Conforming to new picture edit - locked markers'n'all?

[sprout]

Hello all!
I'm in the middle of audio post and score for a one hour documentary. And naturally, there are a handful of changes coming from the picture side and I'll need to conform to this new edit.

I think I have a handle on what needs to happen in the example of adding time:

1. Reveal all tracks in sequence window (it's quite a few, with various tracks of narration, dialogue, PFX/bg's, SFX, temp music, original OMF copies for safety, etc).
2. Move cursor to point where time is to be added, add a marker for convenience, and perform a "split at counter".
3. Select everything from new marker to end of timeline in all tracks, and perform a "shift" by the appropriate amount.

Now my question...is there a way to move the locked markers after the split along with all sequence audio? I know I can select the markers to be moved in the markers window, and use the mini-menu command "shift locked markers", I'm just wondering if there's a way to do it all in one fell swoop along with the audio.

Any thoughts are welcome, especially if there's something glaringly bonkers about my proposed method! I'm also aware that if I have a new version of the OMF in the project, to NOT include it in any splitting and shifting!

Thanks!

[audios]

If the OMF was generated from AVID or from FCP you could also conform to an updated XML by comparing the original XML with one the editor sends that has the update. This is the way i have found easiest to slip and slide files in the sequence editor to conform to picture cut updates, don't you just hate updates on cuts? Guess that's why they call it a work print ehhh?

good luck.

JIM

[sprout]

Thanks Jim. OMF is coming from FCP, I just haven't waded into the waters of XML as of yet...though I'm sure it won't be long.

And since my background is in film-making, as annoying as changes to "locked" picture are, I'm also sympathetic. Brings back memories of PA'ing on a commercial set when it was incredibly urgent for me to paint a flat on a set because it's needed in three shots, then after I've busted my hump to get it done pronto, that particular shot "went away".

This particular documentary is one of those personal projects that the film-maker has been working on for about 7 years, so I'm all for getting it done, while at the same time when they've come this far, let's make it as good as it can be!

John Purcell sums it up nicely in his (excellent!) book on dialogue editing: "...changes happen, and it's unimportant why...When you get the "oh, by the way" news that the picture editor has turned the film upside down yet the temp dub is still scheduled for Thursday, quietly throw your brief tantrum, then come up with a plan."

Cheers,
Step

[audios]

yeah, I hear you on the location production. I'm also from a similar background. I was a production manager, producer/director for a production company in Phoenix years ago. I had to laugh reading your description of being the PA on the set and jumping through hoops to get the shot, then having it cut in the final edit. How sad and how true. I know I went through similar situations especially in green screen shoots for car companies and talking head industrial stuff.

Back in the day, we were in the analog world of 3/4SP and BetaSP and using a CMX edit controller that produced an EDL during our off-line, then took that in hand with our camera originals and went to the online suite and sat back and watched the editor punch buttons while we ate pizza all day. Those were the days. Production life just seemed simpler then.

The XML is very much the same thing. After the original is opened in DP it can then compare to each consecutive XML generated by the editor and all the changes will show up in "red". Time code is frame accurate as you know, so the changes are simply accomplished for each area. New transitions can be a problem however. Fades change or a fade becomes a wipe. Then audio has to follow each transition. Either way there's a lot of slipping and sliding to get everything back to sync. I have only used the XML feature in DP a couple of times and both were for :30 spots. A documentary will be more challenging for sure. Might be valuable to break the film up into segments or chapters with 2-pops for sync. Conforming in either way would be less daunting.

Well, good luck with the project and if you need any help on this further, just give me a private message shout.

Peace-
JIM