy this post. And if you like it, disagree with something or have any other idea, please leave a comment!