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Like you, I use the video EDL to find missing sync shots. It's really the only way that doesn't involve pulling out your hair. Personally, I never fail to get both video and audio EDLs; it's part of the spec sheet I send to the production before the gig begins. Every once in a while, I hear a few groans from the picture department, but they always come through. It's not that hard to generate an EDL as long as the production hasn't sold the Avid or so angered the editor and assistant that they want nothing to do with the film.
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