[Steven Gonzales]

If you go into user preferences under the Final Cut Pro HD menu, then to timeline options, then you can select in the box Track Display show duplicate frames.

If you want to find duplicate frames using Cinema Tools, then all your media files (quicktime source files) that you used to edit in final cut will have to be connected to database records in Cinema Tools.

check this reference for an overview:

https://www.editorsguild.com/newsletter/JanFeb03/tip_cinema_tools.html

[Steven Gonzales]

Check out this article at Apple:

https://docs.info.apple.com/article.html?artnum=93165

[Steven Gonzales]

You might want to check with Aurora Video Systems. You may have a setting in the Igniter settings that is causing a shift in audio.

I saw this behavior years ago with Igniter in OS9 with old drivers and SCSI drives, and I had to slow down the SCSI card, but I don’t think that’s your issue.

Perhaps you should check that you have the latest drives from Aurora also. There’s an Aurora forum here at the Cow that might have an answer.

[Steven Gonzales]

If you have BWF poly files with more than 2 tracks of audio, you can use a utility from Fostex called BWF Manager to get them in shape for Sebsky Tools.

https://www.fostexdvd.net/fxdvd_route/docs/techsup/bwf_manager_1.htm

[Steven Gonzales]

Level information set in Final Cut is not transferred with the audio OMF files. There are a couple products which do retain this information that I know of, but I haven’t used either.

One is from Gallery Software, called XMLPro.

https://www.gallery.co.uk/

The other is from Automatic Duck and is called Pro Export FCP 3.0

https://www.automaticduck.com/products/pro_export_fcp/index-v3.php

[Steven Gonzales]

If you have your film transferred to DV, then the video will be at 29.97. If you want to edit your film at 24 frames per second, or at 23.98 frames per second, then it will have to be altered. There are basically two ways to do this:

Some systems have a special video capture card which converts the video as it captures to hard disc, leaving 24 or 23.98 frame per second files on your hard disc. This is how Avid Film Composer, and Final Cut Pro with the Igniter Card from Aurora Video Systems works.

Another choice is to bring the footage in at the 29.97 rate (just capturing the DV via firewire). Then you can use software to convert these files into 24 or 23.98 frames per second. This is what Cinema Tools, with its Reverse Telecine process, can accomplish.

Now if you shoot with a camera that keeps track of 23.98 frames per second, such as the Panasonic DVX100, while recording at 29.97, then there is special software within Final Cut to change the frame rate to 23.98 for editing.

However, this is not film origination, and is a slightly different topic. If you start on video, you don’t need Cinema Tools for its other ability: to keep track of the film’s frame addresses (edge code or keycode it is called) and match that to the video timecode, and keep it all straight so you can produce a cut list for the film negative cutter.

I hope this is helpful.

[Steven Gonzales]

There are a couple versions of stutter.

When you play back properly reversed clips, running at 23.98, out firewire I believe that fields are duplicated to allow playback at 29.97. This gives a slightly unusual look.

The other is when the reverse telecine is not correct. Then the 23.98 clip has 2 frames from 1 film frames, but another film frame is missing.

To check for this second type of problem, frame advance through the clip, looking for the A, B, C, D sequence (which should be on the burn in). If you see A B C and D film frames are all there, you are okay. If you see that there are, for example, A B B D, then that clip will need to be reverse telecined again with the proper sequencing.

Also, you wil need to connect your reversed telecine clips to the cinema tools database.

Check this reference:

https://www.editorsguild.com/newsletter/JanFeb03/tip_cinema_tools.html