Super 16mm – Transfer To MiniDV – FCP Edit – Retransfer Selects To HD

[Shane Ross]

[Boris Riabov] “I purposely did not capture and log my footage with cinema tools; no batch capture with .ale files and no reverse telecine.

I decided to edit my film first with the intent of recapturing selects from my picture-locked timeline – at another time – the proper way.”

So you decidedly avoided the tools you need to use in order to do what you want to do? That doesn’t make any sense. You shot 23.98…but edited 29.97? (Well, that can be fixed by converting the EDL, if you used Cinema Tools to track the film footage) You didn’t use the tool that would enable you to track the edge code on the film so that you can export an EDL and go back to the film when you are done editing?

On the plus side, you do have visible code. So now all you need to do is manually write down those numbers, for each edit. The shot’s start timecode and edgecode, and end timecode and edgecode.

Shane
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[David Roth weiss]

[Shane Ross] “So you decidedly avoided the tools you need to use in order to do what you want to do? That doesn’t make any sense.”

At least these lessons are being learned in film school rather than in the real world. And, Boris probably won’t fire himself, though he might be tempted.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

Don’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
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Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.

[Shane Ross]

Now, there IS a way for this to work. If the lab knows what the film edge code is based on the tape timecode…great. They can do that. I have a friend who has film dailies transferred to HDCAM, he cuts, and then the film negative is cut based on the tape timecode…but the lab purposefully took note of the timecodes so they can track the film that way. PLUS, he cuts at 23.98…

And you can export an EDL and convert it from 29.97 to 23.98…but you need to find out if the lab has tracked the footage based on tape timecode. But if they gave you an ALE, I don’t think they did. They would assume that you’d use the ALE for proper tracking of the footage.

Your post keeps mentioning the “proper” way to do this and that…but you ignored the proper way and did things your way. I do hope you can figure this out, and that they can track the negative. I’m just pointing out that it might be difficult, given the way you did things.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Boris Riabov]

Guys,

I don’t have any problems re-logging my footage.
It will be twenty three minutes versus five hours worth of footage.

I’ll be recapturing only select takes from my picture-locked-timeline.
I’ll be able to simply drag them into my correct timeline by using the in and out points of my original 29.97 clips.

I got it.
I didn’t do it properly months ago – and I admit so – which is why I’m here trying to correct myself and my mistakes.
I was too eager to begin editing without the correct preparation.

I’m here now to make sure I’m doing things the right way – and would be highly indebted if I could further post my new workflow (screen-shots for example) and run it by you guys.

Sincerely,
Boris

[Shane Ross]

Do you have the ALE? If so, you use Cinema Tools to access that, create a Batch Capture list in FCP…capture. Then you edit, and then…somehow (never done this)…export an EDL thru Cinema Tools that will reflect the film edge code.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Misha Aranyshev]

[Shane Ross] “If the lab knows what the film edge code is based on the tape timecode…great.”

Even if the lab doesn’t keep records of what keykode corresponds to what timecode there is usually a punch hole at the head of each cam roll. So for retransfer an EDL and the list of punch holes is enough.