[Mike J.]

make a 3600 cmx edl from final cut pro (29.97)

Open cinema tools. Skip the database opening screen at the open start.

Go to FILE/EXPORT/CONVERTED EDL/ 24 from 30

This will be the 24 frame edl that will match the 24 frame numbers on the ONLINE MASTER.

Remember… if there’s more than 1 video track you’ll have to make FCP VIDEO TRACK OUTPUT EDL’s for each track or condense them down to as few tracks as possible.

[Mike J.]

truthfully… this is not the proper way to to this….

Instead…use cinematools to convert a 24 fps EDl (that you output from your project) to 29.97 edl. You will not have these missing error frames.

It is better if this hasn’t gone to audio post yet the way you’re doing it now.

[Mike J.]

Listen, way to much casual attitudes toward the subject I say.

If you think that footage is 24 fps recorded on a Dbeta… you might be a bit over your head here. I’m not being mean…just realize…

The finished product dictates the workflow. Giving casual answers although immediate and helpful from all…may be to uninvolved and potentially damaging in the end.

You need to decide what the final master product is:

FILM?
TAPE? if so what format
Who’s doing the mix and with what equipment?
What rates can they handle and what do you give to them as PICTURE LOCK.
At what rate is this picture lock?
Are you syncing the audio from the set or was it synced in telecine?
At what rate is this set audio recorded at? 47.952, 48,48.048
Working at 24fps in Final CUT without hardware like aurora igniter STILL requires the same workflow as working in 23.98 to make it playback on monitors – This is programmed this way.

Advice: Safest bet it to work at 23.98 (in FCP) by pulling down audio (if you’re syncing it up) Most post facilities work from VIDEO RATE not 24 fps quicktime movies. You need to investigate your finish.

Don’t approach this lightly. If this appears over your head…DO NOT SIMPLY DIVE IN to start editing without a finish plan.

My thoughts

Mike

[Mike J.]

I’ve found that it was because there was an audio dissolve in the punch in section. I disabled the audio tracks in the timeline or reapplied a new audio dissolve and then went back to inserting to tape… It didn’t matter even if the punch was video only..it still did it.

Mike

[Mike J.]

Hey, Mike from Aurora here. Respond back and we’ll exchange emails.

[Mike J.]

Is your sound guy really experienced at this or is it someone you happen to just know.

The .omf’s are not out of sync unless there was problem on the editing end. Did he pullup or down the audio when he shouldn’t have on import kind of thing?

I can say with much use…. it works. I’ve done this on many timelines ranging form 5 minutes to 2 hours. It works on everybody’s computer system I’ve used to do this.

Sync out could be from editing 24 frame material at 29.97 and then trying to conform back. there will be errors of +-1 to 2 frames on certain clips..then sync comes back.

You’ve not really stated what kind of material he bases his opinion on…

I suggest….someone new.

[Mike J.]

You haven’t said if what format your working in to start with?

Film transferred to video?

Did you shoot HD?

You can only use the remove advanced pulldown if you’re using the Panasonic 100a camcorder. If you did not…that’s it…you can’t use this.

Take a 29.97 clip… identify the A frame (if it’s film there’s burn in) if it’s plain then look for the blended frames. You’ll see two consecutive blended frames..the next frame is D, then the next frame is A. Park there. remove pulldown with cinema tools on that frame.

Just give more info

[Mike J.]

Well… I don’t agree with Jerry’s more “frames are better” thoughts.

See the point is you want it to look like film. 24fps on 29.97 tape NOT 29.97fps.

The question you’re asking is which is best?

Here’s the deal…. 24p really is 23.98. when it records to tape in 24p mode, it duplicates the look of 24fps film when transfered to 29.97 video tape.

shoot in this mode…it looks like film motion.

24advanced does the same thing BUT the pulldown pattern added as it records to tape is and ADVANCED pattern that makes removing the 3:2 pulldown come up with a “C frame” that is made of a whole image. This requires you to choose the pulldown in FCP to remove and it captures the 29.97 frames into 23.98 whole images. You would set you timeline to work at 23.98 and that would be you setting throughout. Adding other video shot at different frames rates would cause a problem as well.

DO NO USE 24advance if you’re not removing the pulldown and working at 23.98. IF this doesn’t make sense to you, this probably isn’t your ideal choice. This is for projects that would say, be blown up to film or require much effects work.

29.97… well…this is video…looks like video…is video. more frames doesn’t really look like film here. Nuff said really.

the simplest is to shoot 24p for a filmlook which records 24 images to 29.97 tape. Play it back and edit it at 29.97. Imitates film transfered to video. Nothing else to do here.

[Mike J.]

Extend edit …that’ll work…

Thanks

[Mike J.]

Nah, don’t want to SLIP it inside itself…. just want to take a clip that say 1:00 and then drag it’s heads to the left extending by 10 frames without moving the clip in the timeline…so adding heads to it without pushing down the timeline