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Final Cut Pro System SetUp
I am equiping a Final Cut Pro Edit room for editing a feature film shot on 35mm. I am based in Europe and used to the PAL standard for telecines etc. This project will be NTSC as the shoot, Lab and sound editing is all in the USA. We will finalise with a traditional neg cut also in USA. I am interested to know what the most common and ideal workflow for an NTSC project on a 35mm gig is. I am talking about the Telecine, and capture aspect of the process. Do you transfer mute dailies and load sound from DATs and sync in the FCP. Or do you have telecine sync up footage and then load with a common timecode. Any useful tips would be gratefully apreciated. Thanks
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2 Replies
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Due to the difference in film speed Vs video speed in NTSC land, it is much more desireable to have the sound synced with picture during the telecine process. Most labs are equipped with dat machines that can handle the required pulldown of the audio. You will then just get dailies tapes with timecode for hour 1, hour 2, hour 3 etc. You will also get a .flx file which you will use to create your data base in cinema tools so that when you create EDL’s for sound and picture cuts, they will reference back to the original sound rolls and camera reels. This is the most common workflow, however some people elect to sync the audio later in FCP to save a few dollars at the lab but inevitably end up here, or on anther board wondering why they cant get their audio in sync.
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Thanks Frank
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