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need to create EDL from 29.97 offline for telecine
Hi guys,
I need some help prepping an EDL for a telecine session next week and your thoughts would be greatly appreciated as this is an admitted area of weakness for me. I have an offline edit of a :30 spot that was done from DV tapes captured at 29.97. I need to create an EDL that matches back to the film which is at 24fps. The DV tapes could not be made at 24 so I asked that we have 24fps timecode burned in, but it seems that the burned in TC we have matches the 29.97 tapes exactly, so I am guessing that is it not a good ref for matching back to the film. There is also burned in edge code. All of the film rolls have a “punch” on a new hour (or a frame off of that),so the first film roll has a punch at 01:00:00:01 according to the DV tape timecode. What do I need to do? We are going to telecine the clips we need with handles of about 2 sec. Will this be enough to cover the difference in timecode between the 29.97 tapes and the 24fps film? Each roll is about 17min – FYI. Can I create a 29.97 EDL of my FCP sequence and then convert in Cinema Tools? Thanks in advance for the helpful responses.
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8 Replies
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Who made the DV tape? Is it the same place you’re doing the telecine at?
Sean
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Usually you also need keycode/edgecode numbers and camera roll to refer back to film. Do you have that info?
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Yes we do. That is burned in as well to the dv footage. I am a little fuzzy on reading keycode, but I am sure I can figure that out. So I am guessing I will need to input those numbers manually to an EDL or perhaps create a cinema tools database? I am happy to do some reading to get more clear on this, if anyone can suggest what to read. This must actually be a fairly common workflow: cutting offline NTSC footage to match back to film. How do people normally do this?
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galen
based on the info you have provided i cna tell you this:
we do this a lot, and the secret is we keep everything at 29.97.
We use a 29.97 EDL to make a list of the scenes we want. the colorist re-transfers in ascending timecode order just the scenes we specify, with some handle, usually the whole shot flash to flash. we redigitize the new transfer into the FCP project and everything matches up!
The only difference between 23.97 and 29.97 is the frames. 10 seconds is still 10 seconds in either realm.
If you are re-transferring to a 24 fps medium, like HDCAM or direct to hard drives, you can use Cinema tools to make a clean 24 edl from a 29.97 edl, but you need to know the pull down sequence ie which frames are held for 3 fields.
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Thanks, Bob. That is helpful. Let’s just say that in terms of framerate, this project was undertaken against my recommendation. We deliver PAL, so I thought it made sense to shoot the film at 25fps, make offline tapes at 25fps, and deliver at 25fps SD. However, the director wanted to shoot 24fps, which meant we had to make 29.97 offline dv tapes, and then finish at HDcam 23.98, for an eventual PAL conversion. Oh well.
Anyway, I will need to convert my EDL to 24p land because that is what we are getting as digital files from our telecine session. In terms of pulldown, I don’t have the info, but I am assuming I can look at the footage and determine myself by counting frames. Right?
Am I also right to assume that I can leave the keycode out of this whole process? I really hope so.
Thanks!
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Also wanted to add that this is what the transfer facility is looking for from us. I know that FCP cannot do C-Mode EDLs, but I have heard there is a workaround which is to drag all clips to a new bin Then sort those clips, within the bin, in ascending TC order. Then select all the clips and drag them into a new sequence. That sequence will be in ascending TC order – cmode. Then I would make a regular Amode list made from that sequence. Is this what you guys do?
1. Rough cut with timecode burnt in – on tape or as a QuickTime
2. One A-Mode edl emailed to nyedl@company3.com. This edl should be ‘clean’ and not contain any dissolves or speed changes. Adjust in and out points to ensure entire clip will be in the conform. Layers for split screens, composite shots or any kind of alternative passes should be supplied and emailed as an additional A-Mode edl.
3. One C-Mode edl of all needed scenes for this project.
The timecode that we will have burned in to our edit is at 29.97, so hopefully this won’t be an issue. I don’t think I can do anything about that. Again, Bob or anyone else, I appreciate you taking the time to pass on your wisdom!
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Damen
4 things:1. in the previous post you asked about the pulldown, I dont know how to tell, but there must be someone here who knows, or search 4 a post
2. Keycode is not necessary for this type of workflow.
3.the process you described to derive a “c” mode EDL is correct.
4. If you are transferring at Company 3 in NYC, tell Eli i said Hi
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Thanks, Bob. And yes we are going to CO3. We usually do, but the typical workflow for us is to have them make HDCam master and DV dubs, and then things are smooth. However, for this shoot we made our offline tapes in Argentina after the shoot, and now I just want to make sure all will sync up with our film. Sounds like it should be ok if I follow those steps.
best,
-g
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