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Al-righty so film is past deadline. Editor screwed up giving me a proper .OMF and .MV4 file. Producer says I'm the guy who's at fault. Besides giving him the proverbial finger (American) I've got other things to think about. Like....

The .EDL file I got from the editor was the one for the final picture lock. The first audio file (AA) marker on the EDL is a file that is not in the .OMF. It's not in there at all. The first file in the . OMF is completely different. The files that are in the .OMF are in the .EDL but there are these "ghost files" like the one mentioned above that are thick in the .EDL.

Is this common? Might this be my mistake? Do you think it's even possible to finish with this?

Somewhere I was trying to remember a way to work with the new cut just from the .OMF file but I can't find it and with this particular piece a lot of Alternate takes have been used.

I was theorizing that there were inactive clips or something that was in the project during .EDL creation.

EDIT:: I found out the .EDL is not even from the .OMF that it was supposed to be from but I still have some questions.

  • FWIW the first (and last) audio file in the OMF of each reel should be a 2 pop – user49 Mar 16 '12 at 19:44
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Yes, you can get "ghost" audio entries in EDL's. It can happen when graphics screens (i.e. titles, lower thirds, etc.) are created within the editing software, when slugs or full screen colors are dropped on the timeline, or if there's B-roll/L-cuts happening. And all of that can depend on...

The fact that there are also multiple formats of EDL's, which all present slightly different information. That's why it's a good idea to test out post-production workflows anytime you're being teamed up with an editor you haven't worked with before. Push for that in the future if you can, because it will save you some headaches.

If you get it sorted out, write it down somewhere for future reference. That way you can request specific formats in the future that you know will work. Good luck!

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