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How can I do this workflow?
One of my clients does a regular series which goes to radio as well as TV and has a time/effort saving workflow to do it, using Avid, which is this:
4 people in a studio (presenter and 3 contributors) covered by 3 cameras and individual mics.
A switched camera feed, 2 isolated cameras and a mixed sound feed are digitised live (individual mics also recorded separately).
After the studio recording the audio is exported as WAVs (with timecode) and the bulk of the programme is rough cut for radio on a Sadie. [At this time, the TV links are being shot single camera]
Overnight an EDL is taken from the Sadie radio cut and made into a sequence and relinked to the switched camera pictures in the Avid.
The editor comes in in the morning after the studio day and has a working rough assembly already in front of him/her ready to do a fine cut of that and build the intro and closing (SM does the fine cut for radio at the same time). Net result, a half hour programme in both a radio version and a TV version in 2 working days.
Now, I’ve been asked if I can do the same thing with FCP and I’m a bit stuck on a couple of points; exporting WAVs with timecode and making a sequence from an EDL which links to the right media. Now, I’m not going to muscle in on the current job that’s being done this way (I’ve told my client not to mess with a system that works), but there may be the opportunity to do more jobs in a similar way with the same client in the future, so I’m keen to know if anyone knows how to do those things.
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8 Replies
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FCP has EDL import, and in order to reconnect to the proper clips, the names of the clips must match the names in the EDL. The EDL will import as a sequence.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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I’m guessing that the EDL from Sadie will have audio tracks only, so I’d have to modify that to Video + Audio before importing into FCP (or make a duplicate for the video and match them together in FCP). Which doesn’t seem too bad.
Any thoughts about exporting WAVs with timecode?
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Maybe I’m missing something, but why does the audio cut have to be done first? Couldn’t you simply do a multicam cut and then export the audio for radio?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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If you have problems with the files transcode them to aiff files.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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It’s because the producer can do it himself, therefore saving money by only employing an editor and a sound editor for one day (the digitising is done by the studio engineer). Basically, by having a rough assembly of the bulk of the show already done the fine cut and packaging can be done easily in a day. The radio version has a different running time to the TV version, no commercial break and things like people’s details (what their job is, etc) are done as supers on TV but have to be spoken on the radio so if the editor exported a finished programme there would still be a pile of work for the radio guy to do (and the radio TX is first).
The reason I’m thinking about this is not to do the same thing as that, but we have a stack of interviews shot on location (some single camera but mostly 2 camera) and what the producer wants to do is go through them and pull out sections for the edit, therefore give me a 10 – 15 minute assembly to cut into a 4 minute item, therefore saving me from spending my time going through an hour or more of interview to find the appropriate sections.
It occurs to me that getting timecoded audio clips out of the FCP into Sadie can be done by omfi rather than WAV… doh!
I don’t know if this’ll ever happen, but if it does I’ll be glad to have thought it through first. Thanks guys for your help.
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Exporting BWF can be done with QTchange:
https://www.videotoolshed.com/product/42/qtchange(input a folder with QT’s with timecode, it can batch export to BWF)
Now i don’t know about the EDL, but an EDL is a simple text file.
You should be able to alter it with a word processor.Try to get your hands on one and show it to us. (at least to me 🙂
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Oh, i forgot…
This might come in handy as well:https://www.videotoolshed.com/product/41/fcpreconnect
(at least get the free demo, there is a lot of info on how FCP reconnects, this knowledge will save your butt someday.)
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Thanks for the info, those look really helpful.
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