[Doug Beal]

Your equipment is capable. google Closed Captioning Service. contact someone at one of the service bureaus that do this let them know what gear you’re using and they can provide a file you drop on your timeline and output in standard def. I know Aberdeen does this as does Caption Link. you will need to provide a BITC dub of the program they’ll get you the file. much of this can be done redily via email or FTP.
Getting a service to perform this work will get you up to speed quicker on providing a master to your client

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Edl’s are from the days of linear editing where the reel name (actually reel number) is the unique identifier, timecode being the address of the shot being requested, duration being the length of time the shot is used. Primarily driven by master sort as opposed to source sort. In the linear situation the tape machines would be loaded with whatever source reels were about to be laid into the master, a blacked and coded piece of tape upon which the footage is inserted.
when this format is used to exchange data between systems it becomes essential to digitize material with correct reel numbers, and generally a system standardized for this purpose. ie cam1 reel 1 might be tape 101, cam2 reel 1 might be 102, cam 3 reel 1 might be 103 and so on in a multi camera shoot. the numbers assigned to the tapes should be marked on the tape. console tape and a sharpie work well for this. clip name is considered a comment.
EDL’s are still used commonly today. video layer 1 is the only layer that will translate properly, anything on layer 2 is considered a “Key” like text or a bug. Linear editors could not multilayer in time, to get multiple layers multiple passes and possibly multiple submasters would be generated, particularly if changes were anticipated. if the linear suite had multiple motion effect boxes, layers could be built in fewer passes through the use of a switcher and GPIs and in some cases the editors hand on a dissolve paddle. Once it was recorded it would be reviewed and accepted or redone.

Non linear editing changed that scenario HOWEVER reel numbers and timecode rule in EDLs. that hasn’t and isn’t likely to change.
Premiere is parsing the EDL properly and passing that data on but the person who digitized the footage didn’t preserve the unique identifier, the Reel Number

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Where are you located?

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Shared storage is something that needs technical knowledge to design and implement. If it’s well setup, designed for your situation, and has the ability to grow with your needs it can be seamless and appear as local storage to the user.
You are talking about a serious investment. You might consider a value added reseller to design and implement such a system. You will want someone who understands your workflow and may even be able to point out areas where that could be improved.
we currently use a facilis terrablock allowing both windows and mac OS partions. It is not large enough for all our needs and has some limitations relating to indexing, required by some software, but can be expanded and is a godsend in our FCP, Scratch, DS workflow.
We have a lot of technological understanding within our facility yet the reseller we use made it very easy for us after we sat down and worked out our requirements. They had knowledge based on their products and access to support, that we did not have in our tool box.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

There are many variables here.
how you monitored your Edit. computer monitor, large accurate plasma, accurate HDSDI monitor?
You have a product after FCP with properties suitable for screening on a screen that projects light outward through whatever material glass, plastic either from a CRT or LCD and it works in that color gamut.
Now you want to project light carrying your image and bounce it of a reflective surface at a distance.
This is a whole different situation. typically there are a whole different set of look up tables (little data bases) that emulate what the picture will look like in other environments theater projection just one of them. to get all this right is a lot of money. the equipment is expensive more importantly the skilled operator is expensive. It’s a good time to learn about the processes required for this.
Most people will understand the situation and if you are in a festival most everybody else will be subject to the same situation.
If the story is compelling, the edit compliments that story and the audio enhances the emotion of the story, someone else will pay for that expensive stuff to get a theatrical release , or if released on DVD and authored using hardware tools, you’ll be looking at it pretty close to the way you now see it in FCP

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

This error message usually means your disk system is too slow.
hopefully you are not on the system drive. Media should ALWAYS be on another physical drive.

An other consideration would be available space on said drive. over 80% full and you begin to run into problems, or not very often but fragmentation can be an issue if you have copied and deleted a lot

Lastly make sure the drive you are playing your media from is formatted MacOS instead of FAT32. Highlight the drive icon and press “command” and the “i” key at the same time

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

If you saw no report of text coming up on the screen denoting the line and row on the black cc file you do have an issue.
Is your sequence set to 720 x 486?

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

did you download the test files and do the procedure?
what were those results?

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Alan. I normally export anything that is 720 x 480 to 8 bit uncompressed.
I then import this into a a full raster SD 8 bit uncompressed setup prior to dropping the CC data on it then crop the cc black file, bottom = 98.
It may be that in the expansion of your 480 Height to 486 that the line 21 data is not on line 21 thus cannot be decoded correctly. I don’t know how the Kona scaling operates but this might be the issue.

The other thing that can happen is that each NLE and card combo operates a little differently. there are test files at https://www.cpcweb.com/nle/ which you can use to determine how your system behaves. this info should then be passed on to the captioning company just in case they have generated an incompatible file for your system. there were some issues with the Kona 3 when it first came out that people encoded for based on the kona2.

At any rate to be sure that you are encoding correctly use a full raster sequence setting 720 x 486

we have successfully encoded several series and spots using FCP and a Kona 3. above is basically how we do it

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Excellent post. thank you for the details. we need to look at this product for our proposed HD captioning services.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN