[Doug Beal]

Glad you found an answer

this is not for the feint of heart but an edl is very much like a text file arranged by tabs
I often use Text Wrangler for resolving some issues due to it’s find and replace capabilities.
the cool thing is if you make the changes to the edl, import in a new project and relink ignoring the reel# doesn’t match, you should end up with your edit. Then export source. a lot of work.

depends on the situation if you don’t have a lot of reels, changing the reel number can be the way to go.
I’d suggest a print out your EDL and make notations about your new naming conventions.
Easier than remembering after a phone call or a beer or
we keep naming conventions strict in house here cause we use EDLs a lot and if it doesn’t work it’s a lot of non billable work to fix.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

How are you connecting to it?
we have 1 42 connected via dvid from a blackmagic HDSDI to DVID box, as well as component via a Kona 3, and 3 of the 50inch units connected via component to AJA DS and Matrox MXO2.
They were dialed in by eye, matching as close as possible to the calibrated FSI monitors. It’s a very close match no client saying “can you make it more like that one”

The base setting for all is monitor

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Typically the embedded CC file is generated as a “black movie file” laid on top of the FCP sequence ie on the top most video layer. depending on the output formatting millions+ animation no cropping self keying, or millions which requires cropping the overlay (crop bottom = 98) the file is also capture card specific depending on cell and row and how it is displayed.
read this
https://www.cpcweb.com/demo/MacCaption_demo_Instructions.pdf

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Is this cut at 24 fps? (23.976, 23.98)
What frame rate did the scans go to and was there an ALE or flex file generated from this scan?

sorting by source should show groupings of reel numbers ascending TC and master in outs all over the place
sorting by master should show source code and reel numbers all over the place but the master TC ascending from edit 001 through to the end

a flex file or ALE should match film frame to BITC dub TC accurate
Is there BITC on your locked edit?

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I’ve seen this a few times when sequences are pasted from other projects on other machines.
one time I used the rename file to match clip on the only offline clip in the browser and it appeared all was well. Later that evening I got a call that the machine in question had been rebooted and FCP would no longer start up. I came in to take a look. After trying all the usual suspects prefs permissions etc I right clicked on the FCP application in the applications folder, show package contents, and lo and behold the offline clip I had told to rename file to match clip had changed the name of the folder that is named MacOS in the package, to the name of the clip. I changed it back to MacOS and all was well. this lead me to now place any and all that present this “”is missing message, into a bin, then import the footage into the project until I have all offline files that show the strange message, then delete the bin containing the offending clips and carry on.
My guess is something is tagging along that relates to the app on the machine that the sequence originated on. It’s a fairly rare event but I’ve seen it happen maybe 5 or 6 times over the past year.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Depends on how the downconvert was done
properly done a 23.98 downconverted to DV (which is what you get via the firewire DC) the TC will match every second on the second. This requires the A frame B frame settings to be correct and that DF is NOT selected. even though 23.98 is NDF the downconvert can be DF if DF is selected.
whenever I do this for an offline I also put dual BITC ORG and PDT in the letterbox portion of the Downconvert and make a ref of the final edit with BITC so if there is any EDL hink It’s easy to find the shot I need for the conform. It also allows me to verify the TC is correct. the BITC can easily be cropped out for presentation of the offline if required.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

The 1400 deck records 720P 59.94 or 1080i 59.94 depending on menu settings
you can use SD blackburst fine for this. If you don’t have a BB gen order an AJA Gen10 which will give you both black and/or tri level and 1 AES

If you can’t wait for ref lock the 1400 to incoming vid and put the Kona on freerun.
to QC put the deck back in internal ref and check your layoff.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

We also do that.
set sequence time to appropriate start time usually 59:00:00 except PBS and a couple others.
40 sec bars (tone set to -20db) 5 sec black 10 sec slate 5 sec black PGM at 01:00:00:00
we also enable trailer black min 30 sec on mastering settings. Just remember to deselect trailer if you are inserting into a tape to fix a small segment or it’ll print black for 30 sec after your out point

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I have to agree with Walter but then I have a great working relationship with a VAR here in Nashville.
I have ordered online and experiences vary.
I like OWC
https://www.macsales.com/
and Safe harbor
https://www.sharbor.com/

Not necessarily the cheapest, but knowledgeable and fair

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Do you have an HDCam deck?
It’s a straight dub machine to machine

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN