Apple M8728Z/A User Manual - Page 27

Recording a Projected Image with a Camcorder Because of the greatly increased chances for error and the additional time you have to spend tracking key numbers, this method of transfer is strongly discouraged and should not be considered. Projecting your film and recording the results using a video camcorder is a method that, although relatively inexpensive, almost guarantees errors in the final negative cutting. Telecines and film chains are usually able to synchronize the film and video devices, ensuring a consistent transfer at whatever frame rates you choose. The projector's and video camcorder's frame rates may be close to ideal but will drift apart throughout the transfer, making it impossible to ensure a reliable relationship between the film's key numbers and the video timecode. You will have to spend extra time going over the cut list to ensure the proper film frames are being used. Additionally, there may be substantial flicker in the video output, making it difficult to see some frames and determine which to edit on. Because the video is not actually used for anything except determining edit points, its quality doesn't matter too much. As with film chains, you have to create a workprint to project. Being able to proof your cut list before the original camera negative is worked on is very important with this type of transfer. How Much Should You Transfer? Deciding how much of your film to transfer to video depends on a number of issues, the biggest one probably being cost. The amount of time the telecine operator spends on the transfer determines the cost. Whether it is more efficient to transfer entire rolls of film (a "camera-roll" transfer), including bad takes and scenes that won't be used, or to spend time locating specific takes and transferring only the useful ones (a "scene-and-take" transfer) needs to be determined before starting. Camera-Roll Transfers Cinema Tools uses a database to track the relationship between the film key numbers and the video and audio timecode numbers. The database is designed to have a record for each camera take, but this is not required. If you transfer an entire roll of film continuously to videotape, Cinema Tools needs only one record to establish the relationship between the key numbers and the video timecode. All edits using any portion of that single large clip can be accurately matched to the original camera negative's key numbers. A drawback to this transfer method is the large file sizes, especially if significant chunks of footage will not be used. Chapter 2 Before You Begin Your Film Project 27