EDL in feet and frames

[Bryce Whiteside]

I don’t understand your workflow.

Did you get a FLEX file from your transfer house?

I guess you could rebuild (yawn) it in Cinema Tools.

I guess you could always do it by hand Math for Movies

FLEx — Film Log EDL Exchange Protocol — information can be found here.

Malfunction. Need input…
Number 5

Don’t worry Mr. B. I have a cunning plan…

PowerBook 1.67 Ghz ATI 9700 128 MB 2 GB
Mac OS X 10.4.5 QuickTime Pro 7.0.4
Final Cut Pro HD
DVD Studio Pro 3
Motion
After Effects 6.5

[Paul Kondo]

That Math for Movies link is unbelievable. Thanks.

I knew this wasn’t going to be easy but this is what has happened. I was possibly trying to figure out if I could create a dummy flex file to import into Cinema Tools and then use that. (see below). Or, do it by hand which seems to be the option I have to take.

I got a digibeta copies of 5 reels of a film. (They were 1-lite transfers.) The post house did not supply me with a flex file (nor will they). I captured the footage and cut a trailer from it at 29.97. I have to supply the post house with an edl and pull list in feet and frames so they can go back and pull the clips from the color corrected masters and assemble the trailer.

PK

[Steven Gonzales]

You could put your source clips in their own bin. Then export final cut pro batch list. Create a new database in Cinema Tools. Import that Final Cut Pro Batch List into Cinema Tools. Then link your source quicktimes from their hard disc locations to your Cinema Tools data records within Cinema Tools.

Then back in Final Cut Pro you can got to File – Export – Cinema Tools Film Lists, and you can get a listing with feet and frames.

All of this is a little odd if you don’t have the original film’s edge codes (also called keycodes). But you can get timecodes and feet and frame lengths this way, and maybe that will help if someone has a timecode to keycode translation list.

EDL’s are not in feet and frames because they’re a video thing (so they’re in timecode). Film pull lists and cut lists are in feet and frames, because they relate to film, but they don’t relate very much if you don’t have the keycodes.

[Paul Kondo]

Steven,

Thanks. I know this all sounds odd.

The post house is not going back to film/keycodes. They have already created color corrected masters of the locked picture. They supplied me with a 29.97 output of those masters (which I assume are 24 frames). I need to provide them a cut list in feet frames because they are going to pull the clips I used in my sequence from their masters (with handles). After they pull all the clips, someone will assemble the sequence and eyeball it with a 29.97 offline copy of my sequence.

PK

[Steven Gonzales]

Cinema Tools also has a feature called Export-converted EDL. This can take your 30 (actually 29.97) EDL from the Final Cut sequence, and convert it to a 24 fps EDL to match an HD master.

This might be a helpful thing to get them close before “eyeballing”, assuming there’s some relationship between your Timecodes and the Master’s Timecodes.

[Paul Kondo]

This sounds exactly what I needed. My timecodes are the same as the Master timecodes (at least they should be). I’m halfway through the steps you outlined previously and will complete that later. And then I’ll look for the Export converted EDL option.

Thanks again for the help. I may sleep tonight!

PK