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workflow for 35MM one light x-fer / flex files/edit/-supervised film to tape?
I read through the CInema tools manual but it didn’t seem to cover this workflow.
35mm one light transfer to dbeta (with flex files)
edit in FCP 5
then create a new edl (or flex file?) for a supervised film to tape of just the
shots that we used
– for recapture into FCP.
Can anyone point me to an article that covers this workflow?
It’s a bit lame I dont know thisalready, but I usually work with a supervised
– completed and synched film to tape transfer. -
3 Replies
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I don’t believe FCP offers this type of workflow. Since Cinema Tools is geared around generating a negative cut list, there’s not really a good reason to do this. With the relatively new advent of DI, this is changing, of course. Right now Avid has the best workflow for this function. Avid’s workflow is to use keycode as the common element. You would do the offline, generate a selects list (scene/take/keycode). This would be retransfered to new TC numbers and new Flex files would be generated. Then this new media is linked to the old sequence in a “relink by keycode” function.
In the FCP world, right now as far as I know, people are generating their own homebrew solutions, using Filemaker Pro and other apps. Part of this can be solved at the transfer facility. For example, you would cut and generate a CT database. From this you’d get a select scenes list. The transfer facility will have the ability to retransfer shots based on the original source TC, because they will have saved a transfer list (their own internal EDL). This is done all the time in commercials.
In FCP you could generate an EDL, XML or media-managed list/project that would be used to batch re-capture the new transfer, since the TC would match the original. Please realize, though, that these steps do introduce some frame-ambiguities, so your final sequence might have to be adjusted + or -1 or 2 frame(s) throughout to match sync and edit points, especially if you are going between 24 and 30 fps.
There’s a lot of info at 24p.com and zerocut.com.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Thanks…
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Oliver is right on the money as always, but for safety sake, you might want to handle the original transfer with some old but reliable techniques for doing a matchback or re-transfer of the selects.
1) Have the colorist (or assistant) hole-punch the head of each CAMERA reel (not just the combined spools) and force the A-frame to the punch. The A-frame of course refers to the first frame of in the 2:3 pulldown cycle. This will help you identify where the edits are taking place in the “video” version of the cut and also conform the re-transfer correctly when there is a discrepancy between lists.
2) With respect to the aspect ratio of the final program, consider transferring the one-light into a hard letter box (if the camera original is something wider than 4:3.) Then have the colorist burn the time-code and keycode into the black band at the top or bottom of the frame (or KC at the top, TC at the bottom)… keeping the image area clean. Again, this will help you with the key-code/time-code relationship and provide a clear visual reference for where the cuts are happening… just in case the EDLs get wanky. You can always print the program to tape with a mask in FCP to hide the KC/TC data.
3) Finally, have the transfer house give you a “flex-file” or list with both the Key-Code and Time-Code in it and see if they can PRINT the file on paper by camera roll. I would highly recommend getting the electronic version in a common format for video use (such as CMX) with the key-code data in an auxillary field or in the “comments” column if available and necessary. If all else fails, at least you can manually enter this data into FCP as supplemental notes.
All of these things may be redundant or overkill if all goes well and smoothly. But if there is a glitch in the process, these steps will help ensure that you have a trail to follow back to the original camera rolls.
Good luck,
Tim
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