User manual

8. Click OK.
The Cinema Tools database is automatically saved. When youʼre finished adding
REDCODE media, quit Cinema Tools.
Important – Cinema Tools derives the reel name of all clips from a particular RDM
folder using the name of the RDM folder itself. For a successful reconform process, itʼs
essential that the name of each RDM folder match the reel name of each corresponding
event in the EDL being imported. This wonʼt be a problem as long as you donʼt change
the RDM folder names after you ingest your media using the Log and Transfer window.
Stage 3 — Export an EDL of Your Project from Final Cut Pro
1. Itʼs a good idea to do some project preparation before exporting an EDL to import
into Color.
Because the EDL format is considerably more limited in terms of what edits and
effects can be used, itʼs prudent to be extremely conservative and eliminate any and
all effects that are unsupported by the CMX EDL formats, or by Color itself. For
example, move all video clips to track V1. Video clips in tracks other than V1,
superimposed clips, transfer modes, still images, freeze frames, filters, and Motion
tab settings are not supported by the EDL format, so itʼs best to either eliminate
them, or export clips with effects as self-contained movies as described in the
“Moving Projects Between Final Cut Pro and Color” chapter of the Color User
Manual.
Note — Cross dissolves are the one exception. These are the only type of transition
that Color supports. Any other type of transition will be rendered as a cross dissolve
of identical length.
2. Export an EDL using these settings:
•
EDL Title – Defaults to the name of your sequence
•
Format – CMX 3600
•
Target Video Track Only – On
•
Reel conflicts – Generic edits
•
EDL Notes – All off
•
Master, Start Time – Defaults to the first timecode value in your sequence
•
Audio Mapping – Audio events are ignored, but you can set all tracks to None to
simplify the resulting EDL.
Using Native REDCODE Media with Final Cut Studio – Jun 15, 2009! 23