[Steven Gonzales]

I would twirl the triangle next to the clip with markers to reveal them, then option drag them to a new bin, and then export a final cut pro batch list from that bin, and import that into excel.

I’m not near my system now, and there may be other ways to do this also.

[Steven Gonzales]

If the Dat has RS-422 deck control, you can get the timecode information through this serial communication. You need a Keyspan USA-28X (usb to mini-din 8 serial adapter) and a cable (Addenda Electronics has one, SC-M/9ms $17) https://www.addenda-elect.com/product.htm

[Steven Gonzales]

Perhaps it’s an issue with file type / creator id.

You could get a program like FileType from versiontracker.com and see what the file type and creator id is on these firestore files, and perhaps try changing them on a copy of the file to those of Final Cut Pro created files.

[Steven Gonzales]

Perhaps the name has shifted with video usage, but I’ve always heard the term as travelling matte, but that’s from the film terminology. I actually first read reference to the technique as Travelling Matte Color Replacement Cinematography. Here’s a listing from the British Society of Cinematographers’ Bert Easey Technical Award from 1949:

“1949 GEORGE ASHWORTH
Chief Engineer, Denham and Pinewood Studios, for outstanding work in designing and perfecting a beam splitter camera which advanced the technique of the travelling matte process.”

Dennis R. Anthony in 1982 received patent 4,406,529 for a Travelling-matte process improvement. In the prior art description for that patent:

“BRIEF DESCRIPTION OF THE PRIOR ART

In modern film-making there are two standard methods of inserting a subject image into a separately photographed background image to create a composite scene: travelling-matte synthesis and front-projection photography.”

In the FXhome.com glossary, a Travelling matte is defined: “A development of the stationary matte, this enabled the matte to change from frame-to-frame, enabling greater freedom of composition and camera movement. Would eventually evolve into the bluescreen process.”

[Steven Gonzales]

Sorry, forgot the URL. Here’s some transfer hints:

https://www.bealecorner.com/trv900/filmtrans.html

[Steven Gonzales]

Here’s some hints on doing it yourself.

[Steven Gonzales]

I’ve seen this before, when a student lost a bunch of media he had batch captured in one large chunk. We tried to batch capture again, and of course didn’t know what the start frame was. Every shot was off by the amount we missed on the batch capture start frame.

It seems to show that final cut pro keeps track of the the frame’s offset from the start of the quicktime file. So if you create a new file, and it has a different start frame, that offset won’t match any more.

I don’t know that this is a flaw. It would be pretty difficult to have the program recreate every offset in every sequence when a recapture added handles.

[Steven Gonzales]

Cinema Tools version 3.0.3 has a setting for 35MM 3 perf. I’m not sure when this feature was added.

[Steven Gonzales]

DVXDV takes the digital video compression format used in a DVD (MPEG-2 format) and converts it to the DV (sometimes called DV-25 because it uses 25 megabits per second) digital video compression format.

A telecine is a machine that converts film to video, usually also converting the 24 frames per second of film to the 29.97 frames per second of NTSC video. Reverse telecine refers to taking 29.97 frame per second video and converting it to 24 frame per second video, usually for the purpose of editing a film with frame accuracy on a non-linear editing system.

[Steven Gonzales]

I’ve heard of 3 ways of originating on film, editing on DV-25 format, and finishing on HD:

1) Telecine is done from film to both DV-25 and HD. The film is edited in Final Cut in DV-25, then finished by capturing from the HD tapes and color correcting, etc.

2) Telecine is done from film to DV-25. Editing is done in FCP, film information is entered into Cinema Tools, cut lists are produced, the negative is cut, and that cut negative is telecined to HD.

3) Telecine is done from film to DV-25. The film is edited in FCP, then it is upconverted to HD, either through rendering or through recapture from the DV-25 originals to an HD format.

Is one of these the method you are using, or is your post-production pipeline using another method?