Auxillary Timecode EDL's?

I seem to be posting a lot of strange/random questions these days...
Is there any way to make an EDL with an Auxillary timecode rather than source timecode?
We've got some downconverted DVCam tapes that are being used as our master audio. We may need to go back to our HD Master tapes for some pick up shots (in case the audio on the DV tapes is bad). In order to make syncing up to the master tapes easier for the audio guys, I wanted to be able to provide them with either an audio EDL or maybe XML(?) with the original audio timecode information. The audio timecode is burned onto the DV tapes, so if anything we can manually eye-match the clips, but I know that the audio guys (that we work with anyway) get cranky is this information isn't provided in our text files or OMF's.
So one possibility I was thinking of was to add this in as a comment (manually type in audio timecode IN points onto each clip's information) so that it comes out in our EDL's. A bit time consuming, but the only thing I can think of right now.
I wondered if anyone else had any suggestions for this (other than telling the audio guys to eye-match the particular shots they are syncing from the master).
I haven't been able to find anything in the manual on this, so I'm hoping someone out there has a creative solution.
Cheers,
Patricia

So what you're saying is the TC on your dubs is meaningless, and what's window burned into those same tapes is the same timecode that's on the HD masters?
You can change the timecode on a file from the modify menu. so that would do the job, but you'd have to do it on each file of course one at a time... might make copies so your originals stay what they are now in case of a recapture situation.
Course I still don't understand why you can't just give them the audio files. If they were made digitally, there's no difference between what's on the HD masters, right?
Jerry

Similar Messages

5DMkIII, Timecode, EDLs, Oh My

I really want to like SpeedGrade because on the face of it I really like the minimalist interface and how it approaches the whole process, but man it is making me a bit crazy.
I have an eight minute industrial that's broken up in two minute segments that I wanted to kick out as an EDL and grade in SpeedGrade. All footage in edit is 1080P 29.97 DF. Most of the b-roll is 5DMKIII stuff, but there is some Canon XF stuff that I rendered down to ProRes. 5DMKIII was shot with time of day timecode in Free Run and Premiere sees it just fine.
I removed all the effects, collapsed to a single layer, added "black video" sources where I dip to black and finally managed to get SG to see the EDL and bring it in on the timeline. I felt pretty accomplished until I went to relink media and got all manner of cryptic time code errors and redboxes. My favorite is the one that tells me footage is no good because it's playing at rate (29.97) which is different than my project (29.97). It then tells me the frame indicies are out of range and I can't get picture.
So I gave up on the edl route and trimmed the project, dumped all the media on the timeline and graded that, then using the snazzy ()srcElement.0 feature used in some of the dailies tutorials I read planned to kick out new media with the same timecode as the originals that I could relink. And no...that timecode slips as much as a second one the way back out. So in attempting to figure out where the timecode went wrong I discovered that SG has a rather loose interpretation of the timecode in my 5DMKIII files.
If I set to "read timecode everyframe" in the settings it won't show me anything on the burnin, and will only report frame numbers in the reels section. If I select "only read when necessary" it will give me timecode in the burnin, but if I render that out, with burnin and drop it on a layer above my original media its off by quite a bit. I attempted to make burnin dailies of other 5D stuff from other projects and sure enough it's whacky. Sometimes it just appends a ton of garbage timecode with white on the end of the files, sometimes it just recorders 00:00:00:00 on all frames.
So I just loaded the EDL and footage in Resolve Lite and whammo everything is there in the right place first try. All my timecode is being read correctly if I look at the clips individually and they don't slip in the edit.
I know you all are working hard to bring SG up to speed, pun intended, but please start with this basic input output functionality. I could live without the EDL even if I could just grade my trimmed media and relink.
Thanks!

One thing that could help immensely is a screen grab of your "errant" sequence settings and one of the right-click options. I'm not seeing that on mine and don't know enough to be able to go "oh yea, that's X ..." ... but though someone else may kick in with the right answer, a screen grab could help to figure out what's ... what.

Premiere sends EDL with 'invalid timecode format string'

Following the suggestions in this thread, I am attempting to send an EDL of a Premiere sequence to Speedgrade.
When I attempt to import the EDL into Speedgrade I get this error message:
ERROR
In point timecode is invalid. Invalid timecode format string(hours): '23813+20'
in edit 1
File: 001 LR001 V C 2813+20 23815+17 0:00 1+37
Line: 2
I've worked very rarely with EDLs but have read the Speedgrade and Premiere guides. I must be missing something but can't tell what. Here's the details from my project:
I'm editing in 24fps. The video files are generated in After Effects from DPX files. The timecode is based on the DPX file names, with the hour matching the Lab Roll number (so 11:00:00 for Roll 11)
I export an EDL in CMX3600 format. I've tried both default settings and without audio. Same results. I even get the same result if I make a sequence from a single clip and try exporting that EDL.
I don't think this is a Speedgrade issue, because if I try re-importing the EDL into Premiere, it seems like all the clips are only one frame long.
Any suggestions about what I might be doing incorrectly would be greatly appreciated.
Thanks,
Lev

Are you wanting to just simply go from Premiere to Speedgrade? If so why not just use the "send to speedgrade" choice. Also I wanted to point out in the original thread you actually said you didn't want to use speedgrade, I've never used a EDL with speedgrade so I have 0 ideas there, but have you tried just using Premiere's built in send to speedgrade function?

Unable to locate timecode in batch capture

Hi there, I have been working on this problem for a while and would really appreciate some help.
I have a documentary project I have been working on for some time and have completed the EDL. I am now trying to batch capture the footage again in full res and am having problems with a couple of the tapes.
First the specs:
The video was shot on a Sony HDR-HC1 in HDV(1080) mode.
I am using this camera to capture the footage.
I am trying to recapture the footage in a sequence with the easy setting on HDV1080i50.
I had originally captured the footage in SD on an older version of final cut pro (I am now working with FCP6) and didn't realise that my 16:9 footage was actually all 4:3 letterboxed. To fix this problem I used the media manager to export and then in the new project batch capture all the footage again from the tape. The project uses 18 tapes, 16 of which were batch digitised with only minor troubleshooting required. However 2 of the tapes are proving to be very problematic. It seems that whatever clip I select on the tape it gives me a message saying "unable to locate timecode".
I have tried setting the tape to the exact location of the clip before selecting the batch capture, but the computer always seems to look for a spot which is 2-3 mins out of sync with the clip. For example, if the in point is 00:10:00:00 the computer will roll the tape to around the 00:12:00:00 mark and start jogging around there for about 30 seconds until eventually giving me the "unable to locate timecode" message. Looking in the information in the bins, the in and out points are accurate, its just that when I try to capture, the computer rolls the tape to the wrong position.
If anyone knows a workaround for this that will help me avoid having to edit the footage all over again I will be extremely grateful.
Thanks
Liam

HI I have the same problem, the capture window says: Waiting for time code, the device must set in vcr mode and then This operation could not be complete as there is no video, the F!#!%$$ problem is very illogical ,at this mooring I do batch capture without a problem but since the second tape this problem starting, I update to FCP 6.0.4 and,. @@#%#@%#$ the first tape capture but the second not capture and the problem starting againd, note that IMOVIE capture the tape and work very well, iI replace fire wire, camera VCR and , I trayu with Canon, Sony, JVC and the problem persist , I have quicktime 7.4.5, FCO 6.0.4, note that I have two Macs with the same problem in both macs IMOVIE work like a PRO edition Software but FCP is very bad, I have with this problem a long time, I formated Mac, reinstall FCS2 many timers and the problem persist. IS not a problem whit easy setup or wherever , I download the FireWire SDK from Apple and test all connection with the applications of sdk and in all case , the camera and the fire wire are OK, the problem is with quicktime and FCP, If any one is working OK with FCP and DV NTSC devices and JVC PRO HD devices, please tell us HOW DO. I'm working with FCP since 2000 and in this month FCP makes me very UNHAPPY.

MAJOR EDL Export BUG in 8.2!

I just upgraded to version 8.2 and now there is a major bug when exporting EDLs with audio clips!   EDLs (cmx3600 format) should only export Timecode In/Out for Source & Record.   The latest 8.2 version is now incorrectly outputting SAMPLE FORMAT for EDLS for any audio clips! This is a major bug and potentially show-stopping.
What 8.2 is exporting:
What it used to (and should continue to) export before 8.2:

with my PP 8.2.0 (65) Build, I get the same error with edl WAV audio clips until I 'link' video clip with audio clip below on the timeline
I believe after linking the video clip to the audio clip (below on the timeline), then exporting the edl, the timecode format displays properly
However, my edl export ability still needs work, because I would think my video timecode needs to match my audio timecode (for linked clips) so I am still working on importing the edl into Speedgrade and 'hearing' the audio
I was getting the same error audio text file as AjentJJ30, until I 'linked' video with audio,
so far my edl text file appears as below
TITLE: edl with wav link
FCM: DROP FRAME
001 AX       V     C        00:00:00:00 00:00:24:23 00:00:00:00 00:00:24:23
* FROM CLIP NAME: bmpcc_1_2015-02-05_0951_C0005_[000000-002420].mxf
002 AX       AA    C        01:03:06:05 01:03:30:28 00:00:00:00 00:00:24:23
* FROM CLIP NAME: full shoot
003 AX       V     C        00:00:24:23 00:00:41:22 00:00:24:23 00:00:41:22
* FROM CLIP NAME: bmpcc_1_2015-02-05_0955_C0001_[000000-004258].mxf
004 AX       AA    C        01:06:32:22 01:06:49:21 00:00:24:23 00:00:41:22
* FROM CLIP NAME: full shoot
005 AX       V     C        00:00:41:22 00:01:00:10 00:00:41:22 00:01:00:12
* FROM CLIP NAME: bmpcc_1_2015-02-05_0958_C0003_[000000-004444].mxf
006 AX       AA    C        01:09:17:29 01:09:36:17 00:00:41:22 00:01:00:12
* FROM CLIP NAME: full shoot
EDIT: as you can see my WAV file does not show the proper clip name, as well as not displaying the .wav file extension.
I chase after the edl displaying proper WAV data, but could not achieve any solid results. My dng video clips from the bmpcc have wav files, normally they do not import into Speedgrade with the dng sequence, so using the video clips to test the edl process isn't very helpful.
I can not get results to support having the WAV edl data working when importing into SpeedGrade.
Sorry to think otherwise.

Media Encoder changes the timecode when converting to Quicktime ProRes 422 (LT)

After spending the majority of my day searching for a solution to this problem, I am hoping someone here will know how to resolve this issue.
After encoding several hundred clips of various file types to ProRes 422 LT at 23.976fps in Media Encoder, we discovered that the timecode of the source clips and the LT clips varies significantly when we bring the quicktime clips into FCP 7 or Quicktime 7. This is also creating issues for the EDL.
The source clips are XDCamHD, H.264, and .R3D files. We set up a batch in AME with a preset for ProRes (LT) at 23.976. After the batch processes, we import the clips into FCP 7 then export an EDL from the sequence. The EDL shows timecodes that do not match the source clips.
The timecode is off by several hours, not just a few frames. If we look at the LT clips in Premiere, the timecode seems to match the source clip. In Final Cut, not even close.
Any ideas on where to start on this one?
If we use RedCineX to convert the R3D files, things seem to work. Also, compressor seems to have correct results. We were hoping that media encoder would be the solution as it processes these clips much faster.
We are looking for a solution that doesn't involve re-transcoding all of the footage.

Two.
First, this.
http://help.adobe.com/en_US/premierepro/cs/using/WSd9957a95a81082eb28f05af5126718c47be-800 0.html
Second, this.
Customize or load keyboard shortcuts
From the Set menu in the Keyboard Customization dialog box, choose the set of keyboard shortcuts you want to use in Premiere Pro:
Adobe Premiere Pro Factory Defaults (Adobe Premiere Pro CS5)
Adobe Premiere Pro CS5.5 (Adobe Premiere Pro CS5.5)
Shortcuts For Avid Xpress DV 3.5 (Adobe Premiere Pro CS5)
Shortcuts For Avid Media Composer 5 (Adobe Premiere Pro CS5.5)
Shortcuts For Final Cut Pro 7.0

Do I get a faulty EDL when exporting from FCP?

I must create an EDL for a final DI to be made from film negative. When I export an EDL the Source Time Code In of each clip reads the same as the first frame in the clip, then the Source Time Code Out of each clip reads on frame higher than the last frame in that clip. E.g. if one clip ends on a frame with the timecode 02:00:15:01, the EDL out point reads 02:00:15:02.
Is this wrong? and if so does anybody know what the promblem could be?
the film is shot on 25 frames per second and the telecined to Pal dv tapes that run 25 frames per second, so that should not be a problem.

No, that's not a problem, it's just a difference in the way FCP reports timecode numbers and the way EDLs expect timecode to be.

Sound EDL

I am working on a feature length film that was shot entirely HD. (yes I know thats not really film)
I captured all the files using FCP's log and capture feature. The audio was recorded as a mix-down in the camera as well as second system. We cut using the camera audio and did not sync sound.
The sound house would like and audio EDL so they can record the sound off the Discs. From my research I've found you can only output the EDL from Cinema Tools. I've created a Data base, but now I need to enter the audio information into the Sound Reel Column.
Is there a way to enter it in the Sound TC column in FCP and then Sync it to Cinema Tools?
I've been able to change the Sound Reel column in FCP but it wont let me change the Sound TC column.
When I use the Synchronize with Cinema tools in the Tools options My data base isn't updated with my new reel.
Is there a way to enter the info in Cinema tools and sync it to FCP?
I'd appreciate As much help on this as possible because we are quickly approaching our deadline.

Click on the clips and go to the MODIFY menu and choose TIMECODE. Check off AUX TC 1 and there you can modify the AUX TC to match that of your separately recorded audio. Or, you can use your separately recorded audio in the sequence, and the EDL will reflect it.
And if you choose FILE>EXPORT>EDL, you will note that the default EDL type that pops up is the CMX3600 file type. That was the most common standard.
But...hmmm...I am not seeing how to get the EDL to reflect the AUX timecode...you might have to cut in the main code, or in the MODIFY menu, MODIFY the code to match your separately recorded audio.
Shane

EDL error message

Hello
I'm trying to create and EDL file from an FCP 7 sequence and I keep getting an error message that says
"The media files of one or more clips are missing timecode tracks and may also be missing reel names. Proceeding with the export will result in an EDL that will not represent the original sequence correctly."
All the clips are connected, there is nothing offline, and everything has been captured in so I can see timecodes and reel numbers. All graphics and effects have been removed.
I'm trying to send this to my editor to reconnect to original high-res, RED files.
Can anyone help me? Thank you.

>everything has been captured in...
Describe how you captured exactly. What format(s) does your footage use?
Does the project include still images - photos etc? That might be the issue here. Replace with a section of black and add a note in your EDL to include the still image's file name. An EDL is just a human readable text file after all - you can even add the note after the fact in TextEdit. Nests will also cause problems - even if the nest content uses TC and valid reel names.
>All graphics and effects have been removed.
Graphics such as lower thirds etc will only be included as "Key" entries in some EDL formats with the "Aux" reel description. This won't import the actual graphic of course, but some systems will replace it with a place holder. That might be color bars, black or a solid color, depending on what is assigned to mark an Aux on the finishing NLE. Other systems will simply ignore it.
Filters and effects (with the exception of speed changes) have no way of being represented in any EDL format so it doesn't make a difference if you leave them in or not. Wipe transitions are kept intact so long as they conform to one of the SMTPE standard numerical IDs. Custom transitions will default to a cross dissolve or more usually, a SMTPE 01 left-right horizontal wipe, again depending on the system being used.

Import EDL with FCE?

I checked the FCP forum and there seems to be a facility with that app to import an EDL (edit decision list) from the File menu, but this doesn't seem to be an option with FCE.
Any workaround suggestions appreciated.
I have a project I've been working on in another NLE, which I am transiting to FCE, and which has generated a complete EDL with timecode and shot/clip listings. I could transfer it manually to a new FCE project, but it could take forever. Seems like there should be a way for FCE to look at the data and map it in.
Thanks,
Keith

Sorry no. You need FCP for this.

29.97 EDl to 24 in Cinema tools ::: inaccurate data result

Hello. I've been looking at some forums but haven't been able to find anybody with the same situation. I'm converting my EDL file from 30fps to 24fps on Cinema Tools. I opened the file to revise if the timecodes were indeed correct. Some of my "in" and "out" timecodes end in 00:00:00:29 or 00:00:00:28 and that shouldn't be since i'm supposedly converting everything to 24fps so everything should end in that range of frames (01 through 24 ), right?
Anything that might come to mind or relate to this problem?
i have a FCP 7
Best regards

Well then, that is your problem. Those aren't reverse telecin-able. What are reversable are DV tapes that you captured at 29.97...in the DV/NTSC codec.
Are you working with Digital Intermediates? Or footage telecined to tape?
Typical Telecine to Tape workflow is:
Telecine to DVCAM
Lab provides DVCAM and Flex file to you.
Open Cinema Tools. Import Flex file and export batch Capture list.
Import batch capture list into FCP.
Batch Capture the DV footage.
Reverse telecine the footage with Cinema Tools.
Edit.
What exactly are you doing? Where did these files come from? What is your workflow?
Shane

Color Importing a 24fps EDL as 23.98 when conforming from DPX Sequences

I'm trying to do a DPX conform in Color and I am having some issues with importing my EDL from FCP. I have 2k 24fps DPX files, from which I created 720p 24fps ProRes quicktimes to do my offline edit. My offline edit is now complete and I'm looking to conform from the DPX files.
I exported my EDL from Final Cut. When importing my EDL in color I make sure that "Project Frame Rate", "EDL Frame Rate", and "Source Frame Rate" are sll set to 24. It links to the correct DPX files, however no matter what I do the project setting is set to 23.98 not 24fps. The sequence looks fine inside Color, however when I send it back to Final Cut there are frames missing. All the clips start at the correct timecode, however some are missing 4-5 frames on the tail end.
I saw on this forum that someone had the same issue about a year ago, and doesnt seem like it has been solved.
Any Ideas?!?!
Thanks.

Read this: http://www.cinematography.com/index.php?showtopic=16732

EDL export issue

I'm the assistant editor on a feature thats being cut on FCP HD Studio and I've hit a problem with the EDL.
The film was transferred from 35mm to BETA and then to DVCAM and I logged everything with 24fps capture settings and have been editing on a 24 fps sequence.
The problem is this-
The opening shot on my sequence starts at 01:00:30:08 along the time line and the media details are- start: 10:11:55:14 and end: 10:11:59:11 and ending at 01:00:34:06 on the timeline.
so according to my sequence on FCP for the first clip in the first reel
in point
01:00:30:08
media start
10:11:55:14
media end
10:11:59:11
out point
01:00:34:06
but in my EDL the first clip starts at the same point, at 01:00:30:08, but the media details are different- start: 10:37:25:03 and end: 10:37:29:01, ending on the timeline at 01:00:34:06, as on my sequence.
so according to my EDL for the first clip of the first reel-
in point
01:00:30:08
media start
10:37:25:03
media end
10:37:29:01
out point
01:00:34:06
So the media information in the EDL is completely different from what FCP is telling me. Also, none of the camera rolls run to any longer than 23 minutes so it is impossible that there would be a media start point at 10:37:25:03 or end point at 10:37:29:01.
The EDL is CMX3600 and I've run the clips through Cinema Tools to conform them to 24fps, all clips are on one track and the only effects in the sequence are a two transitional dissolves.
This continues to be a problem throughout the EDLs for all the reels.
Does this have anything to do with the transfer from BETA to DVCAM? is this a 24fps/25fps problem? Any possible solutions?
Thanks,
Kate.
g5 powermac dual 2.3ghz Mac OS X (10.4.3)

Kate
We are in the same boat, I'm cutting a UK 24 fps feature and can see all the cmx edls are wrong.
I also assume that yours is a Pal 24 project, ie shot 24 on film, transfered on tk at 25, loaded at 25 in cinema tools from flex file, conformed to 24, then edited in a sequence set at pal 24@25.
I do this and can make great key code lists, no errors at all. BUT cmx is all wrong.
I have tested the 24 code idea and this seems to be the problem.
Sorry for all the maths but....in your example with an in point 10:11:55:24. In frames that is 917889 frames (10 hrs * 60 * 60 *25 ADD 11mins * 60 * 25 ADD 55sec * 25 ADD 14 frame total 917889) Now if we convert the edl in point (10:37:25:03) to frames but at 24 fps I make that 917883 frames. Only 6 out, which is a worry so check your burn in codes. But in my own examples every one works out as a perfect 24/25 translation. Eg.1 burn in 01:07:00:00 @25fps = 100500 frames EDL code @24fps 01:09:47:12 = 100500 frames. Eg.2 burn in 19:30:00:00 @25fps = 1755000 frames EDL code @24fps 20:18:45:00 = 1755000 frame. Hope all my maths are good/___sbsstatic___/migration-images/migration-img-not-avail.png .
A further check in your EDL will be is TC 20hours on tape 19 or 20. If you transfered like most people in the UK then you will have used tc20 hrs for tape 20 with tape 21 going back to TC 01 hrs.
The EDL record in points are always good as the sequence time is 24 fps in your display and in the edl.
The problem is that on this side of the pond we tend to use timecode to neg cut and in the US that is mostly unthinkable, I'm not sure Apple realise that.
We have another problem, how do we make a tape for the neg cutter with a 1 frame film = 1frame video like we would on an AVID. Sorry, but I don't know. The only advice I get is USE KEY CODE and a QTime, but as you are finding out, the neg cutters don't like that. We could get work print and conform that, then neg cut but we don't have the budget for that on my film.
Sorry to seem a bit negative but I have read one heck of a lot about this, talked with Apple help etc but still seem to have no answer. Worryingly, the Cinematools 3 PDF manual, a must read, page32 seems to say that you can't work at PAL 24 and make a video when finished/___sbsstatic___/migration-images/migration-img-not-avail.png I know of a few UK films who use FC but work in 25fps and see the movie at the correct speed once everything is finished, well thats not for me.
Please please please let me know if you or anyone else has a work around for this as I find editing on FC great. And I know all the film stuff works in NTSC.
Best
John
G5 Quad 2.5 ghz - 4gb ram - 500gb system - PCIe - FC studio 5.0.4 Mac OS X (10.4.6) Kona LHe - Lacie FW800 1TB, 500Gb and 1TB NAS Lacie

Importing EDLs and Reconnecting Media... Who can answer this question?

Hi, happy holidays! What am I missing here:
I have an EDL with in and out points from a number of different source files.
I import the EDL in Final Cut Pro as a sequence.
I click on the sequence. The edit decisions can be seen in the timeline, with all of the source files designated as offline.
I select the timeline and attempt to reconnect the media.
The media reconnects, no problem, but the edit decisions aren't in place. In other words, all of the media files begin at the beginning of the source media files (i.e. 04:00:00:00), rather than at the edit decision in and out points for each of the edits in the timeline.
Surely I'm just missing a step here, right?
Thanks, Mtbakerstu

Hi Jerry,
The source files have been have been re-encoded with a different codec, but they are exactly the same insofar as duration of the source files, and the timecode hour and frame rate they have been assigned, as well as the name I have assigned the files.
I am simply trying to trick the EDL into recreating a timeline which utilizes source files which have been encoded differently than the original source files... And the timeline is recognizing these files.... only it won't cue the files up to correct timecode point in the files.
Hope that makes sense.
Thanks,
Mtbakerstu

Re-linking EDL's and Media

To all of you FCP GURUS!!!
So here's my dilemma. Long story so please bear with me.
I need to know if there's a way that I can bring in an EDL that was edited on an Avid AND re-link that to the dailies that I digitized earlier on, on FCP. The offline edit is being done somewhere else and they are sending me the EDLs of the cuts as they happen so that I can see what VFX shots I need to take and make sure that they play smootly once they are done. I'm digitizing the dailies with the same ALE's that the assistant editor is using. What I want to achieve is being able to "RE-link" the EDL they sent me to the footage that I already digitized using the "tape name" or "reel names" and the timecode (since it's the same list that we digitized from for FCP and Avid).
I'm trying to avoid doing an "online edit" with the EDL everytime I get a new version.
SOOOOO, is there a way to achieve this? Re-link the EDL that I get from post with the media that I have using the Tape/Reel Names and Timecode?
Whoever answers this will be my hero and I will be forever grateful!
I'm using FCS 1 (waiting for FCS 2 to arrive). If I'm misisng info that will help you solve this let me know and I'll happily provide whatever information you might need.
THANKS!

I don't think even the AVID...king of media management...can do this. But I am not sure about the more recent versions. I just know that with at least up to Media Composer v11 (os9) that any changes made would mean that you needed to capture the footage in the changed sections again. If the changes made the clip smaller, Avid would still remain linked, but larger, you'd need to capture that.
And you could not capture the whole tape and just have the Avid know to relink to that. Not in my experience. So asking FCP to do that, when Media Management is the weak point? I don't think so. I have provided them feedback on this, but who knows. Why don't you do that too?
That would be a VERY handy feature.
Shane

Auxillary Timecode EDL's?

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