[Daryl K davis]

Re: 3:2 pattern in compressor
by Rafael Amador on May 10, 2009 at 11:21:40 pm

“You can do it in CinemaTools too: Reverse Telecine. Careful because this is a destructive process.
I would try with a copy of the movie”

Just to clarify, Reverse Telecine in Cinema Tools is NOT a destructive process. It creates a folder for your original captured clipsand moves them there and also creates a separate folder for reversed clips.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

I’ve used Shane’s DVD to train at least 10 assistant editors on documentary projects so they can properly capture media and organize bin ands projects for the editor to work with effectively and efficiently. They actually ‘get it’ after they watch it. I’ve even incorporated aspects of the DVD into the drams fold.

It’s a great investment in any workflow.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Use FLEX files all the time. But you need to use Cinema Tools to create a database to provide the functionality you need down the road.

Here’s how:

From in FCP go to File/Import/Cinema Tools Telecine Log

From the Import a Cinema Tools Telecine Log window go down to the New Database button and create a new Database. Be certain to set the correct default settings for your Film Standard and TC settings. Save The Cinema Tools database with a name that correlates to the FLX file you are importing (ie: CT_01 for your flex file 01.FLX which should correlate to lab tape 01)

Then you can choose a log file (your FLEX file) and open. You will see how all your log is imported via XML and the clips pop up in your bin ready for batch capture. After you batch capture you can set theKey Number column and see how it matches your burn-in on your media.

That’s the basics. I usually create a separate Bin for each Tape, as well as a seperate folder on the scratch disk for each tape. There are many other steps involved before you want to jump into doing a major project like a feature film (eg. reverse telecine, link media in Cinema Tools, etc.) . Check out the manual, it’s all there.

Good luck.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Good for recording Red Camera ProRes dailies in the field I’m guessing. Should help that workflow.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

I’ve cut several theatrical trailers from the original 2K DI down-converted to both Pro Res 1080p 23.98 and DVCAM, it really doesn’t matter which format it is for off-line purposes. If it’s DVCAM then I reverse telecine in Cinema Tools to 23.98 and cut with that. Just make sure you check with the lab to see what they want for their match back in regards to EDL, new graphics, reference copy and such. They will probably output both a new DI for film-out as well as an HD master from that. The other consideration you will have is audio as you will not want to work with a mixed track. What I do is get the audio post house to send me clean stereo elements of the dialogue, sound FX and music tracks separately and I sync them up in FCP and edit with those. The audio post house will have to match back to redo their mix so they will probably need EDL, OMF and reference copy as well. Just make sure you communicate clearly with them as well so as to avoid confusion. Good luck.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

If you work at 24 fps you won’t be able to play out to an NTSC monitor.

I am based in North America and I edit all the features I work on at 23.98 (24p). I never have any problem with neg cut lists or DI lists for the lab and no issues with audio post at all. Also outputting DVD’s for screening your cuts works much better if you’re working with 23.98.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Pillarbox HD is a fairly standard item on International delivery lists from Distributors abd Sales Agents. It is simply a pan and scan HD master for creating full-frame 4:3 NTSC and PAL delivery masters to broadcasters and the like.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

How are you getting your footage? On a tape format?

My CT databases for 35mm 3 perf always note the TK speed as 24 but both the Video TC Rate and Audio TC Rate is 30 NDF. You’ll note that the Video Timecode always starts on an A-Frame and the Duration only ends on a 0, 5. 10. 15. 20, 25 frame.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

I’ve seen that request on deliverable lists from several different international distributors the past few years. It’s not unusual for them to want a pan & scan HD master for downconverting their own 4:3 full-frame standard definition for either PAL or NTSC broadcast or full-frame DVD release. Many standard definition broadcasters still won’t accept letterbox as well.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

For outputting a frame accurate sequence to DVCAM decks (SONY DSR-11, DSR-25, DSR-45) I too struggled to the point of total frustration, trying time and time again to get the proper timecode to reflect the program in my sequence.

Shane Ross has an excellent post that addresses this:

https://forums.creativecow.net/readpost/8/863991

This approach has not failed me yet in the dozens of tapes I have output since. Many thanks to Shane.

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DK Davis / Editor/ Post Super
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