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EDL from Premiere CS4 to Final Cut
Hi, I’m having trouble importing edl-files from Premiere CS4 to Final Cut. For some reason Premiere names the clips after the reel-name, instead of the clip itself. So basically the edl imports to FCP without trouble, and all the edit points etc are correct, but every clip has the same name, thus making it very time-consuming to reconnect the clips, which really defeats the purpose of using edl’s. Is there a way to edit Premiere’s edl-preferences more in-depth than the export window?
Or if there’s a better way to export a project from Premiere to Final Cut?
The weird thing is that the name of the clip is in the file, under the timecodes.
Heres what the edl looks like:
TITLE: edl_test
FCM: NON-DROP FRAME001 mika V C 03:29:12:14 03:30:19:09 00:00:00:00 00:01:06:24
* FROM CLIP NAME: 0005XP.mov002 mika V C 03:30:49:05 03:34:32:12 00:01:06:24 00:04:50:00
* FROM CLIP NAME: 0007VH.mov003 mika V C 00:00:00:00 00:00:11:20 00:04:50:00 00:05:01:20
* FROM CLIP NAME: 0001U2.movFCM: DROP FRAME
PS. I posted this on the Premiere forum as well, but haven’t received any answers yet. Thanks in advance for any assistance.
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7 Replies
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Hi Mika,
Try exporting an XML from Premier.
Should works better than an EDL.
rafael -
Does the XML export become available by updating Premiere or is it a plugin? The one we have is freshly installed, and doesn’t have the option to export XML’s, just the EDL.
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No XML project export from Premiere unless it is coming with the 4.1 update, which is due later this month. You can export AAF, which could then be imported into FCP with Automatic Duck.
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Thanks for the advice. I’ll try the AAF-export. Let’s hope Adobe adds the XML export function in the near-future.
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Edl’s are from the days of linear editing where the reel name (actually reel number) is the unique identifier, timecode being the address of the shot being requested, duration being the length of time the shot is used. Primarily driven by master sort as opposed to source sort. In the linear situation the tape machines would be loaded with whatever source reels were about to be laid into the master, a blacked and coded piece of tape upon which the footage is inserted.
when this format is used to exchange data between systems it becomes essential to digitize material with correct reel numbers, and generally a system standardized for this purpose. ie cam1 reel 1 might be tape 101, cam2 reel 1 might be 102, cam 3 reel 1 might be 103 and so on in a multi camera shoot. the numbers assigned to the tapes should be marked on the tape. console tape and a sharpie work well for this. clip name is considered a comment.
EDL’s are still used commonly today. video layer 1 is the only layer that will translate properly, anything on layer 2 is considered a “Key” like text or a bug. Linear editors could not multilayer in time, to get multiple layers multiple passes and possibly multiple submasters would be generated, particularly if changes were anticipated. if the linear suite had multiple motion effect boxes, layers could be built in fewer passes through the use of a switcher and GPIs and in some cases the editors hand on a dissolve paddle. Once it was recorded it would be reviewed and accepted or redone.Non linear editing changed that scenario HOWEVER reel numbers and timecode rule in EDLs. that hasn’t and isn’t likely to change.
Premiere is parsing the EDL properly and passing that data on but the person who digitized the footage didn’t preserve the unique identifier, the Reel NumberDoug Beal
Editor / Engineer
Rock Creative Images
Nashville TN -
Thanks for your indepth advice. I’m quite new to professional editing and had only Wikipedia-knowledge about the EDL’s. Your response clarified a lot of issues for me.
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