[Daryl K davis]

Yeah I was thinking there must be some way to create a formula in excel. And I do take my lists into excel to customize them all the time. I’m trying to get my head around the fact that this is 3perf 35mm so it doesn’t work out to base 20 on the footage/frames turnover all the time – sometimes it is 21.

Anways thanks for the insight.

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

Found out that my assistant didn’t synchronize all my reels with Cinema Tools database.

No problems now

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

I cut like that all the time. The only difference is that after I have the duration of my cut to the required broadcast time (which is why I cut in drop-frame timeline) and everything is picture-locked and approved, I create a new 29.97 NDF sequence and copy paste shots from my picture-locked timeline into that – making sure the 2-pop and the show starts at the correct 1:00:00:00 mark. From there is simply export a NDF edl and then convert that to a 23.98 edl with cinema tools.

Works every time for me.

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

For the MOW’s I get about 7 weeks from starting the Assembly to Picture Lock. Then it goes into audio post, music scoring and HD on-line, color correcting, Vis FX etc. for about 5 to 6 weeks.

For full features I get anywhere from 12 to 20 weeks from starting the Assembly to Picture Lock. But there are more breaks in there for screenings by Executives, focus groups and such.

A lot depends on the approval process and a bunch of people mulling things over and asking for tweaks.

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

It happened to me on my new Octocore as well. Actually I received some bad advice from Apple when I called and wanted to remove the trial software Omni Outliner and they told me to get rid of it I had to delete all my Login items from my user account. No matter what I did – re-install Compressor and everything – I couldn’t get it to launch.

I ended up re-installing the whole operating system and migrating everything over from my old G5. What a drag though.

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

So even though I am cutting a feature film I reverse telecine to 23.98?

I do it with HDCAM shows but I always thought a full 35mm feature had to be done at 24 frames per second.

What am I going to run in to down the road when they want the EDL for the DI and such?

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

24 frames per second (typo)

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

How are you monitoring?
– back through my DSR-45 DVCAM deck – component out to SONY PVM1954Q monitor

What else is connected to your computer?
– strictly editing station

How fast are your drives?
– Lacie Firewire 800

What easy setup did you use?
– DV NTSC 48kHz – 24

Did you have to render your timeline at any time?
– it doesn’t indicate that I need to render

What pull down pattern is selected in the rt menu?
RT: Safe
Video Quality: Dynamic
Frame Rate: Dynamic
Pulldown Pattern: 2:3:2:3

What kind of computer do you have?
MacPro 2×3 GHz-Quad Core Intel Xeon

Do you have a capture card?
No, but can get an AJA IO LD

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

Sequence media is 24. Shot 24fps super 35mm 3-perf and telecined to DVCAM 29.97 NDF. I reverse telecined to 24fpa. Import media into FCP and trying to edit in a 24fps timeline.

I can drag the clips into a 29.97 timeline and get an orange bar on top and plays fine over NTSC monitor. Is this what I should edit in? and then copy sequence to a 24fps timeline for outputting EDL for DI when picture is locked?

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

Yes, I trashed prefs. Running 5.1.4 on OSX10.4.9 but am only Quicktime 7.1.3. I thought Quicktime Pro didn’t work in 7.1.5 or does one have to re-license it or something?

Anyways I can scrub through the clip, but it just won’t play back at running speed.

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DK Davis / Editor/ Post Super
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