-
Big Problem! Need Major Help!!!
Here is my situation. I finished editing a Super 16mm independent feature length film on FCP. The director wanted to cut the negative so I went through Cinema Tools to do the reverse telecine, which resulted in new 24 fps clips that I imported and edited in FCP, at 24 fps.
Well I finished and have a locked edit only to discover the director now doesn
-
12 Replies
-
I answered this at Apple, but wanted to post my suggestion here too, to see if I can jog ideas from these guys too.
Well, I have a suggestion, but it will require recapturing. And I am not entirely sure it will work…because while I have used this for 23.98 footage, I haven’t with true 24fps.
Export an EDL. Use Cinema Tools to Export the 24 frame EDL into a 29.97 EDL (File, Export, EDL….24 to 30) Import that EDL into FCP and then recapture.
But first see if it worked. Print out the 30 frame EDL and match it to the burned in code on the footage at the cut points and see if they match.
Shane
Littlefrog Post
http://www.lfhd.net -
Shane… if this was DV — we’d just dump it to tape with the 2:3 cadence… why can’t we do that now?
FCP will add the cadence as you dump to tape.
Won’t that work?
CaptM
-
Cap’n, that would work, except he’s offlining it, and needs to get it to the online, who (I can’t figure it out either) can’t work at 23.98.
Seems backwards to me. If I found out I was offlining for someone who wasn’t capable of working in 23.98, that would be my pitch to the producer for doing the online, too.
travis ballstadt
http://www.thrillcateditorial.com -
Ah — didn’t understand the “online BetaSP daily cassettes” part. Now I do. I hope “independent feature length” actually means “20 minutes”!!
What a headache!
Am I thinking what you’re thinking? Frame for frame re-edit… old hunt and peck method? There isn’t a chance in the world, BetaSPs would carry the same timecode, is there?
What resolution did you bring the 16mm in at? What was it telecined to? Any chance you can convince producer dude that this is as good as it’s gonna get?
CaptM
-
What is the final delivery?
If the director just needs a screener
to show investors I would take what
you have done – ourput to DVD
and thats it until the Director
comes up with more funds…..
If it was shot 16MM I would
take your EDL and transfer
the film to HD and on-line with that… -
[SPeditor] “the director now doesn
-
Well I did this and imported my converted 30 fps EDL into FCP. I compared the numbers on the EDL to the burn in on the video. Sometimes it’s exactly on. Sometimes it’s 1 frame off. Now I’m comparing the EDL to my 24fps timeline. Don’t know if the 1 frame off is normal or should I not trust this list?
I spoke to a specialist and he told me I have to go 29.97, not 23.98, if I want to online to SD video.
The length of the film is near 80 minutes.
I digitized at DV/DVCPRO.
My options are to redigitize to this converted EDL, which I’m unsure if this is accurate.
Or to manually cut in each shot from the already digitized 29.97 fps footage that I still have on my drives. I used that footage to convert through Cinema Tools to make 24 fps.He wants to show this film in festivals. My understanding he needs it on video.
We discussed the HD route but to do that, wouldn’t I have to manually cut in every shot of the HD material because the timecodes would not match?I am doing this for free for experience. But the change of plans does bother me as it has created more work on my end.
I have to run but will be back later today to see what you guys come up with. Thanks!!!!
-
[SPeditor] “We discussed the HD route but to do that, wouldn’t I have to manually cut in every shot of the HD material because the timecodes would not match?”
This would be fairly easy if you received ALE or FLEX files from the facility that did the telecine and imported that information into Cinema Tools. CInema Tools can create a cut list based on your cut and have the negative telecined again to HD (with some handles) so that you can re-cut and slip a frame here or there.
But onlining the BetaSP masters should be easy. After you recapture just compare the online with the offline cut (put the offline sequence on an upper track…as an exported ref movie that you reimport) and compare the shots…shot by shot.
Editing film isn’t a quick process. This is why it takes MONTHS from when a film is shot until it is released.
Shane
Littlefrog Post
http://www.lfhd.net -
I never received an ALE or flex file on this project. I manually entered in the key numbers for each shot. It was a big pain!
Would this prevent me from going the HD route as you suggested? Just wondering, as I doubt the director will pay the money for this.
And “if” we went HD, what frame rate does the sound editors work at?
Meanwhile, the best option for SD is to redig based on that new EDL I made from Cinema Tools. Then adjust each shot if needed. Is that correct?
-
“I spoke to a specialist and he told me I have to go 29.97, not 23.98, if I want to online to SD video.”
Not true – sort of.
I shoot and edit entirely in 24p. Have not edited in 29.97 in years.
In FCP when you want to go back to tape it will add the pull-down
back in for you. Of course it all depends on what tape
format it is going to. Festival playback of video will
run the gamat from DVD to HDCAM and everything in between.
You can produce a much better product by creating a DVD
from your 24p timeline.
If you need the show on BetaSP you can export from
your computer if you have the proper hardware.
Reply to this Discussion! Login or Sign Up