[Jimmy Visser]

Agreed Shane. I’ve emailed the editor asking if he has access to FCP and whether he’d be comfortable using it. He can’t use our FCP as my 13-inch screen isn’t exactly ideal…!

Lesson learned regarding keeping the project on one platform. We were severely limited for choice due to the tiny budget and it did seem like converting EDLs would be an easy solution. If only we hadn’t shot in 24f…

Cheers
Jimmy

[Jimmy Visser]

Paul, many thanks for your help.

So am I correct inferring:

The problem is that the EDL (which opens successfully on the other system) is then telling Avid to batch capture at 24f, which Avid can’t do?

So, I should convert the EDLs with Sebsky, and the converted EDLs can then be used by our editor to capture the tapes into a 24p project?

If so, this definitely sounds like the best option – it’s pretty much what we were going to do anyway. The only problem is, I just had a look at Sebsky and it comes up with: “Video Standard Error: Sorry, but you can’t convert a FCP batch list using 24 fps.” Hmm.

Also, I just noticed you referred to ‘2 hours of material’ – a clarification – the way I’ve cut down the original 40 hours or so of footage is making a new project for each tape, capturing all 60mins, cutting the best bits and placing anywhere from 5min to 45min of each tape’s footage in the timeline. So re-capturing all of the footage isn’t ideal because it loses the entirety of that work. No doubt an amateur workflow but one I wouldn’t like to be punished too much for!

Thanks again Paul. The help doled out to this newbie (in many senses of the word) is life-saving.

Jimmy.

[Jimmy Visser]

G’day Danny,

That’s what I was thinking, my concerns being:

Can we somehow integrate these new files with all the EDLs so neither we nor the editor has to capture and/or re-cut everything over again? I’m sure there should be a way – it seems to make sense – but I can’t quite figure it out.

And will all these conversions start to affect the quality of the footage?

Cheers,
Jimmy