Will Macneil
Forum Replies Created
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Well the first thing I would verify is that the telecine was done at 24fps. This is very unusual. The standard for film offline in PAL is to transfer at 25fps and slow it down in the non-linear system. In Final Cut Pro this is called the 24@25 method.
The frame rate of the edl usually depends on the logging system used by the neg cutters. Here in the UK most neg cutters log at 25fps as this is the timecode on the transferred tape.
If you can give me some more details, I’ll try to help.
Will
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Any keframes can be copied from a clip in the timeline to another. Select the shot that already has the effect and copy it. Select the shot or shots in the timeline that you want to modify and choose Paste Attributes from the Edit menu. This brings up a dialog that shows all the possible attributes you’ve copied. Just tick the ones you want. Select scale attribute times and the keyframe positions will be modified to suit the duration of the target clip(s).
Hope this helps.
Will
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Actually the process of transferring film to NTSC video creates a slight speed change. The video would be .1% (I think) slower than the film. So if the video is the reference, there will be a small sync issue just to begin with, no matter how you try to sync up the playback.
Will
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I’d just like to know how the fundamentals have been improved – if at all. Specifically: Trimming, file management (shared files as well,) anything that doesn’t normally hit the headlines.
Thanks,
Will
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One way I’d like to see this used is similar to the way we conform and grade negative in Digital Intermediate projects. We send an edl to the neg cutter and they create a neg cut with handles and a new edl that conforms the film from that neg cut. The neg cut is usually assembled using A-mode sorting but could be c-mode if necessary.
The way I see this workflow employed in Final Cut Pro is for offline edits that start to conform and grade before they’re finished. This way an edl could be created that allows the assembly of the film with handles. This assembly is graded and loaded into the conform system. As changes come in, the film can be re-conformed without having to unpick the old edits or grade over dissolves, etc.
This would have been very useful on a recent HD project with a DV offline.
Will
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I’d hazard a guess that you’d actually like a 25fps edl even though you’re editing at 24fps. This is what most neg cutters want as far as I know. You’ll only need Cinema Tools if you need to create film cutlists or audio edl’s refering to sound roll and timecode from a flex file (or any telecine log.)
Either way, do yourself a favour and start off with the 24@25 easy setup and if you’re working from something other than DV, modify it to support your I/O hardware. This will tick all the right boxes for sequence timecode rates and so on.
I’m here if you have specific questions,
Will
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Anyone know if we can see sound timecode and source from a flx file inside FCP?
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I knew you’d choose that Mishka!
Will
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There’s more info on shake 4 at http://www.apple.com/shake Got a while to wait, though.
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XML’s just a markup language that can be adapted to specific needs. An XML file would have text surrounded by tags that describe what the text refers to. The tags available via FCP’s XML scheme were described in a document that came out with the XML plug-in in the summer of 2003. The scheme supports anything FCP could do at the time and I think anything that was available as a bin column. Look on the Apple knowledge base for the file.
The only 3rd party systems that use XML as far as I know are from Automatic Duck and are mainly for sequence export/import. But that would definitely be the qst place to look.
There’s also an Automatic Duck forum here on the Cow. Though the Plate family are probably on their way to Vegas.
Will