Conform from edl

Hi all
I'm trying to use premier in a DI workflow.
I imported an EDL from Avid, and want to reconnect it to an image sequence. Is that at all possible? I can Also live reconnecting it to a QuickTime or AVI file, but I can't seem to get it to work.
I can't set a new time code to an image sequence (I need to match the time code to the one the EDL requests), and If I import a file, I can set a new time code on it but can't reconnect to the EDL.
Is there a solution for this?
thanks.

In my experience, no, there's no easy solution with PPro. It doesn't support any kind of file-based conform. It doesn't see TC in file sequences and you can't assign TC after import. My experiences with AVI/QT files are the same as yours. There aren't a whole lot of choices out there to do this though. The only box I've personally worked on that has file sequence conform nailed is Quantel's eQ, but it's $$$. It can read TC embedded in DPX files for instance and conform to a EDL or AAF from Avid. Or keycode list for that matter.
When I have had to do this in the past with PPro, I had to eye match each cut (painful) but luckily it was only two 1 minute-ish videos with about 30 cuts each, so not the end of the world. I wish I had better news/solution for you and maybe someone else does. I didn't have time to work out any other better solution for PPro workflow myself at the time. I did consider AE, but it too does not see any kind of clip TC metadata that's useful.
-Troy Murison
Seattle, WA

Similar Messages

Conform from edl, replace mov with color graded dpx seq

Hi all,
I successfully import the edl from FCP to PPro with the correct in and out points for each clip.
The source files of that FCP edit are .mov, but now, I need to replace all the .mov in my bin with color graded .dpx sequence.
I tried both right click > replace footage, and right click > link media to try linking it to .dpx, but I can only link it to a single .dpx file instead of a dpx sequence.
Is is possible to do that on PPro?
Thanks
(sorry for my bad english)

Hi all,
I successfully import the edl from FCP to PPro with the correct in and out points for each clip.
The source files of that FCP edit are .mov, but now, I need to replace all the .mov in my bin with color graded .dpx sequence.
I tried both right click > replace footage, and right click > link media to try linking it to .dpx, but I can only link it to a single .dpx file instead of a dpx sequence.
Is is possible to do that on PPro?
Thanks
(sorry for my bad english)

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

Conform from 24P back to 60P -- Please Help!

I accidentally batch captured some HD 24FPS footage from a Varicam at 60FPS over firewire via the panasonic HD1200A deck using the DVCPRO HD CODEC. Final Cut normally removes the extra frames upon capture to make it 24fps. But for troubleshooting purposes (it kept aborting capture) I ended up capturing the footage without the frame removal pulldown feature enabled.
To fix this, I mistakenly tried the Cinema Tools conform feature to "conform" the footage to 24fps. This didn't remove the pulldown, but rather just slowed everything down, esentially stretching out time, making my audio tracks unusable. Unfortunately, there seems no way to conform the footage back to 60fps because the conform window only allows 24 and 30fps conversions. I need a 60fps conform technique. Is there a way to fix the footage?

Thanks for the help!
the reason I couldn't capture reliably using the 24P settings appears to be that my Firewire bus is not functioning properly--I'll get it into service but that's another issue.
Since recapturing isn't really an option because the deck was a one-time rental, I tried a slightly lossy technique, but the results were acceptable to me. Creating an image sequence was a good idea, but I wanted to preserve my audio track simulateously.
Here's what worked for me:
I started by conforming again in cinema tools to 30 fps. This gave me a simple even denominator of 60P. I then added each of these footage files to a 60P DVCPRO HD sequence. I then adjusted the speed of the clips in the timeline 200% and turned off frame blending. I then exported (recompressed) the footage to new flattened clips. I then took the conformed, messed up files offline and reconnected to the new clips, thereby preserving my loging notes, etc.
It was time consuming but worked. The audio is 48K again and the playback is 60P.
Frankly, I made a mistake that will become more common as the HD userbase expands. Most people don't understand that the Varicam 24P is actually recorded at 60P. I hope Apple updates Cinema Tools to conform back to 60P before more people make my mistake.
Thanks!

Conform from 24P to 60P -- Please Help!

I accidentally batch captured some HD 24FPS footage from a Varicam at 60FPS over firewire via the panasonic HD1200A deck using the DVCPRO HD CODEC. Final Cut normally removes the extra frames upon capture to make it 24fps. But for troubleshooting purposes (it kept aborting capture) I ended up capturing the footage without the frame removal pulldown feature enabled.
To fix this, I mistakenly tried the Cinema Tools conform feature to "conform" the footage to 24fps. This didn't remove the pulldown, but rather just slowed everything down, esentially stretching out time, making my audio tracks unusable. Unfortunately, there seems no way to conform the footage back to 60fps because the conform window only allows 24 and 30fps conversions. I need a 60fps conform technique. Is there a way to fix the footage?

Thanks for the help!
the reason I couldn't capture reliably using the 24P settings appears to be that my Firewire bus is not functioning properly--I'll get it into service but that's another issue.
Since recapturing isn't really an option because the deck was a one-time rental, I tried a slightly lossy technique, but the results were acceptable to me. Creating an image sequence was a good idea, but I wanted to preserve my audio track simulateously.
Here's what worked for me:
I started by conforming again in cinema tools to 30 fps. This gave me a simple even denominator of 60P. I then added each of these footage files to a 60P DVCPRO HD sequence. I then adjusted the speed of the clips in the timeline 200% and turned off frame blending. I then exported (recompressed) the footage to new flattened clips. I then took the conformed, messed up files offline and reconnected to the new clips, thereby preserving my loging notes, etc.
It was time consuming but worked. The audio is 48K again and the playback is 60P.
Frankly, I made a mistake that will become more common as the HD userbase expands. Most people don't understand that the Varicam 24P is actually recorded at 60P. I hope Apple updates Cinema Tools to conform back to 60P before more people make my mistake.
Thanks!

Conform from empty sequence

hi
am about to do a conform in a way i have never attempted (copany policy where I am now and it has left me with a few questions)
if was going to conform normally would do nondestructive media management to copy project to other system (and in the process trim clips to shorter duration with handles) before ditching this new media and then recaprturing at online resolution.
at this post house i work in now they will just be provided with a project from a client with a QT to compare against.
when receiving this project (with no media attached) how should I go about conforming it.
Recature from the browser? (will this recapture whole tapes instead of just the clip duration i need?)
recapture from timeline?
media manage the 'offlined media' project somehow to consolidate the clips lengths to exactly what is needed plus handles?
Please help.

media manage the 'offlined media' project somehow to consolidate the clips lengths to exactly what is needed plus handles?
Thats the one.
Select the Sequence to conform in the Browser window
Then choose File > Media Manager...
In the Media Manager window select "Make Offline"

Advice on rebuilding Sequence--from EDL, Autosave Vault, Thin Air?

Strange tho' it may seem, one of my Lacie 500gb drives died. Had I backed it up recently? No. Am I a twit? Yes. But enough about me, let's talk about my project. I've re-digitized all the content by hand (as in, I could not get it to batch-capture from the EDL), and I have the autosaved-sequence content of the autosave vault...but I can't figure out how to have it automatically re-create itself using the footage I re-digi'd. Any ideas would be greatly appreciated by me, my client, and my pharmacist.

Shouldn't be a problem!
If you have your Autosaved FCP file, you should be able to open it, with your camera or deck connected, then hit Ctrl+8 to open the capture window.
Click Batch - then All Offline Files in Browser.
FCP will then tell you which Tapes it needs for the required Media files - and you just select whichever tape you've inserted, and away to go!
Let's hope your tapes and clips have unique names.
Andy
PS - Keep your project file on your System Drive - away from your Media Files on the External HD.
Quad 8GB. 250+500 HDs. G-Raid 1TB. NORTON. FCP 5.1.2. QT 7.1.3. Sony HVR Z1E Mac OS X (10.4.7)
"I've taught you all I know, and still you know nothing".

EDL conform yields frame index out of range errors

I'm trying to do an offline/online workflow with Phantom (.cine) files.
I used SpeedGrade CC 2014 to create ProRes proxy files from the original .cine files. That part went well. So, I do my edit with those proxies and export an EDL from my NLE. Everything in the EDL looks normal - it's a really simple cuts-only timeline with just a few clips in it.
I want to conform the EDL in SpeedGrade but relink against the original .cine media. I made sure my edit settings in SpeedGrade match my footage and NLE project settings (23.976 fps). I open the EDL in SpeedGrade and I can see the unlinked clips. I load the .cine files to a desktop in SpeedGrade and then hit the Load from desktop button. SpeedGrade gives me an error about the frame rates of the reels not matching the current frame rate. It lets me proceed and it appears to have linked the correct clips. However, when I view them in the timeline, it displays a "Frame index out of range" screen.
I can see in the timeline that the handles are crazy huge. I can also see that it has applied different time warps to the clips in the EDL, although no TW was done in the edit. Grrr. This should be a pretty simple task but I can't get it to work correctly.
How can I fix this?
Thanks,
Matt

OK, I think I have something working. It's manual/laborious but it appears to work with my short test.
It's something wrong with the "From reel frame" property on the clips that come in from the EDL. I'm reading this as a offset problem. Here's what I've done to fix it.
Set SG to work in frames instead of TC. Easier to see what is going on, imho.
Open the EDL in SG. Conform it and just ignore the mismatched frame rate error. Meh.
Select the first clip in the conformed timeline and switch to the Clip tab. Then, look at the properties page for the clip. Note the "From reel frame" value.
Switch back to your NLE that the EDL was generated from and find that first clip on the timeline. Make sure your NLE is also in frame counting mode rather than TC. Match source into the clip on the in point.
Look at the frame number the playhead is parked on in the source clip. Copy that frame number.
Back in SG, paste that frame number into the "From reel frame" value and click somewhere on the interface.
SG should now slip the clip and show it instead of the annoying Frame index out of range page I've grown to loathe.
Rinse and repeat for each clip. (I said it was laborious!). :-(
So far, so good for me using this method. Again, this works for me and my particular use case (Phantom .cine files). I've accumulated a total of maybe four hours of SpeedGrade experience as I've only ventured to use it for this use case so I'm probably missing something but this is the only way that is working for me.
Now, here's to hoping the Add Handles button works the way I expect it to in the Render tab. I'm not hopeful.
-Matt

EDL not conforming

I created an EDL in Premier and opened it in SG. After about 10 attempts I finally found the 5 or 6 places you have to change the frame rate - why not just get it from the EDL! Anyway, I go to the desktop and find my files, but SG will not add the reels from the destop automatically or manually. I double checked the help file and tried several times but they will not load. What am I missing?

I was exagerating a little, but after I changed the playback setting and imported the EDL it changed it to 60 again. It took about 4 times importing to finally get the right. I still get a warning message that the frame rate is wrong - even though it is correct. I think the problem may be stemming from the fact that I am trying to conform from files and the reel names are missing. The file names are correct, but I don't think SG is looking at that.
I guess this is a little tough to see, but the DPX sequences are there in the bin and SG doesn't load them. I also get an error "Key not supported in edit 6" when I try to import one of the edls from Premier. Here is the EDL with the error:
TITLE: BB_Firetruck_03_V1
FCM: NON-DROP FRAME
FCM: DROP FRAME
001 UNKNOWN AA    C        00:02:31:23 00:02:46:24 00:00:00:00 00:00:15:01
* FROM CLIP NAME: BB_2012_B_102.m2t
FCM: NON-DROP FRAME
002 UNKNOWN V     C        00:02:31:19 00:02:46:19 00:00:00:00 00:00:15:00
* FROM CLIP NAME: BB_2012_B_102.m2t
003 UNKNOWN V     C        00:02:46:19 00:02:46:19 00:00:15:00 00:00:15:00
FCM: NON-DROP FRAME
003 UNKNOWN V     D    003 00:02:51:01 00:03:00:07 00:00:15:00 00:00:24:06
EFFECTS NAME IS CROSS DISSOLVE
* FROM CLIP NAME: BB_2012_B_102.m2t
* TO CLIP NAME: BB_2012_B_103.m2t
FCM: DROP FRAME
004 UNKNOWN AA    C        00:02:51:06 00:03:00:13 00:00:15:01 00:00:24:06
* FROM CLIP NAME: BB_2012_B_103.m2t
005 BB2012B0 AA    C        00:03:10:24 00:03:29:27 00:00:24:06 00:00:43:09
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* AUDIO LEVEL AT 00:03:10:28 IS -0.23 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:28:17 IS -0.71 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:28:22 IS -99.99 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:10:28 IS -0.23 DB (REEL BB2012B0 A2)
* AUDIO LEVEL AT 00:03:28:17 IS -0.71 DB (REEL BB2012B0 A2)
* AUDIO LEVEL AT 00:03:28:22 IS -99.99 DB (REEL BB2012B0 A2)
006 BB2012B0 V     K B      00:03:10:24 00:03:30:02 00:00:24:06 00:00:29:07
FCM: DROP FRAME
006 UNKNOWN V     K    000 03:00:34:09 03:00:39:10 00:00:24:06 00:00:29:07
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* KEY CLIP NAME: BB_FireTruckClips_CC_0301.dpx
007 BB2012B0 V     C        00:03:10:24 00:03:15:25 00:00:24:06 00:00:29:07
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
007 BB2012B0 V     K B      00:03:15:25 00:03:30:02 00:00:29:07 00:00:34:02
FCM: DROP FRAME
007 AX       V     K    000 00:00:05:04 00:00:09:29 00:00:29:07 00:00:34:02
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* KEY CLIP NAME: BB_Ribbons_CC_0000.dpx
008 BB2012B0 V     C        00:03:10:24 00:03:20:20 00:00:24:06 00:00:34:02
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
008 BB2012B0 V     K B      00:03:20:20 00:03:30:02 00:00:34:02 00:00:38:16
FCM: DROP FRAME
008 UNKNOWN V     K    000 03:01:04:26 03:01:07:03 00:00:34:02 00:00:38:16
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* KEY CLIP NAME: BB_FireTruckClips_CC_0301.dpx
009 BB2012B0 V     C        00:03:10:24 00:03:25:04 00:00:24:06 00:00:38:16
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
009 BB2012B0 V     K B      00:03:25:04 00:03:30:02 00:00:38:16 00:00:43:14
FCM: DROP FRAME
009 AX       V     K    000 00:00:14:13 00:00:18:01 00:00:38:16 00:00:42:04
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* KEY CLIP NAME: BB_Ribbons_CC_0000.dpx
FCM: NON-DROP FRAME
Here is the one that loads saying the frame rates don't match:
TITLE: BB_Firetruck_04
FCM: NON-DROP FRAME
001 BL       V     C        00:00:00:00 00:00:01:15 00:00:00:00 00:00:01:15
FCM: DROP FRAME
002 UNKNOWN AA    C        00:02:31:23 00:02:46:24 00:00:00:00 00:00:15:01
* FROM CLIP NAME: BB_2012_B_102.m2t
FCM: NON-DROP FRAME
003 UNKNOWN V     C        03:00:00:00 03:00:13:05 00:00:01:15 00:00:14:20
* FROM CLIP NAME: BB_FireTruckClips_CC_0301.dpx
004 UNKNOWN V     C        03:00:43:27 03:00:46:23 00:00:14:20 00:00:20:12
* FROM CLIP NAME: BB_FireTruckClips_CC_0301.dpx
M2   UNKNOWN 015.0                      03:00:43:27
FCM: DROP FRAME
005 UNKNOWN AA    C        00:02:51:06 00:03:00:13 00:00:15:01 00:00:24:06
* FROM CLIP NAME: BB_2012_B_103.m2t
FCM: NON-DROP FRAME
006 UNKNOWN V     C        03:00:18:27 03:00:22:12 00:00:20:12 00:00:23:27
* FROM CLIP NAME: BB_FireTruckClips_CC_0301.dpx
007 UNKNOWN V     C        03:00:23:06 03:00:28:16 00:00:23:27 00:00:29:07
* FROM CLIP NAME: BB_FireTruckClips_CC_0301.dpx
FCM: DROP FRAME
008 BB2012B0 AA    C        00:03:10:24 00:03:29:27 00:00:24:06 00:00:43:09
* FROM CLIP NAME: PinkLady_Ribbons.mpeg
* AUDIO LEVEL AT 00:03:10:28 IS -0.23 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:28:17 IS -0.71 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:28:22 IS -99.99 DB (REEL BB2012B0 A1)
* AUDIO LEVEL AT 00:03:10:28 IS -0.23 DB (REEL BB2012B0 A2)
* AUDIO LEVEL AT 00:03:28:17 IS -0.71 DB (REEL BB2012B0 A2)
* AUDIO LEVEL AT 00:03:28:22 IS -99.99 DB (REEL BB2012B0 A2)
FCM: NON-DROP FRAME
009 AX       V     C        00:00:05:04 00:00:09:29 00:00:29:07 00:00:34:02
* FROM CLIP NAME: BB_Ribbons_CC_0000.dpx
010 UNKNOWN V     C        03:00:54:00 03:00:56:07 00:00:34:02 00:00:38:16
* FROM CLIP NAME: BB_FireTruckClips_CC_0301.dpx
M2   UNKNOWN 015.0                      03:00:54:00
011 AX       V     C        00:00:14:13 00:00:18:01 00:00:38:16 00:00:42:04
* FROM CLIP NAME: BB_Ribbons_CC_0000.dpx
Thanks

Will the EDL Conform Issues ever end????

The top clip in the screen shot is the clip that is generated when I load the EDL.
The middle clip is what I get if I go directly to the drive and import the sourcr file.
Bottom clip is what happens if I relink the file that was at the top.
WHY! Why do my in and out points instanty change to the media start and end as soon as I relink???? why does the duration change???
Here is the event from the EDL
008
AX V
C
20:11:06:17 20:11:09:02 01:00:08:01 01:00:10:10
* FROM CLIP NAME: A001_C015_0821KD.MOV
CS6 Mac

OK .....Now for the XML issues....
This is what I get in my bin for the same clip if I import an XML, totally different numbers!!!!!!
But, if I double click the clip in the timeline, the timecodes for the clip in the bin suddenly change to what we see in this second picture.
This is not something that happens sometimes....these are issues I see EVERYTIME I need to conform and EDL or an XML.
I end up having to place all the clipsin the timeline by hand.

Need FCP 5 EDL import help

I am trying to conform from Simuldats with FCP 5. When I import the EDL from the editor, the In and Out for the Timeline never comes across. The Record In and Record Out points do come across however. These EDL's typically come from avid systems, and are standard cmx3400 & 3600 edl's. Is there a setting I am missing somewhere, or is that a typical issue with FCP?
Any advice would certainly be appreciated.
Thanks
Cory
Apple IIE modified with 2.9gig dual core intel......ha Mac OS X (10.4.5) Smokin fast!!

Welcome to the forum!
It's an issue with a technology that's 20 years old. CMX lists are WAY outdated and if I had my way, would simply go the way of the dodo bird... and not one company's or another company's fault don't think.
If you want a transparent workflow between FCP and Avid technologies, look to a modern technology... http://www.automaticduck.com has the solution to your problems. Not super cheap, but there was a day when CMX lists were the latest and greatest, and the cost of producing them ran into the hundreds of thousands of dollars...
Jerry

Software Downloading Problem from SCN Downloads for Pakistan

Hi Respectable Moderators,
I am trying to download [SAP NetWeaver 7.01 SR1 SP3 ABAP Developer Edition|http://www.sdn.sap.com/irj/scn/downloads?rid=/library/uuid/70b58216-00e7-2c10-f6a9-c59f3a351b63] from almost last 6 to 7 months and getting the same following message.
Unfortunately we have trouble completing your download request. Please contact [email protected] for further support.
I also sent mail to given ID but didn't get any positive response.
Above mention download item is one for example, me and all of my friends in Pakistan are not able to download anything from SCN Download Catalog, First we were thinking that it is Global Problem but a few days back I conformed from some of my friends in India, they having no problem while downloading. It means that the problem is only with Pakistan.
I conformed that Pakistan is not in the list of embargoed countries, Please let me know about the problem and solution if any?
Thanks and Regards,
Faisal

I had that issue and sent them an email, that is what I got around a year back:
Hi Asad,
I apologize for this problem. The appropriate team has been notified. At this time, we have no further information.
Kind Regards,
Anil
SAP Network Team
http://www.sdn.sap.com
Technical Information:
Case Id: 3121460
Origin Sender: 08089080890809808098098
Original Message Follows: -
Hi,
I am a software developer, I am interested to learn SAP, I went through several tutorials over the Internet and found that SAP is quite easy and interesting software product, I started learning it, now I need a trail/developer version to practically install and test enhance my SAP skills.
For that reason I made an account at http://www.sdn.sap.com and tried to download SAP, but there are two issues.
1) I am not really sure what package I should download as a beginner developer?
2) When I try to download "SAP NetWeaver CE 7.2 - Server (size on disc 2.044.489.728 bytes)" it gave me following error message:
Unfortunately we have trouble completing your download request. Please contact [email protected] for further support.
Could you please provide me a valid download link and package name that I should download.
Regards,
Asad Hafeez Yousufi
Now again they're keep saying the same thing, guess what? Automated reply, see my next email conversation below with them:
Hi Asad,
We apologize for this problem. The appropriate team has been notified. At this time, we have no further information.
Kind Regards,
Support Group
SAP Community Network Team
http://sdn.sap.com
Technical Information:
Case Id: 3409009
Origin Sender: [email protected]
Original Message Follows: -
Hi,
I am trying to download
SAP_NetWeaver Application_Server_ABAP_702_SP6_32bit_Trial_Version
I got following message:
Unfortunately we have trouble completing your download request. Please contact [email protected] for further support.
Please help me out to download.
Regards,
Asad Hafeez Yousufi
Seems like they have block Pakistan access to the downloadable content, how rude they are, Siemens and other SAP training academies have these content only, so we have to pay them 6000 EUR to get the training and the materiel, how rude. Well I come with a solution, to get the required thing downloaded just
Now the solution, how to fool the ban and get it downloaded:
1. Search ultrasurf proxy on Google
2. Download it install it
3. Run it, and download it with a USA IP address
Smart People Smart Solutions
I get is downloaded in a different way, I have a server hosted in USA, I took remote desktop to that server and get it downloaded from there, then get it downloaded to my local machine in Pakistan using FTP.
But I am still feeling why they mistreat Pakistani people how rude they are.

From MacbookPro to MacPro latency, Sessions out of sync.

Moving from a MacbookPro to a MacPro and loading up a session, I was rudely surprised.
On the MacPro the multiple kick/snare/hihat layers are all out of phase, When they were perfectly in phase on the MacbookPro.
All instruments had plugins on them and the MacPro can proccess them alot faster.
Is there any way to fix this, some sort of compensation checkbox in settings somewhere?.
Or should I just re-aligning them all?

If anyone is interested this seemed to be a problem with prores. When I use a AIC file and conform from 25 to 23.98 then it works fine.

ENCORE CS5.5: Audio Conforming Is Eating Up My Hard Drive

Hi guys. I am using Adobe Encore CS5.5 (Windows 7) for a DVD project. My project is pretty much a series of audio files synch with .PSD images. In other words, I do not use real video. Rather, I Use Images wity audio running in the bagground of the timelines.
Encore keeps conforming (non-stop) the audio files of my project, and it's eating up my hard drive space at lightning speed, say 537GB of free space in like 30 mins or so.
After much research, I found that the Media Cache Files Folder is being loaded with replicas of my audio files with the following extensions .ac3 48000.cfa and .ac3 48000.pek
I use seperate hard drives for both my C: drive (for software) and D: (for my project files files). As I stated above, I have plenty of room in my C drive, but Encore keeps eating up the free space, this, of course, while I have my project running.
I resaved the project with a different name. I even re-installed Encore, and the result is the same: Audio keeps conforming and the Media Cache Folder is loaded. When I empty this folder, I get my HD space back, but the process keeps on going. For those who do not know, the Media Cache Folder can be accessed in Encore from Edit--> Preferences-->General -->Media: Media Cache Files --> Browse or directly from C:/Users/Username/AppData/Roaming/Adobe/Common/Media Files, where "Username" is your Computer's User Account name.
This is by Far the most annoying software glitch I have ever seen in my life. I am so frustrated. My project is quite complex and I don't want to start all over again. Any help or insight will be greatly appreciated.

Thanks for your reply.
I have 6 timelines. The total program length, as shown in the build tab, is about 3GB used. And it's a DVD project, not BD.
I use MP3 files and I can see the audio keeps conforming from the Progress tab. There's a Stop button,but it's grayed out, so I can't stop it. The setting I am using to transcode is a3c as you mentioned.
The funny thing is that I even deleted the project's audio files from the timelines and Project Assets as well. At this point the audio files don't even exist in my project, and yet the Progress tab shows the audio keeps conforming and my hard drive keeps being swallowed by this monster. That's driving me Nuts!
Originally, and of course, the audio was Untranscoded. I performed the transcoding and yes, PSD images are brought directly as asssets into Encore. I probably should have done this from Premiere, but a) I have never used Premiere, and b) I was just learning how to use Encore by watching some video tutorials.
The thing is that my project was complete and everything was set, including audio conforming. I even outputed a disk image, which I then burned into a DVD. At the time I did this my project was still somewhat small as I just wanted to test the whole process with just a few files. The thing is that at this point I didn't realize what was happening in the background with my hard drive's free space until I later got a Windows warning message of low disk space. And that's when the saga began for me.
Once again, thanks for your help.

DVCPRO HD varicam EDL export - meaningless?

i just cut a varicam DVCPRO HD job and need to conform. export edl and clip numbers are completely random and meaningless. this is kind of a vital part of a post process and can't find any answers. Anyone know how to fix? I have made hundreds of edls and have never seen this. thanks so much and sorry for sounding curt but time is of the essence.

Hmmm...works for me. And I cut DVCPRO HD 720p24 at 23.98. Nothing wrong with my EDL.
Why are you making an EDL? For transfer to what edit system?
If Avid, then Automatic Duck is a necessity.
Shane

Conform from edl

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