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EDL

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	COW Tags : Video


	Re: Combustion RAM and importing from NLE by mack mcdermott on Sep 15, 2009 at 8:43:30 pm in the Autodesk Combustion Forum Ken La Rue one BA info guru! Frustrated with my questions, I went to TSP website http://www.thestreetproductions.com got the number did an ancient yet tried and true technique and made a phone call. I got the man, and he answered my questions, direc


	Re: How to replace low-quality WAV files with full-quality multitrack AAF files on the sequence? by Bouke Vahl on Sep 15, 2009 at 9:22:16 am in the Apple Final Cut Pro Forum Is the edit difficult? If not, you can be saved. Altering the clips is not too difficult. This app. comes with a merge application that can put the multichannel BWF into your QT's. http://www.videotoolshed.com/?page=products&pID=26 (Although i'


	Tape Name change when doing XDCAM Ingesting by Michael Cavanagh on Sep 14, 2009 at 8:16:43 pm in the Apple Final Cut Pro Forum Hello, We have just installed a new Mac running Snow Leopard with Final Cut 7. we are about to import a project from a PDW-1500 XDCAM deck via I.link . We will be doing some collaborative editing and need to use EDLs the problem we are having is


	Change video file timecode without recompressing? by Rodrigo Silvestri on Sep 14, 2009 at 5:04:44 pm in the Apple Final Cut Pro Forum Hi. I have 3 DV PAL files with timecodes starting on 00:00:00:00 and I need to change them to match the tape's timecode (01:... 02:...) because I need to open them in FCP with an EDL that was generated in another computer using those timecodes. I


	Re: cs4 impossible to edit hdv in mpeg format, extremely slow by tyler smith on Sep 14, 2009 at 2:55:56 am in the Adobe Premiere Pro Forum sounds like a work around, how exactly do you do this process? I'm working with 4 files that are large mpeg format. ie. 4 - 1 hour mpeg files. I just chop it up from that, do I need to do an EDL to sync all the time codes up so it set its up on th


	Re: capturing Canon5D with finalcut pro by Jeremy Garchow on Sep 13, 2009 at 5:21:22 pm in the Apple Final Cut Pro Forum [Mark Richards] " You cannot do a traditional off-line/on-line process with Canon files - unless your post-house is happy to have someone sit there importing the files manually and then construct the edit manually, reading the timecode from the EDL"


	Re: capturing Canon5D with finalcut pro by Mark Richards on Sep 12, 2009 at 4:45:06 pm in the Apple Final Cut Pro Forum Hi Jeremy, Thanks for the suggestion. Modifying timecode is possible in both Media Composer and FCP, but it only changes the timecode of that media file within that application. What it doesn't do is embed a source name and timecode within the


	Re: capturing Canon5D with finalcut pro by Mark Richards on Sep 12, 2009 at 12:55:57 pm in the Apple Final Cut Pro Forum I have recently finished an edit combining RED files and Canon 5D files. I edit on Avid MC 3.5.4 on a 17" MacBook Pro. The workflow for the RED files worked like a dream, if a bit slow transcoding the RED files, but the Avid Fast Import made up for t


	Re: Sony EX Avid to FCP EDL issue by John Pale on Sep 11, 2009 at 4:44:28 pm in the Apple Final Cut Pro Forum The reason you are seeing "AX". (aux) is that there are no reel numbers associated with the clips.... EDL is a ver old protocol at predates the existence of disk based media. Avid stores the disc name in a different column than reel name... In a col


	Re: Sony EX Avid to FCP EDL issue by Dan Good on Sep 11, 2009 at 4:36:24 pm in the Apple Final Cut Pro Forum Thankyou


	Re: Sony EX Avid to FCP EDL issue by Shane Ross on Sep 11, 2009 at 3:56:00 pm in the Apple Final Cut Pro Forum Get Automatic Duck Pro Import from Avid to FCP. This will not only transfer the cut, but allow you to use the MEDIA as well. http://www.automaticduck.com Shane GETTING ORGANIZED WITH FINAL CUT PRO DVD...don't miss it. Read my blog,


	Sony EX Avid to FCP EDL issue by Dan Good on Sep 11, 2009 at 11:47:31 am in the Apple Final Cut Pro Forum Sony EX Avid to FCP EDL issue The job was shot on a Sony EX3 in it's native format, it has then been edited on Avid. I was handed the rushes and as i'm using FCP, I had to download the XDCAM EX plug in to allow me to import the footage through log


	exort EDL then media link Files by Bill Bradley on Sep 9, 2009 at 7:56:47 pm in the Adobe Premiere Pro Forum Having trouble with video drop outs on media files...I would like to export my finished sequence as a EDL and reimport my video footage (which is native m2v) in hopes to get rid of the drop outs..which by the way are not seen on the original files. S


	Rendering black clips by Kasper Sørensen on Sep 7, 2009 at 11:59:19 pm in the Apple Color Forum Hi. When i render out material from color, some of the clips appear as black. The clips does not really have anything in common, and are on some reels, while other reels renders just fine. I know what sometimes fixes the problem, but i would rea


	Re: Exporting Sequence with multiple source clips by Andy Mees on Sep 7, 2009 at 12:24:12 am in the Apple Final Cut Pro Forum Hi Roi Was responding to your same post over on the Apple Discussions board, thought I'd duplicate my suggestions here too, for reference. If your intention is to provide the person logging this footage with full res, full quality, full duratio


	Re: How to get a list of images and clips used in FCP project or sequence by Susan Johnson on Sep 6, 2009 at 10:42:43 pm in the Apple Final Cut Pro Forum Adding markers in would have been a brilliant idea had it been done at the time. Unfortunately, it's over 5 hours of sequences and heaps of images and clips, so not going to happen until some spare time presents itself! I did manage to get a list


	How to get a list of images and clips used in FCP project or sequence by Susan Johnson on Sep 5, 2009 at 12:06:10 pm in the Apple Final Cut Pro Forum Hope this isn't a dumb question. We are producing a DVD series about motorcycle travel, and have finished 2 of the 4 DVDs. Each DVD has its own FCP project and a sequence for each chapter of the DVD. We have thousands of still images and contribu


	Re: Premiere to FCP by Adam Ljoså on Sep 4, 2009 at 10:15:30 pm in the Apple Final Cut Pro Forum Hello Roberto! It's been a while since you posted about getting your Premiere Pro project to work in Final Cut Pro but I was trying to do as you had written in here but couldn't get it to work. It's the end of it #4 that seems to be off. Something se


	Re: Archive to tape by Mark D'Agostino on Sep 4, 2009 at 8:59:47 pm in the HD High-End Forum We archive all our DVCProHD to SATA drives. I agree with Arnie. They are so cheap in fact considering how much you can store on a drive they're much cheaper that buying tapes for archiving. We shoot with an HDX900 onto a fire store and to tape. The


	Re: Color/Avid MC intergration by Arnie Schlissel on Sep 4, 2009 at 1:04:13 pm in the Apple Color Forum [Brendan Maghran] "Do you export the avid sequence as a quicktime reference or as quicktime file?" I don't export anything. A client brings me a QT on a hard drive. They export a self-contained movie in DNxHD 10 bit. [Brendan Maghran] "how do


	Re: Color/Avid MC intergration by Joseph Owens on Sep 4, 2009 at 2:58:43 am in the Apple Color Forum Keeping the workflow "project" based is vastly preferable, especially if there is a certain amount of layering that would be an advantage. I have gone this tape-mediated path on a few rare occasions, but wound up hand-notching the project in FCP as


	Re: Color/Avid MC intergration by Brendan Maghran on Sep 4, 2009 at 2:05:54 am in the Apple Color Forum Do you export the avid sequence as a quicktime reference or as quicktime file? And after you convert that file to prores in compressor how do you get color to recognize the EDL from that prores file? Sorry if I sound dumb but I'm rather inexperienced


	Re: Color/Avid MC intergration by Arnie Schlissel on Sep 4, 2009 at 1:30:17 am in the Apple Color Forum [Josh Petok] "1. Output the sequence to be color corrected to tape" Not if I can help it. You can export a QT from Avid, use Compressor to convert it to ProRes and notch that with an EDL. Tada. No deck rental, and if it's not feature leng


	Re: Color/Avid MC intergration by Josh Petok on Sep 3, 2009 at 3:40:13 pm in the Apple Color Forum I'd be curious to hear if anyone is using this workflow... 1. Output the sequence to be color corrected to tape 2. Output an EDL from the sequence 3. Capture the un-color corrected tape with FCP 4. Send to color 5. Notch using the EDL Josh Pe


	Re: Some DPX files not linking in Color by Joseph Owens on Sep 3, 2009 at 2:35:08 pm in the Apple Color Forum COLOR has some priorities looking at the dpx files in order to determine where to situate them with respect to the EDL. Your first step is to determine what the difference is between the dpx directory/header info that works vs. the ones that doesn't


	Some DPX files not linking in Color by Tom Banks on Sep 3, 2009 at 2:15:16 am in the Apple Color Forum This is my first time working in Color, I previously have been using Lustre and am looking forward to the changeover. I am working with an EDL off of Avid Media Composer and 2K DPX files from a spirit. The files are in sub folders based on their


	Re: Archive to tape by Arnie Schlissel on Sep 2, 2009 at 11:05:05 pm in the HD High-End Forum Umm... You do know that drives are cheap, these days? A bare 1TB drve is around $80 or $90. You can buy a SATA drive dock for anywhere from $30-$100, and plug those bare drives straight into that, copy your source files, graphics, audio mix, ED


	Re: Color/Avid MC intergration by Shawn Larkin on Sep 2, 2009 at 7:39:38 pm in the Apple Color Forum Step 1 Make sure your Media Files in Avid are a format that FCP/Color uses--i.e QuickTime / Not OMF. If this is impossible, convert the all to QuickTime and re-link to them. If this is impossible skip to the bottom of this post for the alternati


	Re: MXF for EDL option in browser program by Denis O'Keefe on Aug 31, 2009 at 10:15:22 pm in the Sony EX Series XDCAM Forum Thanks Craig - that is what I'm using and just what I hoped to hear.


	Re: MXF for EDL option in browser program by Craig Seeman on Aug 31, 2009 at 10:01:42 pm in the Sony EX Series XDCAM Forum Do you mean MXF for NLE? No Watermark in my test if memory servers me although it's been awhile.


	MXF for EDL option in browser program by Denis O'Keefe on Aug 31, 2009 at 9:10:52 pm in the Sony EX Series XDCAM Forum If I use this option does it leave a watermark on the conversion? I don't believe I can check the MXF file here


	Re: Multi-cam shoot matching the line cut?? by Mark Linthicum on Aug 30, 2009 at 7:14:54 pm in the Apple Final Cut Pro Forum Thanks for the good ideas! i did not know you could "Save Motion Fav", this could come in handy! I think the best thing for this situation is to add the Line Cut to the multi-cam and just mimic it. i was going to do this but I needed to be rend


	Re: Multi-cam shoot matching the line cut?? by Bouke Vahl on Aug 30, 2009 at 8:02:28 am in the Apple Final Cut Pro Forum Pardon my lingo, but... Seems like a fine example of bad preparation. Why find out now, not before the shoot? You could have use my LiveCut application, and then you would have an EDL (or in combo with Andreas, a ready done multicam XML) that


	Re: Shot on red - edited in FCP - now coloring...BUT... by Noah Kadner on Aug 28, 2009 at 8:29:29 pm in the RED Camera Forum Sure there's a way- but it's not that simple. It's basically load your clips into Cinema Tools and create a new database. Then make that a source in Color and reference to your EDL. Noah Check out my book: RED: The Ultimate Guide to Using the Rev


	Shot on red - edited in FCP - now coloring...BUT... by emre Sahin on Aug 28, 2009 at 5:44:34 pm in the RED Camera Forum Here's the situation... We shot our film on Red (back in build 17) Transcoded with window burn Edited in FCP 6 - ProRes422 Everything went great. We are done and now have to master. Now... We were planning on conforming the final edl - using


	Creating DPX files working with AVID Symplhony Nitris by Neil Fergusson on Aug 27, 2009 at 10:49:58 am in the AVID Editing Forum Hi I am currently onlining a short film from D-5 master tapes, from an EDL of the edit that was done on FCP. I am doing this on a AVID Symphony Nitris suite, I don't have nuch experience on AVID and its been a while. The company who are going t


	Re: prepping FCP project for online on Da VInci by Alex Snelling on Aug 26, 2009 at 4:02:34 pm in the Apple Final Cut Pro Forum Hi Annette The DaVinci should be able to read the EDL whatever sort mode is used. The sort mode simply determines in which order the shots are accessed. However, it would seem very odd to be using a DaVinci to do an autoconform which one wou


	Re: 29.97 back to 23.98... by Arnie Schlissel on Aug 25, 2009 at 10:30:21 pm in the Apple Final Cut Pro Forum Do his captures from the DVCam tapes match the TC from the HDCam tapes? Check the TC of the QT files against the window burn to see if the minutes and seconds line up. If so, he may be able to export an EDL & use Cinema Tools to convert the EDL


	Re: Are there different flavors of mp4 by Michael Gissing on Aug 25, 2009 at 10:30:06 pm in the Apple Final Cut Pro Forum It is a common mistake that people mistake wrappers for codecs. Quicktime and AVI etc are wrappers that can contain a huge variety of codecs, frame sizes and rates.


	Re: prepping FCP project for online on Da VInci by Arnie Schlissel on Aug 25, 2009 at 8:19:54 pm in the Apple Final Cut Pro Forum When you output an EDL from FCP you have an option to sort by "source" or "program". both EDLs will contain the same information, but the shots will be sorted in a different order. "Source", AKA a "C" mode list, sorts by tape number & TC, "prog


	Re: 29.97 back to 23.98... by Shane Ross on Aug 25, 2009 at 8:03:26 pm in the Apple Final Cut Pro Forum Export an EDL. Use Cinema Tools to convert the EDL from 29.97 to 24fps. It is an EXPORT option. Then in the online they can import that 24fps EDL. Only cuts and dissolves will appear. Layering, fancy effects, plugins used in the shots...will not


	Re: prepping FCP project for online on Da VInci by Annette Aryanpour on Aug 25, 2009 at 7:50:10 pm in the Apple Final Cut Pro Forum I gave them an EDL with source TC, so it had all the different hours from hour one to thirteen, but their Da Vinci could only read the timeline TC which, of course, starts at Hour 1.


	Re: Final Cut workflow woes by Steve Oakley on Aug 25, 2009 at 7:33:23 pm in the Apple Final Cut Pro Forum 1 - A suggestion for a workflow from step one through completion, which will include a rescan of my film based on the selects in my EDL. -------- realistically, do you really need to transfer the 16mm ? if you have decent best light transfers yo


	Re: Changes to Prep For Color in 1.5 by Ray Chung on Aug 25, 2009 at 4:33:25 pm in the Apple Color Forum Just found out that Scratch can handle speed changes from an EDL. They should really work on that for Color.


	Re: prepping FCP project for online on Da VInci by walter biscardi on Aug 25, 2009 at 2:01:20 pm in the Apple Final Cut Pro Forum [Annette Aryanpour] " Apparently, the Da Vinci does not read EDLs." Really? I thought that was the only way daVinci's work. by reading EDL's of the cut list. That's all colorists talk about, getting the EDL to do the daVinci session. Are yo


	prepping FCP project for online on Da VInci by Annette Aryanpour on Aug 25, 2009 at 6:36:38 am in the Apple Final Cut Pro Forum First of all, thank you all who responded to my earlier post re: how to move a FCP project to Avid. In my case, I didn't have to purchase Automatic Duck. The post house did it for me. However, we encountered another problem. We went through tel


	Re: Avid or Final cut? by Mike Most on Aug 25, 2009 at 1:49:57 am in the RED Camera Forum >>you tell me, what does RED suggest ? And how many people at Red do you think are editors? Seriously.... If this is a professional project - and it sounds like it is - the whole do-it-yourself-start-to-finish mentality does not apply. It's


	Re: D-Series Formats by Jeff Markgraf on Aug 24, 2009 at 10:51:31 pm in the Broadcast Video Forum If I recall correctly, D2 decks could be fitted with serial digital I/O. Special order. Not sure that it was "SDI" as we know it today. Tom, I actually worked in a bay like you describe: Abekas switcher with 2 integrated DDRs, 2 channels of A53-


	Re: XML Export from PPro CS4 on a PC? by Vince Becquiot on Aug 24, 2009 at 9:55:35 pm in the Adobe Premiere Pro Forum David, No there was never an export to Final Cut. If it's in the manual, it must be a typo. There is import from XML, but your export will be limited to an edl. Vince Becquiot Kaptis Studios San Francisco - Bay Area


	Re: Changes to Prep For Color in 1.5 by Ray Chung on Aug 23, 2009 at 8:35:53 pm in the Apple Color Forum Yeah, i noticed that too about Clipfinder. It's a pain in the ass that you'd have to rename every clip again in FCP...same thing as when the Panny DVCProHD/P2 stuff came out, etc. It was nice being able to rename/log in Log & Transfer....and at the

AVID Editing

EDL, a tutorial from Dennis Kutchera

There are more modern ways of exchanging edit information such as OMF and AAF, but not everyone is going to have this. Media 100 now has OMF export as an extra option in version 8 and Final Cut Pro is supported through an OMF export plug in from Automatic Duck. But the old EDL text file is still with us. If you must use an EDL, you are going to be in for some frustration if you do not follow these procedures that Dennis Kutchera shares with us.
Tutorial
Author: Dennis Kutchera

Stereoscopic 3D - NEW !

FotoKem: 3D DI

FotoKem opened as a film lab in 1963, and has continued to evolve and expand. Here are some of the tools they're using as the industry, and their business, now adds another dimension.
Tutorial, Feature, People / Interview
Author: John Daro

Media 100 | Media 100 HD

Making the Transitions to HD with Media 100

Everyone was talking HD to Creative COW's Nick Griffin. Everyone that is except his clients... until the latter part of last year. Making the transition from a Standard to a High Definition shop was far simpler than he'd ever imagined. In this article, Nick describes the transition.
Feature
Author: Nick Griffin

Art of the Edit

Surgical Video: The Cutting Edge

Creative Cow leader Mike Cohen has been working on the cutting edge of surgical video for years. In this expanded version of his article in the Cow Magazines Non-Broadcast Production Issue, Mike answers some of the most frequently asked questions about these techniques from the Cow forums. Its fascinating stuff, but seriously, maybe have some breakfast before you take a look.
Feature
Author: Mike Cohen

Sony Vegas

Sony Vegas and The 20th Annual Stellar Awards Broadcast

In this article, Creative Cows Timothy Duncan explores how Northstar Studios used Sony Vegas, the Excalibur plug-ins, multi-cam wizard for Vegas and SD-Connect video converter from Convergent Design to help create this years 20th Annual Stellar Awards broadcast -- a ten camera shoot recorded January 15th in Houston, Texas. With a deadline of delivery by 8:30am on January 20th, Timothy had his work cut out for him to edit and fine-tune the shows pacing using these three tools offline for later finishing on an Avid|DS system. How did these tools perform together? Read on for the complete story...
Review, Feature
Author: Timothy Duncan