EDL: Wrong Source-OUT-points when SpeedChanges…

[Bob Flood]

soren

not to say i told you so but…… 🙂

you are correct in your assumption that the source out becomes meaningless in the presence of a M2 event, also known as a Motion Memory event.

Please, Give us some more specifics so we can better answer your question, for example:

waht kind of project are you working on? Film? Tape? File Based?

Are they taking your EDL in electronic form, like a file, or are they working off a printout on paper?

IF electronic form, are they using a conventional Linear or Tape To Tape edit suite, or a Non Linear editor like FCP or AVID or Autodesk or Quantel

Have you talked to anyone at the post house to answer these question?

I have been working with Linear and Non linear editors for a long time and i have found that most post houses have a certain “workflow” they are comfortable with, and I would think in this day and age any post house has dealt with projects and EDL’s from Final Cut. If you talk to them, tell them your concerns, ask them about any issues to watch for, it will go a long way towards nmaking your project go smoothly AND making you look good!

hope this helps!

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Sean Bale]

Thx!

So, does the source-codes becoming meaningless as in useless or not-needed?

The post-house takes the EDL in electronic form. They have an AUTODESK setup, using one machine (FLAME i think) for on-lining and LUSTRE for COLOR-grade.

The workflow as I understand it; getting my EDL they will re-scan the 35mm raw-material, online in flame, and grade with the DP in lustre next week…

I have talked to them several times, but the koordinator I am in contact with seem a bit unsure. She said I should just give her a list of the clips concerned. The problem is; I have maybe 5 clips of 100 that is NOT SPEED-CHANGED. Maybe that list for her in hand would take ages, and the original EDL is pretty much useless…

Honestly I dont know what they want or how they want – I just hope they wont blame me if the onlining messes up 🙁

[Jeremy Garchow]

I would take those 5 or so clips and put them in their own separate EDL for now, in their entirety. No speed changes. That way, the online house will have all the frames they need to work with. Make sense?

Jeremy

[Bob Flood]

Soren

So, does the source-codes becoming meaningless as in useless or not-needed?

Only the source outpoint the source inpoint is valid.

The post-house takes the EDL in electronic form. They have an AUTODESK setup, using one machine (FLAME i think) for on-lining and LUSTRE for COLOR-grade.

The workflow as I understand it; getting my EDL they will re-scan the 35mm raw-material, online in flame, and grade with the DP in lustre next week…

OK! I am actually not familiar with how that system handles motion speed effects BUT based on prior experience with similar workflows, here is what i would do just to cover myself:

Go through your FCP timeline, and copy the shots with speed effects to the end of the sequence, then remove the speed effects on the copys using remove attributes (leave the originals edits alone). Now you have the real source ins and outs for those shots in your sequence, only listed at the end.

Write a note to the post house giving the event numbers of where those M2 events are in the final EDL (the ones that show up in the EDL as M2) and taht when scanning the film they should ignore those edits, and scan the stuff at the end instead and send that note along with your EDL.

I would think that they know about M2 events, and how the source out is gonna be wrong (especially on reverse motion) but this way you have listed the exact shots BEFORE speed effects so there is no doubt.

hope this helps

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Jeremy

yes! i only wish i could have said it that concisely! 🙂

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Mark Raudonis]

Soren,

From your questions it sounds like you’ve never been through this process before.

Let me cut to the chase: Translating your “speed changes” to the online process is going to be
more of a manual process than an automatic one. Unless you’ve done extensive testing to
confirm what translates accurately and what doesn’t, you can count on chaos in on-line IF you assume it’s going to go automatically. It won’t.

If you’ve done any “speed ramping” you’re totally F*ckd!

What everyone seems to be telling you is that the “in point” will be accurate… the out point is NOT.

If the on-line editor knows what they’re doing, they can calculate the “slow down %” by using a “fit to fill” on the duration.

There’s no substitute for testing your workflow BEFORE you need it! This is why so many people have
taken to FINISHING on FCP and NOT trying to go out of the box for an on-line. With so many tools now available (color, After Effects, motion, etc), there’s less to be gained by going to the classic “on-line finish” other than a hefty invoice for services rendered.

Mark