[Richard Sanchez]

That’s a bad idea. I don’t recommend it. Avid’s native media management is it’s strength, and working offline especially on a project like a doc where you’re bound to have a mountain of footage is going to serve you better than trying to work at native resolution untranscoded.

[Richard Sanchez]

I usually avoid TextEdit because it has a tendency to save files as UTF-16 instead of UTF-8, which can create problems. With TextEdit you want to make sure you save as plain text instead of rich text. That said, you’ve mentioned you’ve done it before so that information may not be applicable, just something to try if it gives you trouble in the future.

To answer your last question, I personally wouldn’t make new master clips. I’d keep the original master clips as they are, and create new subclips with just VA1A2. I’ve never had that data track pop up, but I know some tapeless formats (Sony I think) include those.

[Richard Sanchez]

I would use the “Merge events with known sources and automatically create subclips” option in your Import > Shot Log Settings.

To modify the ALE, I’d open up the ALE that you created from your master clips in BBEdit. I’d use CMD F to Find and Replace. Enable Grep and enter the following into your find field.

(?<=VA1A2)(A\d)*

Keep the replace field blank and hit “Replace All”. That will replace A3-A8 in all clips in your ALE. Once that’s done, and once you set your Import > Shot Log settings to “Merge events with known sources and automatically create subclips”, highlight all clips in your bin, then drag in the ALE and you should get subclips with just VA1A2.

The error that you’re seeing usually means something isn’t lining up, either the timecode or the tape name. Or if you don’t have clips highlighted and you drag in the ALE, it will throw up that error.

[Richard Sanchez]

The ALE is tabbed delimited and has three parts: Header, Column & Data. Your text needs to be formatted as UTF-8 and you you need one carriage return after your last data entry or it won’t merge. The data and column are tab delimited.

[Richard Sanchez]

Select “Custom Property” in that pulldown menu and then another box will open up where you can type the custom columns to burn in. It’s not the most elegant application, but it works.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

I’d give Resolve a try if you haven’t. It’s free and extremely versatile with different codecs.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

Echoing what Shane and Job said. You don’t need to provide them with all the ISOs. Some sound houses will try to get you to do that. That said, if you’re the picture assistant, it’s their job to do the sound conform. That’s what the sound house will do in preparation of the sound dub, and the dialogue editor will clean up the tracks as necessary.

You’ll want to double check that the sound metadata has been entered correctly to your master clips that have been delivered. By default, Resolve assigns sound timecode to the Aux TC1 column. Your dailies lab or DIT will typically copy that data to the Sound TC column so that when you create your sound EDLs, you can set your EDL to use that Sound TC instead of Start TC and Sound Roll data instead of tape to create your sound EDL.

You’ve already started, but it’s also worth checking how the sound department will want sound rolls labelled. For example, the 788T by default creates sound roll names by date. For example, today is November 19th, 2017, so that sound roll would be label Y17M11D19. Personally, I hate this and many sound houses do to. I find, if possible I ask my sound recordist to label sound rolls as SR001, SR002. It makes sound rolls easy to identify.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

Evan’s tool takes the comment from your locators and makes subcaps out of them. If you create markers with the VFX ID in them and export an EDL with locators checked, you should get what you need. I believe it takes File32 EDLs.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

There is a way to create a self contained version of Avid Log Exchange. I’ve done this because I use it all the time. In order to do this, you’ll need Avid 7 installed on a system.

After MCv7 and Filmscribe (or Avid Log Exchange) are installed copy the Avid Filmscribe (or Avid Log Exchange) folder to a flash drive.
Within this copied folder, right click on FilmScribe, show package contents, go to Contents/Frameworks. From the computer Copy the following directories from /Library/Frameworks (copy them- don’t move them..) to this directory:
QtCore.framework
QtDesigner.framework
QtDesignerComponents.framework
QtGui.framework
QtHelp.framework
QtMultimedia.framework
QtNetwork.framework
QtOpenGL.framework
QtScript.framework
QtScriptTools.framework
QtSql.framework
QtSvg.framework
QtTest.framework
QtWebKit.framework
QtXml.framework
QtXmlPatterns.framework
phonon.framework

This gives you a standalone copy of Filmscribe (or Avid Log Exchange), which even works installed from a USB key…. and will not interfere with an existing MC install

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

Can you export more than one EDL? When I do turnovers, I usually export one EDL per video track, and one EDL for every four audio tracks. It’s not fun, but I’ve used this method for picture and sound turnovers. By the same note, you should be able to use this for your archival tracks.

Richard Sanchez
Los Angeles, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks