Emory Dunn
Forum Replies Created
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I know it’s been a while since this thread was active but I figured I’d post my question here instead of opening a new thread about the same topic.
So, I’ve now got all of the footage into FCP and I’ve been attempting to get EDL’s to work, but they simply won’t cut it. You said that Automatic Duck would work and I just want to clarify a few things before I recommend to my boss we buy Duck.
First, I emailed Automatic Duck asking my question and they said they couldn’t guarantee that reconnecting the files after the fact. So, has anyone actually done something like this? Capture media in FCP and then use Automatic Duck to import a timeline and reconnect the media in FCP?
From the research I’ve done I think it will work but it’s a pricey option just to run a 50/50 test.
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The names aren’t really being truncated, they’re just not being named correctly. Here’s a screen shot of the bin: https://cl.ly/292X
I’m going to try your approach and see if I can put the names in a different column instead of the name column and see if it will work.
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Figures. Oh well, too late now to go and do things the other way. But thanks for the reply.
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Yeah, you’ve got it spot on. My boss is always saying “The reason you’re here is because you are smart and know the software. If it were easy I’d do it myself.”
The only problem with doing that (and it really isn’t [i]that[/i] big of a problem is my boss wants to use the old clips he logged, but we did consider wiping the timecode and starting over. Luckily not all of the tapes are bad, there are some that have no problems and let me take a short nap 😛
And yeah, as much as my boss calls himself a “shooter-editor” the extent of the editing he does is drop selects on a timeline, but luckily he is better about shooting so the editor doesn’t have an aneurysm. But at the end of the day it doesn’t matter how he shoots since he owns the studio.
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The sad part about this is the main guy who shot this is actually quite experienced, although I guess not quite as much when these were shot several years ago. The whole idea behind the TOD timecode was to make it easier to sync the multiple cameras after the fact. Part of the reason it’s such a mess is because it was a documentary so it was pretty much “hey look, someones doing something: press record” most of the tapes aren’t even full.
Although possibly the worst part about the entire thing is that I’m the (payed) intern that got all this dumped on, so I’m not even getting payed well for it.
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That sounds like nice solution unfortunately I don’t always know where the breaks are. And even then that might not always work since some tapes have two of the same hour (hour 1 at the beginning an then another hour 1 at the end). I’m basically just dealing with disastrous tapes.
Thanks for all the suggestion though, I might see if I can find a way to use them.
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That’s what I’ve been doing, and it’s a slow process but it works (until it runs into other timecode errors). Thanks for your help!
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That’s the problem; the timecode isn’t always in order. I’ve had a couple tapes that go in this order: 11,12,1 or have hour 18 before 16 followed by 17.
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That’s exactly what I’ve done.
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The reason I’m not sticking with Avid is because my boss wants it in FCP (the whole studio is FCP). Plus, since importing and digitising the tapes is basically my summer job I’d have nothing to do if it stayed in Avid 😛
As for Sebsky, I’ve read a bit about it and actually managed to find a download link. I haven’t been able to find exactly what is does though.