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Transfer Techniques That Are Not Recommended, Film Chains

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But What If You Want a Clean Master? If you plan to conform the original camera negative, the presence of burned-in timecode and key numbers on the video clips you edit in Final Cut Pro may not be a problem, especially if you are working with a highly compressed video format. The burned-in numbers can be a problem, however, if you intend to use the edited video for screenings or for broadcast. As valuable as they are to the editor, the burned-in numbers can be distracting when watching an edited project. There are two common methods you can use to minimize this problem: • Letterbox the video during capture using a 2:35 aspect ratio so that there is enough room below the video to show the numbers. • Flash the burn-in information on the first frame only. Although not quite as useful as a continuous burn-in, this does provide the editor with the ability to ensure that the relationship of the edge code to the timecode is correct. In most cases, telecines produce a log file that can provide the basis for the Cinema Tools database. This allows you to automate capturing the video into the computer. Increasingly, telecine facilities can also capture the video clips for you, providing the clips on a DVD disc or FireWire drive, along with the telecine log and videotapes. Transfer Techniques That Are Not Recommended There are a couple of transfer techniques that are worth mentioning just to point out why you should not use them. Film Chains You should avoid using a film chain if at all possible. Film chains are relatively old technology, as compared to telecines. A film chain is basically a film projector linked to a video camera. Film chains typically do not support features such as reading the key numbers or controlling video recorders, and they cannot create a positive video from a film negative. You must create a workprint to use a film chain. Using a film chain is usually less expensive than using a telecine, although the cost of creating a workprint partly offsets the lower cost. The biggest challenge is being able to define the relationship between the film's key numbers and the video timecode. This is usually accomplished with hole punches (or some other distinct frame marker) at known film frames. Important: Older film chains may not synchronize the film projector to the video recorder, potentially causing the film-to-video relationship to drift. 26 Chapter 2 Before You Begin Your Film Project

Section	Page
Cinema Tools 4 User Manual	1
Contents	3
Welcome to Cinema Tools	7
About Cinema Tools	7
About the Cinema Tools Documentation	8
Additional Resources	8
An Overview of Using Cinema Tools	9
Editing Film Digitally	9
How Does Cinema Tools Help You Edit Your Film?	10
What Cinema Tools Does	10
About the Digital Intermediate Process	11
Why 24p Video?	12
Working with 24p Sources	13
Offline and Online Editing	13
Creating the Cinema Tools Database	14
How the Database Works	14
A Detailed or Simple Database?	15
Importing Telecine Logs	15
Manually Entering Database Records	16
Capturing the Source Clips with Final Cut Pro	16
Recompressing the Captured Files	17
Capturing Tactics	18
Device Control	18
Camera-Roll Transfers	18
Scene-and-Take Transfers	19
Finishing with High-Quality Video	19
Preparing the Clips for Editing	19
Reverse Telecine	19
Conform	19
Creating Cut Lists and Other Lists with Cinema Tools	20
How Much Can Be Done from Final Cut Pro?	21
Before You Begin Your Film Project	23
An Introduction to Film Projects	23
Before You Shoot Your Film	24
Which Film to Use?	24
Transferring Film to Video	25
Telecines	25
Transfer Techniques That Are Not Recommended	26
Film Chains	26
Recording a Projected Image with a Camcorder	27
How Much Should You Transfer?	27
Camera-Roll Transfers	27
Scene-and-Take Transfers	28
Frame Rate Basics	28
Working with NTSC Video	29
Working with PAL Video	30
24 @ 25 Method	31
24 & 1 Method	31
Working with 24p Video	31
Timecode Considerations	32
General Timecode Tips	32
About NTSC Timecode	32
What Happens to the Timecode After Using Reverse Telecine?	33
What Happens to the Timecode After Using Conform?	34
Audio Considerations	34
Choosing a Sound Recorder	34
Choosing an Audio Timecode Format	35
Mixing the Final Audio	35
Finishing the Audio with Final Cut Pro	35
Exporting Audio EDLs	36
Synchronizing the Audio with the Video	36
Synchronization Basics	37
Synchronizing During the Telecine Transfer	37
Synchronizing in Final Cut Pro	38
Working in Final Cut Pro	38
Setting the Editing Timebase for Sequences	38
Outputting to Videotape When Editing at 24 fps	38
Using Effects	39
Cinema Tools Workflows	41
Basic Film Workflow Steps	41
Film Workflow Examples	42
If You Used Scene-and-Take Transfers	43
Workflow for a Scene-and-Take Transfer with a Telecine Log	43
Workflow for a Scene-and-Take Transfer Without a Telecine Log	43
If You Used Camera-Roll Transfers	44
Clip-Based Workflow for a Camera-Roll Transfer	45
Timecode-Based Workflow for a Camera-Roll Transfer	46
Basic Digital Intermediate Workflow Steps	46
Digital Intermediate Workflow Using a Telecine	49
Working with REDCODE Media	51
Creating a Cinema Tools Database	53
An Introduction to Cinema Tools Databases	53
Deciding How You Should Create the Database	54
Capturing Before You Create the Database	55
If You Have a Telecine Log or ALE File	55
If You Do Not Have a Telecine Log or ALE File	56
A Potential Database Shortcut for Camera-Roll Transfers	57
Additional Uses for the Database	57
Creating and Configuring a New Database	58
Creating a New Database Using Cinema Tools	58
Creating a New Database Using Final Cut Pro	59
Synchronizing a Set of Selected Clips to Create a New Database	59
Importing a Telecine Log File to Create a New Database	61
Settings in the New Database Dialog	61
Working with Databases	65
Opening an Existing Database	65
Viewing Database Properties	66
About the Detail View Window	66
Settings in the Detail View Window	67
About the List View Window	73
Settings in the List View Window	74
Finding and Opening Database Records	76
Settings in the Find Dialog	77
Backing Up, Copying, Renaming, and Locking Databases	80
About the Clip Window	80
Settings in the Clip Window	81
Accessing Information About a Source Clip	84
Entering and Modifying Database Information	85
About Working with Database Information	85
Importing Database Information	86
Importing Database Information from a Telecine Log or ALE File	86
Assigning Camera Letters	87
Importing Telecine Logs Using Cinema Tools	87
Importing Telecine Logs Using Final Cut Pro	88
Importing Database Information from a Batch Capture List	90
Importing an Existing Cinema Tools Database	91
Entering Database Information Manually	91
Creating a New Database Record	92
About the Descriptive Scene and Shot Data	94
Entering Information in a Database Record	95
Using the Identify Feature to Calculate Database Information	96
Calculating Edge Code and Timecode Numbers	96
About Modifying Data with the Identify Feature	98
Deleting a Database Record	98
Choosing a Different Poster Frame for a Clip	98
Changing the Default Database Settings	99
Changing All Reel or Roll Identifiers	100
Verifying and Correcting Edge Code and Timecode Numbers	101
Capturing Source Clips and Connecting Them to the Database	105
About Source Clips and the Database	105
Preparing to Capture	105
Avoiding Dropped Frames	106
Setting Up Your Hardware to Capture Accurate Timecode	107
Genlocking the Deck and Video Capture Interface	107
Calibrating the Timecode Offset	108
Considerations Before Capturing Audio	108
Considerations Before Capturing Clips Individually	108
Generating a Batch Capture List from Cinema Tools	109
About Standard and XML Batch Capture List Differences	110
Using Standard Batch Capture Lists	111
Using XML Batch Capture Lists	113
Connecting Source Clips to the Database	115
Using the Connect Clips Command	116
Connecting Clips Using the Detail View Window	118
Connecting Clips Using the Clip Window	119
Fixing Broken Clip-to-Database Links	120
Reconnecting Individual Clips	120
Locating Broken Links and Reconnecting Groups of Clips	121
Preparing the Source Clips for Editing	123
An Introduction to Preparing Source Clips for Editing	123
Determining How to Prepare Source Clips for Editing	123
Choosing an Editing Frame Rate	124
Ways You Can Prepare the Source Clips	124
Using the Conform Feature	125
Conforming One Clip at a Time	125
Batch Conforming Several Clips at a Time	126
Reversing the Telecine Pull-Down	127
Determining the Field Capture Information	129
About A Frames	130
Using Reverse Telecine on a Single Source Clip in Cinema Tools	131
Using Reverse Telecine on Source Clips in Final Cut Pro	135
Using Batch Reverse Telecine	136
Preparing to Use Batch Reverse Telecine	136
Using Batch Reverse Telecine for Multiple Source Clips	136
Using Batch Reverse Telecine a Second Time	138
Making Adjustments to Audio Speed	139
Synchronizing Separately Captured Audio and Video	139
Dividing or Deleting Sections of Source Clips Before Editing	141
Strategies for Breaking Down Source Clips Before Editing	141
Deleting a Source Clip File	142
Editing with Final Cut Pro	143
About Easy Setups and Setting the Editing Timebase	143
Working with 25 fps Video Conformed to 24 fps	144
About the Timecode	145
About the Sequence Presets	145
Displaying Film Information in Final Cut Pro	146
Synchronizing Final Cut Pro Clips with Cinema Tools	146
Showing Film-Related Information in Item Properties	148
Showing Film-Related Information in the Browser	148
Showing Film-Related Overlays in the Viewer and Canvas	148
Showing Film-Based Frame Counts	149
Opening Final Cut Pro Clips in Cinema Tools	150
Restrictions for Using Multiple Tracks	150
Using Effects, Filters, and Transitions	151
Special Considerations for Effects in a DI Workflow	152
Including Titles, Supers, and Transitions in a Film Workflow	153
About Interpositives	155
Contact Printing vs. Optical Printing	155
Comparing Quotes	156
Dividing Transitions Between a Contact and Optical Printer	156
Tracking Duplicate Uses of Source Material	157
Ensuring Cut List Accuracy with 3:2 Pull-Down or 24 & 1 Video	158
Generating Film Lists and Change Lists	159
An Introduction to Film Lists and Change Lists	159
Choosing the List Format	160
About PDF-Format Film Lists	160
About XML-Format Film Lists	160
About Style Sheet–Based Film Lists	161
Lists You Can Export	161
Cut List	161
Missing Elements List	162
Duplicate List and Double Usage Warnings	164
Duplicate List	164
Double Usage Warnings	164
Optical List	164
How the List Entries Are Linked	165
Transition Effects List	165
Filter Effects List	165
Motion Effects List	165
Pull List	166
Scene List	166
Optical Scene List	166
Exporting Film Lists Using Final Cut Pro	166
Exporting the Film Lists	166
Settings the Export Dialogs Have in Common	169
PDF Configuration Settings in the Export Film Lists Dialog	172
Creating Change Lists	174
When Are Change Lists Used in a Film Workflow?	175
When Are Change Lists Used in Other Workflows?	176
About Exporting Change Lists	178
Exporting from Final Cut Pro	178
Exporting from Cinema Tools	179
Should You Use XML or Program Files?	180
Exporting Change Lists Using Final Cut Pro	181
Settings in the Export Change List Dialog	185
About the PDF Items and Change Lists	186
Exporting Change Lists from Within Cinema Tools	186
Settings in the Cinema Tools Export Change List Dialog	187
Working with XSL Style Sheets	189
XML Film List Basics	189
Pull List Style Sheet Example	190
Export Considerations and Creating Audio EDLs	193
About Common Items You Can Export for Your Project	193
Considerations When Exporting to Videotape	194
Considerations When Exporting Audio	194
OMF Files	194
AIFF Files	195
Audio Speed	195
Exporting an Audio EDL	195
Where’s the Audio Timecode?	195
Using Cinema Tools to Export an Audio EDL	196
Settings in the Export Audio EDL Dialog	198
Audio Track Usage	199
Using the Export Audio EDL Feature from Cinema Tools	199
Working with External EDLs, XML, and ALE Files	201
Creating EDL-Based and XML-Based Film Lists	201
Before You Use the Cinema Tools Export Commands	202
EDL Requirements	202
EDL Video Standards	203
XML Requirements	203
Exporting Film Lists from Cinema Tools	203
What Actually Happens to the EDL	204
About Using EDLs with DPX Image Sequence Media	205
Using TextEdit to Make Changes to an EDL	205
Working with ALE Files	206
Supported ALE Fields	206
Importing an ALE File	207
Exporting an ALE File	208
Working with 24p Video and 24 fps EDLs	209
Considerations When Originating on Film	210
Editing 24p Video with Final Cut Pro	211
Using a Final Cut Pro System for 24p Offline and Online Editing	211
Using 24p Video with Final Cut Pro and Cinema Tools	212
Using Final Cut Pro as a 24p Online Editor	212
Copying the Project	213
About Importing EDLs	213
Importing 24 fps EDLs	213
Importing NTSC EDLs	214
Using Final Cut Pro as a 24p Offline Editor	214
Using the Reverse Telecine and Conform Features	215
Converting NTSC EDLs to 24 fps	215
Adding and Removing Pull-Down in 24p Clips	217
Working with 2:3:3:2 Pull-Down	218
Removing 2:3:3:2 Pull-Down with Final Cut Pro	219
Removing 2:3:3:2 or 2:3:2:3 Pull-Down with Cinema Tools	220
Pull-Down Patterns You Can Apply to 23.98 fps Video	224
3:2 Pull-Down	225
2:3:3:2 Pull-Down	225
2:2:2:4 Pull-Down	226
Adding Pull-Down to 23.98 fps Video	226
Using Audio EDLs for Dual System Sound	227
Appendix A: Film Background Basics	229
Film Basics	229
Frame Size	229
Perforations	230
16mm Film	230
35mm Film	231
Film Edge Code	231
Key Numbers	231
3-Perf 35mm Offsets	232
Ink Numbers	233
Window Burn	233
Speed	234
Editing Film Using Traditional Methods	234
Editing Film Using Digital Methods	236
Appendix B: How Cinema Tools Creates Film Lists	241
Film List Creation Overview	241
About the Clip-Based Method	242
About the Timecode-Based Method	243
Appendix C: Solving Problems	245
Resources for Solving Problems	245
Solutions to Common Problems	245
Contacting AppleCare Support	247

Match case Limit results 1 per page

But What If You Want a Clean Master?

If you plan to conform the original camera negative, the presence of burned-in timecode

and key numbers on the video clips you edit in Final Cut Pro may not be a problem,

especially if you are working with a highly compressed video format.

The burned-in numbers can be a problem, however, if you intend to use the edited

video for screenings or for broadcast. As valuable as they are to the editor, the burned-in

numbers can be distracting when watching an edited project. There are two common

methods you can use to minimize this problem:

• Letterbox the video during capture using a 2:35 aspect ratio so that there is enough

room below the video to show the numbers.

• Flash the burn-in information on the first frame only. Although not quite as useful as

a continuous burn-in, this does provide the editor with the ability to ensure that the

relationship of the edge code to the timecode is correct.

In most cases, telecines produce a log file that can provide the basis for the Cinema Tools

database. This allows you to automate capturing the video into the computer.

Increasingly, telecine facilities can also capture the video clips for you, providing the clips

on a DVD disc or FireWire drive, along with the telecine log and videotapes.

Transfer Techniques That Are Not Recommended

There are a couple of transfer techniques that are worth mentioning just to point out

why you should

not

use them.

Film Chains

You should avoid using a film chain if at all possible. Film chains are relatively old

technology, as compared to telecines. A film chain is basically a film projector linked to

a video camera. Film chains typically do not support features such as reading the key

numbers or controlling video recorders, and they cannot create a positive video from a

film negative. You must create a workprint to use a film chain.

Using a film chain is usually less expensive than using a telecine, although the cost of

creating a workprint partly offsets the lower cost. The biggest challenge is being able to

define the relationship between the film’s key numbers and the video timecode. This is

usually accomplished with hole punches (or some other distinct frame marker) at known

film frames.

Important:

Older film chains may not synchronize the film projector to the video recorder,

potentially causing the film-to-video relationship to drift.

Chapter 2

Before You Begin Your Film Project