- The PRO EDL Importer is able to import EDL files generated by Adobe Premiere Pro®, Apple Final Cut Pro®, Avid Media Composer®, Grass Valley EDIUS Pro® (CMX3600) or SONY Vegas Pro® (Vegas EDL).
- The script builds a flow in Fusion® based on the EDL file. This flow could contain one or more Loader, Dissolve, ColorCorrector, ColorCurves, HueCurves, Ultrakey or Primatte® V5 keyer nodes and TimeSpeed tool(s), if needed.
- The keyframes and ranges of the Loader(s), Dissolve(s) and TimeSpeed tool(s) are set according to the EDL file. This means that speed changes and opacity values are also transfered. (If the EDL contains all of these information)
- PRO EDL Importer supports only one video track in EDL file. This means that before exporting the EDL file, you have to put all clips to the first video track and delete all other video and audio tracks.
Browse and select your EDL file which has either .edl or .txt extension. Premiere, Final Cut and Edius use .edl files Vegas uses .txt files.
Default: Path of the current composition
Select the software which generated the previously selected EDL file.
Options: Adobe Premiere Pro®, Apple Final Cut Pro®, Avid Media Composer®, Grass Valley EDIUS Pro®, SONY Vegas Pro®
Default: Adobe Premiere Pro®
Media Composer doesn't add the extension to the source filename in the EDL file so we have to add it manually in the File name column. The other solution is to select Source name column, then hit CTRL+D and copy the whole content to the File name column.
In EDL Manager export the first video track using these settings:
|Reel ID Type:||Tape of FileName|
|Optimize the EDL:||yes|
|Show Dissolves as Cuts:||no|
|Show Audio Dissolves as Cuts:||no|
|Show wipes as cuts:||no|
|Include Black Edits:||no|
|Convert tapenames to numbers:||no|
|Include source table with saved EDL:||no|
|Tapename truncation:||Remove End|
|Color Decision List:||no|
EDIUS ignores the extension of the footage, therefore it's not stored in the EDL file. In order to find your files, you have to add the file extension to each clip’s Clipname in EDIUS (right click then rename).
The other way is to update the EDL manually (with notepad for example).
EDIUS 6 can export CMX3600 EDL, use mode 2 option on the export panel.
You can specify the framerate of the EDL file. This is mostly the framerate of your project in your editing software.
You can specify the start timecode offset (mostly 00:00:00:00 or 01:00:00:00) so the composition's boundaries can be shifted back to 0.
Select the directory which contains all of the footage stored in the EDL. If the Search in subfolders option is ticked (this is default) then the script looks into every subfolder (Depth-first search). If one of the files is missing then the Loader tool become red.
Default: Path of the current composition
If you edit RED footage in Premiere Pro or Final Cut Pro and export your project into EDL then the file will store the R3D files' Edge Timecode or Absolute Timecode as the timing information of the clips. If this option is ticked then the script will try to fix the timecodes and set the ranges properly. This fix works with R3D files only.
Options: no, Edgecode, Absolute
Some of the footages have their own timecodes that don't start at 00:00:00:00 most of the time. In this case you have to force your NLE system to start to number the frames from 00:00:00:00 no matter what was the clip's original TC. This way Fuison will be able to address the frames correctly and you won't get Loaders with single frames.
Premiere PRO CS5.5: Right click on the footage in the Media Bin -> Modify -> Interpret Footage -> Timecode. And set the timecode to 00:00:00:00. Or: Timecodes in Premiere Online Help section
Final Cut Pro can't handle native .R3D files, editors have to use the corresponding .MOV proxy files. Unfortunately FCP puts these proxy filenames into the EDL file. These proxies are not accessible in Fusion, so in this case, you have to replace the proxy filenames with real R3D files.
If you kept the original .RDC folderstructure with the original filenames (e.g. L015_C023_04231L.RDC and L015_C023_04231L_H.mov) and you force FCP to put these kind of comment lines (e.g. FINAL CUT PRO REEL: L015_C023_04231L REPLACED BY: L015C023)into the EDL then the script will automatically load the R3D files.
Sony Vegas Pro puts the full path of the clips into the EDL file. If the editing workstation is different form the workstation which uses the script (or you want to load footage from different folder) this option will force the script to search in the previously specified folder.
If this option is ticked then the script will set all of the Loader’s pixel aspect to custom. Otherwise the Pixel Aspect remains Default in the Loader tool.
If the 'Use custom pixel aspect for each Loader' is set, then the script uses these values for the X and Y values of the pixel aspect. X is the vertical, Y is the horizontal size of the pixels. These values are applied to all of the Loaders created by the PRO EDL Importer.
Default: X: 1.0, Y: 1.0 (square pixels)
This feature is pretty useful when your NLE sequence contains several greenscreen/bluescreen shot. 2 keyers are supported right now: UltraKeyer and Primatte.
Options: none, UltraKeyer, Primatte
Default: X: 1.0; Y: 1.0 (square pixels)
You can add a ColorCorrector tool for each Loader in the flow for instant color grading.
If this options is ticked then a new HueCurves tool will be added to the flow, right after the ColorCorrectors.
You can put a single Saver node at the end of the whole flow.
The order of the tools that belong to one Loader is fixed:
Loader -> (TimeSpeed -> Keyer -> ColorCorrector -> HueCurves) -> Dissolve
You can set the horizontal space between the node stacks connected to the clips to make the flow more organized for advanced compositing. Value 1 means there is no space between the columns.
Options: 1, 2, 3, 4, 5
With this option you can force the script to ignore the clips' position in the clipsequence. Every clip will keep it's duration but all of them will start at 0. Furthermore the node stacks will be independent, no Dissolve toll will be added. This makes the multi-layer compositing a bit easier.
The script opens a new composition for each clip in the sequence and build the single node stacks in it.