Missing a piece of the puzzle!

[David Roth weiss]

[Sebastian Leda] ” I want to transfer the selects to HD.”

Sebastian,

Define transfer in this case… Are you saying you want to re-telecine your selects
to HD???

DRW

[Sebastian Leda]

Hi David,

Yes, sorry. That’s what I was trying to say. I want to do a telecine to HD.

Sebastian Leda
Editor
Digital Post Services

[David Roth weiss]

Sebsatian,

Okay, here’s the deal. Because telecine bays are driven by online editing systems, operators do have the ability to assign specific timecodes to specific film edgecodes. Of course each entry has to manually entered, and that takes time and costs money. But it certainly can be done.

It is possible that you could obtain software that would allow you create a Flex File or Evertz file with timecode and edgecode that would be readable in their system, but that might be expensive and you’d have to learn to use it.

In the future, you would most likely be better off to bite the bullet and telecine everything to HD at the beginning.

Does this help???

David

David Roth Weiss
Director/Editor/Post-production Supervisor
David Weiss Productions, Inc.
Los Angeles

[Eli Mavros]

That is a real bummer. I know this doesn’t help right now, but in the future you can always have them telecine to HD and then make dubs from those to DV for offline editing. The Cow is a great place to get help, but if I were you I would call up the transfer house and talk to someone there about what the necessary steps are to see this thing through. I don’t know where you are located; I am in NYC and the guys over at Postworks are usually very helpful.

Good luck,
Eli

Eli Mavros

[Sebastian Leda]

I’m in Argentina right now, but I’ll be back in LA soon. I guess I should have transfered everything to HD at the begining, but it was expensive and we would have only telecined one-light unsupervised, as opposed to doing a good supervised color correction of the selects now. I preffered this option instead of doing color correction in FCP from the one-light HD tapes. But I guess the trade off is that I now have to go through the pain of manually replacing shots.

Sebastian Leda
Editor
Digital Post Services

[David Roth weiss]

Its not that bad Sebastian… Call the telecine place and find out how much longer it will take them. A good operator can type in numbers pretty darned fast, especially if you provide him with an accurately typed list of timecode and edgecode representing the head and tail of each selected take.

DRW

[Sebastian Leda]

Yes, I’ll definetly give that a try.

Sebastian Leda
Editor
Digital Post Services

[Michael Alberts]

Beter yet, why not have the 16mm negative cut and just do an HD telecine from the cut neg? You’ve got the t.c. and key code burned into the pic. Did you import the Flex files and run though Cinema Tools? This will give you a quick Cut List if you did. Otherwise, it’s a manual process to produce a neg cut list.

Michael Alberts
Ambidextrous Productions, Inc.

[Sebastian Leda]

Yes, I did the CinemaTools and I have the cut list.

Cutting neg is a good option, but what happens after the neg cut? I’ll end up with an A roll D-5 and a B roll D-5, and then digitize each and remove the blacks between the shots? (I don’t think I can have everything on one roll in Super16 without having to add handels, and in that case I’m back top the problem of not being able to recapture and having to place each shot manually on the timeline) or there is something else that I’m missing?

Sebastian Leda
Editor
Digital Post Services

[David Roth weiss]

Sebastian,

I’m rethinking this entirely now… Call the original telecine house, see if they stored the original data from your telecine session. If so, just have them re-telecine selected takes from their data logs.

DRW