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struggling to share EDL’s accross the Atlantic
We are a small boutique video finish shop in Cape Town, South Africa. We finished a 90min feature length doccie a few weeks ago, shot on HDV, mastered in Prores HQ. It was a rushed online to get the film ready for the Toronto Film Fest. Now, with the deadline passed, the director who’s in NY is making changes to final film for the next film festival.
We are having problems sharing EDL’s between the director in NY, his editor in London and the us in Cape Town.
The director and his editor are complaining that the sound is out of synch when they view each other’s EDL’s. Also the director now says he is finding single black frames between the edits.
Has anybody got experience working in this way?
Here’s a basic summary of who’s working with what:
We all have FCP 6.04
I media managed the final film in Prores HQ
I then media managed this version and recompressed to DV quality and gave the director a drive with the DV media and EDL.
The director then copied this and sent it to his editor in London along with the original offline Project.
(this is possb where the rot has set in. The editor in London is editing elements from the offline project, like the unmixed sound, into the EDL of the online graded footage with final mix that I supplied.Now the problems as the director reports them are occurring between him and the editor.
I received an EDL from the editor yesterday with all the changes to the online. Basically he has taken the online graded EDL and cut in some new shots from the offline and mostly re-arranged scenes.
With a little renaming of my graded media (all the filenames in his edl refer to my filenames but with the suffix -v added to them???) I loaded his EDL and everything is in synch.So, given that I can read the EDL and everything’s in sync should mean that we have no problem, however, we will have to go back to final mix and the editor in London will have to supply the OMF’s which if he’s having synch problems is going to ball us.
The synch is not progressively out (as with ntsc/pal or incorrect frame rate issues). The synch I think is out because of one or two sped up/slowed down shots that are not reading the same between the different edit suites.
Anyway, just thought I’d see who’s attempted this kind of ‘international’ collaborative editing as I’ve described and any feedback on solving some of these issues would be much appreciated.
This is my first post so I’d just like to thank the regular contributors here for basically helping solve most of my problems over the last year (unwittingly!).
regards
Llewelyn
Llewelyn @ Fireworks
HD for indies post production
http://www.fireworksfilms.co.za -
4 Replies
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Hi Llewelyn,
The EDL is a resource when working with different editing applications (PP, Avid,..), but If the three of you have FC(same version) and the same media, why you are not sending each other the FC project doc?
If you have the same media you can incorporate things from one project to other just by dragging the sequences that have been modified.[Llewelyn Roderick] “With a little renaming of my graded media (all the filenames in his edl refer to my filenames but with the suffix -v added to them???)”
This I don’t understand it.
rafael -
Sorry for the confusion! We are all sharing the same FCP PROJECT file, but some of us have different compressions of the same media.
[Llewelyn Roderick] “With a little renaming of my graded media (all the filenames in his edl refer to my filenames but with the suffix -v added to them???)”
The editor sent me his Project file of the changes he has made to the ONLINE which links back to the final online media I sit with. When I open his project and try to reconnect to the original media I hit a snag. The file names his PROJECT points to are correct, however, all the file names have the suffix -v added to them. For example. If the first shot is “g1-1.mov” (color’s naming convention) then his PROJECT is calling for a shot “g1-1-v.mov”. they way I got around this was to make a duplicate of my master ONLINE graded media and to rename all the files by adding the sufix “-v” which worked brilliantly.
Llewelyn @ Fireworks
HD for indies post production
http://www.fireworksfilms.co.za -
[Llewelyn Roderick] “This is my first post”
…and it’s a doozy.
What frame rate is everything shot in? 25?
Do you have sync sound or camera sound?
Your director that’s in NY, is he from New York (meaning does he usually work in NTSC)?
This sounding like a small error in frame rate handling here.
[Llewelyn Roderick] “The synch I think is out because of one or two sped up/slowed down shots that are not reading the same between the different edit suites. “
What makes you say that? Just curious as to the thinking behind it, not saying that you’re wrong. When you say the sync is out, do you mean just on a few clips or on the whole timeline?
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The “-v.mov ” reminds me something of when you are capturing and you get the “-av.mov”. This happens, for example, when you are capturing in a USB disk and FC have to write in a virtual memory because the drive is unable to write in RT. But here I have no idea of the origin of the “v”.
BTW, I just find out that the Colors renders have the TC disabled. This can always lead to sync problems.
rafael
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