[Daryl K davis]

Did you get telecine logs (FLX, ALE, ATN files are some telecine log formats) from the telecine service when they transfered your film?

That is where it all starts for getting lists out for film neg cuts.

[Daryl K davis]

I actually edit the shows in a drop frame timeline only because they have to be right to the frame duration-wise. When the picture is locked I simply create a new NDF timeline with correct start timecode and copy past the entire project in there – making sure the “2-pop” lines up in the correct position.

I also do things like tidy up the timeline so the edl can be esaily created, break out all visual effects type of sequences (which may be temp for now) – keeping the correct ‘base’ layer in the timeline but creating seperate timeline of any other VisFX shots that may be required. Send a quicktime of the show on a firewire drive to the post house so they have an accurtae reference.

I also tidy up the audio tracks (a good thing to do is to put all sync dialogue that may have been replaced with “alt” takes on a track 9-10 so audio post has the original dialogue from the shot to compare to). I also create Quicktime references of the show and send along with the audio edls, omfs and any other files on a seperate firewire drive.

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

I have edited over 60 TV episodes all shot film telecined to HDCAM at 23.98 and then downconverted to DVCAM at 29.97 NDF. I edit in 29.97 and then provide an edl to on-line facility. They transfer list to 23.98 in Cinema Tools and on-line 23.98 HDCAM.

No problems as of yet. I have never reverse telecined footage in Cinema Tools – no need to.

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

What is the project shooting on? If it’s film then talk to the lab people. Get your flex files properly databesd with Cinema Tools. If it is a DI finish do a test with the lab and find out their specs before proceeding with final lists. If it’s a neg cut definitely get your Cinema Tools database in order. Find out through the Post Production Supervisor proper deliverable specs regarding reel lengths are. Some want a shorter 1st reel than the standard 2000 feet.

Also establish contact with audio post to find what they may require.

Communication is everything so that nothing bites you in the butt when you proceed to finishing the project.

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

Yeah I wish it were that simple. There are several lab reels on each tape.

I think I’m stuck with ‘surfing’ the edl one event at a time.

Thanks.

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

That makes more sense. The Deva is capable of outputting B_Wav files as well – which can give you timecode data – if they used a proper timecode slate.

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

Is that one of those consumer DVD/hard drive recorders?

If it is it’s probably mp3 files which will have to be gotten off the DIVA somehow and converted to 48kHz aif for import in to FCP.

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

My favorite is the Producer who wanted to put the black bars on the top and bottom of a full frame 4×3 program to make it “widescreen” – and even after much educational discussion – one week later he comes back all upset because his show doesn’t look ‘right’ on his newly acquired HD plasma TV… “Why does everyone look squished and fat, and why are there bars on there… I thought we made the show widescreen?” he laments.

Oh brother, there are many more stories like that.

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

I don’t understand even why cameras even have the letterbox option.

You either need 4×3 full frame (if that is indeed your required broadcast delivery format and there is no need for future 16×9 delivery) or 16×9 anamorphic – which gives you more delivery options: 4×3 full frame (either centre-cut extraction or pan & scan), 4×3 letterbox (for broadcasters which don’t mind the black bars on top and bottom), and especially, 16×9 anamorphic, where you are future-proofed for upconverting to HD which is 16×9 anamorphic.

The letterbox feature only seems to create a headache for post.

I had a young cameraman deliver a bunch of 2nd unit shots to me in this letterbox format – after he was specifially told to shoot anamorphic – and he had to go out and re-shoot everything. Mind you he did learn a harsh lesson about the differences between letterbox and anamorphic.

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

Just to clarify: