1

So this is my first time working with an EDL. I was wondering how exactly you can import it into Pro Tools (can you?) and if not, how do you get the thing to do what you want so it does the thing that it's supposed to do?

Should I tell the editor to make the EDL an OMF?

What free programs are out there to support my cause?

2

ah, the wonderful world of Maggot Software ;)

ask the editor for an OMF instead.

4

EDL's are useful in a few regards:

  1. If you have an auto-assembler program (like Titan), it can be used to build a Pro Tools session that refers to original source media. OMF's can do this as well, but only those exported from Avid. Final Cut Pro OMF's consolidate and embed media; you get handles, but not the entire file (and forget about any metadata that it used to have, Final Cut will completely rewrite it in reference to the timeline).

  2. They can be used to conform your existing session to a new version of picture edit (using software like Virtual Katy). Rather than going through and making all the cuts, copies, pastes, and deletions manually, there are programs that will compare two EDL's and make these adjustments to you session automatically (and very quickly too).

  3. They provide useful information about the clips in your session. Specifically, they tell you the source media for your clips. This is helpful if you need to go find alternate takes/clean fill/etc., because you can see which "source tape" they came from. Chances are, that additional material is not going to be included in the OMF sent to you, and having that information cuts down the amount of time you spend hunting down the material.

EDL's alone cannot be used to automatically create a session in Pro Tools without the third party software Justin mentioned and I repeated (note that the two pieces of software are better at one task than the other...from what I've heard anyways). If you know how to read an EDL, you can build your session manually...but that can be a very time consuming endeavor. Get an OMF from your editor instead. If you will have access to the original source materials used to build the timeline, and think you may have need to hunt for some of the aforementioned materials (alternate takes, clean fill...), then ask for an EDL in addition to the OMF.

Regardless, I suggest you learn how to read an EDL. It's not all that complicated, and it's a useful skill to boot. A quick google search should return some useful results.

1
  • Great answer Shaun. We used to use both Titan and Virtual Katy on the same EDL and let them fight it out. It was surprising that on certain material one would do a better job than the other and visa versa.
    – Justin P
    Mar 20 '11 at 18:52
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There are 2 software solutions:

Titan

Virtual Katy

Neither are anywhere near free. But both offer demos.

1

Usually the OMF's we get only contain the audio mixdown from the multitrack recorder on set. Great for video editing, but we need to recapture the 24 bit, 48k audio from set along with all the iso mic channels. We get an EDL from the editor (audio edits only) and then use Titan to re-conform the edit using the higher quality audio.

I have been making use of EDL's for the last few years in conjunction with Titan. In order to work properly, I need to request an audio-pnly EDL where all dissolves have been converted to cuts (because Titan can't really make sense of them). I still need to work on an EDL in a text editor to "clean" by removing references to black, etc. Titan is very expensive but it works extremely well once you understand it. Using Fix Sync within Titan is also a fantastic feature that works very very well for ensuring a sample accurate sync.

Geez, this sounds like an infomercial.

1
  • Thanks for the extensive review. It's always a plus to have a real pro around!
    – Chris
    Mar 21 '11 at 0:06
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OMF's can be extremely moody. The lastest project i'm working on with an OMF export from Premiere CS5 was horrendous, in the end we had to cut the OMF's into 10 minute chunks with encapsulation otherwise my DAW would just spit the whole thing out, dreadful as i needed the handles to work on the dialogue tracks.

1
  • I've had this happen a couple of times. Of course, that's not to say that I would rather put every project together by hand.
    – g.a.harry
    Mar 24 '11 at 3:31
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If the editor can export XML and you are not obsessed with using ProTools there is a very powerful XML->REAPER workflow tool called Vordio.

It is less than a tenth of the cost of Titan & Virtual Katy etc and can also reconform the sound edit to later visual edit so editors can work in parallel.

If you are really concerned about budget then I would look at that. The combination of Vordio/REAPER will cost about $120 rather than thousands.

http://vordio.net

http://reaper.fm

-1

These software apps are an expensive over-engineered solution to a very simple problem. First you can not use 'alternate takes' the video editor can only use location audio that belongs to footage in a given scene. In terms of locating room tone or 'fill' this should be recorded seperatley by the location recorder and put in a different folder.

Usually the OMF's we get only contain the audio mixdown from the multitrack recorder on set. Great for video editing, but we need to recapture the 24 bit, 48k audio from set along with all the iso mic channels. We get an EDL from the editor (audio edits only) and then use Titan to re-conform the edit using the higher quality audio.

Then you should tell you video editor to start doing their job, it's thier responsibility to provide you with all available audio edited in place.

I've never heard of anyone working this way.

1
  • " First you can not use 'alternate takes' " Can you expand on this claim? And calling something over engineered and expensive, needs some justification, I see none in your answer. Most people are happy to pay for it, there will be a reason for that fact, I'd say. Please expand. Apr 16 '15 at 10:07

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