Sebastian Leda
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I meant to post this here. I’m not sure why it went somewhere else. Anyhow…
Finally I got an answer from the telecine house (it was my fault it took so long, I was out of the country). But the answer is yes. I can transfer the selects with the original timecode, it’s going to take more time, but it’s definetly doable. The only problem is that timecode is going to be all over the place on the D5, and I’m going to have to position the tape on every shot before batch capturing it with FCP (otherwise FCP is not going to find the right shot automatically).
So, in my case, I think is better (and less expensive) to transfer selects with new timecode, digitize it, and then cut each shot into it’s respective place. Kind of a pain, but considering time and money, is the best option.
Sebastian Leda
Editor
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ok, finally I got an answer from the telecine house (it was my fault it took so long, I was out of the country). But the answer is yes. I can transfer the selects with the original timecode, it’s going to take more time, but it’s definetly doable. The only problem is that timecode is going to be all over the place on the D5, and I’m going to have to position the tape on every shot before batch capturing it with FCP (otherwise FCP is not going to find the right shot automatically).
So, in my case, I think is better (and less expensive) to transfer selects with new timecode, digitize it, and then cut each shot into it’s respective place. Kind of a pain, but considering time and money, is the best option.
Sebastian Leda
Editor
Digital Post Services -
I think that what Blub was trying to explain is that I didn’t need to cut an A/B roll to transfer to HD, that that was only used for making Interpositives in 16mm, which to a certain extent is true.
My intention was to telecine from the negative A/B roll instead of making an IP and telecing the IP to HD. But it was a silly idea on my part to beging with because I will end up with two D5 masters that have the shots in the right order with trims, but blacks in between every shot.
Hopefully what would happen is that the Telecine house I want to use can lay the corresponding timecodes to the keycodes from the off-line cut list like Mishka and David said.
Sebastian Leda
Editor
Digital Post Services -
I think that what Blub was trying to explain is that I didn’t need to cut an A/B roll to transfer to HD, that that was only used for making Interpositives in 16mm, which to a certain extent is true.
My intention was to telecine from the negative A/B roll instead of making an IP and telecing the IP to HD. But it was a silly idea on my part to beging with because I will end up with two D5 masters that have the shots in the right order with trims, but blacks in between every shot.
Hopefully what would happen is that the Telecine house I want to use can lay the corresponding timecodes to the keycodes from the off-line cut list like Mishka and David said.
Sebastian Leda
Editor
Digital Post Services -
Yes, what you are saying is what I’ll probably end up doing if I don’t end up transfering at the original telecine house. And I’m definetly going to telecine to HD from the neg. The A/B roll was just an idea, but I knew it wasn’t going to work.
Sebastian Leda
Editor
Digital Post Services -
I’ll give them a call Monday. They weren’t my first choice for the HD transfer, but it might be good option.
Thanks,
Sebastian Leda
Editor
Digital Post Services -
Yes, I did the CinemaTools and I have the cut list.
Cutting neg is a good option, but what happens after the neg cut? I’ll end up with an A roll D-5 and a B roll D-5, and then digitize each and remove the blacks between the shots? (I don’t think I can have everything on one roll in Super16 without having to add handels, and in that case I’m back top the problem of not being able to recapture and having to place each shot manually on the timeline) or there is something else that I’m missing?
Sebastian Leda
Editor
Digital Post Services -
Yes, I’ll definetly give that a try.
Sebastian Leda
Editor
Digital Post Services -
I’m in Argentina right now, but I’ll be back in LA soon. I guess I should have transfered everything to HD at the begining, but it was expensive and we would have only telecined one-light unsupervised, as opposed to doing a good supervised color correction of the selects now. I preffered this option instead of doing color correction in FCP from the one-light HD tapes. But I guess the trade off is that I now have to go through the pain of manually replacing shots.
Sebastian Leda
Editor
Digital Post Services -
Hi David,
Yes, sorry. That’s what I was trying to say. I want to do a telecine to HD.
Sebastian Leda
Editor
Digital Post Services