Steven Gonzales
Forum Replies Created
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You can create a cutlist from a 29.97 edit in Cinema Tools, by exporting an EDL fromt the 29.97 timeline.
The cutlist will be accurate to + or – one frame with this method, due to the telecine process creating video frames which share information from 2 different film frames.
Check in the Cinema Tools Manual under “Working with External EDLs”
You still must have your Cinema Tools database set up properly and the clips connected correctly.
Also, you can export a 29.97 EDL and convert it to 23.98 EDL with Cinema Tools (though I’m not sure this will help your situation).
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Especially check the “Working with PAL Video” portion of the Cinema Tools manual.
You will need to know whether the film was telecined with the 24&1 method (adding two extra fields per second) or 24@25 method (each film frame goes exactly to one video frames, resulting in a 4% increase in speed).
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Here’s from JVC UK site: https://www.jvcpro.co.uk/getResource2/e1_nle_compatibility_chart_2.pdf?id=6650
“Also if model no. (found underneath the camcorder by sliding back the shoulder pad) is not
followed by the suffix (A) the latest firmware update will be required. Please contact your local
dealer for details. ”Here’s instructions on checking the firmware version:
https://www.jvcpro.co.uk/getResource2/hd50updatepoceedure.pdf?id=6685
There’s a firmware update here (not dated) and instructions on how to load it. Perhaps this might help?
https://www.jvcpro.co.uk/prod/hd50software_html
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I don’t understand what is disappearing when you right click a clip in the timeline.
Have you tested whether you can make a cut list or not? Put a couple portions of clips in the timeline. Select the sequence, go to File – Export – Cinema Tools Film List, pick your settings and see what happens.
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Apple has a commercial credit operation, and you may be able to finance, or perhaps you could lease the equipment.
https://www.apple.com/financing/leases/commercial/
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Frame rate is really a video phenomenon. What controls sound is sample rate (and clock that the sample rate references, but we can ignore that for this discussion).
Whatever number of sound samples that fit over 1 second of video are the same, whether the video frame rate is 23.98 or 29.97. Or to put it another way, the same number of sound samples that sync with 23.98 frames in a 23.98 timebase, will also sync with 29.97 frames in a 29.97 timebase. The length of time is the same.
The only time these numbers are attached to sound is when the sound has timecode also attached (which is really an addressing scheme, rather than a temporal control). On some recording machines changing the timecode settings has an effect on the sample rate.
OMF is delivering samples placed in time, so frame rate of the associated video is really a side issue.
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Conform in Cinema Tools simply changes the frame rate on the quicktime file. If you conform a 23.98 quicktime to 29.97, it will be at the higher frame rate, but will be sped up by 20%.
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Sound against 23.98 and 29.97 are the same. When film (24 fps) and sound (whatever sample rate) are put in sync at telecine, they are both slowed down from the speed they were recorded at, but by the same amount so they still match.
If you edit at straight 24, and you bring the sound right in to the edit system to sync, you also don’t have to change the speed of anything, because then both would still be at their original, slightly faster speed.
If you bring film transferred to video in, and reverse telecine it to 23.98, and you bring the sound straight in to sync in your edit system, then you would have to slow the sound down to match the picture (since that was slowed when put on videotape).
Anyway…
So you just need to get a videotape at 29.97. One way to do this is to tape the same signal that went to your NTSC video monitor. When final cut plays 23.98 (really 23.976) out to 29.97, it duplicates field here and there to get it to sync to the monitor. This won’t be the best picture, and a good eye will see a stutter every so often, but overall it will stay in sync.
Another choice is to copy the clips (select all) in your 23.98 sequence, and paste them into a 29.97 sequence, and then render the whole thing in Final Cut.
The cleanest choice I know of involves using After Effects. You export a movie at 23.98 from final cut. Then you bring that in After Effects (creating the appopriate size composition) and add the comp to the render queue. Then set the render setting to create 3:2 pulldown, with a frame rate of 29.97. You should see a “sampling at 23.98” message in the render settings (I last did this in AE 5.5, so it might be different now).
Then you can play the new 29.97 quicktime out to tape. If all goes well, this tape should sync with the OMF.
This is easier to check if you have sync pops on all tracks both at the beginning (2 seconds before first frame of action) and end (some agreed amount of time after last frame of action).
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To be sure of being in sync, you need to give a little more info.
Was the Film – transferred to video at 29.97 — brought in to edit at 24fps or 23.98 fps?
How was the sound brought in to the edit system? Was it put in sync during transfer and taken off the sync videotape, or were picture and sound put in sync in the edit system? If on the edit system, were then put in sync at 24 (or 23.98) or at 29.97 before reverse telecine back to 24(23.98)?
You have two issue: you have to get the sound to the sound editor’s digital workstation at the right rate, and you have to create a picture he can edit against at that chosen rate.
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Cinema Tools 1.0 was a separate program. It succeeded Film Logic when Apple bought the company.
The requirements for the stand alone Cinema Tools 1.0 were 300MHz or faster Power PC G3 or G4, 25MB ram, Final Cut Pro 3.0.2 or later, Mac OS x 10.1.3, qt 5.0.4.
If you really want to go way back, you could try to find Film Logic, which ran on OS 9 with system 7.5 or higher.
Why don’t you edit in whatever version you have of Final Cut at 29.97, with footage that has burned in time code from the HD. Then when you’re done, find someone with Cinema Tools (current) and create 29.97 EDLs in Final Cut, then convert them to 24 fps EDLs with Cinema Tools, and use that to online HD after checking the cut against the new EDL manually.
Basically, if you don’t have the right tools, you can make up for that by doing a lot of manual work, but only if you absolutely know what you’re doing. Of course, at a certain level of work, no one would ever do that because their time is too valuable to take such chances.