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Want to reconnect by TIMECODE rather than clip name…
Hi Folks
I have an EDL that I can import into FCP (5.02) but the clip names don’t match the media.I have the media injested from a telecine where each file is a lab roll.
The telecine has 3-4 lab rolls per tape, where each tape is a timecode hour. Thus, for any given timecode hour, the media might be in one of 3-4 files.
I’d like to either rewrite the EDL so that the clip names correspond to the appropriate file, or have some plugin run through a sequence’s clips and reconnect them to the appropriate file.
I have a list of what timecode range is in each file.
Any suggestions on how I might accomplish this? There are about 1500 edits to do so I don’t relish the possibility of manually reconnecting!
Joe Shapiro
Freelance Editor
Seattle WA -
5 Replies
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Why didn’t you use Cinema Tools to open the Telecine Log.
Cinema Tools
File>Import>Telecine LogCinema Tools
File>Export>Batch Capture (for Final Cut Pro)You need to read up on how Cinema Tools creates a database that both Cinema Tools and Final Cut Pro use to keep telecine clips straight.
Cinema Tools and Final Cut Pro by Zed Saeed
24fps Telecined Film into FCP4 with a Flex File
Inquiring minds…
BryceDon’t worry Mr. B. I have a cunning plan…
PowerBook 1.67 Ghz ATI 9700 128 MB 2 GB
Final Cut Pro HD
DVD Studio Pro 3
Motion -
Hi Bryce
I do indeed hope you have a cunning plan! 😉I am quite aware of the workings of Cinema Tools. I have a Cinema Tools DB constructed from the telecine’s logfiles (FTL rather than FLEX format).
The reason I’m in this pickle in the first place is because I’m starting with an EDL from an Avid project. The Avid project was done in 24P so Automatic Duck doesn’t support it. I’ve managed to, by hand, get the EDL out of Avid and into a form that makes FCP happy.
The Avid media files were captured at low-res and without audio so I’m recapturing from the telecine Beta SP tapes.
The capture of the telecine tapes was done on a deck that doesn’t support deck control so I just did a Capture Now and then set the timecode on each tape by hand based on the window burn. It’s actually a bit more complex than that but I’ll leave it there for now.
The clip names in the EDL point to files that were derived from the Avid telecine ingest rather than the ingest itself. So the clip names are essentially “junk” as there is no correspondance between them and the FLEX files.
Is that enough reason for you? If not, I’d say that, in general, EDLs require timecode but clip names are just “suggestions.” It’d be a great feature for FCP if one could take an EDL and a bunch of files with media that covered the timecode in the EDL and just say “hook ’em up.” I’ve seen plenty of circumstances where this would be a real boon.
Joe Shapiro
Freelance Editor
Seattle WA -
[Joe Shapiro] ” It’d be a great feature for FCP if one could take an EDL and a bunch of files with media that covered the timecode in the EDL and just say “hook ’em up.””
I recall that this feature was available on the (then) Lightworks editing system a decade ago; it compared reel numbers & TC and if they matched it would “fill” the edit as far as possible.
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Wow, no deck control…ouch!
Did you inherit this project? Sound like you are trying to make a silk purse out of sow’s ear.
I admire your dedication.
Are you editing at 24P in FCP?
From your original post I didn’t realize you “had been there, done that, have the t-shirt”
I hope someone has a solution for you.
Good Luck,
Bryce WhitesideDon’t worry Mr. B. I have a cunning plan…
PowerBook 1.67 Ghz ATI 9700 128 MB 2 GB
Final Cut Pro HD
DVD Studio Pro 3
Motion -
What if you brought your EDL into final cut pro. Also, make a Cinema Tools database from your new captures.
Then try to export the EDL back out of FCP, to make a cut list from the new database, like a match back process.
The pull list from that process would be in the order of the shots within the video tapes. If you know the in and out timecodes of each of your separate capture “master clips”, you might be able to rather quickly rename the clips in another application and bring that info back in to Final Cut to get your new clip names.
For that, I would export a batch list from final cut of the clips made from your AVid EDL import. Bring that into Excel, sort appropriately, and rename the clips in sections, then export that list back out and import as a batch list.
You might then have clips in FCP that are tied to your sequence, and to your capture files, because timecodes and names now match.
Sorry this is a little obtuse, but I’m on a trip and away from my FCP system to give you more specifics.
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