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PAL film Offline to 24p Digital Intermediate
Hi everyone! Looking for some advice in the theoretical world on a film conform. Here’s the skivvy:
– FIlm shot in Europe, 16mm at 24fps
– Telecine done to DVCAM PAL at true 25fps transfer rate
– Rushes brought into FCP without conforming to 24p or linking to Cinema Tools database
– Movie edited
– Rudimentary lists turned over at 25 fps with 25 fps chaseNow the producers want to conform and do DI/Color Correction at 24 fps. A mess, I know. But here is where I am trying to save them some time and money and I need opinions as to whether this should work. The only other option seems to be a complete overcut.
– Have new lab re-transfer all film rolls using original lab’s ALEs to maintain timecode and keycode relationship at 25 fps to HDCAM SR 4:4:4.
– Media Manage FCP project to a 25fps HD project, and recapture necessary clips using 25 fps TC
– Conform and drop in effects as if normal video online conform
– Render to Cineon image string and have Baselight/DaVinci operator interpret string as 24 fps instead of 25fpsBasically I do a video online in 25fps and only change the frame rate of the resultant rendered data. In theory this would give me a conformed movie that would be the exact same total number of frames, just running at the correct rate for the Digital Intermediate and (possible) film out. I understand that sound has it’s own issues, but fortunately, I’ve not been tasked with solving that one. If anyone has any advice or comments, I’ll be incredibly thankful.
Best,
CChris Meagher
Editor/Colorist
North Hollywood, CA
chrismeagher at mac dot com -
3 Replies
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Do you have any kind of ALE/FLX files, if not the negative could be logged on a Keykode reader. Was the original offline transfer done without stopping? Is there burnt-in keykode or timecode visible in rushes? Is there a punch hole on the first keykode? Etc, etc…
Picture should be no problem but sound will need some work. I usually conform scans in Baselight at 25fps with a PAL reference (1:1), after rendering to DPX for filmout or DCP you have an image sequence and fps won’t matter.
Do not allow any cutting in the negative rolls until this is all cleared out.
Dirk DeJonghe
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I have no idea what HDCAM SR 4:4:4 telecine transfer will save you comparing with a proper film scan. Depends on the market.
Go through your source footage and locate the start of each camera roll. There should be a punch hole some frames into the roll. Write down the timecode of the punched frame, write it down. The number of camroll is usually on the slate and often inked on the film itself. Write it down too.
If your footage was captured by scene/take or camroll into FCP go through the clips and change number for REEL to the camroll number. Generate an EDL for each reel. Sent the EDL’s and the punch hole list to the lab for scanning.
If whole tapes were captured break them into camrolls, batch export, reimport, change REEL and reassemble the edit with new set of clips by eye-matching.
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Thanks everyone for the great advice and wisdom. I feel armed and ready to tackle this now.
Best,
CChris Meagher
Editor/Colorist
North Hollywood, CA
chrismeagher at mac dot com
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