[Paul Carlin]

I did that and it created new audio tracks below the existing audio track.

[Paul Carlin]

Through my connections I was able to speak directly with the people at Adobe. While they were interested in my laundry list of issues dealing with exporting EDLs, I got the distinct impression that these issues were way down on the list of things-to-do. I also got the distinct impression that they, along with the people who write the software for DaVinci Resolve, put little importance on the EDL. They don’t understand why people are still using them. They stress the “Everyone is using XML/AAF/whatever now” and can’t comprehend why the 1970’s EDL is still around.

In an age where You Tube will soon dominate the delivery of entertainment, I can’t really blame them. Not many people still follow the off-line on-line finishing model anymore.

All I can say is that you should be looking for other solutions. I wrote a Python script that I use in Text Wrangler to remove the black events. If you don’t know Text Wrangler and the support for Text Filters, I would highly suggest you look into that, especially if post production is your chosen career.

[Paul Carlin]

I can assure you that the EDL is not a thing of the past. While you may not be using them, they are very useful to this day in conveying information from editorial to finishing (including, most recently, color decision information). They are simple text files that can be easily read and modified by humans to get the job done.

I was simply asking if there was some hack that would allow Premiere Pro to not include black events in the EDLs (dare I say, like an Avid would).

– Paul

[Paul Carlin]

Yes, of course that would work and that is a legitimate answer to my question. However, I was looking for a way to have the gaps remain as gaps in the EDL. For some reason Adobe took the time to have the “Include Key Track” option (which is mostly useless unless you are using a CMX or GVG linear system) but has to “Include black events” option checkbox.

[Dave LaRonde] “Make sure there’s video throughout the timeline.”

[Paul Carlin]

That’s brilliant. I can reverse engineer the FCP XML. Then I should be able to script a solution to convert a text file into a FCP XML. Thanks!

Now all I need is to purchase FCP X.

– Paul

[Paul Carlin]

The complexity is not difficult. Simply read the XML and create the corresponding elements in the timeline. No different than reading an EDL, as Margus pointed out.

I would like the subtitles to be in the Resolve session for many reasons, one of which is stereo convergence. We have very tight deadlines and don’t have time for third party solutions.

– Paul

[Paul Carlin]

Take the 29.97 into After Effects and render it out as a dpx image sequence. Image sequences don’t have “embedded” frame rates.

Import the image sequence into your Premiere 23.976 project and make sure it is interpreted as 23.976. Resolve should have no problem doing the same as long as your Resolve project is 23.976 as well.

[Paul Carlin]

I answered my own question:

Magic Lantern allows for custom crop marks. For example,

https://www.sawomedia.de/magiclantern/cropmarks/

[Paul Carlin]

I would suggest posting this question in the After Effects forum.

To answer the question… Use a clear piece of glass. Mount the glass firmly in place between the camera and subject. Lock everything off. If there is any movement of the tablet relative to the camera, then multiply your budget times 10, and add five weeks to the post timeline.

You need to think about what will be in focus. The surface of the tablet or the talent? If the tablet, you will need something to focus on. Temporarily place something on the glass surface (like the talent’s finger), get the focus, then remove it. DO NOT put any tape on the glass as you will spend hours/days trying to remove it in post. Have the talent wash their hands and keep the A/C on so they don’t sweat. Have a professional do a manicure on the talent. Finger nails look horrible in close ups.

If the person is moving the tablet, DO NOT put tape on the glass (have I said that yet?). Use the persons hand as a trackable object. Have them hold the glass firmly with one hand.

If you are using sharp-edged cut glass (like the glass you find in that picture frame over there), have a medic on hand with lots of bandages, and make sure your insurance is up to date.

Oh… and don’t put any tape or track markers on the glass.

[Paul Carlin]

You specified that you are delivering a DVD, so this may not apply to you, but I wanted to expand for those who search and find this question later.

If you are delivering for a client, ask for the delivery specs. The delivery specs will specify where title can and can’t go. Especially for network television, where they even dictate WHEN the titles can appear. For example, they may specify that you can’t use the upper left corner at the beginning so that they can put that obnoxiously large G rating thingie. They also will be putting promos for other shows and such just prior to commercial breaks so you can’t use the bottom right corner, etc.

Different networks may have different guidelines. 10% (Action Safe) and 20% (Title Safe) are common, but may be anywhere in-between. They may even specify 4:3 or 14:9 safe titles within a 16:9 image. It’s all in the specs.

Most HD and 4K televisions now cover the action safe area with ease, but my personal preference would be half way in-between Action and Title to be “safe”.