[Richard Boddington]

Yeah, I was told I can’t do reverse tele cine with Cinema Tools when the downconverts are on DVCAM???

Ok I have the time code overlays up on my preview window, thanks. But I’m not sure about the second part?

How/where do I access this part once the overlays are on?:

timecode/kencode/ink number

I have TC in at the top left and TC out at the top right, in the centre is TC for Video and Audio. When I move the playhead in the window I get standard 30(29.97) fps code in the frames,

How do I use this to ID a pulldown frame?

Thanks
Richard

I’ll[Steven Gonzales] “I just received my cross grade, and I looked through the new features, and the manual, and I don’t see anything about film safe.

You are able to display film properties in the canvas and viewer. Perhaps that will allow you, while editing at 29.97, to avoid cutting on a frame which shares fields from the 24fps original.

You do this viewing with view>timecode overlays>timecode/kencode/ink number.

It might be easier to edit your 24 fps original in 24 (or 23.98) by using the reverse telecine features, which are pretty well explained in the Cinema Tools manual.

“

[Richard Boddington]

Hi,

Does any one else know about Film Safe? I have looked all over the FCP menus, and all over the help, and I can’t find a thing on this (see below).

I would love to know where it is and how to set it up.

Thanks in advance.
Richard

[Sean ONeil] “35mmGuy] “I make an edit on a 3:2 pulldown frame in my offline. This can cause a flash frame that will need to be fixed by stopping the assembly.

Then there is Cinema Tools, which I have never used. Can any one give me their work flow for using Cinema Tools to offline a 24fps film show?

How did you set up the FCP project?

Did you strip off the 3-2 pull down with Cinema Tools on the source footage after you loaded it all in? You did you remove it from the final time line edit only?”

Two things:

1. If you do edit in 29.97, FCP lets you tag your clips with “Film Safe” thus preventing you from making edits in places which will later cause flash frames.

2. You can use CT to perform an inverse telecine before editing. But rather than doing that, you can actually capture the footage directly as 23.98 using a Kona or Blackmagic card. You just need to identify the A frame. That way when you do the batch re-capture from HDCam SR, it should come in flawlessly since the framerate isn’t changing.”

[Richard Boddington]

Two things:

1. If you do edit in 29.97, FCP lets you tag your clips with “Film Safe” thus preventing you from making edits in places which will later cause flash frames.

Sean,

Tell me more about this option, how do you do it? What are the settings?

2. You can use CT to perform an inverse telecine before editing. But rather than doing that, you can actually capture the footage directly as 23.98 using a Kona or Blackmagic card. You just need to identify the A frame. That way when you do the batch re-capture from HDCam SR, it should come in flawlessly since the framerate isn’t changing.

Another excellent idea, thanks. I’ll look around for the card, the Blackmagic card may come in handy for future projects as well.

Thanks
Richard

Sean

[Richard Boddington]

Ok I was able to open using a second firewire drive, and then changing it back to the one I want.

That’s really weird….ok in future I won’t delete the last project, no idea why Apple would program such a thing?

If I don’t want the last project and want to start new, then that’s what I want to do.

Obviously, I’m not a programmer and I don’t know why it’s set up that way???????

R,

[Richard Boddington]

I don’t have the academic or non academic version. I have express, non-academic.

I was curious if there where any feature changes with the academic version, as I see lots of them for sale.

My point about the student becoming a non student is that I doubt few if any people going from student to working pro would bother to buy the non-academic version. I guess that’s just my belief about the human nature of most people, that’s all.

R,

[Richard Boddington]

So here’s one for you.

What happens when the student filmmaker is no longer a student?

They have the academic version on their computer, and now Apple expects that they will buy the non-academic version, to cut commercial productions with?

I doubt many student loan burdened grads would do that if that’s what Apple expects.

R,

[Richard Boddington]

Ahh, right ok got it.

Once they are moved you have to tell FCP where you put them and re-save the proj.

Tell me more about this media manager? What are the steps to follow exactly to get the video where it needs to go?

R,

[Richard Boddington]

Thanks for the quick confirmation, I had a feeling it could.

Richard

[Richard Boddington]

It’s ok I figured it out. I think what they mean is that 5.1c IS the patch. Which I was able to download.

[Richard Boddington]

I’m kinda stuck between two worlds 🙂

Premiere 5.1 on my Mac G4. It does create a very useable 29.97 EDL, if I was auto assembling from say NTSC D-Beta I’d be home free.

To use Cinema Tools I’ll need a new Pro Mac plus the production bundle. In a different forum a guy described Cinema Tools as a “nightmare.” So that doesn’t build my confidence.

Sounds to me like you have done this and made it work, converting the 29.97 CMX EDL to 23.98. May I ask for more details on how exactly you made the 23.98 list? Info that would help the editor, did you use a separate stand alone software program?

I’m going to cut a short scene and run a test, before I committ to any method of course.

Failing this, I’ll rent time on an Avid that has been set up to make these lists. I just wanted to try the tools at hand options first.

Thanks for the info.
Richard