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Setting up a project for a 35mm film, please verify my process and give me a lil’ advice…
Hey all,
As a sudden thing that just fell into my lap, I’m taking over editing on a 35mm feature that the producers weren’t happy with the previous editor. I find out after being told he was cutting in FCP that he was actually cutting in Avid (which I know ok but really can’t flow well in) so now they want me to recapture tapes and start from scratch in FCP because they want my cut from scratch anyways. It’s been a while since I captured and logged tapes for a 35mm feature off of DVCAM tapes (usually the post house has it all setup for me on a drive ready to go). Can you please answer these three burning questions:
1) Here’s my workflow. The film is telecinied onto Sony DVCAM tapes. The tapes have a label saying “S35mm Transfer @ 24fps Full Frame w/BITC”. They’re giving me a deck and a drive – I plan to start a new project in FCP 6.0.4 with the name of the film – capture from the deck all of the tapes with the NTSC/DV preset (29.97). After I’m done capturing all the tapes, open Cinema Tools and reverse telecine all the files back to 24fps. Then start a sequence with the 720×480 frame size but 24fps frame rate (I usually just pull a shot in to the timeline for the auto setup FCP does these days). Then edit away and let the post house that’s handling the print back to film handle the rest? Do I need to worry about a CT database or anything else or is this all I’ll need? Again, the goal of the project is to go back to film (it’s a solid movie, definitely see it going to theaters and I never say that).
2) I had to cut a test scene to prove I could bring a better style to the film. When I captured those couple of tapes, there weren’t time code breaks when the post house telecinied onto the DVCAM tapes which means I had to manually go into each long clip from each tape and subclip out every shot which was miserable. Is there any kind of tool or easier way around this that could auto detect the flash frames between takes that the camera creates so I don’t slit my wrists? 😉
3) What’s the easiest way to put on a 2.35 matte that goes onto every clip? Is it to create my own 2.35 matte using two separate black mattes on higher tracks in a timeline and just edit the film under those or is there a better way?
Thanks guys, I know I’ve said it many times but I’ll keep on, this site is an incredibly invaluable tool. You guys rock!
Bryan
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5 Replies
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1. Steep learning curve buddy if you’ve never done this before. A few pointers just to get started; Make sure you get the telecine logs (flx, ale, or ftl files) for each DVCAM tape from the lab and use those to capture your footage as they’ll contain all pertinent lab roll, film edgecode, and soundroll data. Also engage in dialogue with the lab about what their specs are for their DI and what kinds of edl, cut lists, scene lists etc. that they want. Almost every lab is different in some regard as they use differenmt systems for DI and such. Yes, create a database and reverse telecine captured footage in Cinema Tools to 23.98 and edit in 23.98. Just a question: Is there a Post Supervisor on the movie?
2.As I mentioned, get the telecine logs from the lab. In the telecine process, they usually break up the indiviual slates and label each clip with appropriate scene and take identifiers. Also get the Editor’s Log Book and Marked script (documents created by the script supervisor) from the previous editor, as well as copies of camera and sound reports. Question: Do you have an assistant editor on the movie?
3.I generally just create my own 2.35 matte and only put it on when outputting screening DVDs for Producers and investors and the like. I usually like to see everything in the frame when I’m cutting but that’s my own personal taste I guess.
Good luck.
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DK Davis / Editor/ Post Super
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Thanks so much DK:
Ah that’s right, it’s starting to come back to me now. So I go to FCP and then do File > Import > Cinema Tools telecine log? I remember it’s something like that, and then I capture the tapes that way in FCP with the log and capture but with the flex files? So you’re saying I should reverse telecine to 23.98, NOT 24 fps?
There is no post super so it’s on me to figure this out (I was planning on calling the two transfer houses and get their input once I’m given the green light to start capturing tapes). The other questions, I don’t have answers yet. I’m very confident in my storytelling and operating skills but it’s this critical setup process that assistants have been doing for me the past couple years that I need to make sure are done properly before I start this! The last thing I want to have happen is end up with a beautiful film and then not be able to actually go back to film…
Bryan
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Start at the end, with what you have to deliver, and then work backwards. You have to deliver the right lists to the DI or negative cutter, and you have to deliver the right lists and data to the sound edit.
It’s way easier to get this correct now then rework it later. If this was already logged and put in sync in Avid, there may be some advantage in bringing over that information with a tool such as Automatic Duck. At the very least, you could export Avid Log Exchange from the bins in Avid, and import those into Cinema Tools, and convert to batch capture lists to bring into Final Cut.
In my experience, producers making workflow and edit system decisions usually creates problems. If the project already exists on Avid, it might just be easier to leave it there. All this restart work is time you could be spending correcting the story problems in the movie.
Good luck.
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Hmmm. No Post Supervisor and no assistants, using 2 different labs and they want you to start from scratch, capturing all footage and completely re-editing on a whole different editing system. I would advise that you discuss the business matters of this project further with the producers before jumping in.
Good Luck
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DK Davis / Editor/ Post Super
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Hi Devis
Ravi this side from India, i am using FCP 6.06 ver from last 3 year but now i have project for editing full frame feature film(animation) 100 minute length. I have some question regarding this, mentioned below..
1) What would be the sequence setting for 35mm Film editing in FCP 6.06.
2) What would be the machine configuration for the same project.
3) My animator also want to know, what would be the dimension of single frame for film.
(he will give me in targa/tiff sequence)
4) last but not least, what would be master out(QT movie) setting for theatrical release.I would be very great full to you, if you help me out.
Thanks
raveeverma
08800315144
09811173070
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