I just found this thread in the forums (http://forums.adobe.com/message/4527424#4527424), which suggest that an EDL should work just fine with the proper naming of and metadata for the clips in the PP CS6 timeline. So perhaps Walter Biscardi was not doing this properly?
I would still appreciate any feedback I can get from folks who have sucessfully sent the timeline to Resolve, rather than a flattened file (and sorry I didn't find this other thread before my initial post).
I have 99% decided to go with PP as my FCP7 replacement, but I am not using PP yet, as I finish researching my final questions. My footage is mostly ProRes from a AF100 out to a Ki Pro Mini (and maybe DNxHD, with the Ki Pro firmware upgrade), as well as some DVCPro HD footage from an HVX200, all of which I believe are readable by Resolve. Does this suggest that I will not have problems with exporting an EDL to Resolve? That would be great news.
Yup. You'll be sweet. XML or EDL will work fine. The reason Walter is outputting a flattened file is the same as me, codec issues. I used to use FCP and would transcode to ProRes as a media manage and then XML to Resolve, the issue with Premiere is that it doesn't have a transcode-on-project-manage function.
I have no issues with EDL from PPRo to Resolve
My suite is is Win7 based. The Resolve suite is Mac based in a separate facility.
I shoot and dual record ( Samurai) ie. AVCHD and PROres HQ files.. The files both record identical timecode and we have a method to semi match the filenaming ( for our convenience).
I edit using the AVCHD source footage and the Resolve suite conforms the EDL using the Prores files.
Works without a hitch if one sets up the EDL correctly.
I have been giving DaVinci Resolve 9 (Lite) a trial run this week.
So far, I have noticed it handles FCP-style XMLs better than EDLs. As long as you strip out any APP-based effects (Warp Stabiliser etc), and any Dynamic Links (AFX) it seems to handle general dissolves/levels just fine. I haven't tried it with mixed codecs yet (I've tried H264, XDCAM, ProRes and DPX so far). One potential work around, if you want to convert your entire timeline to DPX and not use Scene Detect, is click 'Send to Speedgrade'. It generates labelled bins with DPX sequences for all your clips. If it's short-form but high quality (say an ad for broadcast), you can swap the files around in the Conform room in DaVinci.
I noticed a few bumps with the EDLs, namely the timecodes not syncing up properly. This might be due to the footage (the project I tried had been shot on a 5D). Hence using the XMLs instead.