EDL Problems

Hello,
I'm having problems trying to import an EDL that was exported from an AVID system. (EDL CMX 340) into FCP HD. I have encountered several problems with this:
1) After importing the EDL into FCP, the new sequence that was created appeared to be missing several key sections of both audio and video that had been present in the avid version of the sequence. I orginally assumed that this was due to an error on the part of the person sending me the file,that she was exporting an EDL from the wrong sequence on her AVID, but after several trials, it appears that she is sending me an EDL from the right sequence. Is it possible for FCP to be interpretting the EDL incorrectly?
2) I have since tried re-importing the EDL into FCP and now receive an error message saying that this is a badly formatted EDL.
She is sending me a CMX 340 file which according to the FCP help manual, is supported by FCP.
Anybody else have any problems like this?

Also, EDLs only carry ONE video track. The Avid editor needs to collapse their tracks down to one, or give you multiple EDLs. And, there are only 2 (maybe 4) tracks of audio. Any more must be contained in the comments in the EDL. I don't know if FCP recognizes that. If there are more than 2 (or maybe 4) audio tracks, the best bet is to generate multiple EDLs. Finally, no graphic files or titling come across in the edl (well, except as a cut to AUX), so those must be brought across manually.
This is no different than if the Avid editor had to generate EDLs for an online session and not some weird variance for FCP.
Patrick

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FCP 7.01 EDL problems

i'm having problems with the video edls exported from fcp 7.0.1
the lists have the wrong timecode for shots dissolving up from a color solid
the on screen timecode readout for the shots in the sequence is correct
but the edl is referencing some random number 5 or 10 SECONDS away from the actual timecode
this doesn't happen anywhere else in the timeline, the edls are otherwise fine
anybody else have this problem?
is it solvable?
or do i have revert to paper lists?
help!

If the color solid appears to be the problem how about removing that solid before you create your EDL?

Send to Speedgrade and Export EDL problems

So I'm working on a small series. I've got a final cut on Premiere Pro, and having already tested out Speedgrade I would like to use that for my final color correction and export. However I'm running into problems I'd never run into before. First the "Send to Speedgrade" option. When I use Send to Speedgrade, having my sequence selected, for some reason it is only exporting the audio and not the video. Once Speedgrade opens all I have is the .wav in the timeline from my sequence, but nothing else, all on one track. I've tried making sure my video was all on one track in Premiere Pro, and exported the audio and re-imported to put that on a single track in Premiere Pro as well, but still no joy. Seems strange cause I've never had this issue.
So I tried the export as EDL function, which never seems to work cause certain "edits" are not supported (even though it's just simple cuts.) In another forum I found out the issue can also be with the audio, so I tried to cut the audio from my sequence in Premiere Pro, export as EDL, and then open up that within Speedgrade, and importing the aformentioned audio track separately on the speedgrade timeline. This lets me open the EDL no problem (no red error message) and then reconnect the reels using my desktop, but my issue then becomes the audio. I can bring the audio in fine, but I didn't count on the fact that when I rebuild the reels it uses the audio from the original files as well. (obviously I can mute the track, as I just realized that simple fix while writing this issue up, but I still feel like I might be doing something wrong - because when I try to consolidate all the audio/video onto two separate tracks in Premiere Pro, it'll let me open the EDL I export into speedgrade, but the audio is still not showing up unless I import that separately.)
Anyway this is just weird as I never ran into these problems before. They might be first version issues that have been resolved, but I refuse to update speedgrade because everytime I do it crashes on startup, and no one has helped me with that previous issue, and despite my best efforts at resolving it using the forums I haven't had any luck.

Regarding the problem when you "Send to Speedgrade" and only the audio shows up, I just worked through the same problem (Premiere Pro CC 7.01)
You need to make sure the "work area bar" is selected around your timeline that you want to send to Speedgrade. If it has disappeared mysteriously (as it did for me), simply double-click where it usually shows up and it will reappear, with in and out points set to the extents of your timeline. Then send to Speedgrade and the video is sent along with the audio. Seems like a bug, or at least something that can be better documented. Though I suspect this workflow has changed in 7.1 ...
Cheers
Andrew Kornylak
fourmilemeda.com

Import EDL problem

Hi,
If anyone can help me understand why this edl reads wrong?
(the problem is that when the EDL is loaded it will read wrong the out timecode)
TITLE: TEST
FCM: NON-DROP FRAME
001 STL V C 00:01:00:01 00:01:01:03 10:01:59:15 10:02:00:17
* FROM CLIP NAME: CS01Q0074S0037_01001.JPG
* FROM CLIP IS A STILL
thanks a lot!
G5
G5
G5

I'm unsure of your question, Yoel. It would appear hat the source in this EDL has a 1 second and two frame duration, as does the record. Is this an FCP generated EDL? Where are you finding a problem?
Patrick

EDl Problems again, exporting video layer

hey peeps,
once agian im having trouble with my edl. for some reason the edl for all the video on my second layer of video reads like this:
000 03:06:25:21 03:06:25:21 01:00:05:04 01:00:05:04
with the in point reading the same as the out point any ideas how this happend / why this / how to stop it. as i was very embaressed at the online edit today!!!!
g4

EDLs only carry ONE video track. You need to collapse their tracks down to one, or give you multiple EDLs. And, there are only 2 (maybe 4) tracks of audio. Any more must be contained in the comments in the EDL. I don't know if FCP supports that. If there are more than 2 (or maybe 4) audio tracks, the best bet is to generate multiple EDLs. Finally, no graphic files or titling come across in the edl (well, except as a cut to AUX), so those must be brought along manually.
This is no different than if an Avid editor had to generate EDLs for an online session and not some weird variance for FCP.
Patrick

EDL Problems with reel name

I just finish a 88 minutes documentary and need the edl of my final movie for the online. It seems I gave too long names to the reels from the begining (Ero Cam1 Tape65). I have more than 100 reels! What should I do? Should I consolidate the project (only the final movie) and then change the reel names nad then export the EDL? The online in next monday and I want to do a test here in my computer before going there.
Any suggestions?
Thanks in advance.
Jorge

I'd change them all manually myself. In the main project. Ensure you got them all. Editing is a time consuming process.
Remember to stick to the 6 character limit. So, for example, the tape you listed can be EC1065. When you change the tape name in FCP, mark the tape with the same name. I typically use paper tape on the spine of the case....EC1 on top and 065 right below it.
Shane

Premiere CC's XML and EDL files not being interpreted correctly by Redcine-X - clip duration problem

I'm having a recurring problem when sending a finished sequence to Redcine-X for final color correction.
Redcine-X doesn't read the in and out points on seemingly random clips in a timeline, making the problem clips overlap onto the surrounding clips on the same timeline track. So halfway through the video, one of the clips will just keep playing all the way to the end, and all the other clips that should be playing stay invisible in the viewer. Has anyone else had this problem? Any ideas on how to fix it?
The reason I'm posting here rather than on Redcine-X's support is because the problem seems to be coming from the way Premiere generates the XML. FCP's XMLs are interpreted correctly.
I've tried removing all effects and speed changes before exporting XMLs from Premiere. I've restarted, trashed prefs and cleared cache in Premiere. I've tried on two different computers. I've also tried exporting EDLs and the same problem happens.
My Premiere sequence is using proxy ProRes files, created from R3D files that RCX relinks upon import.
System/Software info:
Premiere CC is up to date
Running the newest Redcine-X build 22.2.31684
Macbook Pro Retina running OS 10.8.4 with NVIDIA GeForce GT650M 1024mb, CUDA is updated, 16 GB RAM
Mac Pro running 10.8.5 with ATI Radeon HD 5870 1024 MB, 4 GB RAM
As a side note: Premiere CC has been extremely disappointing so far. I'm having so many issues and crashes, so many advertised features seem to be buggy or not work at all, and Adobe makes it so hard find or get support. None of the threads on this community board have been helpful so instead of going through this arduous process I just fall back to using FCP7. I hope it gets better.
Thanks for any help.

Hey Sam... just wondering if you ever figured this problem out. I have the exact same problem, albeit with FCPX XML's. It's driving me bonkers and nobody seems to know. Any insight would be truly appreciated. Thanks.

EDL framerate problem.

Hi, I'm working on some R3D material, and I have a problem with EDL export Premiere Pro ot Speedgrade.
I export the sequence to EDL, load that EDL into speedgrade, and load the clip from desktop. The problem is that I get a red warning box,
telling me that there's a problem between the sequence framerate and the clip framerate.
In Premiere Pro, the clip and the sequence are both 25fps. I export the EDL as it is. Load into speedgrade and it gets read as a 24fps timeline....

Hey mafetapaz,
please stop by the EDL Conform section in our Online Help:
http://helpx.adobe.com/speedgrade/using/conform-edls.html
You can force the load the EDL with a specific Framerate.
go to> Settings > Editing > ED edit/Footage framerate >> 'Footage has the FPS specified below....'
let me know if that works.
cheers,
Duy-Anh

Problema con Font (no se visualiza en PDF)

Quisiera hacerles una consulta.
Estoy trabajando con la generacion de un report en Oracle Reports, en formato PDF, en Windows 2000. El problema es que uso un font de codigo de barras, que intstale en Windows. Dicho font lo puedo visualizar bien en la aplicacion de Oracle, y demas aplicaciones de Windows (word, excel, etc.).
Cuando genero el PDF, no me muestra el font, sino otro.
Cuando voy a File -> Document Properties -> Font, me aparece la siguiente lista:
Original Font Type Encoding Actual Font Type
helvetica,Bold Type 1 Windows Adobe Sans MM Type 1
helvetica Type 1 Windows Adobe Sans MM Type 1
Idautomationshi25m Type 1 Windows Adobe Sans MM Type 1
Estoy utilizando Acrobat Reader 5.0
Agradecere vuestra ayuda, o cualquier sugerencia al respecto.

Lo de crear o no un subjuego de fuentes no es el problema, sirve para reducir el tamaño del archivo y para hacer que la fuente en el pdf aparezca como 'unica al imprimir y no se reemplace.
La raz'on de que no visualice la fuente efectivament es que no las est'a incrustando, con las fuentes Adobe Sans/Serif " camaleonicas" que usa Acrobat para simular las fuentes no incrustadas, puede simular a la Helvetica pero no a la otra referenciada: dautomationshi25m.
Para ello es fundamental, como indica Claudio, que en la aplicaci'on de origen se incrusten las fuentes al generar el PDF, aunque me temo que las rutinas internas usadas en esa clase de aplicaciones no lo facilitan o permiten.
Cuando vas a Propiedades de documento, en Descripci'on indica si se ha generado con Distiller (seguramente no) o con otra herramienta?
Algun men'u permite personalizar o ajustar las opciones de generaci'on edl pdf?

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.

Shared Project Workflow Problem: Hitting a Wall with Markers

Hi there,
Apologies in advance for the long note. We're using Adobe CC to edit and finish commercials and are having a significant issue regarding shared project workflow. First, some context:
We often edit projects remotely. When this happens, assistants and other editors who remain in LA will have access to the media on our SAN while the editor and assistant traveling out of town will have their own copy of the media. I know Adobe Anywhere would solve any issue relating to two identical sets of media in use in different cities, but we're a small shop and the hardware and software expense don't make sense for us at this time. Please do not respond to anything mentioned from here on by stating we should just get Adobe Anywhere. Thanks.
What will regularly happen is that the remote editor and assistant will need work done on the project here in LA while they're in session with the clients. Sometimes this work involves marking up clips with comment markers so the editor can more easily locate a specific moment. Here's where the problem arises.
Unlike FCP and Avid, Premiere handles markers within the clip's metadata. So, if I have two separate projects linking to separate but identical instances of media, one of those media instances gets updated with new markers, there is currently no way to get those markers to the other project without also shuttling the new marked-up media. This is not possible when a remote editor needs dailies marked up in a couple hours and is working across the country or abroad.
But let's assume for the sake of argument that it is possible and we apply this workflow. Let's also assume that in the time it takes the local assistant to mark up the clips for the remote editor, the editor has added a couple markers of his own, which is reasonable and happens all the time. Now when the editor links to the newly marked up clips he's received via shipment, he'll wipe out all the markers he's made on his own since giving the order to mark up the footage. That is a significant inconvenience, especially with clients in the room asking stuff like "can we look at the take where the guy says 'good' instead of 'great'?"
So what happens if we just have repeating sets of media, so that every time the clips markers get updated, the editor actually imports those clips, even though the picture and audio data in those clips is completely redundant to what's already in the project. The issues with this are, as I can see it, 1) increasing the amount complexity within the project so that you'd have to scan many bins of dailies to look for a single marker, 2) increasing by orders of magnitude the amount of storage space needed, 3) even if problems 1 and 2 are handled, if you have to go to finish with multiple versions of a cut, and those versions reference separate instances of the same clip from different bins, Premiere's dupe frame detection will not work and you'll need to spend a lot of extra time locating duplicate clips manually before sending your EDL or XML off to final color grading.
At this point, I think it's necessary to interject something: we're talking about markers here. Why is this such a problem? FCP and Avid have no such issues simply by making markers - even clip markers - part of the project metadata. From what I understand, Adobe has chosen to do things differently because of dynamic link, so that After Effects and Prelude, for example, could add markers to a clip and those markers would ripple across all instances of that clip in the different applications. It's a great feature which we take advantage of here from time to time.
So what's the solution?
My workaround in CS6, which does not solve the issue of needing to merge clip markers so that an editor's markers and an assistant's markers can be applied to a single piece of media, was to turn off "write XMP ID to Files on Import." This would generate an XMP sidecar file which could be easily passed along with a project file to the remote editor, who could then overwrite his local XMP sidecars with the new ones containing the new marker info.
However, in Premiere CC that is no longer possible. It appears that if Premiere CC can access the XMP ID on a file, it will not generate a sidecar regardless of what you have set in your media preferences. We use ProRes Proxy as our dailies format (again, please no comments on this, it is not up for debate at this time) and Premiere can get to the XMP ID within the files and will not, no matter what it seems, generate an XMP sidecar.
We could change the company workflow to use DNxHD 36 instead of ProRes Proxy, which would give us XMP sidecars, but that would not solve the issue of needing to merge marker lists between projects non-destructively.
The best solution I can think of would be to have a script or some kind or built-in feature which would allow for the batch export, import and merging of marker lists. This way Adobe could keep its current clip-metadata-based marker workflow while giving professional users needing more flexible marker behavior the ability to have assistants non-destructively modify clip markers without necessitating the creation of extra media or project complexity.
I would really love some input on this and ideas from the pro community out there who has experience with shared project workflows - especially projects being shared remotely. There's not a lot of info out there about this and it would be great to hear what others are doing.
Thanks a million for sticking with this, if you've made it this far.
Best,
Jon

Thanks Jim,
I understand that Adobe Anywhere solves this, but there should be this fairly basic functionality (which exists in Avid and FCP) in a non-enterprise edition of the software. I have submitted a couple different feature requests about this, going back to CS5, so hopefully enough people make similar requests for a fix to be implemented. Adobe Anywhere is really not a solution for our small shop as currently configured/priced, especially when we can have editors working remotely with very affordable USB 3 drives. The only hangup is the markers, which just isn't worth a 5 figure fix. As such it's hard to consider the problem solved for either us or any small shop or post crew.
Best,
Jon

Serious problem requiring URGENT assistance please!

I've been editing a short film shot on RED in 4k using Premiere Pro CS5 but have encountered an error with the following message when I last tried opening the project:
Premiere Pro has encountered an error
[..\..\Src\Clip\Masterclip.cpp-2802]
There's a button to continue after which, Premiere runs into a serious error and has to close. This happens everytime I open the project and literally started out of the blue it seems! I can "recover" the project and continue work on the edit by creating a new premiere project and importing the old one into the new one but the problem then persists after saving and closing the project and re-opening on my next session!
The other major problem that this is causing is that I cannot export .AAF or .OMF files out to my sound designers - the export will begin but then the progress bar will "hang" and not go any further. I previously exported an .AAF and .OMF for this project as a test to make sure it will all work and it was fine, but since getting the above error and having to create fresh projects out of old projects I cannot get these files out to complete the film! This problem also extends to things using dynamic link it would seem - for example, if I try to export the timeline using AME, the progress bar will get stuck at "connecting to dynamic link" though curiously if I do a direct export through Premiere I have no problems and can export an encoded video. Also, it seems I can still export edl's and FCP xml successfully, though after successfully importing an xml back into a new premiere project, the error struck again soon after when I tried to select the entire timeline and copy it to the clipboard to paste it into a new sequence!
I thought it might be an idea to delete all the temp files in the media cache folder buried deep within my c:drive, thinking that may be causing the error, but to no avail as I still get the error issue.
I'm getting very worried about the integrity of my project and all my hard work being ground to a halt or worse still totally corrupted so I would appreciate any assistance from someone who may have a solution to this problem! This has been a real pain as the edit has been going swimmingly up until now and we're fast approaching a deadline we were trying to make for submission to some film festivals, so I desperately need to get this to work so I can export the omf and aaf at the very least to my sound guys!
Thank you all in advance,
Kaushik

Ok, so I seem to have pinpointed the problem a little further... here are my findings so far:
So, the project I am running has multiple sequences. I've been using different sequences for different progressions of the cut, so if I made a major revision to a cut, I would duplicate the sequence, rename the copy and continue work within this new sequence to cut further.
I just did a test trying to export an OMF from a sequence iteration previous to the most current one that I'm working within and the export works just fine! In fact, I then proceeded to trying the export from all other previous sequences (I four or five in the project in total) and they all work fine when trying to export etc - it's just the most up-to-date cut that is bugging and I can't figure out for the life of me why this is the case!!!
The last test I tried was trying to copy and paste the contents of the troublesome sequence into a newly created sequence (I did so by first duplicating and then with that failing, creating a completely fresh sequence instead) but I must be copying over the error/bug as that new sequence suffers the same export issues as I have already detailed in my original post.
If anyone can help me with this issue that would be wonderful as it's getting quite frustrating being such a weird little bug that is setting our schedule back!
Thanks again in advance,
Kaush

XML/EDL/AAF Issues out of Premiere Pro CS6

My project (Converted GH2 footage) refuses to export an XML/EDL/AAF. Something has got corrupted or screwed up somewhere.
I tested an XML with a new project, with some of the same media files and it exported XML fine. I tried it with Blackmagic Footage, which was also fine.
Since working on the project I have had to copy the media files and rename the drives which is probably partly the problem. Whe looking in the properties of the media the file path was from the old drive, despite the media still being online. I went into project manager and 'Collected the files and copied to a new location'. So essentially I had a new project, timeline and everything is surely how it should be.
But I still can't export an XML or EDL.
Also to note that the project is also built in premiere from an XML sent from a colleague (also working from Premiere).
When I try to open the XML in Resolve it just crashes, but I can open the XML back in Premiere fine.
Any ideas how I can solve the problem?

Okay, after trying both steps in the document above, the missing codecs/preview presets still aren't available when I go to File>New>Sequence. I guess that's the only way to check if they have installed correctly/activated correctly right? It says it's correctly activated though so not sure why it's doing this.
Are these presets also missing in the trial verison of the software?

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,
Seth

EdanCo 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!

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.

EDL Problems

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