Exporting Frames, Clips and Sequences
9 Click the Audio tab and change the Audio Format to Dolby Digital.
at gives you a wide range of options including Surround Sound (in the Audio Coding
Mode drop-down list shown in the next  gure).
Note: Windows Media has a 5.1 option but only for its HD  le types.
10 Click OK, give your  le a name, click Save (or Cancel) and rendering (transcoding)
will begin. Depending on the quality level settings and the speed of your PC, this can
take about two times the duration of your project.
Working with edit decision lists
An edit decision list (EDL) harkens back to the days when small hard drives limited the
size of your video  les, and slower processors meant you could not play full resolution
video. To remedy this, editors used low-resolution  les in an NLE like Premiere Pro,
edited their project, exported that to an EDL, then took that text  le and their original
videotapes down to a production studio.  ey’d use expensive switching hardware to
create the  nished, full-resolution product.
ese days there isn’t that much call for that kind of o -line work. But  lmmakers still
use EDLs because of the size of the  les and other complexities associated with going
from  lm to video and back to  lm.
e EDL format used in Premiere Pro is more than 30 years old (see following sidebar).
AAF (Advanced Authoring Format), discussed in Lesson 15, is a signi cant step up
from EDL. AAF was created to be something along the lines of a “super-EDL.” Its
purpose is to foster more cross platform interoperability. In the case of the AAF that
comes with Premiere Pro, it is compatible with a competing product, the Avid Xpress
product line.
Classroom in a Book
CMX is gone but its EDL lives on
ere is no standard EDL format. Premiere Pro uses a format compatible with the CMX 3600, a
switcher created by CMX Systems, a pioneer of production studio and broadcast-TV computer-
controlled video editors. Formed as a joint venture by CBS and Memorex in 1971, CMX owned 90% of
the broadcast video editing market by the mid-1980s, It discontinued operations in 1998. But its EDL
remains the de facto standard to communicate edit decisions.
If you plan to use an EDL, you need to keep your project within some narrow guidelines:
EDLs work best with projects that contain no more than one video track, two stereo
(or four mono) audio tracks, and no nested sequences.
Most standard transitions, frame holds, and clip speed changes work well in EDLs.
Premiere Pro 2.0 now supports a key track for titles or other content.  at track has
to be immediately above the video track selected for export.
You must capture and log all the source material with accurate timecodes.
e capture card must have a device control that uses timecode.
Videotapes must each have a unique reel number and be formatted with the
timecode before you shoot the video to ensure there are no breaks in the timecode.
To view the EDL options, select File > Export > Export to EDL:
EDL Title—Speci es a title to appear in the  rst line of the EDL  le.
Note: e title can be di erent than the  le name. A er clicking OK in the EDL Export
Settings dialog box, you will have the opportunity to enter a  le name.
Start Timecode—Sets the starting timecode value for the  rst edit in the sequence.
Include Video Levels—Includes video opacity level comments in the EDL.
Include Audio Levels—Includes audio level comments in the EDL.
Audio Processing—Speci es when audio processing should occur. Options are
Audio Follows Video, Audio Separately and Audio At End.
Tracks to Export—Speci es which tracks to export.  e video track directly above
the video track selected for export is designated as the key track.

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