Premiere Pro dpx based project, EDL export failure

[Mads Nybo jørgensen]

Hey Ismael,

Not sure that the edl would ever be able to contain the individual frames of your DPX sequence(S) as it would be massive, although that might not be what you are asking.
For it to work, it comes down to how your DPX image sequences was named on import, and what time-code they adopted. Once you have that in time-line, the grade should in theory be able to import same (it is potentially a lot more complex than that).

It would be helpful to know what kit is used for the grade, as there are a number of ways of using XML instead of edl.

More importantly, is there a reason for handing the original DPX files to the Grader?
Or would they be happy with a High-Quality ProRes or similar file format?
If you are staying digital, and uncompressed, then that might be the quickest and most cost-effective solution.
You could always re-import file to PPro, do a Scene Edit Detection command, and export that as an edl, along side the Digital Master file.

Best advice, although not pure, is to keep it simple.

Please do share if you find another way of doing it.

Atb
Mads

[Ismael De diego]

Hi Mads,

Thanks for taking time to look into this.

I checked the original DPX file’s Metadata, and they are blank under Tape Name. I guess it wasn’t added during the scan, as a result that information is not available to conform the EDL properly.

No embedded Tape Name on the DPX file’s Metadata is an issue I wasn’t aware of, thanks for pointing that out!

I was trying to import the individual DPX frames as a work around to that problem. I’m new to this DPX workflow, now I think it was a mistake.

I’m working on a short piece made in 16mm film, that was scanned in a 4k DPX format. Our intention is to print back to film, so we need to circle back to the original DPX files for grading and printing.

The grade will be done in DaVinci Resolve at the film laboratories so I’m not sure how much room we have in the conform for an XML or similar options.

I think this could be solve by naming the original DPX file’s “Tape Name” Metadata. Do you know a way to do this? This really looks to be the issue for the EDL conform.

Again, thanks so much for answering my post!

Best


Ismael

[Mads Nybo jørgensen]

Hey Ismael,

No problem, I feel for you, and it’s a tough one.
I have in the past worked on features, mainly shot HD-CAM (8-bit), some partly shot on DV-Cam. I auto-conformed and did some invisible vfx to before mastering to HD-CAM master for the grade, before ending up on 35mm for cinema. One of those films got nominated for an Academy Award + an American re-make.
Just suggesting that not using the original DPX does not necessarily mean the end of the world.

And, there are only soo many places left where there is an actual film projector and projectionist that can show it for you (should add that I started out as a projectionist, and totally loved my time with 35mm reels and rolls). But you may consider the need for a digital version, and what is most important for you?

Also, I got to ask whether you have any graphics, vfx and/or transitions in your edit?
In which case, you may be back to using a separate file format for export.

I see three possible options for you in addition to try the renaming the originals (WARNING: DO NOT RENAME ANYTHING WITHOUT BACKUP COPIES OF BOTH FOOTAGE AND PROJECT – sorry for shouting):

1) Export Final Cut Pro XML via PPro file menu, and find out whether the DaVinci at the film-lab will import it and place source footage in the right place. If you need help to convert it via CC to X, I’m happy to do that for you. Please, Please, also export an MP4 or ProRes in the right frame-rate so you can do a full split-check at the film facility between that and the master.

2) Get pen and paper out, or a Google/Excel spread-sheet, and start manually finding the first DPX frame in each clip, and the clip point. You may need to download Resolve and do the job of lining up all the clips yourself. Not sure whether you’ll have to buy the Studio version, but you’ll soon find out. Do consult your facility about this before spending a lot of time on it – depending on the amount of cuts, it could easily cost upwards of 2 days alone, even with your manual edl.

3) Find the highest resolution time-line in PPro, pop your edit into that, and hit export to DPX…
😱😱😱
I know, feel free to scream, but you are not going to have the greatest ever short-film if only no-one get to see it. And, as soon as the grade gets going, you are no longer shooting out the original frames to film, as they will have been manipulated. In which case you have to weigh up what is most important.

Hope this helps.

Atb
Mads