[Paul Kondo]

Apologies to all. I forget that what is clear in my mind has little bearing on anything.

Indeed, I have footage that has already been letterboxed and I want to make a QT file for the web. I’m not concerned with compression, just if I can do something like a crop to get rid of the black bars. The footage is currently in 720×480.

PK

[Paul Kondo]

This sounds exactly what I needed. My timecodes are the same as the Master timecodes (at least they should be). I’m halfway through the steps you outlined previously and will complete that later. And then I’ll look for the Export converted EDL option.

Thanks again for the help. I may sleep tonight!

PK

[Paul Kondo]

Steven,

Thanks. I know this all sounds odd.

The post house is not going back to film/keycodes. They have already created color corrected masters of the locked picture. They supplied me with a 29.97 output of those masters (which I assume are 24 frames). I need to provide them a cut list in feet frames because they are going to pull the clips I used in my sequence from their masters (with handles). After they pull all the clips, someone will assemble the sequence and eyeball it with a 29.97 offline copy of my sequence.

PK

[Paul Kondo]

That Math for Movies link is unbelievable. Thanks.

I knew this wasn’t going to be easy but this is what has happened. I was possibly trying to figure out if I could create a dummy flex file to import into Cinema Tools and then use that. (see below). Or, do it by hand which seems to be the option I have to take.

I got a digibeta copies of 5 reels of a film. (They were 1-lite transfers.) The post house did not supply me with a flex file (nor will they). I captured the footage and cut a trailer from it at 29.97. I have to supply the post house with an edl and pull list in feet and frames so they can go back and pull the clips from the color corrected masters and assemble the trailer.

PK

[Paul Kondo]

Here is the full background (but I’ll keep it short).

Awhile back, we cut feature that was shot on 35mm. After editing, we went through the Digital Intermediate process and went back out to film. Now, we are cutting a trailer. Instead of going back to the negatives to cut, the post house is providing 1-lite digibetas at 29.97. So we are using that footage and sending back and edl with feet/frames and then will match that back to the reels (which have already been color corrected, go through their process and create a film trailer.

They want an edl, a pull list, and an offline copy.

The audio mixers are providing aiff stems of the final mix and I am synching them with the video footage from above. The audio mixers want an omf and offline at 29.97.

Hopefully, that clears things up.

Thanks,

PK

[Paul Kondo]

Dave,

Thanks for the great post. Very helpful.

I guess the last confirmation I am looking for (I didn’t want to confuse my earlier post) is that once I get the dvcam, I capture it simply at 29.97 and then do a reverse telecine in Cinema Tools, creating files that will work in a 23.98 timeline. Is that correct? I did that once about 3 years ago so my thought process is very sketchy.

Thanks,

PK

[Paul Kondo]

Thanks for all your help. I’ll stop bothering you now. I finally found some resources.

[Paul Kondo]

[Shane Ross] “BUT…it is always best to capture HDV in a format other than its native format, like DVCPRO HD.”

Shane – is it as simple as using the DVCPRO HD easy setup preset in FCP5? I’m just wondering what the pros/cons would be to doing it this way versus using the HDV easy setup preset.

Thanks,

PK

[Paul Kondo]

Thanks to everyone for all their help. Much appreciated.

[Paul Kondo]

Pardon the lack of intellect on this topic. I just want to make sure I’m doing it correctly.

– Color bars. I will use the NTSC color bars in FCP. I had never heard the term “SMPTE PLUGe Bars” before so I didn’t know if that was something different.

– Zero IRE black. How do I put that in the timeline? I assume it’s more complicated than just putting a black matte or slug in the timeline. That’s what I’m confused about.

Thanks,

PK