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How to prep for transfer?
Hello everyone,
This is my first post and I’ll try to make it quick.
I am a freelance assistant editor and I usually work on Final Cut Pro, but I have been picking up Avid gigs. I work in commercials, mostly, and I need to know how to prep the various sequences for telecine transfer for final color correction and online.
I am a bit unfamiliar with the process with the Avid. We’re working on a Macintosh based Adrenaline system. The dailies were digitized from DVCAM and I have the original transfer .ale and flex files. The editor I work with wanted me to capture each take as a discreet clip so I logged and captured each individually (batch captured) rather than using the reel-length logs in the .ale files.
Can I just create an EDL and bring the flex files with me? Or do I need to use the Avid to create a pull list?
Any help would be appreciated, thanks.
—–Ryan
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8 Replies
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you can select the sequence then go to the hamburger menu at the bottom of that bin and click select media relatives. You can reverse that selection and delete the clips not used. It’ll be reasy to batch then. On longer format shows, you can set it up to just keep handles on the clips you used and delete everything else. Doesn’t sound like you’ll need to do that this time around.
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Thanks for the tip grinner, but I may not have given you all the information about my situation.
I need to generate a film pull list for a telecine session. We are going to re-transfer the footage from film and have new color-corrected master tapes (usually Dbeta) to use in the online session.
Thanks for any help
—–Ryan
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You should work that with the transfer house. They may be able to work with the EDL or the pull list – the pull list may be your best bet since it will include camera roll, keykode, timecode, tape name, and all other needed metadata as needed.
Michael
anything 24fps
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I usually give them a C-Mode CMX3600 EDL. As long as the punch for each roll is on the hour, the colorist should be able to deal with corresponding the TC to keycode. But of course you should talk to them before your session.
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That’s what I thought LJ, but I wanted to check to make sure. I will call the transfer house.
I appreciate all the help.
—–Ryan
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Unless the transfer facility wants to spend the time matching timecode to camera rolls (and charge you for it) a pull list with an EDL is the best way to go since all that work has been done and tracked by the editing system.
anything 24fps
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Here is an example of one of the outputs from Avid FilmScribe. In this example, it exports everything out as HTML with all events hyperlinked for the different list types and common events. This was for a documentary feature called Cinematographer Style that I post supervised. The SCAN list was the one we used in the final step for the DI process. FilmScribe also outputs plain printed lists as well as TAB delimited lists for machine to machine communication. For example, the Arri Laser software can take a TAB version of the SCAN list to drive the scan process. Similar processes are used at e-Film, etc.
https://www.24p.com/output.htm
Michael
anything 24fps
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Thanks for the info Michael, but that’s a bit more than I need for a 30 second commercial. It’s good to know what the system is capable of, though.
I talked to the transfer house and they told me that we just need a C-Mode CMX3600 EDL with ascending source timecode, basically what LJ said, but it was good to call and confirm.
Thanks to everyone.
—–Ryan
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