Steven Gonzales
Forum Replies Created
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You can get some interesting information on hard drives at http://www.storagereview.com
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If you want a foot and frames count, you can nest the sequence and add the timecode generator filter, then set the format to 16mm or 35mm.
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I think FCP 5 runs much better under 10.4, so I’d suggest that as a starting point.
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Apart from the ALE functions, Sebsky tools has saved me with Batch Add TC, as well as BWF2qt.
Several times Sebsky tools has saved me from big problems. Who says the best things in life aren’t free?
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Export the info from Avid as an Avid Log Exchange file (ALE).
In Final Cut Pro 5 or higher, choose File – Import – Cinema Tools Telecine Log. Then select the file, a database will be created in Cinema Tools, and all the records will appear in Final Cut Pro ready for capture.
If you have FCP earlier than 5, bring the ALE into Cinema Tools, export a Final Cut Pro batch list, import that into Final Cut, capture.
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You need a camera with a firewire interface. This has nothing to do with USB, or an included USB cable.
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If you want to learn something about fxbuilder, you could start here:
https://www.fxscriptreference.org/
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You might try taking a bin full of all the master clips, and export a Final Cut Pro batch list. Then create a database in Cinema Tools and import that batch list. Then export an Avid Log Exchange file. This should import into Avid and give you master clips to capture.
I haven’t done this before, but it should work to get the clips over there.
Do you also have edited sequences?
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What happend in the telecine? HD master were created and DVCAM masters were created also? What relationship does the DVCAM timecode have to the HD timecode?
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I haven’t sent ALE files or FLEX files back to the lab before, so perhaps some other person will have better ideas than I.
I’ve sent film lists to labs. The way I’ve worked with Cinema Tools is:
1) The lab telecine’s the negative to video. They give me an ALE or FLEX file, which give me information on which film address (camera roll, lab roll, and film edge code location for the film frames) is linked to each videotape address (tape ID number, video timecode frame).
2) I take this information and build a database in Cinema Tools. Thus for each division of the telecine process (usually each shot, sometime each camera roll) there is a Cinema Tools “card” (record) which has all the information from the FLEX or ALE, of which the most important is the film addresses (frames and camera rolls) and which video address they were transferred to (tape ID and video timecodes).
3) From this information, I use the video addresses to capture from Final Cut Pro to quicktime files. Once the footage is captured, I go back to Cinema Tools and connect each quicktime file to the proper Cinema Tools database record.
4) Then when I am done editing and need the lab to put the negative together, I create film lists. This process basically has Final Cut Pro report which quicktime file and which frames were used in the edit. This is passed to Cinema Tools, which calculates “oh, I am connected to that quicktime file. Those frames and their video timecodes match these film adddresses (camera roll and film edge codes / keycodes). ”
5) There are two versions of these lists. One is the show, in order as the shots run and tell the story. This is great for putting the movie together, but murder on pulling the negatives from the original camera rolls (since they are all out of order). So the same information is sorted not by the show’s sequence of shots, but by their order within the camera rolls. This is called a pull list.
6) At the lab, the negative cutter (or people preparing the Digital Intermediate) can pull the shots I used as they go through the pull list, grabbing each camera roll in order, then they can rearrange the chosen footage into the proper order of the film.
I don’t know if this will help you in your particular situation, but I find that an overview sometimes helps me figure things out.