-
First Film to tape edit
I’m doing my first film match back edit (offline) and I want to make sure I do everthing right. I am working on Avid Media Composer Version 11.0.6 I understand the basic process, but am a little fuzzy on some details.
The film will be one-light transfered to digibeta, dubbed to 3/4″ for me to edit. With the 3/4 tapes should be a FLEX file. I know I’m supposed to import this, and it should give me basically offline clips to digitize the 3/4’s.
Then after I’ve edited the project, I export an EDL for the film colorist, who then gives me back a 3/4 (dubbed from a digibeta transfer), I overcut my old timeline with the new color timed footage, and then send that EDL to the online editor who works off the Digibeta of color timed film.A few things I’m confused on are what the difference between doing a 24p project vs a 30i project with a matchback? Reading the manual, they seem to do the same thing, so I’m not sure what the difference is. Another question is about key numbers. Will these come in automatically in the FLEX file, or is it something I have to manually enter? If so, how do I do this? And lastly, when I’m outputting an EDL for the color timer to grab the film selects, how do I make sure the Key Numbers find their way to the EDL?
Sorry for writing a book, but any help would be appreciated on this
-
3 Replies
-
Project type depends on how you audio is coming in. Is it sync on tape or are you syncing in Avid? If syncing in Avid, what sample rate?
Workflow wise, edit either native 24fps or 23.976 (depending on audio answer above). The FLEx file will contain all the timecode and KeyKode as needed.
Once you cut the offline, export an EDL or a Pull list. EDL from EDL Manager (timecode based) or a Pull List (timecode and KeyKode based from Avid FilmScribe).
The colorist can re-transfer back to the same timecode for you to do a batch capture from your original timeline or have the colorist just re-transfer away and give you a new FLEx file. Import new FLEx file, relink sequence to new FLEx file events and use “relnk by KeyKode. Sequence will relink to new clips. Batch capture.
Michael
anything 24fps
-
I believe the sound will be in sync on the tapes I receive. Is there an advantage to editing in 24p as opposed to 30i with a matchback (I’m guessing if there is, it’s accuracy?)
Thanks for the advice.
-
I would then edit in 23.976 – Advantages are frame accuracy for film lists. frame accurate versus +/- 1 frame. And for video workflows, the playback will have a continuous 2:3 pulldown cadence for easier MPEG encoding and other downstream processes.
Michael
anything 24fps
Reply to this Discussion! Login or Sign Up