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Taking footage to a posthouse/edl’s/xml’s…
Hi there everyone,
got another question on the same project – want to thank everyone so far who has helped me out with responses.
Basically, i have finished my edit and I am taking it to a posthouse on monday to have it graded and up-conformed to HD from the HD cam tapes (we shot on s16 and had a hd telecine done).
They have asked me to export an edl – but apparently when they do the conform this will only keep the positioning of my cuts and none of my effects or colouring etc?
so they said that there is an option to export an xml which i have done, so will this keep all the information and simply open all the footage on the sequence in fcp like it does for me at home?
also, what do i need to take with me to ensure i have everything they need? i have 2 large sd quicktimes of all the rushes, the edl and xml, the hd cam tapes, and the project file. I am reluctant to bug them with any more questions as they’re already doing me a favor.
Thanks in advance guys,
jack 🙂
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4 Replies
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edl and xml, the hd cam tapes
You should be set.Chris Tompkins
Video Atlanta -
Jack,
Export an XML file and check it out yourself by importing it into a new project.
There\’s nothing like pushing the button and seeing the results with your own eyeballs at your place rather than waiting to see what you get when you\’re at another facility.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
EPK Colorist – UP IN THE AIR – nominated for six academy awards
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.
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What system are they using to do the conform? If it’s FCP, you can bring the project file, otherwise you might as well bring and XML and EDL to cover your bases.
Remember to clean up your timeline, as CMX 3600 EDLs only support two tracks of video.
But you should touch base with their online editor to make sure you get him/her the proper materials. I think they’d rather you bug them now. It’s better than bringing the wrong stuff and them having to waste time fixing problems. Most facilities have a standard document of their tech requirements; ask for it!
In addition to the shoot tapes and EDL, I bring a reference quicktime of the offline cut, with burn in timecode. I usually also put text slates on any shots that have speed changes/effects/etc.
I also make a spreadsheet with a list of all the shots with speed changes/effects, etc. In the list, include the program timecode in points and duration, so the online editor can quickly ensure he/she duplicates all your effects.
As for losing your color correction filters, I wouldn’t worry about that. They are going to regrade the whole show anyway, right? Their monitors are probably better calibrated then yours were, so you’re going to want to start from scratch anyway, methinks (and with the benefit of their colorist’s eye). You’ll have your reference quicktime on hand anyway to compare against.
Matt Lyon
Editor
Toronto -
guys, this has been unbelievably helpful.
I thank you all so much. I’m going to try the suggestions now, and your right – i’ll give them a call when i’ve done it just to check.
The quicktime is definitely a good idea.
Thanks loads. I’ll post again if any problems but i think i should be okay from here.
jack 🙂
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