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Workflow for FCP and Cinema Tools
Ok- so we have 300 hours of DVX100A 24P (we did not shoot ADVANCED!) we have one dual G5, one powerbook G4 and one new Macbook Pro Dual intel processor. for decks we have a DSR20 and two DSR11’s.
we are working out of our apartment and want to have 3 digitizing stations going and then at night we want to set up our dual processor to do the batch reverse telecine in Cinema Tools.
Questions:
-I also have a new Quad G5 at home and am wondering if it will make a huge difference if we used that to do the Cinema Tools work?
– none of us have used cinema tools before so we’re hoping somone knows of a good article that outlines the process.
-What does it take when we want to online and we need to be able to deliver for both a film print and also video – can we take the entire 23.98 sequence and run it through Cinema tools to make it 29.97 or will we need to RE-process it clip by clip?
-We are digitzing entire tapes (we will subclip later) can we process entire 60 minute clips in Cinema Tools? will it automatically find the A frames if there are (inevitble) time code breaks or do we need to babysit it?
-How long does it take to process an hour? if we set it up to batch in Cinema Tools over night do you think we could process 15 hours in a night?Thank you!
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4 Replies
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Have you read this older article?
https://www.kenstone.net/fcp_homepage/pana_24p__cinetools.html
Why are you editing at 24 if you didn’t shoot 24P advanced?
“The general rule is to shoot 24p Advanced if you want to extract the original 24 frames/second for a 24fps edit or film-out. Shoot 24p Standard if you are going to stay on video and edit at 30 frames/seconds (60 fields/second, i.e., plain ol’ video at NTSC frame rates), without extracting the original 24 frames into a 24fps timeline.”
https://www.adamwilt.com/24p/#When_to_shoot
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Thanks. I do not know why they didn’t shoot in Advanced Mode. But they want the option of doing a film out, so we are unfortunately stuck trying to deal with doing a reverse telecine. We have read the articles you sent over. One is from 2002, haven’t there been updates in CinemaTools since then?
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You do a reverse telecine the same now as you did in 2002 and before. It is not an automatic process. If I were you I would not capture your tapes in one pass unless the tape was running non stop for the length of the tape. I would log and capture your tapes, then do the rev telecine. You have to manually choose the A frame for each clip in Cinema Tools. Although, since you shot on a DVX100A, you might be in luck. Start with Cinema Tools Manual Pg 212, “Removing 2:3:3:2 or 2:3:2:3 Pull-Down with Cinema Tools”. Cinema Tools will work well the DVX originated material and you can probably do a batch rev telecine fairly easily.
If you have capture hardware (such as an aja io or kona series) you can set up to capture your media as 24p, removing the pulldown upon ingest as long as the clip starts on an A Frame. Again, I would log and capture instead of doing this as one pass. Your tape will inevitably have tc breaks and that will lead to aborted captures or inaccurate pulldown removal. This is the fastest way as you remove pulldown and are left with 24p media in one step. With Cinema Tools, most likely you will duplicate your media and have 29.97 version and one 23.98 version.
You can also try and use the DV NTSC 23.98 easy setup (not to be confused with the advanced pulldown removal easy setup, don’t use that) and see what that does for you if you only have firewire capture abilities. I’ve never tired it so I don’t know what it does.
Jeremy
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[JeremyG] “If you have capture hardware (such as an aja io or kona series) you can set up to capture your media as 24p, removing the pulldown upon ingest as long as the clip starts on an A Frame.”
With proper logging and capture the software will always start on the 0 or 5 frame to insure the proper cadence removal. This will not work with “Capture Now” because the software does not know where the end frame will be and therefore cannot determine the correct final frame- resulting in cadence removal errors
Otherwise you are stuck in a clip by clip conversion.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
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