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Resolving conflicts in the EDL, a joyful operation
I’m blowing some dust off of a project I did last year. They weren’t too careful about time codes and such during the final round with VFX, so the EDL exporter in FCP told me there were some clips without a proper time code. Fair enough – I carried on. Added the source clips into the Media Pool.
Made my Master session and loaded an EDL. I instantly saw loads of clips with the letter C on it, telling me there’s a conflict.
A quick search in the manual told me to right-cllick the C to resolve the issue. And boy did I like what I saw. There was a list with the different possible clips to choose from. Going through the timeline now with about 15-20 conflicts – all done, all ok, super duper, ready to grade.
I kind of get a feeling that Color is like Internet Explorer and Resolve is more like Safari..
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6 Replies
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Man, sounds like something that could have saved me 3 hours last night! They say my CDs are floating on their way from Australia. I can’t wait!
I’m curious though, what parameters does it take into account when finding possible clips?
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Hi Ola
That’s fantastic feedback, for a person like me not being an editor but a colorist, this information is very encouraging,
to know that resolve can take of online-edit problems like the one you mentioned, and does it easily.Thanks again for sharing your findinds.
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The manual says such conflicts occur when there’s multiple clips share the same time code, or is lacking certain meta data so they seem similar.
You’ll get a thumbnail list of available clips that one clip is in conflict with, and you simply click the one you want. If you find you chose the wrong clip, you can right click the icon again and choose another one.
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Thank you for the tip!
twitter.com/illyalaney
Motion Design, Color, Editing
SWGC Incorporated -
One issue for me though:
Let’s say I’ve done my prep work and have already graded these clips (with the 15-20 conflicts – i assume because all of them have a timecode starting at 00:00:00:00). I then need to change my second shot for some reason.
That should be easy, I simply import the new dpx sequence (which again has a TC starting at 00:00:00:00). Go to Browse, click the “C” on that shot and select my new shot. It will now nicely replace my second shot. BUT, my color correction isn’t carried over. It’s quite easy to simply grab a still of my grade then apply it to the new shot. And that’s what I did…but all the tracking I’ve done will now be non-existent.
Just one thing to watch out for with conflicting clips.
🙂
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With the powerful tracking tools, I can’t see it’s that much of a problem though. The shots I’ve been tracking for now has been shots I usually would’ve created a ton of keyframes on in Color. The few times I keyframe things (called Dynamic in Resolve) is for changing things like luma or RGB settings over time.
Example, on a day for night shot of an explosion I did that.. But it was still less work than it would’ve been with Color.
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