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Cinema Tools, logging and capturing camera rolls
I hope that someone who has experience in cutting their film negative successfully using Cinema Tools will be able to answer some of my questions.
Thank you
Dimitriz51rays@email.com
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HARDWARE/SOFTWAREMy editing system consists of a G4 computer with a 250 GB drive installed which should be adequate storage for all media. The installed program is – Final Cut 5.0.4
(I also own the complete manual for reference or recommendations)BACKGROUND
My film was shot in 35 mm and was transferred in a total of 8 Beta SPs (60 min tapes, also came with flex files). They were recorded by different Telecine machines *(transfers were done at various houses). This means that each transfer house had a different “window burn” look, and hopefully nothing else. (please take notice of this detail)
From these 8 Beta SPs, we made 8 DVCAM dubs. The DVCAM video image contains (burned-in) visible key code and visible time code on them. In contrast, the Beta SP tapes are clean (no burned in time/key codes).
Considering that the material is captured properly, I understand that the Final Cut creates an EDL which is based exclusively on the embedded (invisible) time code, while the visible time code is there only for the purpose of double checking.
As I understand, the Cinema Tools software will generate an EDL, which includes fades etc. and it should clearly produce the precise *key codes that mirror the actual negative – as if the editor was cutting directly on the work-print.
Because at some point, before the answer print is made, we will also want to make a clean viewing version – directly from the Beta SP – for showing purposes, the editing process should be carefully planned so everything is done in a way that the EDL is traceable for both the Beta SP as well as the film negative.
I will digitize some frames from the original film negative, prior to negative cutting, for the purpose of creating visual FX.
QUESTIONS:
1.Please recommend a list of specific actions I should take – in a step by step order – so I can correctly log and capture each film camera roll# for:
a. the negative cutter
b. an on-line (using the Beta SP)
c. digitizing frames from the original negative2. Please note: Some of the MOS rolls are not identified by a slate due to difficult filming conditions. Do I mark those rolls differently in terms of giving them a name for the negative cutter, or would he simply consult the key codes of the EDL?
3. Does Foto Kem in Los Angeles or other negative cutters prefer a particular EDL program? Which one is it? Is it included in the Final Cut 5.0.4 or Cinema Tools?
4. As far as I know, the visible time code on the DVCAM dubs should coincide with the time code that is embedded within the tape itself. I also assume that the very same numbers should coincide with the numbers of the Beta SP tapes that they are made from. Can I trust this to be true?
5. Somebody recommended that I convert all captured items to 24 frames. Is this necessary?
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3 Replies
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You should read the manual for cinema tools, as this will describe how the program works and how to create cutlists.
The basic steps are:
Import flex files to create a database record in Cinema Tools for each flex file record.
Capture the files.
Reverse telecine the clips if you wish to work in 24 or 23.98 frames per second.
Link the quicktime files created by reverse telecine to the database records in Cinema Tools. Check that keycode and timecode information is correct on the Cinema Tools data records
Edit.
Then make cut list, which match the portions of the quicktime files you edited to the record those quicktime files are linked to in Cinema Tools.
Of course, this is the quick cursory overview. You absolutely should read and understand the Cinema Tools user manual as a first step in the process.
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Hello Steven and thank you for your reply.
You mentioned that I reverse telecine the clips if I wish to work in 24 or 23.98 frames per second.
Do you recommend one rate over another?
Is staying at 29.97 out of the question?Best
Dimitri -
Whether you work in 24 or 23.98 really depends on your sound. If you are syncing sound to picture within Final Cut, working in 24 will allow you to sync without changing the sound.
If you sync in Final Cut, and you work in 23.98, you would have to slow down the sound by 1/10th of one percent (.1%). This would match the slow down which happens to picture during telecine to video.
You can also edit at 29.97, and Cinema Tools will create a cut list. However, during telecine, certain video frames have information from 2 different film frames. If you use one of those dual frames at a cut point, the program will have to choose between the two film frames for the cut list.
Thus, editing at 29.97, each cut is accurate to only plus or minus one frame potentially. If you are editing for a negative cut, you are better off editing at 24 fps (or 23.98).
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