Michael Phillips
1
COW Coin
Forum Replies Created
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Avid doesn’t support the 24+1 transfer of footage. It will take the 25fps material and slow it down. So now your footage is really playing back at 24fps = 4%. The transfer needs to be done at 25fps in telecine for 24p PAL to work. Sped up in telecine and then slowed down in Avid. The 1:1 relationship between film and video frames allows for easier metadata tracking.
Michael
anything 24fps
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Using the bars you are all set. The suggestion for the keykode rollover was to look at the frame count of the KeyKode. If it rolls over at 20 back to 00 then it is either perf 1 or perf 2. If the next “foot” rolls over at 20, then the previous was a perf 1 and the current one would be perf 2. If the rollover is 21 then 00 then it is a perf 3.
Michael
anything 24fps
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Does the burn-in contain a perf indicator, either as a number or a moving bar? If so, enter that value into the Perf column on the older system. Dump all the master clips into a sequence, make a 3 perf list then verify against the burn-in.
The bar type burn-in uses top position as per 1, middle as 2 and bottom as 3. Also look for the KeyKode rollover as 21, 21 and 22 to indicate which perf cycle you are in.
Michael
anything 24fps
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With P2 card loaded:
Go to MediaTool
Select P2 card as drive to look at
The MediaTool will display all the clips on the card
Drag all to a bin with the project
Select ALL and consolidateThis will be as fast as a copy, it is managed and already associated with the project.
An added benefit during the consolidate process a SOURCE MOB is created allowing for offline/online relink workflows via transcode.
Michael
anything 24fps
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Xpress Pro can capture in a 23.976 project:
DV50
DV25
28:1But can play back 14:1 and 35:1 in addition to the previous.
14:1 is probably closest to 10:1. 14:1 can be made with the Media Composer.
Michael
anything 24fps
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Avid Log Exchange supports both the log file format as exported from Final Cut or the batch capture file from CinemaTools. Go to File/import and select file format. It will create an ALE.
anything 24fps
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In the capture window there is also a menu for audio next to the video I/O. Make sure that is set correctly for the connection you are using.
anything 24fps
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Read Audio Timecode has been a feature since 1996… it dissapeared for a while due to some compile errors, but it is back in both Media Composer and Xpress Pro.
anything 24fps
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The answers lie with the producers based on what they need to deliver now and in the future. The Lab and Telecine facility will comply to the specifications set forth by the production company.
Michael
anything 24fps
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What is your final deliverable? If it is just an EDL and you never are going back to the film, then treat it like any other video source you have ever worked with.
If you want or need to track film sources to do pull lists and retransfers and “protect: for a negative cut” then you need to decide wheher you are working in a 30 frame project with matchback or a 24 frame project. All of these decisions are based on what deliverables are required and what you want to protect for. Talk to the production and see what their intentions are. I can also tell you hundreds of stories of “we mever thought we needed this, but we now want to cut negative…” etc. So at the very least, turning on matchback in a 30i project will protect you for negative tracking. The next thing I hear a lot is, we decided to do a 24p finish… if that is the case work in a 24 or 23.976 project. You can generate EDL’s and cutlits from either one, but in each case one of them – there are just differences in the final product – each with their own advantages and disadvantages.
As far as working, select proper project type based on above, import FLEx file and batch capture. Make sure you ask for a FLEx file…
Michael
anything 24fps