I loved m2 pickups where the cmx literally just did the edit again on preview and grabbed the marched timecode into a buffer.
I liked re-edit conceptually it made you keep the list cleaner much better than an active list or Sonys backpage nonsense. There was even an even duration reedit function in pal to keep your list pal colour framed or pal paired so you couldn't slide an edl 1 grand in reedit destroying all your colour framed edits for a now unframed EDL.
Mike
On 8 Jul, 2013, at 7:23 AM, "johnrobmoore" <bigfish@pacbell.net> wrote:
> By definition the outpoint in an edl is the next frame to be recorded. This facilitated finding the pickup matchframe as it was the outpoint of the source of the previous edit. If you never had to Open Re-edit, Insert Re-edit, shift Mark Clr in rapid order to cheat the monitor buffer into making a pick up edit on a CMX 340 it probably doesn't seem all that important. At the time it was because they hadn't made a pick up edit button and they were a long way away from the match frame button which I first encountered on the ISC editors. Auto Trim anyone? ;-)
>
> --- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
> >
> > Not sure I am following you Tony. What were you cutting film on that produced an EDL? I was cutting actual work-print, that had a negative conform at the end. There was not list, the negative cutter matched shots. And the last frame of a shot was the last frame of a shot, not the first frame of the next shot.
> >
> > A video edit has the last frame number and the first frame number of the incoming shot at the the same place numerically. That makes no sense in film (or video for that matter, but I went with it). Two frames don't occupy the same place, so how can they occupy the same number.
> >
> >
> > --- In Avid-L2@yahoogroups.com, Tony Quinsee-Jover <tony@> wrote:
> > >
> > > "That's the film counting method"
> > >
> > > You sure it's not just the 'Avid counting method '?
> > >
> > > I too started in film, then linear video, then linear with EDLs and then non-linear. The first time I ever encountered "inclusive Out" was on Media Composers. EDLs are exclusive Out, just like film. So's Quantel, and so's DS - hence the stupid double cursor thingy on DS (to provide 'compatibility' with MC).
> > >
> > > Tony
> > >
> > > Sent by magic over t'interweb
> > >
> > >
> > > On 7 Jul 2013, at 02:35, "Terence Curren" <tcurren@> wrote:
> > >
> > > > That's the film counting method vs. the videotape counting method. I started in film so the video method of counting a frame twice never made any sense, but I lived with it.
> > > >
> > > > --- In Avid-L2@yahoogroups.com, "scott_freeman_avid" <scott_freeman_avid@> wrote:
> > > >>
> > > >> In an Avid if you are in a 23.976 1080p project and you export a quicktime movie (from the avid) the last frame will not appear in Final Cut Pro or Resolve - After Effects and Avid sees this last frame fine.
> > > >>
> > > >> - so the note is - In a 23.976 1080p Avid project, always export a quicktime movie with at least a 1 frame handle at the tail if delivering to Final Cut Pro or Resolve. The last frame is just hidden in those programs.
> > > >>
> > > >>
> > > >> - scott freeman
> > > >
> > > >
> > > >
> > > >
> > > > ------------------------------------
> > > >
> > > > Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
> > > > Yahoo! Groups Links
> > > >
> > > >
> > > >
> > >
> >
>
>
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