Docs › Converting

What CrossFlow Transfers

If you would like CrossFlow to transfer other items or effects, please contact us.

General Items#

  • Any media which can be opened in DaVinci Resolve
  • Image sequences
  • Multiple sequences with different resolutions and/or frame rates. DaVinci Resolve does not accept "/" or "\" in a timeline name, so CrossFlow replaces them with "-" and Full Details names the sequences concerned
  • Nested sequences. A nested clip trimmed to run past the end of the sequence it contains shows black there in Premiere, but DaVinci Resolve keeps showing that sequence's last clip instead: Full Details warns about each clip concerned, so you can trim it
  • Different audio track types (Mono, Stereo, 5.1, Adaptive...). If DaVinci Resolve refuses to create a track of that type, CrossFlow creates it as a Stereo track instead, so its clips are still converted, and Full Details names the track concerned
  • Bin and folder structure
  • Timeline markers
  • Multicam sequences
  • Timeline track Mute (video and audio) and Solo (audio) state

Project Items#

  • Project item names
  • Project items imported several times from the same media
  • Project item markers
  • Media whose frame rate was changed with Interpret Footage
  • Merged clips (imported as sequences)
  • Subclips: a clip cut from a subclip plays the same part of the media as in Premiere

What reaches Resolve's Media Pool also depends on the Skip Unused Project Items and Attach Premiere Proxies options, see Transfer Options.

Timeline Clips#

  • Timeline clip names
  • Timeline clip disabled state (Enable unticked in Premiere): the clip stays on the timeline, disabled in Resolve too, so it is neither seen nor heard
  • Clips whose media has another frame rate than the sequence (23.976 fps media in a 25 fps sequence, for instance) start on exactly the same frame as in Premiere
  • Speed changes
  • Reversed clips
  • Time Remapping (see Time Remapping)
  • Frame Holds
  • Clip color (label), matched to the closest DaVinci Resolve clip color, or to the exact same one if you choose to (see Premiere Pro Label Colors)
  • Adjustment layers
  • Remixed clips (imported as sequences)
  • Clips extended with Generative Extend (imported as sequences)
  • Multicam clips, with their chosen angle
  • Clips with Warp Stabilizer applied (Resolve's own Stabilization is applied instead)
  • Linked video and audio clips: a clip and its audio stay linked in Resolve, so they keep moving together. This includes a clip with several audio items, an audio part slipped out of sync, and a merged clip whose picture and sound come from different files. Clips inside a sequence that becomes a multicam clip are not linked, since they become that clip's angles rather than clips you move on the timeline

Transitions#

  • "Additive Dissolve"
  • "Cross Dissolve"
  • "Film Dissolve" (becomes a Cross Dissolve: very close, but not strictly the same, and Full Details says so)
  • "Non-Additive Dissolve"
  • "Dip to Black"
  • "Dip to White" (if shorter than 256 frames)
  • "Iris Box"
  • "Iris Cross"
  • "Iris Diamond"
  • "Iris Round" (if shorter than 256 frames)
  • "Linear Wipe" (becomes an Edge Wipe, with the same angle and direction. Resolve's Edge Wipe has no feather amount, only an on/off Feather: it is turned on when the Premiere wipe is feathered)
  • "Push" (becomes a Push in the same direction, with Resolve's Motion Blur at its maximum to match Premiere's blur. Premiere's bounce easing has no equivalent in Resolve, so Full Details flags it as close but not identical)
  • "Constant Gain" (becomes a Cross Fade 0 dB)

A transition keeps its alignment: centered on the cut, starting or ending on it, or set off-center by hand.

A "Dip to Black" with a clip on one side only (a fade in from black after a gap, or a fade out to black before one) becomes a Cross Dissolve from or to black in Resolve. It fades over its whole length, as in Premiere, where Resolve's own Dip to Color would stay black for the first half.

A transition Premiere applies to one clip only, while another clip touches it on the other side (an "Iris Round" that closes to black at the very end of a clip followed by another one, for instance), cannot be built that way in Resolve: there, a transition on a cut always goes from one clip to the other. It becomes a transition into the next clip, so the inside of the iris shows that clip instead of black.

Effects#

  • Position
  • Scale, including Premiere's "Scale to Frame Size": the clip is first fitted to the frame, then its Scale value applies on top, exactly as in Premiere
  • Rotation
  • Anchor Point
  • Crop (Left, Right, Top, Bottom), including on a flipped clip
  • Opacity
  • Blend Mode. The following modes have no equivalent in Resolve: Add, Foreground, Alpha, Inverted Alpha, Lum and Inverted Lum. Nothing is set for those; please contact us if you would like a default behavior for them
  • Volume
  • Pan
  • Horizontal Flip and Vertical Flip

These are transferred natively when their value stays constant.

When they are animated (keyframed), it depends on the parameter:

  • Position, Scale, Rotation, Anchor Point, Crop, Opacity, Volume and Pan keyframes are transferred natively, as real keyframes you can still select and adjust in Resolve. Premiere's easing is reproduced too, including custom Bezier handles and both Spatial and Temporal Interpolation, so a curved motion path stays curved and an eased move keeps its acceleration. No transcoding is involved. If you would rather have the animation burned into the media instead, so it matches Premiere exactly but can no longer be changed in Resolve, enable Force Transcode of Keyframed Clips in the Transcode Options (see Automatic Transcoding).
    • A curved motion path, an eased Anchor Point move or a Volume fade can end up with more keyframes in Resolve than you set in Premiere, and an animated Anchor Point also changes your Position values. This is deliberate, and how close the result stays is measured in Advanced: keyframe accuracy.
  • Per-channel Volume keyframes have no equivalent CrossFlow can write into Resolve, so those clips still go through Automatic Transcoding (as an unsupported Audio Effect) to preserve the animation. Keep that category enabled if your project relies on them.

Blend Mode is never animated: Premiere Pro does not let you keyframe it, so a clip always carries a single Blend Mode. Which values have a Resolve equivalent is listed above, and a clip keeps its Blend Mode whether or not it also has Motion keyframes.

Horizontal Flip and Vertical Flip are effects in Premiere Pro, but they land in Resolve as the matching Flip in the clip's own Transform settings, so a flipped clip is never transcoded just to keep its flip, and you can still turn the flip back off in Resolve. Like Blend Mode they cannot be keyframed, and a clip keeps them whether or not it also has Motion keyframes. Applying the same flip twice on one clip cancels it out in Premiere Pro, and CrossFlow reproduces exactly what you were seeing there: a clip carrying two Horizontal Flips arrives unflipped.

The Transfer Keyframes option turns the native keyframe transfer off entirely. It is on by default, and is mainly there to help narrow down a problem in a converted project. With it off, keyframed clips fall back to their static values.

After a conversion, Full Details reports this per clip: a single line naming which controls were transferred natively. When a control needed extra keyframes to follow a curve Resolve cannot express directly, its before and after counts are given on that same line. The Project Content panel also shows a Keyframed Clips total.

Something missing or unclear on this page? Write to contact@nablast.com.