Slightly OT – but help is really needed

[Michael Phillips]

How are they looking to finish? On film, SD? HD?

[Eric Sharon]

Michael, thanks for your reply. We intend to finish it on film.
Eric.

[Eric Sharon]

Forgot to mention – working in PAL environment.

[Michael Phillips]

Was the film shot at 24fps or 25fps? Will the audio be synced during telecine transfer or in the Avid? Where will audio be mixed (Pro Tools)?
Will you finish by cutting negative with a 35mm blow up?
Are you considering a 16mm to HD DI workflow?

More question for you before you get answers….

Michael

[Eric Sharon]

It was shot at 24 fps, synced during Telecine. It will probably stay on 16mm for now.
What is 16mm to HD DI workflow?
Thanks.

[Eric Sharon]

I just found ot that it has been shot in 25fps and transfered to DvCam.
Eric

[Michael Phillips]

Then make sured they create a FLEx File or a film transfer log that you import into the Avid that will have all the film source information such as camera roll and KeyKode. I have found that in Europe, this is not a common process as the negative cutter retains the database and creates a cutlist from an EDL – work this out with your facility.

You will also want to ask for a burn in of the timecode and KeyKode into the video as well as audio source timecode is a timnecoded audio device was used.

Create a PAL25p 16mm film project.
Import ALE/FLEx transfer file
Select and batch capture
Edit.

If you are not given a FLEx File, log clips, batch capture and enter KeyKode/Camera roll information by hand.

I suggest you keep the dupe detection on in the timeline to at least one frame to protect for double usage and to not incur additonal costs by duplicating negative.

Once picture is locked, the bin is opened in FilmScribe and the lists are generated fromn there for the negative conform.

The user’s guide has a lot of workflow charts for setting up film projects.

Michael

[Eric Sharon]

Michael,
Thank you very much. I really appreciate your help.
Eric