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Such marketing is consistent with applicable law and Pearson's legal obligations. In the days of yore, back when analog media was the only option available, a physical copy of your footage was needed in order to edit the project.
This approach, offline video editing , protected the original from becoming damaged or unusable for the final reproduction. The duplicate set of footage would often be of an inferior quality, which meant that the technician would eventually need to recreate their final cut all over again with the original, higher-quality run of film or tape. At the time, there was no computer or program responsible for documenting each film break and superimposition automatically.
The work was all done by hand; the editor would need to log these details manually so that the cut could eventually be finalized. Now, video editors really don't even have to think about this stuff, especially if their needs are simple or casual. Anybody who's ever tried to climb a mountain, however, knows that video projects of any size consist of many moving parts that need to be accounted for at all times.
Many digital video editors rely on EDLs as a universally compatible inventory of what their project contains. After being processed by Premiere, the sequence is reduced to a text-only ASCII file with every frame and input accounted for. Can you edit this file using a text-editing program?
Should you? Don't even think about it. These files are meant for machines to read, and machines do not take kindly to typos. If you want to adjust your project, doing so from within Premiere would be much easier. The astute among us may be wondering: why bother with EDLs when you could simply share an entire Premiere project with a collaborator? Premiere project files are relatively small; they can be sent just as easily as a text file.
Your partner would be able to open up the file on their end, and could use a local copy of your full-res footage to repopulate the project. This is fine if all that you need to do is, say, pass a version off to an assistant who is also working in Premiere.
But if you wanted to open up this project in DaVinci Resolve, you would be out of luck. Thankfully, both applications support a large variety of file types and formats, which makes for a very complementary experience. It might seem complicated at first, but sending projects from Premiere Pro to Resolve and vice-versa is actually pretty straight forward. It can be a little more work up front, but provides a smoother experience in the long run, depending on the project.
You might be familiar with EDL from the days when cutting film meant actually cutting it. Back then, an EDL was a piece of paper with marks that would correspond with each strip of film. Today, EDL is a list of events that include the source to be recorded and where to record it. It also provides information about transitions, transition durations, and other clip attributes.
Unlike the other file types used in Premiere to Resolve roundtrips, EDL requires you to first render a new file to use in Resolve. Start by choosing whichever codec you or your workstation are most comfortable with, to make sure playback in Resolve is smooth. Note: make sure you remove any LUTs or temporary color grades before you export your footage. But I figured it out and all of the important metadata was intact. And before you say it, yes I know, premiere starts to break down when you get into huge features, and the multi-editor offline workflow just exponentially exacerbates these problems.
But that is what they wanted to do, despite my pleading. That is because, for whatever reason, Premiere has decided to instead of using the actual source timecode like is - blah blah it uses the source clip duration, or possibly sound timecode blah blah. Luckily, despite our program transition, the source timecode DID carry over on all clips.
I can tell because when you boot up either or or any other clip in the source monitor, the source timecode is present and accounted for.
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