EDL Error
When I export my project into EDL to Speegrade from Premier, and click on the EDL file inside Speedgrade, I get an error message saying "error key not supported in file 1. File 001 AX V K B Line 3." The error comes when I try putting the file into the timeline. Please help me figure this out
Probably the problem is the K in that line, SpeedGrade doesn't support Key commands. Read the EDL in a text utility (as Notepad) and look at the timecode in that line, and in Premiere try to remove the problem.
Remember that for to export an EDL for SpeedGrade, the best is simplify the Premiere's sequence: put all clips in one track, use only crossfades as dissolves and don't export audio tracks. More info in SG help: http://helpx.adobe.com/speedgrade/using/conform-edls.html
Similar Messages
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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. -
URGENT EDL errors, deadling coming up
My friend is having a problem importing an EDL from Canopus Edius into FCP. She is in the bush and does not have access to reliable internet. Please help. THANKS. HEre is her message below
Hi, I've been trying to export an EDL from edius 4.52 to Final Cut 5.1.4 on MAC OSX 10.4.10. I created 4 different types, using EDL Type BVE5000, BVE9100, CMX340, and CMX3600. When I imported the EDL into FCP, the first showed the video clips offline, but no audio clips at all. The second one showed up as an empty sequence. The third and the fourth type did not work at all but made FCP shut down. Can anyone help me out here? Much appreciated. Thank you! Cheers, KatrinYou can modify the the EDL by opening it in TextEdit.
A typical line would look like this:
002 DRA01 AA/V C 00:07:16:05 00:07:17:15 10:00:00:00 10:00:01:10
* FROM CLIP NAME: DRA01
* COMMENT:
Hers probably looks like this:
002 DRA01 V C 00:07:16:05 00:07:17:15 10:00:00:00 10:00:01:10
* FROM CLIP NAME: DRA01
* COMMENT:
If you use the Find function in TextEdit (command & F) set it to look for V and replace with AA/V.
Choose to Replace All or do them one at a time - there might be other instances of the letter V, in the comments for instance
It should now bring the audio in as well.
Save the modified version as a copy, just in case something does go wrong. -
EDL Files exported from Premiere always fail on import to SpeedGrade CS6
Steps to reproduce (for me):
1. Export any sequence as EDL.
2. Open SpeedGrade CS6
3. Browse to EDL
4. Double Click, or click the +, or drag to timeline
5. Error thrown:
Error
Key not supported in edit 16
File: 016 AX V B 0:02:04:04 00:02:06:15 00:00:3:10 00:00:35:21
Line 34
Note: This varies depending on project/sequence but essential is the same error for each -- always "Key not supported" though line # and file info changes.
Any help would be GREATLY appreciated.
Best,
SethEdanCo I'd like to know the exact same thing. It's now September.
I also have multiple layers, have spent some 70 hours building this project and simply want to adjust colours. For workflow one could colour correct before editting but that does not make sense/sence. As for editing this way like Manual LP, really likely would work but surely would add additional time to the project trimming everything into one line. Who does that? I may as well have my 1/2 inch analog film out with a splicer and start editting analog film... hahaha it seems it's a very round about way of doing things - But Manuel LP I really do commend you for finding a way around it, and figuring out a work flow that incorporates bypassing this EDL error. Thankyou, I may do that on the next project The rest of us sit around waiting and grumbling at the problem.
HELLO wonderful people at Adobe.... has there been a solution to this? Or has anyone found one? Really would love to find out. Please hear the people, and let us know even if the issue is being sorted, in this thread.
Chur! -
Film Edit Process Q's & Reconnect Conflicts
I am one of two assistant editors on an independent feature film, shot on 35m, transferred to BetaSp pal for edit. FTL files (from the lab) are imported,
Batchlists and Database folders created. Our clips are then digitized from the batchlists in FCP. We edit at 24fps, video is converted through Cinema Tools and merged with the audio tracks when synced in FCP. (we are using the basic sync by clap system) Assistants have now started editing on multiple computers. We copy the editors project, all of the respected folders
(FTL, BATCH CAPTURE, DATABASE, etc) the media and seperate sound folders to our two 250-500GB Lacie fw drives. We work seperatly, finish a sequence, then take project files back to the editor's station; copy bins/sequences into his project and reconnect to the media that sits on his drives. Video always reconnects fine. When working with sync clips and reconnecting audio, I get this window, "some attrubutes of one or more files have chosen do not match attributes of original" 99% of the time the attribute conflict is listed as, "media start and end". Sometimes additional attributes: "reel, rate" are listed. I have the option of chosing "connect" anyway, and I've done a test with
this and even with "conflicts" sync appears fine. I want to be sure that everything happens smoothly with our audio post (sound designer working on a seperate system from our exported OMFs) and I want to be sure
that we output a good EDL. (we will be making a film cut to scan into "Luster", a DI system, and printing to negative from there) Also, what should we just
watch out for in this work process described? What are some pitfalls that I could be missing in copying media around, taking media off the assistant edit
drives, etc., as we work? Also for organizational purposes, I want to rename media folders (capture folder), where the clips were digitized into on the
editor's machine. (would like to reorganize media in general, intial organization untidy) Will this be a problem, most concern again for the EDL. Forgive me for some ignorance, first time working with film in edit. Appreciate any feedback. Thanks-
amysandsHi Jim - thanks for your advice, wondering if I should I have headed your warning earlier - I expressed concerns to Steve about EDL export, turns out I ran into some problems recently when doing an EDL test. If you have some time, I'd greatly appreciate any information or help you can offer. Here is my long winded explanation of what happened. (again, I'm an assistant on an independent feature film - finally getting back to the forum after being buried for a bit)
OUR PROCESS:
1) Film format: 35m 3perf, (plus some Super 16mm).
2) Transferred to BetaSp PAL and Digibeta PAL.
3) FTL files (from telecine)copied and imported to CINEMA TOOLS, Database created. Batch Lists created.
4) Batch Lists imported to FCP, media digitized at 25fps. Media converted through Cinema Tools to 24fps. Media then “reconnected” in FCP.
5) Audio (at 24fps) imported and synced with video (using the basic sync by clap system). Clips are “merged” as we sync. Edit occurs in 24fps, timelines.
6) Finishing with DI - film negatives to be scanned, film print created.
EQUIPMENT:
FCP 5.0
Cinema Tools
G5, dual processor
Mac OS X 10.4.2
BlackLink Card
(assistants also working with copied media on an EMAC
and G4 Lap Top, projects transferred back to G5 system)
REDIGITIZING AND EDL ERRORS:
Our offline footage was digitized at DV-PAL compression from Beta SP (PAL). We had also telecined to matching Digibeta (PAL) tapes. Recently we tried to re-digitize for a trailer capturing at 8 bit compression. We brought in a Sony Digibeta deck with SDI cable.
Several problems occurred:
I tried first to export an EDL from FCP. In a new project, I imported the EDL and started to re-digitize. The system immediatly searched for timecode out of the ballpark from the tape (not even the same hour).
I was able to batch digitize from the sequence (still in a 24fps timeline). Media then had to be conformed to 24fps through Cinema Tools. In/Outs for the most part would match. However, maybe because our FTL codes were not broken into individual takes, huge source clips needed to be recaptured. For example, for a 30sec clip in the timeline, 6 minutes of footage was digitized. We had to capture large source files corresponding to our smaller edited clips. This took up more space and time then we had available.
Even after conforming the media to 24fps, some clips did not match the in/outs of the original sequence. 15% of the clips were not even batch digitized; tape numbers or clip names ignored all together in the batch digitize que. This occurred even with selecting “digitize online” clips function.
A seperate issue, but mastering back to digibeta was also unsuccessful. We tried rendering the sequence out at 25fps, (which took a huge amount of time) and then discovered that we could still not print to tape on the digibeta deck. It would not output at all - we got only a fuzzy green screen. We have tried both component / composite and SDI but its the same each time. We've also tried to output to a BetaSP deck - no result. In the end we exported quicktimes and outputted via firewire to DVCAM. I have since read that mastering back to Beta is commonly problematic.
Any insights as to why the digitization is erratic? Why the EDL is not working? The EDL is the most concerning problem - will need to eventually both work with high res footage and scan our negatives for the DI and print to film. Should I create an EDL through Cinema Tools? Am I missing something in the EDL settings maybe? Trying to do some quick reading on this as well - thanks guys for all the help -
Amy -
hi
i've got a problem when importing an .edl file in speedgrade. (when i want to add it on the timeline)
here is a screenshot:
http://kepfeltoltes.hu/120712/error_www.kepfeltoltes.hu_.pngI've got a similar problem:
Hello,
I've got a problem with an Edl and a few questions regarding working with Speedgrade:
I'm working on the Grade for a movie trailer for a friend and wanted to use Speedgrade for the first time on an actual project. Because he used Premiere Pro to edit the Trailer he sent me all the files (including the PP project) so that I could generate all the files I need for myself. The actual movie files were all tiff sequences (actually there were just 2 tiff sequences but the cuts were all in PP-maybe they had exported the cut from AFX and made the cuts a second time in PP, but I'm not sure) so I wanted to use an EDL from Premiere and relink the tiffs to it. Because the media was on 2 video tracks in Premiere I had to export 2 EDLs*. I then jumped to Speedgrade to open the cut. The first EDL worked fine and I could open it without a problem but it didn't let me relink the tiff sequence in the reel section. I the tried the second EDL which has most of the cuts and I got the following error:
I tried to first load the tiff seq into the timeline and then drag th EDL onto it but got the following error message
What does it mean? I tried exporting with different settings but none of them worked for me. At the end I used the send to Speedgrade command to get it to work. It didn't bring in all the cuts but with a the scene analysis tool and bit of manual tweaking I got it to work. When working on a short project like this trailer it was ok to do it this way but I'm not sure how I would have done it on an actual movie.
*Question: Is EDL really the best way because it just lets me choose one video track at a time, so for a project with lets say 6 video tracks I would have to export 6 EDLs? How is the workflow with more than one EDL? Do I have to open all the different EDLs and relink the media, then grade one EDL at a time, export all the different EDLs at the End and combine them back to one video file in PP or AFX?
And now the addition question I have:
The trailer is 1920x1080 and I'm on a quiet powerful Z820 Workstation with a two monitor set up but I got a lot of spinning beach balls/freezing of the Speedgrade when playing back the Grade. It was really annoying because it slowed the work down quiet a bit. I looked into the preferences but couldn't find a lot of settings to tweak to get rid of the problem. I encreased the ram cache to around 75% and used the option to downsample the footage but the I had the same problems with the 960x540 verion of the footage. Is this normal with 1080p DPX footage? Are there any other settings I could change to make Speedgrade work a bit smoother? I had no addition software running except Acrobat so that I could look into the Manual.
Thanks for your help :-)
As Dennis mentioned I've opened the EDl in a texteditor. I hope that'S the one the right oe because as mentioned I tried a few different ones but none of them worked and I always got a similar/the same error
TITLE: Sequenz 02
001 BL V C 00:00:00:00 00:00:01:23 00:00:00:00 00:00:01:23
001 BL V K B 00:00:00:00 00:00:01:09 00:00:01:23 00:00:03:07
001 AX V K 000 00:00:00:00 00:00:01:09 00:00:01:23 00:00:03:07
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
* OPACITY LEVEL AT 00:00:00:11 IS 100.00% (REEL AX)
* OPACITY LEVEL AT 00:00:00:20 IS 100.00% (REEL AX)
* OPACITY LEVEL AT 00:00:01:05 IS 0.00% (REEL AX)
002 UNKNOWN AA C 00:00:05:18 00:02:03:23 00:00:00:00 00:01:58:05
* FROM CLIP NAME: MasterBounceNeu.wav
003 AX V K B 00:00:00:00 00:00:02:21 00:00:03:07 00:00:06:03
003 AX V K 000 00:00:01:09 00:00:04:05 00:00:03:07 00:00:06:03
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
004 AX V K B 00:00:02:21 00:00:03:12 00:00:06:03 00:00:06:19
004 AX V K 000 00:00:04:05 00:00:04:21 00:00:06:03 00:00:06:19
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
005 AX V K B 00:00:03:12 00:00:04:18 00:00:06:19 00:00:08:00
005 AX V K 000 00:00:04:21 00:00:06:02 00:00:06:19 00:00:08:00
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
006 AX V K B 00:00:04:18 00:00:06:13 00:00:08:00 00:00:09:20
006 AX V K 000 00:00:06:02 00:00:07:22 00:00:08:00 00:00:09:20
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
007 AX V K B 00:00:06:13 00:00:07:02 00:00:09:20 00:00:10:09
007 AX V K 000 00:00:07:22 00:00:08:11 00:00:09:20 00:00:10:09
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
008 AX V K B 00:00:07:02 00:00:07:21 00:00:10:09 00:00:11:03
008 AX V K 000 00:00:08:11 00:00:09:05 00:00:10:09 00:00:11:03
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
009 AX V K B 00:00:07:21 00:00:09:06 00:00:11:03 00:00:12:13
009 AX V K 000 00:00:09:05 00:00:10:15 00:00:11:03 00:00:12:13
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
010 AX V K B 00:00:09:06 00:00:09:22 00:00:12:13 00:00:13:04
010 AX V K 000 00:00:10:15 00:00:11:06 00:00:12:13 00:00:13:04
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
011 AX V K B 00:00:09:22 00:00:10:04 00:00:13:04 00:00:13:11
011 AX V K 000 00:00:11:06 00:00:11:13 00:00:13:04 00:00:13:11
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
012 AX V K B 00:00:10:04 00:00:10:15 00:00:13:11 00:00:13:22
012 AX V K 000 00:00:11:13 00:00:11:24 00:00:13:11 00:00:13:22
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
013 AX V K B 00:00:10:15 00:00:11:07 00:00:13:22 00:00:14:14
013 AX V K 000 00:00:11:24 00:00:12:16 00:00:13:22 00:00:14:14
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
014 AX V K B 00:00:11:07 00:00:12:04 00:00:14:14 00:00:15:11
014 AX V K 000 00:00:12:16 00:00:13:13 00:00:14:14 00:00:15:11
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
015 AX V K B 00:00:12:04 00:00:16:07 00:00:15:11 00:00:19:14
015 AX V K 000 00:00:13:13 00:00:17:16 00:00:15:11 00:00:19:14
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
016 AX V K B 00:00:16:07 00:00:17:10 00:00:19:14 00:00:20:17
016 AX V K 000 00:00:17:16 00:00:18:19 00:00:19:14 00:00:20:17
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
017 AX V K B 00:00:17:10 00:00:18:13 00:00:20:17 00:00:21:20
017 AX V K 000 00:00:18:19 00:00:19:22 00:00:20:17 00:00:21:20
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
018 AX V K B 00:00:18:13 00:00:19:16 00:00:21:20 00:00:22:23
018 AX V K 000 00:00:19:22 00:00:21:00 00:00:21:20 00:00:22:23
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
019 AX V K B 00:00:19:16 00:00:20:17 00:00:22:23 00:00:23:24
019 AX V K 000 00:00:21:00 00:00:22:01 00:00:22:23 00:00:23:24
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
020 AX V K B 00:00:20:17 00:00:21:16 00:00:23:24 00:00:24:23
020 AX V K 000 00:00:22:01 00:00:23:00 00:00:23:24 00:00:24:23
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
021 AX V K B 00:00:21:16 00:00:23:00 00:00:24:23 00:00:26:07
021 AX V K 000 00:00:23:00 00:00:24:09 00:00:24:23 00:00:26:07
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
022 AX V K B 00:00:23:00 00:00:24:04 00:00:26:07 00:00:27:11
022 AX V K 000 00:00:24:09 00:00:25:13 00:00:26:07 00:00:27:11
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
023 AX V K B 00:00:24:04 00:00:24:19 00:00:27:11 00:00:28:01
023 AX V K 000 00:00:25:13 00:00:26:03 00:00:27:11 00:00:28:01
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
024 AX V K B 00:00:24:19 00:00:25:08 00:00:28:01 00:00:28:15
024 AX V K 000 00:00:26:03 00:00:26:17 00:00:28:01 00:00:28:15
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
025 AX V K B 00:00:25:08 00:00:26:09 00:00:28:15 00:00:29:16
025 AX V K 000 00:00:26:17 00:00:27:18 00:00:28:15 00:00:29:16
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
026 AX V K B 00:00:26:09 00:00:27:13 00:00:29:16 00:00:30:20
026 AX V K 000 00:00:27:18 00:00:28:22 00:00:29:16 00:00:30:20
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
027 AX V K B 00:00:27:13 00:00:28:16 00:00:30:20 00:00:31:23
027 AX V K 000 00:00:28:22 00:00:30:00 00:00:30:20 00:00:31:23
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: afa_ani_katze.avi
* OPACITY LEVEL AT 00:00:00:00 IS 0.00% (REEL AX)
028 AX V C 00:00:28:16 00:00:29:18 00:00:31:23 00:00:33:00
* FROM CLIP NAME: Trailer_Track10000.tif
029 AX V C 00:00:29:18 00:00:30:16 00:00:33:00 00:00:33:23
* FROM CLIP NAME: Trailer_Track10000.tif
030 AX V C 00:00:30:16 00:00:31:19 00:00:33:23 00:00:35:01
* FROM CLIP NAME: Trailer_Track10000.tif
031 AX V C 00:00:31:19 00:00:33:08 00:00:35:01 00:00:36:15
* FROM CLIP NAME: Trailer_Track10000.tif
032 AX V C 00:00:33:08 00:00:34:06 00:00:36:15 00:00:37:13
* FROM CLIP NAME: Trailer_Track10000.tif
033 AX V C 00:00:34:06 00:00:37:15 00:00:37:13 00:00:40:22
* FROM CLIP NAME: Trailer_Track10000.tif
034 AX V C 00:00:37:15 00:00:38:20 00:00:40:22 00:00:42:02
* FROM CLIP NAME: Trailer_Track10000.tif
035 AX V C 00:00:38:20 00:00:40:17 00:00:42:02 00:00:43:24
* FROM CLIP NAME: Trailer_Track10000.tif
036 AX V C 00:00:40:17 00:00:41:12 00:00:43:24 00:00:44:19
* FROM CLIP NAME: Trailer_Track10000.tif
037 AX V C 00:00:41:12 00:00:43:04 00:00:44:19 00:00:46:11
* FROM CLIP NAME: Trailer_Track10000.tif
038 AX V C 00:00:43:04 00:00:44:06 00:00:46:11 00:00:47:13
* FROM CLIP NAME: Trailer_Track10000.tif
039 AX V C 00:00:44:06 00:00:45:11 00:00:47:13 00:00:48:18
* FROM CLIP NAME: Trailer_Track10000.tif
040 AX V C 00:00:45:11 00:00:46:03 00:00:48:18 00:00:49:10
* FROM CLIP NAME: Trailer_Track10000.tif
041 AX V C 00:00:46:03 00:00:46:22 00:00:49:10 00:00:50:04
* FROM CLIP NAME: Trailer_Track10000.tif
042 AX V C 00:00:46:22 00:00:48:04 00:00:50:04 00:00:51:11
* FROM CLIP NAME: Trailer_Track10000.tif
043 AX V C 00:00:48:04 00:00:48:22 00:00:51:11 00:00:52:04
* FROM CLIP NAME: Trailer_Track10000.tif
044 AX V C 00:00:48:22 00:00:49:22 00:00:52:04 00:00:53:04
* FROM CLIP NAME: Trailer_Track10000.tif
045 AX V C 00:00:49:22 00:00:52:02 00:00:53:04 00:00:55:09
* FROM CLIP NAME: Trailer_Track10000.tif
046 AX V C 00:00:52:02 00:00:53:03 00:00:55:09 00:00:56:10
* FROM CLIP NAME: Trailer_Track10000.tif
047 AX V C 00:00:53:03 00:00:54:24 00:00:56:10 00:00:58:06
* FROM CLIP NAME: Trailer_Track10000.tif
048 AX V C 00:00:54:24 00:00:56:02 00:00:58:06 00:00:59:09
* FROM CLIP NAME: Trailer_Track10000.tif
049 AX V C 00:00:56:02 00:00:56:15 00:00:59:09 00:00:59:22
* FROM CLIP NAME: Trailer_Track10000.tif
050 AX V C 00:00:56:15 00:00:56:21 00:00:59:22 00:01:00:03
* FROM CLIP NAME: Trailer_Track10000.tif
051 AX V C 00:00:56:21 00:00:56:24 00:01:00:03 00:01:00:06
* FROM CLIP NAME: Trailer_Track10000.tif
052 AX V C 00:00:56:24 00:00:57:17 00:01:00:06 00:01:00:24
* FROM CLIP NAME: Trailer_Track10000.tif
053 AX V C 00:00:57:17 00:00:57:23 00:01:00:24 00:01:01:05
* FROM CLIP NAME: Trailer_Track10000.tif
054 AX V C 00:00:57:23 00:00:58:21 00:01:01:05 00:01:02:03
* FROM CLIP NAME: Trailer_Track10000.tif
055 AX V C 00:00:58:21 00:01:00:00 00:01:02:03 00:01:03:07
* FROM CLIP NAME: Trailer_Track10000.tif
056 AX V C 00:01:00:00 00:01:01:03 00:01:03:07 00:01:04:10
* FROM CLIP NAME: Trailer_Track10000.tif
057 AX V C 00:01:01:03 00:01:04:15 00:01:04:10 00:01:07:22
* FROM CLIP NAME: Trailer_Track10000.tif
058 AX V C 00:01:04:15 00:01:05:07 00:01:07:22 00:01:08:14
* FROM CLIP NAME: Trailer_Track10000.tif
059 AX V C 00:01:05:07 00:01:06:02 00:01:08:14 00:01:09:09
* FROM CLIP NAME: Trailer_Track10000.tif
060 AX V K B 00:01:06:02 00:01:06:19 00:01:09:09 00:01:10:01
060 AX V K 000 00:00:00:07 00:00:00:24 00:01:09:09 00:01:10:01
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: BenqScreen_00000.tif
061 AX V C 00:01:06:19 00:01:11:05 00:01:10:01 00:01:14:12
* FROM CLIP NAME: Trailer_Track10000.tif
062 AX V C 00:01:11:05 00:01:12:15 00:01:14:12 00:01:15:22
* FROM CLIP NAME: Trailer_Track10000.tif
063 AX V C 00:01:12:15 00:01:14:15 00:01:15:22 00:01:17:22
* FROM CLIP NAME: Trailer_Track10000.tif
064 AX V C 00:01:14:15 00:01:19:04 00:01:17:22 00:01:22:11
* FROM CLIP NAME: Trailer_Track10000.tif
065 AX V C 00:01:19:04 00:01:19:14 00:01:22:11 00:01:22:21
* FROM CLIP NAME: Trailer_Track10000.tif
066 AX V C 00:01:19:14 00:01:20:09 00:01:22:21 00:01:23:16
* FROM CLIP NAME: Trailer_Track10000.tif
067 AX V C 00:01:20:09 00:01:21:12 00:01:23:16 00:01:24:19
* FROM CLIP NAME: Trailer_Track10000.tif
068 AX V C 00:01:21:12 00:01:22:10 00:01:24:19 00:01:25:17
* FROM CLIP NAME: Trailer_Track10000.tif
069 AX V C 00:01:22:10 00:01:23:12 00:01:25:17 00:01:26:19
* FROM CLIP NAME: Trailer_Track10000.tif
070 AX V C 00:01:23:12 00:01:24:07 00:01:26:19 00:01:27:14
* FROM CLIP NAME: Trailer_Track10000.tif
071 AX V C 00:01:24:07 00:01:25:03 00:01:27:14 00:01:28:10
* FROM CLIP NAME: Trailer_Track10000.tif
072 AX V C 00:01:25:03 00:01:25:12 00:01:28:10 00:01:28:19
* FROM CLIP NAME: Trailer_Track10000.tif
073 AX V C 00:01:25:12 00:01:26:06 00:01:28:19 00:01:29:13
* FROM CLIP NAME: Trailer_Track10000.tif
074 AX V C 00:01:26:06 00:01:26:23 00:01:29:13 00:01:30:05
* FROM CLIP NAME: Trailer_Track10000.tif
075 AX V C 00:01:26:23 00:01:27:24 00:01:30:05 00:01:31:06
* FROM CLIP NAME: Trailer_Track10000.tif
076 AX V C 00:01:27:24 00:01:28:10 00:01:31:06 00:01:31:17
* FROM CLIP NAME: Trailer_Track10000.tif
077 AX V C 00:01:28:10 00:01:29:07 00:01:31:17 00:01:32:14
* FROM CLIP NAME: Trailer_Track10000.tif
078 AX V C 00:01:29:07 00:01:29:20 00:01:32:14 00:01:33:02
* FROM CLIP NAME: Trailer_Track10000.tif
079 AX V C 00:01:29:20 00:01:30:05 00:01:33:02 00:01:33:12
* FROM CLIP NAME: Trailer_Track10000.tif
080 BL V C 00:00:00:00 00:00:00:02 00:01:33:12 00:01:33:14
081 AX V C 00:01:30:07 00:01:31:04 00:01:33:14 00:01:34:11
* FROM CLIP NAME: Trailer_Track10000.tif
082 AX V C 00:01:31:04 00:01:32:01 00:01:34:11 00:01:35:08
* FROM CLIP NAME: Trailer_Track10000.tif
083 AX V C 00:01:32:01 00:01:33:01 00:01:35:08 00:01:36:08
* FROM CLIP NAME: Trailer_Track10000.tif
084 AX V C 00:01:33:01 00:01:34:01 00:01:36:08 00:01:37:08
* FROM CLIP NAME: Trailer_Track10000.tif
085 AX V C 00:01:34:01 00:01:34:21 00:01:37:08 00:01:38:03
* FROM CLIP NAME: Trailer_Track10000.tif
086 AX V C 00:01:34:21 00:01:36:01 00:01:38:03 00:01:39:08
* FROM CLIP NAME: Trailer_Track10000.tif
087 AX V C 00:01:36:01 00:01:37:14 00:01:39:08 00:01:40:21
* FROM CLIP NAME: Trailer_Track10000.tif
088 AX V C 00:01:37:14 00:01:38:00 00:01:40:21 00:01:41:07
* FROM CLIP NAME: Trailer_Track10000.tif
089 AX V C 00:01:38:00 00:01:38:18 00:01:41:07 00:01:42:00
* FROM CLIP NAME: Trailer_Track10000.tif
090 AX V C 00:01:38:18 00:01:39:05 00:01:42:00 00:01:42:12
* FROM CLIP NAME: Trailer_Track10000.tif
091 AX V C 00:01:39:05 00:01:39:17 00:01:42:12 00:01:42:24
* FROM CLIP NAME: Trailer_Track10000.tif
092 AX V C 00:01:39:17 00:01:40:07 00:01:42:24 00:01:43:14
* FROM CLIP NAME: Trailer_Track10000.tif
092 AX V K B 00:01:40:07 00:01:40:09 00:01:43:14 00:01:43:16
092 UNKNOWN V K 000 00:01:40:09 00:01:40:11 00:01:43:14 00:01:43:16
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: Trailer_Track2000.tif
093 AX V K B 00:01:40:09 00:01:41:14 00:01:43:16 00:01:44:21
093 UNKNOWN V K 000 00:01:40:11 00:01:40:20 00:01:43:16 00:01:44:00
* FROM CLIP NAME: Trailer_Track10000.tif
* KEY CLIP NAME: Trailer_Track2000.tif
094 AX V C 00:01:41:14 00:01:43:21 00:01:44:21 00:01:47:03
* FROM CLIP NAME: Trailer_Track10000.tif
095 AX V C 00:01:43:21 00:01:44:22 00:01:47:03 00:01:48:04
* FROM CLIP NAME: Trailer_Track10000.tif
096 UNKNOWN V C 00:01:44:24 00:01:45:09 00:01:48:04 00:01:48:14
* FROM CLIP NAME: Trailer_Track2000.tif
096 UNKNOWN V K B 00:01:45:09 00:01:46:02 00:01:48:14 00:01:49:07
096 AX V K 000 00:00:00:00 00:00:01:08 00:01:48:14 00:01:49:07
* FROM CLIP NAME: Trailer_Track2000.tif
* KEY CLIP NAME: Full.avi
* OPACITY LEVEL AT 00:00:01:04 IS 0.00% (REEL AX)
097 BL V K B 00:00:00:00 00:00:05:07 00:01:49:07 00:01:54:14
097 AX V K 000 00:00:01:08 00:00:11:00 00:01:49:07 00:01:54:14
* KEY CLIP NAME: Full.avi
* OPACITY LEVEL AT 00:00:02:01 IS 100.00% (REEL AX)
* OPACITY LEVEL AT 00:00:08:19 IS 100.00% (REEL AX)
* OPACITY LEVEL AT 00:00:09:20 IS 0.00% (REEL AX)
098 AX V C 01:00:00:00 01:00:05:00 00:01:54:14 00:01:59:14
* FROM CLIP NAME: trailer_webseite.psd
* OPACITY LEVEL AT 01:00:00:00 IS 0.00% (REEL AX)
* OPACITY LEVEL AT 01:00:01:10 IS 100.00% (REEL AX)
* OPACITY LEVEL AT 01:00:02:04 IS 100.00% (REEL AX)
* OPACITY LEVEL AT 01:00:03:04 IS 0.00% (REEL AX) -
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,
MattOK, 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 -
Importing 59.94 fps - edl from Premiere CC - error - Frame index out of range
I have a Adobe Premiere project with a 5k 59.94 sequence.
The sequence has two R3d 5K clips both interpreted at 59.94.
I've exported an edl for the sequence and want to import it into SpeedGrade.
I have adjusted my preferences in SpeedGrade for 59.94.
- playback at 59.94
- base frame rate is set at 59.94, with "both edits and footage have the current base FPS as set above or in the EDL itself"
I import the EDL and the reels are not loaded. I select "Load from desktop", and the reels still do not load.
I deselect "don't replace loaded reels" and manually drag the two clips and replace the two reels.
I can now see the clips in the timeline, but have an error message in my display - "Frame index out of range".
I'm guessing this could also a be a Premiere CC export problem, but not sure. The sequence is just cuts, no audio.
Here's the edl info:
TITLE: sg_test_edit
FCM: NON-DROP FRAME
001 A002C035 V C 17:40:23:54 17:40:38:41 00:00:00:00 00:00:14:47
* FROM CLIP NAME: A002_C035_05094K_001.R3D
002 A002C013 V C 16:46:38:36 16:46:52:24 00:00:14:47 00:00:28:35
* FROM CLIP NAME: A002_C013_0509UM_001.R3D
Trying to nail down a workflow for 4k 60p, and not feeling very encouraged.
Any suggestions?
ThanksI've had a similar frame-out-of-range problem for the last week or so in Sg ... import an edl, and even if I've already set the "base" in Prefs, and for that project BEFORE re-loading the reels, I ALWAYS get the f-o-o-r screen instead of my footage. After going back and forth setting those things to the same thing again and maybe again, I'll finally get where it all loads & runs. Save the project.
Come back by opening it again later ... and GET THAT DAMN FRAME-OUT-OF-RANGE thing again and have to ... again ... spend 10-15 minutes setting and re-setting all those same DAMN things until it finally decides to accept my footage.
I've only ... in the last two weeks ... TWICE opened a project I'd previously had working and graded on ... that simply loaded. Every other time I've had to waste time re-setting/re-setting/re-setting/close-open-re-set/re-setting & etc. until it finally works.
No help from anyone about why this is now happening, how to stop it, or fix it quickly. Damn dumb behavior.
Neil -
Error when trying to exoprt EDL
Hi
When I try to export an EDL from FCP 6.0.1 I get an error messeages. "Error exporting video track at time 01:00:00:00." I have simualer project setup on my other Mac G5 with FCP 5.1 and I have no problem there. This is the fist time I am trying to export EDL:s from my new FCP and Mac Pro.How many video tracks do you have in your Sequence?
You can have a maximum of two in an EDL (the second one is treated as a key over layer) If you have more than two, they will have to be exported as seperate EDLs. Not very user friendly, but that's how the ancient EDL format works.
Depending on who or what needs to read the EDL, you might be better served exporting as XML instead.
Message was edited by: Nick Holmes -
I've run into this issue before and inquired, but received no real answer, so I'm asking again to see if anyone out there might be able to help me out. When exporting an EDL, I often run into the following error message:
"Unable to export the key track due to an error. Click OK to export other tracks."
When I go back through and double check the numbers, they seem to be correct. The only 'unusual' thing is that it often creates a second EDL, referred to as +(filename) B+.
Has anyone seen this or run into this issue? I would like to figure it out to make sure it's not missing something, or that I'm not doing something right. Any help is appreciated!
Thanks!
AmberThanks for the response, Michael. The information you provided explains a lot.
Here's what I'm doing: I'm archiving projects, usually :15, :30 or :60 in duration. I am exporting an EDL, Batch List and using the Media Mgr. to skin it down to the bare necessities. I get all the information possibly needed in the event that the spot is needed down the road to be used on a different system or simply as backup in case of missing pieces and parts. The timeline does contain audio and graphic files, which you explained will cause errors. My guess is that I'm getting this error message for the reasons you explained.
Does this information help? -
Hi Everyone - I have had this error in the past but can't remember the fix.
Warning
The Frame rate of some of the new reels does not match the current frame rate.
Mismatched frame rates can cause out-of range timecode errors
Press any key or click here to close
As I mentioned I've had this before but that was in 2D projects. I'm trying to test a stereo conform workflow with just a single clip to see if the workflow is valid. So I have media organized left/right folders, blank stereo timeline. Timeline is setup at 23.976 footage is also 23.976. I can add one of the eyes without an EDL and SpeedGrade automatically adds the other eye - love it! However if I have a blank stereo timeline and open an edl then click load from desktop from the reels tab I get the above error.
The EDL was created from a 23.976 timeline from Premiere that had just the left eye on the sequence (both left/right TC matches). I'm trying to test a workflow where editor cuts 2D and I do final conform in SG.
Any advice would be fantastic!
Thanks
RobbieUnfortunately I stil have the same problem.
I have tried all the various frame rate settings in al combinations, stripping the audio from the timeline, & uninstall/reinstalling SpeedGrade.
Even with just one clip on the premiere timeline with no audio, i still get the error "Warning: The frame rate of some of the reels..."
Then on the SpeedGrade timeline the footage is not displayed, and in the monitor the error "Frame index out of range" is shown.
Any suggestions much appriciated. -
Every time I import an EDL with large speedups into FCP 7.01 (or 7.0) I get the error message:
"There were some problems during the import of the sequence. Markers have been placed in the sequence where the errors occurred."
The Edl line causing the problem is:
015 1 V C 05:15:43:23 05:15:44:20 00:00:25:08 00:00:26:05
M2 1 250.0 05:15:43:23
Take the second line out and everybody is happy.
FCP 6.06 However seems to bring these EDL's in perfectly which means we've had to leave one machine on 6 instead of upgrading both to 7. We're dealing with footage shot at 2000FPS so speedups of 1000% are not uncommon.
Has anyone else encountered this? Is it going to be fixed, and no, other formats are not an option.
These come from what can best be described as legacy systems that are not being changed. Ever.
Failing that is it possible to integrate the FCP 6.06 EDL parser back into FCP 7? I see an EDL Export directory in the FCP application package.
thanks.
GM2 1 250.0 05:15:43:23
The M2 part is a speed change command from a CMX 340/3600 EDL -if my memory still holds...
CMX 340/3600 is some thirty years old, from a time when speed changes were very unreliable. Ask your Lightworks editor if they can output a GVG Plus list instead. You might have better luck with that. The speed change will show up in the GVG list as a "Peg".
Back in the olden days of tape to tape editing, GVG Pegs were used as GPI triggers (basically an on/off switch) that could force a deck to roll at a certain speed or send a Run command to a DVE or character generator. -
Premeire CS6 to Speedgrade CS6 EDL import error
So I exported an EDL from premiere in an attempt to then import it and color grade my footage but I get this error and cant seem to resolve it because I don't know what it means.
I am currently updated on my software and find this error to be weird.
Help plzHuh ... that's a new one for me. Let's see if Dennis Weinmann or Fran Roig could jump in here ... but honestly, being able to avoid the EDL route was one of the real attractant parts of going CC for me. However, there are times I do need to use an EDL (though rare) and they're at times ... buggy. Though it's normally that Sg tells me the frame-rates between EDL & footage don't match when um ... the sequence was made in PrPro by just dropping the footage into a bare timeline area, so it was "made" specifically for that footage ... and the EDL was exported by PrPro direct from that sequence ...this happens occasionally, and is a bugger to get around. And the next time, three months later, it's flawless. I dunno ...
Neil -
Speedgrade - error importing EDL
-The EDL is exported at 24.00fps
-The footage timecode is 24.00fps
-Speedgrade's project and footage settings are both set to 24.00fps
So why is Speedgrade losing a frame? It still respects the duration so it adds a 100.5% stretch to make up for the "missing frame" that causes ghosting in my actual footage.
I've reported it as a bug, but am I wrong? Premiere also reimports the EDL and shows a footage duration of 10:28:00:05 - 10:28:08:14 so it's losing a frame there too.
EDIT
I retract that, it appears that it's an issue with how Premiere exports EDLs.
Let me explain:
EDLs use inside/outside cuts.
If I have a clip that goes from 18:03:36:04 to 18:03:47:20, the EDL displays it as 18:03:36:04 to 18:03:47:21 since the out cut is outside of the wanted frame; it's always plus +1.
Premiere, apparently freaks out over certain ranges. The offending EDL had a clip range of 10:28:00:05 to 10:28:08:15 and the EDL reflected 10:28:00:05 to 10:28:08:15... off one frame. Other programs think it's an outside cut and dump one frame making the end point 10:28:08:14.
I actually went into each media clip in Premiere, cleared the in and out points, and then recut the same in and outs and replaced the clips on the timeline. Problem solved, but it freaks me out that there was no concrete reason behind what happened. I wonder if it's related to using the trim tools.First,
Why on earth did you start a long project without testing on forehand if it will work?
And yes, FCP can import EDL's, but not for subtitles. There is no way you can get subtitles in an EDL, unless they are rendered bitmaps.
Next, the example you give has nothing to do with an EDL. It can be Spruce STL or subrip format.
In order to get them into FCP, you need to get them in a format FCP understands.
My subtitler program (that is NOT free btw..) can do so (if you can output to a slightly different text format, or contact me with an example of your file).
You'll then end up with XML to create decent titles with shadow and outline.
Check out http://www.videotoolshed.com/?page=products&pID=12
Bouke
Now since i'm the owner and creator of this software:
**I will receive some form of compensation, financial or otherwise, from my recommendation or link.** -
Maybe I just dont get it, but what is the use of sending my Premiere project via EDL to Speedgrade?
I get an error message open the EDL file in Speedgrade unless ALL effects and transitions are removed. I don't get how this is helpful... how can I do my color grading but then also have the effects and transitions I want? I am fairly new using Speedgrade (CS6), and love it, but when I can't color grade and make the edits I want, what good is it to me really? I am hoping there is an answer to this I am simply overlooking as a new user of the program...
I appreciate the response. I just wanted to be sure there wasn't an easy way around my problem that I was simply overlooking. I love Speedgrade and the power it has - it just seems like for it to be any good to me, I have double or even triple my work time on a video project.
For example - I am working on a simple 1 minute video, which includes an interview shot in front of a green screen. The footage is a little dark, but with SG I able to make it look amazing. So, if I am understanding correctly, my 2 options are:
1) edit the parts of the interview I want into my PP project, when I am done, send it to SG, then color grade it. Only problem with this is that I have many crossfades in the video, and when I use "Send to Speedgrade", any part of the timeline that is a crossfade becomes it's own "clip". Therefore if I grade clip A one way, and clip B another, the transitional AB section looks totally different.
2) Send the clips individually to SG before I ever begin editing them, color grade then export. Then bring those in PP and edit everything together. Only problem there is, lets say, the green screen interview I spoke of. This is a 5 minute interview, and exporting this at a lossless quality takes FOREVER. I started it this way, and once the est. time hit 12 hours and was still climbing, I cancelled it.
Maybe the computer I am attempting to do this on just isn't up for the challenge (it's a 2011 macbook pro), but I have always used it for Premiere and AE, without any problems.
Anyway, again, I really appreciate the advice - I am still trying to wrap my head around what exactly my options are with Speedgrade. Like I said, I absolutely love it - and I really want to be able to use it.
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