due to extreme time constraints I am working on a tv show that will be re-cut again before it will be broadcast.
I spoke to the cutter (he’s using Media Composer) about the possibility of getting a “change EDL”.
Unfortunately he does not seem to get the question very often and so he does not really know how to generate it (and though he is an extremely nice and helpful guy, he’s under the same time pressure as I am, so I cannot blame him for not really wanting to spend too much time to find out at the moment.
The Nuendo manual is very clear about how to handle the Nuendo re-conform tool, but is there information out there that I could give to the cutter about what files I need exactly and how to generate them?
Just to be clear: The first EDL should be of the cut that generated the first (or “previous”) OMF/AAF, right?
I think it’s better to spell that out rather than say “an EDL before the last edit”, because somewhere on this planet there will an editor that makes an AAF out of “version 1”, does three revisions and then makes a “version 4” AAF, and when you tell him “before the last edit” he will send out EDLs for versions 3 and 4.
I’m nitpicking, but some people need to hear EXACT descriptions because they’re not used to thinking for themselves.
If there are 5 edits, then you need EDl #4 and #5.
Or better, if a bunch of people have screwed up, the EDL of the version that YOU are working on, and the EDL of the version they are sending you.
The above two are not necessarily the same thing. If there are 5 edits, and you were sent edit #1, but not edits #2-4, and they now want to send you edit #5, do you need
Or Better, the EDL of the version that YOU are working on, and the EDL of the version they are sending you.
It goes without saying that when the editor only sends you part of the version updates, he/she always need to be aware of which version you are working on. What would the point of sending you data of a version you have never seen?
I’m just saying that some editors don’t think. They do as they think they’re told. “Send me the EDL for the this edit and the one before it” to them might mean exactly what you just stated is pointless - to them. To some editors it has to be spelled out clearly. That was my only point.
On projects we work on, we insist on having an EDL or AVID BIN (we have EDL Manager here to create new EDL) for EVERY picture version we receive.
That means that if we were recording Foley on version 2, but mixing on v6 we can reconform that. Same goes if ADR is recorded with v5 and mixing on v7, while the dialog edit was on v6…
you absolutely need to get that sort of discipline to stay sane (and even then it can be difficult)