[Kurt Hennrich]

calculation:
– be prepared to do some 1-2min. tests to bring your material from tape to 35mm
– do at least one test before shooting, use same camera/workflow

shooting:
– avoid overexposed whites
– trash every shot without perfect focusing, avoid moving cam with autofocus set to on
– if possible, shoot 25p @ 1/50 sec, 1/50 also if shooting interlaced
– swtich ‘detail’ of camera to OFF! to avoid doubled lines from contrast enhancing
– don’t use cheap optics!
– digibeta is prefered. though DV etc. works but needs lots more post processing (color upsampling etc)
– is your DOP experienced in this field?

post production:
– check focus on all shots with high resolution monitor and with good video projector
– for tape2film, super blacks and super whites usually are no problem (ask transfer company), so dont make the tape for transfer broadcast safe to avoid loosing details
– get someone experienced for color correction, most important issue here is to have true blacks and whites without color because: there will be some additional color timing from 35neg->35pos and your blacks suddenly could show some color that allready was in the video but barely visible there.

!!! make tests!! this will also make you familiar with the people at the company doing the transfer – they usually can give you lots of experienced feedback.

good luck,
kurt

Kurt Hennrich
1z1screenworks
1z1 tools for FCP : https://www.1z1.at/plugins/

[Kurt Hennrich]

[Sean ONeil] “and then think about what the costs of commiting yourself to the proprietery Avid world costs, you will realize that DNxHD is far more expensive.”

if DNxHD would work on Decklink, there would be nothing being proprietery in it – the oposite is true: every FCP system would be able to easily work with projects originated on an avid. would be very appreciated.

Kurt Hennrich
1z1screenworks
1z1 tools for FCP : https://www.1z1.at/plugins/

[Kurt Hennrich]

[Mark Traverso] “Is there an export setting (or some other way) to have the DVD ultimately play normally on a widescreen monitor, and be letterboxed on a 4:3 monitor?”

the question you ask has nothing to do with FCP, just export 1:1 so that the resulting QT is anamorphic too.

the next steps are encoding and authoring your dvd, where you have to set everything to 16:9 because your source-qt is anamorphic. see documentation of your dvd-encoding/authoring software. if everything is done right, the dvd-players will play the anamorphic video either 16:9 anamorphic or letterboxed as 4:3 according to their general setup (which depends on connected monitor).

if you would export your anamorph video from FCP as letterboxed 4:3, you would trash about 1/3 of the quality achievable.

good luck,
kurt

Kurt Hennrich
1z1screenworks
1z1 tools for FCP : https://www.1z1.at/plugins/

[Kurt Hennrich]

[jigga] “will changing it to “none” make sure its progressive?”

yes!

Kurt Hennrich
1z1screenworks
1z1 tools for FCP : https://www.1z1.at/plugins/

[Kurt Hennrich]

[HughLutley] “The short and curlies of it all is that just capture it and edit as if it was regular PAL DV footage. Your system won’t actually know that it’s 25p but it doesn’t have to. “

this is not quite true I think:

– while capturing with PAL preset doesnt alter the 25p footage (which is in fact 25psf = progessiv segmented fields)

– when editing, you should set your sequence to progressiv, otherwise transitions etc would introduce interlaceing

kurt

Kurt Hennrich
1z1screenworks
1z1 tools for FCP : https://www.1z1.at/plugins/

[Kurt Hennrich]

this brightnes shift usually has nothing to do with the decklink card.

try switching off the overlays (timecode, etc.) on the FCP canvas (sequence monitor) and see if it helps.

Kurt Hennrich
1z1screenworks
1z1 tools for FCP : https://www.1z1.at/plugins/

[Kurt Hennrich]

I guess it also will be a chapter of any good book about color correction:
get the right hardware according to your workflow. you need to monitor the right way or your adjustments will be wrong:

– allway monitor the same video signal you use for edit to deck:
if you go via SDI to digiBeta, the best way is to connect your monitor with SDI too
– use a high resolution monitor with EBU phosphor. its expensive but really worth the money (WYSIWYG)
– adjust your monitor. the respective chapter of the FCP manual is’nt bad to learn how
– think about getting a hardware VS & WFM, feeded with the same video signal as your monitor:
you will get realtime metering while your sequence is running. an even better solution as standard VS & WFM meters is one of Tektronix rasterizer (WFR610, etc..): they also show you gamut problems (video out of allowed color space) and are great to identify problem areas within an image
– if editing HD and you are monitoring with SD equipment, be shure that the downconverter/videoboard you use does color space conversion from HD->SD

all the best,
kurt

Kurt Hennrich
1z1screenworks
1z1 tools for FCP : https://www.1z1.at/plugins/

[Kurt Hennrich]

[Andy Mees] “hen apply the TC Reader Filter to the nested sequence … “

note:

TC Reader vers. TC generator
are two different plugins

kurt

Kurt Hennrich
1z1screenworks
1z1 tools for FCP : https://www.1z1.at/plugins/

[Kurt Hennrich]

[Jerry Jones] “I am trying to create a timecode on this entire project — from beginning to end — so my client can easily note locations, etc.”

1) create a new sequence with same settings as your edited sequence
2) drop edited sequence onto V1 of new sequence
3) drop TC generator filter onto V1
4) option-doubleClick V1 to load it into player
5) on filter tab of player adjust settings of TC generator as needed

good luck,
kurt

[Kurt Hennrich]

[Matte] “There MIGHT be other Mac video playback programs (QuickTime-based) that will, but I don’t know of any.”

see https://www.virtualvtr.com/

but it’s way too expensive when used just seldom

kurt