• Wondering which camera, gear, computer, or software to buy? Ask in our Gear Guide.

Question exportin EDL containers in Premiere Pro.

H

harmonica44

I am trying to export all my video shots in their separate cuts in an EDL container, for a colorist, so she can color all my cuts individually. However, when I make the EDL container, it only allows me to export the cuts off of one video track. Where as I have cuts in a few of the video tracks, and I would like the EDL container to take them all.

Am I doing something wrong? Basically I just want to get all the cuts out of the project individually so they can all be graded on their own, so how would I do that, if EDL is not the answer?

Thanks.
 
Sort by date Sort by votes
Okay thanks. What do you mean by 'collapse' and by 'time based effects' exactly?

Also it asks me whether or not I want to export audio channels. Since it's just color grading, is it best I just stick to video only, and the colorist can watch a separate version of the movie with audio, if she wishes. This way, having no audio would cause less complications perhaps, and I won't have to separate it from the video later, when I put the new video back in?

Some of the video has also been 'nested' before. I kept having problems with keeping the cuts the same as I was editing, so I nested some sections to keep it simpler. Will this be a problem, keeping the cuts separate in an EDL container, if the cuts are in a nested sequence?
 
Last edited:
Upvote 0 Downvote
/sits back and eats popcorn.... and wonders why he's asking us and not his colorist / post supervisor.

You need to learn the features, benefits and restrictions of each export method and conform to both A) The software that you're using on each side and B). Ensure your method includes the features (from the edit, not the software) you require. Not all export methods keep all data intact. Not all software (and versions) can use every method/format. Some methods are better than others. Once you work all that out, you have your answer.
 
Upvote 0 Downvote
Okay thanks. But everytime I make an EDL, my computer cannot open it, and says it cannot read the file, instead. I keep having to wait to give it to the colorist, and then she has to open it with her software, only to tell me if something is missing, or something did not transfer properly. So it's a waist of her time to figure it all out, but I keep trying to make the EDL right for her. Thanks.
 
Upvote 0 Downvote
So you're more than happy to waste our time... I get it ;)

So what was the decision to what was the right answer to your workflow?

I'm hoping you're starting to understand how beneficial it is to using an established workflow or testing a workflow you're not experienced in before you're well into the process in case you need to adjust.
 
Upvote 0 Downvote
We haven't really found a decision yet. If nothing else works I will just give her a copy of the movie, with the video all being one cut, and she will have to recut the shots as she goes, if those shots require a certain color grade that is different from the rest.

No I don't mean to waist anyone's time, I was just asking. I will keep trying different ways to get the movie to her with the shots separate.
 
Upvote 0 Downvote
and she will have to recut the shots as she goes
Click to expand...

It's called conforming. While it's not hard to do and does have benefits, it's usually a workflow done if you're short on time and don't care if it's a hatchet job.

As for wasting time, you got your answer. You've failed to act upon it, thus wasting time.
 
Upvote 0 Downvote
Will, the problem with standard xml exports is there are some features sets that aren't included in a Final Cut 10 xml export. Not all software and versions of software support this format. If the editor has included some transitions, speed or size alteration, noise reduction or a wide variety of other tools/effects, may be lost in the export. He hasn't stated the software that's being used for grading, though I'm fairly sure he's still using PP6.0 which I believe will not support a FCPX export.

Part of the reason I've attempted to get him to learn the different options, the pros and cons of each option. Different pieces of software limit what your options are. Only after knowing this will be be able to make the decision for himself in the future. It's something he'll need to learn as an editor.

Titling can make the situation even more difficult if he's not aware of the limitations of each option.
 
Upvote 0 Downvote
But h44 uses premiere. Premiere XML exports are in the FCP7 format, which is fairly widely supported.. True, there are still some things that aren't included (premiere generated titles being a significant one), but those are fairly minimal. PTZR and speed change information is included in that, and properly interpreted by resolve.

Transitions and the like should be stripped out for a color grade roundtrip anyway.

@harmonica44 you should really devote some time to practicing, and finding a solid post workflow from initial ingest to final export that works well for you and those you collaborate with. That workflow may vary slightly depending on the makeup of your team from project to project, but you should spent the time to wrap your head around at least one solid workflow that doesn't involve everything being done in one program, or even one suite of programs... Resolve is free, a LOT of colorists use it. Install it locally and practice roundtripping to/from it. Install a dedicated DAW package and practice/learn how to get your audio (with synced video) into it for audio mixing and sound design.. if you can do it on your own machine, you'll be able to prepare things to be used by others remotely.
 
Upvote 0 Downvote
Okay thanks. I will practice more on other grading programs next time. But for this time, I have already hired the colorist, and am trying to help her out, but we cannot get her a file format where all the shots are separate. The EDLs are unreadable on her computer, for some reason and are being made wrong.

I wanted to give her a media copy of the movie, in uncompressed AVI, but the problem with that is, is that when it comes to color grading the shots individually, she will have to recut all the shots all over again, and she doesn't want to do that, which is understandable. Is there a way of getting the movie to her, where the shots can be separate, and will not have to have the cuts put back in them to separate them? When you color an AVI video, the whole thing gets colored, and just one indvidiual shot. So we have to re-separate all the shots.

Anything I can to do since the EDLs will not copy correctly? Even if I did get them working right, for her computer, it will still not copy all the shots, cause a lot of them are 'nested'. So what can I do, since she really finds it difficult to remake all the cuts in between shots?
 
Last edited:
Upvote 0 Downvote
harmonica44 said:
Anything I can to do since the EDLs will not copy correctly? Even if I did get them working right, for her computer, it will still not copy all the shots, cause a lot of them are 'nested'. So what can I do, since she really finds it difficult to remake all the cuts in between shots?
Click to expand...

Well.. first you could provide more information. What is your colorist using to grade with?

Can she accept an XML (FCP7 format that premiere will export) It's a much more versatile format, as I mentioned previously, and provided you a video showing pretty much step by step how to roundtrip with it.

Have you simplified your timeline so there are no overlapping video clips, transitions, time changes, titles, etc? For EDL export you should only have a single video track and up to 4 (mono) audio tracks.
 
Upvote 0 Downvote
I am guessing she can cause she has FCP X. Will it work for that? I can give her an XML, but I only have two hours before I meet her, so I am going to give her as many formats as possible so she can choose the best one.
 
Upvote 0 Downvote
I wanted to give her a media copy of the movie, in uncompressed AVI, but the problem with that is, is that when it comes to color grading the shots individually, she will have to recut all the shots all over again, and she doesn't want to do that, which is understandable. Is there a way of getting the movie to her, where the shots can be separate, and will not have to have the cuts put back in them to separate them? When you color an AVI video, the whole thing gets colored, and just one indvidiual shot. So we have to re-separate all the shots.
Click to expand...

It's a relatively trivial matter in Resolve to split the video up and doesn't take much time.

I am guessing she can cause she has FCP X. Will it work for that?
Click to expand...

Once again, it'll depend on what you did in the edit and what software she is using. If you're not happy with the answers you're receiving, try asking better questions that include all relevant information.

I only have two hours before I meet her
Click to expand...

This is what happens when you ignore questions. A saying that seems appropriate in this instance: "A lack of planning on your part doesn't constitute an emergency on my part." Good luck with the meeting.
 
Upvote 0 Downvote
Okay thanks, Well she said she can cut it up, if all else fails. Thanks for the responses though, they have all been helpful. I have a question. I imported two shots into the program, made cuts, and both files originally were no more than 60 MB in size. But after I render them out in full capicity, they then became 675 MB in size. Why is the size so much bigger, when I render them out, in an uncompressed microsoft AVI format? I thought the format was suppose to preserve the original properties, of the footage. But now that everything is so much more bigger, my harddrive will not be able to fit all the corrected footage on. Is it suppose to be that much bigger when finished rendering? Bigger than the original takes were, even though the original takes are longer?
 
Upvote 0 Downvote
Good lord.. why are you incapable of answering simple questions?

I give up. Can't help you when you won't allow us to help you.

:no:

EDIT: Also, learn about freaking codecs man... I'm quite certain that's been discussed, even just in threads involving you, ad nauseam.
 
Last edited:
Upvote 0 Downvote
I give up.
Click to expand...

May I?

Okay thanks, Well she said she can cut it up, if all else fails. Thanks for the responses though, they have all been helpful. I have a question. I imported two shots into the program, made cuts, and both files originally were no more than 60 MB in size. But after I render them out in full capicity, they then became 675 MB in size. Why is the size so much bigger, when I render them out, in an uncompressed microsoft AVI format? I thought the format was suppose to preserve the original properties, of the footage. But now that everything is so much more bigger, my harddrive will not be able to fit all the corrected footage on. Is it suppose to be that much bigger when finished rendering? Bigger than the original takes were, even though the original takes are longer?
Click to expand...

It's part of your workflow. I'll let you in on a little known secret of what professionals do to get around this problem. What you need to do is stand approximately 9ft away from your desk. Get a one step run up and launch yourself head first into your desk, ensuring your forehead strikes the corner of the desk with as much force as possible. This organizes the physical particles on your hard drive in a particular way so when you export as an uncompressed AVI file that it'll keep the same file size. If you had read the manual this workflow would become crystal clear. Please only attempt this with the supervision of a responsible adult. Once you've tried this, let me know the results of the export.

TLDR: RTFM & PEBKAC
 
Upvote 0 Downvote
harmonica44 said:
..........I imported two shots into the program, made cuts, and both files originally were no more than 60 MB in size. But after I render them out in full capicity, they then became 675 MB in size. Why is the size so much bigger, when I render them out, in an uncompressed microsoft AVI format? I thought the format was suppose to preserve the original properties, of the footage. But now that everything is so much more bigger...........
Click to expand...

:bang:
OMG!

Uncompressed means no compression: every pixel is described in the data.
Compression means: groups of pixels are desribed relatively to each others, either in blocks or in time.

Uncompressed is meant to keep all the info , because recompressing a compressed shot means losing info (again).

But nevermind.
Will and Sweetie are right: you don't allow yourself to be helped, because you don't answer the questions that lead to the solution...
 
Upvote 0 Downvote
You must log in or register to reply here.
Back
Top