[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

[Richard Sanchez]

I’d highly recommend you use MP4 to QT first. It will combine spanned clips and add timecode based on the time modified of the file. It’s not as accurate as true TOD timecode, but it’s something. Do that first, then AMA and transcode.

https://www.videotoolshed.com/product/66/mp4-to-quicktime/3

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

What columns are present in the ALE? Have you opened it up in a text editor? If it’s missing tape or filename, and start and end timecode, I believe the ALE merge will fail.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

I’m not sure about what’s causing that, but I will point out that usually RED Cine X will output both an AAF and an ALE. ALE doesn’t support audio, so typically you want to drag the MXF files to the Avid MediaFiles folder, let it database, import the AAF into a bin to create master clips, and then merge the ALE to the master clips.

Does RED Cine X play out the files this way? Have you tried creating Quicktime files, and playing them outside of the Avid? Just trying to take the Avid out of the equation to see where the problem lies.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

Easiest way is to make sure you’ve mixdown your audio into the appropriate splits you want (or if you’re using mix stems lay them in the track configuration you need). Export a QT Reference (Make sure you select the audio mixdown). The Quicktime Reference will create a discrete channel for each track. After that you can safe a self contained Quicktime in Quicktime Pro 7 or if you need to compress it, you can run it through compressor.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

It usually depends on what you intend to do with the results. For example, if you are sending out a locked and you want to get a list of translations to correspond with points of your final edit, you’d want to send out a burn with the timeline’s master timecode. If you are you sending out interviews for transcription for script sync, you’d want source timecode.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

They need to send you a txt file formatted to be imported into the Subcap Effect. If you open the Effects & CC guide in the help section of your software, it will go over how it should be formatted. Likewise, I’d ask them if they have dealt with providing text formatted to be imported via Subcap.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

Always check with them. I have had some transcription services that didn’t need timecode burned, and instead used the timecode embedded the Quicktime files. Different places tend to work differently.

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

If you want to calculate timecode, convert timecode to feet & frames and such, I’d recommend Filemaker Pro. There’s a free plugin that will allow you to timecode calculations.

https://www.belle-nuit.com/timecode-for-filemaker

Richard Sanchez
Los Angeles, CA

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

[Richard Sanchez]

I was actually just busting your chops a little bit about suggesting a Craigslist for somebody to manually mark scripts for experience alone. Though that’s cool, the story of that student getting on that union film doing script sync work. I’d love to see Script marking (Whether manual or via Script Sync) to present a job opportunity to bring back the under-utilized “Apprentice Editor” position.

Richard Sanchez
Los Angeles, CA

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