[Steven Gonzales]

i think MPEG Streamclip can handle that format.

https://www.squared5.com/

[Steven Gonzales]

Coincidence is not causation. You have one roll with letterbox masking, and you tested masking in Final Cut Pro.

I have seen many inconsistencies from telecine houses, but
I have never seen applying a filter in Final Cut change the original source file.

If it is really costly for you to have the footage transferred again, then that cost was caused by not having a copy, and not by Final Cut. Any hard drive can fail at any time.

[Steven Gonzales]

I’ve edited a lot of features which had very low budgets, through all permutations of Final Cut.

You might have to scale down your codec to match your hard drives. Also, keeping the project files size down makes everything work better.

FCP can definitely do large features at a low budget. However, using a very high throughput codec, without the proper drive subsystem, will be very painful and unworkable.

You might have to sacrifice editing image when using low cost hard drives and a smaller “offline” type of codec. If you’re finishing on film, the important thing is your film lists are correct, and you can deliver sound properly, not the quality of the codec you’re editing with.

[Steven Gonzales]

I haven’t worked with DF 24/23.976 stuff, but the difference would be somewhere in the range of 72 to 86 frames per hour. (Depending whether the math is done at 23.98 or 23.976) 24 times 60 secs time 60 mins = 86400. 23.98 times 60 secs times 60 mins = 86328. Difference: 72 frames.

In 29.97, the difference between drop frame and non-drop frame is 108 frames per hour.

At the 29.97 frame rate, drop frame skips 2 frames of count every minute, except for the even 10 minutes (10, 20, 30, 40, 50, 00). So that’s 2 frames of count skipped for 54 out of 60 minutes, which is 108 frames in an hour. That’s 3 seconds and 18 frames difference in count per hour.

Both formats have the same number of frames, the difference is that in drop frame, the counting (addressing) scheme matches the clock on the wall by skipping frame counting numbers (since a count system of 30 is working within a time base of 29.97).

[Steven Gonzales]

Since you’re syncing in order to edit, I’d match what you see in the video track to what you hear in the audio track, and not worry about the waveform display.

[Steven Gonzales]

Check out this post about using Automator in OS 10.5:

https://forums.creativecow.net/readpost/8/985422

[Steven Gonzales]

The settings are for telecine speed. If you went from film to 24 (23.98) video, the setting should be 24. If pulldown was added in the telecine (going to 29.97 video) then the setting is 30.

If you went to 24 video, then downconverted to 29.97, then reversed that 29.97 footage back to 24 (23.98) then the database in cinema tools should still be set to 24 and not 30, as that is the timebase of the transfer, and it’s also the timebase of the edit.

Cinema Tools uses 24 and 30, when it means 23.98 and 29.97. Cinema Tools works, but its a bit of a kludge.

[Steven Gonzales]

I know you were joking, but a really good book on editing is “Cut to the Chase” by Mike Nichol’s editor for the graduate and many others, Sam O’Steen.

[Steven Gonzales]

You might also want to check your panning, to make sure you haven’t panned all to channel 1. You should notice this while monitoring, but perhaps you are monitoring mono.

[Steven Gonzales]

you might want to look at item properties on the original clip, and then item properties for your sequence, and make sure the sample rate is the same.