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Telecine questions
I am about to start a project which will be shot on film, somthing I have never done before. I understand the process somewhat, but am unexperienced with it. I am working on a Media Composer. The color correction will be done on telecine machine and i have to give a final EDL to the telecine operator. What is the final EDL i should be delivering? and what info should be on it? anything other than source and edit ins/outs?
I also understand I have to click the matchback to film button when starting a new project, but is there any other settings I need to be aware of before I begin digitzing and editing/?
I have been working in video editing for a few years, but this is my first film shoot to be editing. Any tips or info would be greatly appreciated.
Thanks.
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5 Replies
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What is your final deliverable? If it is just an EDL and you never are going back to the film, then treat it like any other video source you have ever worked with.
If you want or need to track film sources to do pull lists and retransfers and “protect: for a negative cut” then you need to decide wheher you are working in a 30 frame project with matchback or a 24 frame project. All of these decisions are based on what deliverables are required and what you want to protect for. Talk to the production and see what their intentions are. I can also tell you hundreds of stories of “we mever thought we needed this, but we now want to cut negative…” etc. So at the very least, turning on matchback in a 30i project will protect you for negative tracking. The next thing I hear a lot is, we decided to do a 24p finish… if that is the case work in a 24 or 23.976 project. You can generate EDL’s and cutlits from either one, but in each case one of them – there are just differences in the final product – each with their own advantages and disadvantages.
As far as working, select proper project type based on above, import FLEx file and batch capture. Make sure you ask for a FLEx file…
Michael
anything 24fps
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Thanks for the advice. I guess there’s a lot of questions I have to ask of production before I get started on this. I’ll keep you posted.
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The answer lies with the house that is doing your telecine. Coordinate with them.
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The answers lie with the producers based on what they need to deliver now and in the future. The Lab and Telecine facility will comply to the specifications set forth by the production company.
Michael
anything 24fps
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Not sure how much this will help, but I know from experience that the “da Vinci” telecine system reads Avid EDL’s exported in the CMX format.
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