Apple M8728Z/A User Manual - Page 28

Additionally, because of the way it is recorded, audio is difficult to synchronize at the telecine during a camera-roll transfer. During a production, the sound recorder typically starts recording before film starts rolling and ends after filming has stopped. You also will often shoot some film without sound (known as MOS shots). This means you cannot establish audio sync at the start of the film roll and expect it to be maintained throughout the roll. Instead, each clip needs to be synced individually. The Cinema Tools database includes provisions for tracking the original production sound rolls and audio timecode. Once captured, a single large clip can be broken into smaller ones, allowing you to delete the excess video. Even with multiple clips, it is possible for Cinema Tools to generate a complete cut list with only one database record. Another approach is to manually add additional records for each clip, allowing you to take advantage of the extensive database capabilities of Cinema Tools. See Creating the Cinema Tools Database for a detailed discussion of these choices. Scene-and-Take Transfers Scene-and-take transfers are a bit more expensive than camera-roll transfers, but they offer significant advantages: • Scene-and-take transfers make it easier to synchronize audio during the transfer. • Because the telecine log contains one record per take, it establishes a solid database when imported into Cinema Tools. • With an established database, Cinema Tools can export a batch capture list. With this list (and appropriate device control), Final Cut Pro can capture and digitize the appropriate takes with minimum effort on your part. Maintaining an accurate film log and using a timecode slate can help speed the transfer process and reduce costs. Frame Rate Basics When transferring film to video, you need to take into account the differences in film and video frame rates. Film is commonly shot at 24 frames per second (fps), although 25 fps is sometimes used when the final project is to be delivered as PAL video (as opposed to the more common technique of just speeding up 24 fps film to 25 fps). Video can have a 29.97 fps rate (NTSC), a 25 fps rate (PAL), or either a 24 fps or 23.98 fps rate (24p), depending on your video standard. The frame rate of your video (whether you sync the audio during the telecine transfer or not) and the frame rate you want to edit at can determine what you need to do to prepare your clips for editing. You may find it useful to read Determining How to Prepare Source Clips for Editing before you make any decisions about frame rates. 28 Chapter 2 Before You Begin Your Film Project