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Looking for workflow instructions for 35mm project which will have a negative cut
Hi,
We are working on a feature film being shot on 35mm with the end goal of generating cut lists out FCP that our negative cutter can use. The 35mm neg will be transferred and synced with sound by a telecine house to DVCAM, they will provide an FLX file as well with all information logged (cam rolls, kk #’s, sound tc etc)
We are a little confused as to how to proceed. In Avid you import the FLX file into a bin, modify the names of the clips and maybe the number of audio tracks and then batch capture.
But FCP uses cinema tools and there is the reverse telecine procedure to get from 29.97 to 24 (or 23.98?).
Does someone know where we can find step by step instructions for this workflow, or if anyone is kind enough to share their procedure with us we would be most grateful.
Thanks so much.
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3 Replies
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Chapter 12 of the FCP user manual. Should be everything you need.
Open FCP project. Import telecine Log. Capture Footage. Reverse telecine footage and resync database. Edit. Cinema Tools can make cut lists at any time at this point.
Unfortunately it’s not as easy as AVID. Cinema Tools should have been fully integrated into Final Cut, but it’s kind of dangling off the side.
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Great – that clears things up! Thanks!!
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my experience with film-based projects has been in the PAL 25fps world,
so take it with a grain of salt.there’s a lot of useful info in the Cinema Tools manual as well.
i printed that out prior to my first film job 5 years ago!a couple of quick notes:
1.
CinemaTools (CT) is happier with ALE files than Flex files.
carries more info
get both on your first few days of telecine and see which works best for you.2. (FWIW)
in my 25fps world, we can get by without using CT at all, or not relying on maintaing CT databases.
we can import the ALE file into FCP,
“Conform” from 25 to 24fps,
and then al we need to provide the neg matcher is an EDL.i don’t know if that holds for 29.97 / 23.976 workflows.
3.
it USED to be that FCP didn’t like subclips in complex workflows.
(large projects, multicam rushes, merged rushes.. all the things you do in a feature film)
that may have changed, but it might be worth testing, or asking around about this.
coming from avid you may be expecting to use a sub-clip based workflow.i haven’t used subclips in a large FCP project,
and the last time i saw someone try, it led to disaster,
but as i say, don’t take my word for it, ask around.good luck,
nick
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