Cinema Tools 3 User Manual
UP01101.Book Page 2 Thursday, March 10, 2005 3:16 PM Apple Computer, Inc. © 2005 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software license agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries.
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UP01101.Book Page 6 Thursday, March 10, 2005 3:16 PM 187 188 189 190 194 196 196 Part III 6 Adding and Removing Pull-Down in 24P Clips Working With 2:3:3:2 Pull-Down Removing 2:3:3:2 Pull-Down With Final Cut Pro Removing 2:3:3:2 or 2:3:2:3 Pull-Down With Cinema Tools Pull-Down Patterns You Can Apply to 23.98 fps Video Adding Pull-Down to 23.
An Introduction to Cinema Tools Preface UP01101.Book Page 7 Thursday, March 10, 2005 3:16 PM Cinema Tools with Final Cut Pro gives unprecedented power to film and 24P video editors. In today’s postproduction environment, it’s common for editors and filmmakers to find themselves faced with a confounding array of formats, frame rates, and workflows encompassing a single project. Projects are often shot, edited, and output using completely different formats at each step.
UP01101.Book Page 8 Thursday, March 10, 2005 3:16 PM Editing Film Digitally Computer technology is changing the film-creation process. Most feature-length films are now edited digitally, using sophisticated and expensive nonlinear editors designed for that specific purpose. Until recently, this sort of tool has not been available to filmmakers on a limited budget. Cinema Tools provides Final Cut Pro with the functionality of systems costing many times more at a price that all filmmakers can afford.
UP01101.Book Page 9 Thursday, March 10, 2005 3:16 PM If your production process involves workprint screenings and modifications, you can also use Cinema Tools to create change lists that describe what needs to be done to a workprint to make it match the new version of the sequence edited in Final Cut Pro. What Cinema Tools Does Cinema Tools tracks all of the elements that go into the making of the final film.
UP01101.Book Page 10 Thursday, March 10, 2005 3:16 PM Why 24P Video? The proliferation of high definition video standards and the desire for worldwide distribution has created a demand for a video standard that can be easily converted to all other standards. Additionally, a standard that translates well to film, providing an easy, high-quality method of originating and editing on video and finishing on film, is needed. The 24P video standard provides all this.
UP01101.Book Page 11 Thursday, March 10, 2005 3:16 PM Editing 24P Video The excellent quality of 24P video presents a challenge when it comes to editing—the bandwidth and storage space it requires. Editing minimally compressed 24P video directly in Final Cut Pro requires you to have a system with large, fast drives and specialized capture hardware.
UP01101.Book Page 12 Thursday, March 10, 2005 3:16 PM About This Manual This manual is a fully hyperlinked PDF document enhanced with many features that make locating information quick and easy. Â The homepage provides quick access to various features, including Late-Breaking News, the index, and the Cinema Tools website. Â A comprehensive bookmark list allows you to quickly choose what you want to see and takes you there as soon as you click the link. Â All cross-references in the text are linked.
UP01101.Book Page 13 Thursday, March 10, 2005 3:16 PM Apple Websites There are a variety of discussion boards, forums, and educational resources related to Cinema Tools and other Apple products on the web. Cinema Tools Website For general information and updates, as well as the latest news on Cinema Tools, go to: Â http://www.apple.com/finalcutpro/cinematools.
UP01101.Book Page 14 Thursday, March 10, 2005 3:16 PM For information about seminars, events, and third-party tools used in web publishing, design and print, music and audio, desktop movies, digital imaging, and the media arts, go to: Â http://www.apple.com/pro For resources, stories, and information about projects developed by users in education using Apple software, including Cinema Tools, go to: Â http://www.apple.
UP01101.Book Page 15 Thursday, March 10, 2005 3:16 PM Part I: Using Cinema Tools Using Cinema Tools while editing film projects.
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UP01101.Book Page 17 Thursday, March 10, 2005 3:16 PM 1 Before You Begin Your Project 1 Start planning your project early to ensure its success. Successful film production requires thorough planning well before exposing the first frame. Besides the normal preparations, additional issues must be considered when you intend to edit the film digitally. These issues may affect the film you use, how you record your sound, and other aspects of your production.
UP01101.Book Page 18 Thursday, March 10, 2005 3:16 PM These are people who are experts in their fields. They can provide invaluable information that can be the difference between a smooth, successful project and one that seems constantly to run into obstacles. Be Careful How You Save Money There are a number of times throughout the film production process when you will get to choose between “doing it right” and “doing it good enough.” Often your budget or a lack of time drives the decision.
UP01101.Book Page 19 Thursday, March 10, 2005 3:16 PM Transferring Film to Video In order to digitally edit your film, you need to transfer it to video so that it can be captured by the computer. There are a few ways to do this, but an overriding requirement is that there be a reliable way to match the film’s key numbers to the edited video’s timecode. This relationship allows Cinema Tools to accurately calculate specific key numbers based on each edit’s In and Out timecode values.
UP01101.Book Page 20 Thursday, March 10, 2005 3:16 PM Transfer Techniques That Are Not Recommended There are a couple of transfer techniques that are worth mentioning just to point out why you should not use them. Film Chains It is recommended that you avoid using a film chain if at all possible. Film chains are relatively old technology, as compared to telecines. They are basically a film projector linked to a video camera.
UP01101.Book Page 21 Thursday, March 10, 2005 3:16 PM How Much Should You Transfer? Deciding how much of your film to transfer to video depends on a number of issues, probably the biggest one being cost. The amount of time the telecine operator spends on the transfer determines the cost.
UP01101.Book Page 22 Thursday, March 10, 2005 3:16 PM Scene-and-Take Transfers Scene-and-take transfers are a bit more expensive than camera-roll transfers, but they offer significant advantages: Â Scene-and-take transfers make it easier to synchronize audio during the transfer. Â Since the telecine log contains one record per take, it establishes a solid database when imported into Cinema Tools. Â With an established database, Cinema Tools can export a batch capture list.
UP01101.Book Page 23 Thursday, March 10, 2005 3:16 PM Performing a 3:2 Pull-Down The most common approach to distributing film’s 24 fps among NTSC video’s 30 fps is to perform a 3:2 pull-down (also known as a 2:3:2:3 pull-down). If you alternate recording two fields of one film frame and then three fields of the next, the 24 frames in one second of film end up filling the 30 frames in one second of video.
UP01101.Book Page 24 Thursday, March 10, 2005 3:16 PM To work around the inaccuracies related to editing 3:2 video, Cinema Tools includes a Reverse Telecine feature that can be used to remove the extra fields from the video, returning it to its original 24 fps rate, and thus providing a one-to-one relationship between the video and film frames. Setting Final Cut Pro’s editing timebase in the Sequence Preset Editor to 24 fps (or 23.
UP01101.Book Page 25 Thursday, March 10, 2005 3:16 PM 24&1 Method Adding two extra video fields per second (the 24&1 method) has the advantage of maintaining the original film speed, at the expense of losing the one-to-one film-to-video frame relationship. This method records an extra video field every twelfth film frame.
UP01101.Book Page 26 Thursday, March 10, 2005 3:16 PM You have the option to use record run or free run timecode during the production: Â With record run timecode, the timecode generator pauses each time you stop recording. Your tape ends up with continuous timecode, since each time you start recording it picks up from where it left off. Â With free run timecode, the timecode generator runs continuously. Your tape ends up with a timecode break each time you start recording.
UP01101.Book Page 27 Thursday, March 10, 2005 3:16 PM What Happens to the Timecode After Using Reverse Telecine or Conform? The Reverse Telecine feature (changing 30 fps video to 24 fps video) and the Conform feature (changing either 25 fps or 30 fps video to 24 fps) directly affect the timecode of the video frames.
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UP01101.Book Page 29 Thursday, March 10, 2005 3:16 PM A consideration for the audio timecode setting is how the final audio will be mixed: Â If the final mix is to be completed using Final Cut Pro, the setting needs to match the Final Cut Pro Editing Timebase setting in the Sequence Preset Editor. Â If the final mix is to be completed at an audio postproduction facility, the timecode needs to be compatible with their equipment.
UP01101.Book Page 30 Thursday, March 10, 2005 3:16 PM Audio clips captured as part of video clips do not retain their original timecode and reel number, and the Final Cut Pro EDL cannot be used by an audio postproduction facility. This is most common with clips created from scene-and-take transfers, where the audio is synchronized to the film and recorded onto the videotape, losing the original audio timecode.
UP01101.Book Page 31 Thursday, March 10, 2005 3:16 PM Since the film is often either slightly sped up or slowed down during the telecine transfer, the audio must also have its speed changed. If the audio is being synced during the transfer, the speed change is handled there. If the audio is being synced to the videotape after the transfer, the speed change must happen then.
UP01101.Book Page 32 Thursday, March 10, 2005 3:16 PM Working in Final Cut Pro Decisions you make regarding the telecine transfer and how you work with audio affect how you use Final Cut Pro during the editing process. Setting the Editing Timebase for Sequences In Final Cut Pro you must set the editing timebase for sequences to match the frame rate of the captured clips. Important: Do not place clips into a sequence if the clips and sequence have different frame rates.
UP01101.Book Page 33 Thursday, March 10, 2005 3:16 PM 2 The Cinema Tools Workflow 2 Cinema Tools fits easily into a film editing workflow. The primary purpose of Cinema Tools is to create an accurate cut list based on edits made in Final Cut Pro. There are a few critical steps that are necessary for this to happen, but for the most part, the actual Cinema Tools workflow depends on the equipment you use, your video standard, and how you like to work.
UP01101.Book Page 34 Thursday, March 10, 2005 3:16 PM When you export the cut list after editing the video in Final Cut Pro, Cinema Tools looks at each edit and tries to find the appropriate record in its database to determine the corresponding key numbers or ink numbers (edge code). Cinema Tools first looks for a record connected to the clip name used in the edit. If it is found, it then locates the clip file, a note is added to the cut list, and Cinema Tools moves on to the next edit.
UP01101.Book Page 35 Thursday, March 10, 2005 3:16 PM The telecine log from camera-roll transfers typically provides information for a single record—the edge code and video timecode used at the start of the transfer. Assuming continuous film key numbers and video timecode throughout the transfer, that single record is sufficient for Cinema Tools to generate a cut list for that camera roll. Importing Telecine Logs You have a choice of importing the telecine log into Cinema Tools or using Final Cut Pro.
UP01101.Book Page 36 Thursday, March 10, 2005 3:16 PM To export a list of offline clips for batch capturing in Final Cut Pro, do one of the following: m In Cinema Tools, choose File > Export > XML Batch List. m An XML batch capture list is exported. Import the batch list into Final Cut Pro to create offline clips for batch capturing. m In Cinema Tools, choose File > Export > Batch Capture m A standard batch capture list is exported.
UP01101.Book Page 37 Thursday, March 10, 2005 3:16 PM Are the Window Burn Numbers Correct? There are a variety of reasons why the window burn values might not be correct, ranging from incorrectly entered values to faulty automatic detecting. You must verify the accuracy of the window burn values. It is critical that these values be correct if you are going to rely on them.
UP01101.Book Page 38 Thursday, March 10, 2005 3:16 PM About Compression Compression, in terms of digital video, is a means of squeezing the content into smaller files so that they require less hard disk space and potentially less processor power to display. The tradeoff is lower quality images. It’s important to remember that the edited video that results from Final Cut Pro when used with Cinema Tools is not typically going to be used for anything where high quality would be expected.
UP01101.Book Page 39 Thursday, March 10, 2005 3:16 PM Camera-Roll Transfers Camera-roll transfers require you either to capture the entire tape or to manually capture a clip for each take. As long as the tape uses continuous video timecode and film key numbers, Cinema Tools only requires a single database record showing the relationship between the two.
UP01101.Book Page 40 Thursday, March 10, 2005 3:16 PM Step 4: Prepare the clips for editing (processing the clips) Cinema Tools has two powerful features that can be used on your clips prior to editing them: the Reverse Telecine feature and the Conform feature. Reverse Telecine The Reverse Telecine feature (for NTSC transfers only) provides a means of removing the extra fields added during the 3:2 pull-down process of the telecine transfer. You need to do this when you intend to edit the video at 24 fps.
UP01101.Book Page 41 Thursday, March 10, 2005 3:16 PM Step 5: Edit the clips in Final Cut Pro You edit the clips in Final Cut Pro much as you would any video project, but there are a few important things to keep in mind. These considerations are described in Chapter 7, “Editing,” on page 127.
UP01101.Book Page 42 Thursday, March 10, 2005 3:16 PM If You Used Scene-and-Take Transfers Since scene-and-take transfers require a database record for each take (due to noncontinuous key numbers), an important first decision is based on whether or not a telecine log is available.
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UP01101.Book Page 47 Thursday, March 10, 2005 3:16 PM 3 The Cinema Tools Interface 3 Cinema Tools uses a variety of windows and dialogs to access its powerful features. There are a number of windows and dialogs in Cinema Tools. Some are generic, such as file selection dialogs, while others are specialized with unique functions and settings. Most of the windows and dialogs are opened from within Cinema Tools; three related dialogs also open via Final Cut Pro.
UP01101.Book Page 48 Thursday, March 10, 2005 3:16 PM Detail View Window You use the Detail View window to view, enter, and change information in a database record. When you open an existing database, the Detail View window displays the first record. The specific numbers in the Detail View window (reels, rolls, and key and ink numbers) all describe values for the first frame of the source clip associated with the database record.
UP01101.Book Page 49 Thursday, March 10, 2005 3:16 PM Clicking the following buttons opens additional windows and dialogs: Â Find: Click the Find button to open the Find dialog. Â Open Clip: The Open Clip button (as shown above) changes depending on whether a clip is connected to the record. With a clip connected (as above), the button is labeled Open Clip. Click Open Clip to open the Clip window, which displays the connected clip.
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UP01101.Book Page 51 Thursday, March 10, 2005 3:16 PM Selecting Records To select a database record, do one of the following: m Click any displayed record. m Use the keyboard’s Up or Left Arrow key to select the record before the currently selected one. m Use the keyboard’s Down or Right Arrow key to select the record after the currently selected one. m Use the keyboard’s Home key to jump to the first database record. m Use the keyboard’s End key to jump to the last database record.
UP01101.Book Page 52 Thursday, March 10, 2005 3:16 PM Clip Window You use the Clip window to play the selected clip, identify the timecode and key number of a specific frame, view general information about the clip, and process it with the Reverse Telecine and Conform features. To open the Clip window, do one of the following: m Click Open Clip in the Detail View window (if a clip is connected to the current record).
UP01101.Book Page 53 Thursday, March 10, 2005 3:16 PM Â Poster Frame: Assigns the currently displayed frame to the Detail View window’s thumbnail display. Â Conform: Opens the Conform Clip dialog. Â Identify: Opens the Identify window. Â Clip Analysis: Opens the Clip Analysis dialog. Reverse Telecine Dialog You use the Reverse Telecine dialog to convert NTSC 3:2 pull-down video or 2:3:3:2 pul-down video to 24 frames per second (fps).
UP01101.Book Page 54 Thursday, March 10, 2005 3:16 PM Conform Clip Dialog You use the Conform Clip dialog to set the duration of each frame of the current clip to a specified time. For example, choose 24.0 to set each frame’s duration to 1/24 of a second. You do this to change the frame rate of a captured clip or to ensure a clip’s frame rate is accurate and consistent throughout the clip. To open the Conform Clip dialog, do one of the following: m Click Conform in the Clip window.
UP01101.Book Page 55 Thursday, March 10, 2005 3:16 PM Some features of this window: Â It updates to show the information of each frame as you move through a clip. Â The prior position of the Identify window on the screen is retained when it is reopened. Â When multiple Clip windows are opened, the Identity window reflects the frame information of the active window, updating as each window becomes active.
UP01101.Book Page 56 Thursday, March 10, 2005 3:16 PM To open the Change Reel dialog: m Choose Database > Change Reel. Database Properties Dialog The Database Properties dialog displays a wide variety of information about the current database, including its default settings and statistics about the records. To open the Database Properties dialog, do one of the following: m Choose Database > Database Properties. m Press Command-I.
UP01101.Book Page 57 Thursday, March 10, 2005 3:16 PM To open the Film Lists dialog from within Final Cut Pro: m In Final Cut Pro, choose File > Export > Cinema Tools Film Lists. (This command is available only when the Final Cut Pro Timeline is active, or when a sequence is selected in the Browser.) To open the Film Lists dialog from within Cinema Tools: m In Cinema Tools, choose File > Export > Film lists from 30 fps EDL.
UP01101.Book Page 58 Thursday, March 10, 2005 3:16 PM To open the Change List dialog from within Final Cut Pro: m In Final Cut Pro, choose File > Export > Cinema Tools Change List. (This command is available only when the Final Cut Pro Timeline is active, or when a sequence is selected in the Browser.) When you export a change list file from Final Cut Pro, you can also export a new cut list (and all the other lists available in the Film Lists dialog) for the sequence.
UP01101.Book Page 59 Thursday, March 10, 2005 3:16 PM Export Audio EDL Dialog Audio is often reedited at an audio postproduction facility, using high-quality capture hardware and software and high-end processing tools. Depending on how you edit, Final Cut Pro’s EDL output may not contain the reel number and timecode of the original production sound tapes. This information is often contained in the telecine log that you import into Cinema Tools, or it can be manually entered.
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UP01101.Book Page 61 Thursday, March 10, 2005 3:16 PM 4 Creating and Using a Cinema Tools Database 4 At the heart of Cinema Tools is its database, providing powerful organizational tools.
UP01101.Book Page 62 Thursday, March 10, 2005 3:16 PM Understanding the Basic Structure of a Cinema Tools Database A database is made up of records and each record describes one source clip. There are three different types of source clips for which you might create a database record: Â If you used a scene-and-take transfer, you’ll have one database record for each take, where each source clip is one take.
UP01101.Book Page 63 Thursday, March 10, 2005 3:16 PM Deciding How You Should Create the Database The way you create the database depends on how you want to use it and whether or not you have a telecine log or Avid Log Exchange (ALE) file. If you haven’t done so yet, take a look at the “The Cinema Tools Workflow” on page 33. Use these examples to guide you in determining the basic steps you need to take to create your database and capture your clips.
UP01101.Book Page 64 Thursday, March 10, 2005 3:16 PM To build a database from an existing log: 1 Create a new empty database. See “Creating a New Database” on page 66. 2 Generate the database records from the log. See “Importing Database Information From a Telecine Log or ALE File” on page 70. If You Do Not Have a Telecine Log or ALE File Although it’s faster and more efficient to use a log, you can build a database without one. To create a database without a log: 1 Start a new empty database.
UP01101.Book Page 65 Thursday, March 10, 2005 3:16 PM A Potential Database Shortcut for Camera-Roll Transfers If you used a camera-roll transfer and need to manually create your database, you may be able to save time by creating one database record per camera roll, depending on whether or not the edge code number-to-timecode relationship is continuous for each camera-roll transfer.
UP01101.Book Page 66 Thursday, March 10, 2005 3:16 PM Additional Uses for the Database Optionally, you may want to use the database for purposes beyond simply matching video back to film, and this can affect how you create databases: Â Individual databases for dailies: If you have daily shoots that you want to process and track separately, you can create new individual databases for each daily session.
UP01101.Book Page 67 Thursday, March 10, 2005 3:16 PM 4 In the “Create a new database” dialog, choose a location and enter a filename for the database. An empty database is created and you are ready to enter information into it. To find out how, see “Entering Information in the Database” on page 70.
UP01101.Book Page 68 Thursday, March 10, 2005 3:16 PM To choose a default film standard: m Choose the standard film type used for your project from the Film Standard pop-up menu.  35mm 4p: 35mm film, 4 perforations per frame  16mm 20: 16mm film, 20 frames per key number Video TC Rate Cinema Tools supports four different video timecode rates. See Appendix A, “Background Basics,” on page 201 for information on timecodes.
UP01101.Book Page 69 Thursday, March 10, 2005 3:16 PM To choose a default sound timecode rate: m Choose the type of timecode recorded on your production sound rolls from the Sound TC Rate pop-up menu.
UP01101.Book Page 70 Thursday, March 10, 2005 3:16 PM Entering Information in the Database As described in “Deciding How You Should Create the Database” on page 63, there are two basic approaches to creating your project database: Â You can generate the database by importing a telecine log, ALE file, or Final Cut Pro batch capture list. Â You can enter information manually.
UP01101.Book Page 71 Thursday, March 10, 2005 3:16 PM The data in the log is entered into the open database and each new record is displayed in the List View window. When Cinema Tools is finished creating the records from a telecine log, it tells you how many events there were in the log and how many of those events were imported into the database. Sometimes events in a telecine log refer to edits in which no film was transferred. For those events, no record is created in the database.
UP01101.Book Page 72 Thursday, March 10, 2005 3:16 PM 4 In each database record, enter the edge code number information and film roll identifier. (These items are required to create a cut list or change list.) Note: Because a Final Cut Pro batch capture list includes everything in the Final Cut Pro Browser, it may include clips or sequences that you don’t want. For this reason, you should delete any database records you don’t need. See “Deleting a Database Record” on page 85.
UP01101.Book Page 73 Thursday, March 10, 2005 3:16 PM Entering Database Information Manually You can use the Detail View window to manually edit database records. Before you can edit information in a database, you need to create database records. Note: If a database record has already been created for a clip, you can also use the Identify window to enter information. See “Using the Identify Feature to Enter and Calculate Database Information” on page 82 for more information.
UP01101.Book Page 74 Thursday, March 10, 2005 3:16 PM Creating a New Database Record To create a new database record: 1 Do one of the following: Â Click New in the Detail View window. Â Choose Database > New Record. 2 In the New Record dialog, either enter identifiers for the Scene and Take or leave them blank, then click New. See the sidebar below, “Using Scene, Shot, and Take Identifiers,” for more information.
UP01101.Book Page 75 Thursday, March 10, 2005 3:16 PM Using Scene, Shot, and Take Identifiers An identifier can be any combination of numbers and letters (up to 15 characters). Â Take identifier: If the source clip associated with a database record contains more than one take, you can think of the take identifier as a source clip identifier. Â Scene identifier: The identifier you enter in the Scene field actually identifies both the scene and the shot for the clip.
UP01101.Book Page 76 Thursday, March 10, 2005 3:16 PM Entering Information in a Database Record To enter information in a database record: 1 Make sure the record is displayed in the Detail View window. (If necessary, double-click the record in the List View window to open it in the Detail View window.) For more information, see “Finding and Opening Database Records” on page 91. 2 Enter information and settings in the Detail View window.
UP01101.Book Page 77 Thursday, March 10, 2005 3:16 PM Settings in the Detail View Window The Detail View window includes a number of fields and buttons for creating a database record. Only a few of these settings are required for the purpose of using the database to create a cut list or change list.
UP01101.Book Page 78 Thursday, March 10, 2005 3:16 PM The Detail View window contains the following fields and buttons: Â Find button: Click to display the Find dialog, which you use to locate and display a set of database records in the List View window. These records are referred to as the found set. See “Finding and Opening Database Records” on page 91 for details. Â Previous and Next buttons (arrows): Click these buttons to move forward or backward through the database.
UP01101.Book Page 79 Thursday, March 10, 2005 3:16 PM Â Scene field: Use this field to enter or modify the identifier for the scene. See “Using Scene, Shot, and Take Identifiers” on page 75 for more information. Â Take field: Enter a take identifier here. Takes are usually identified as numbers, but you can enter whatever text you want to use to identify the take, up to 15 characters. If there are multiple takes in the source clip, think of the take identifier as a clip identifier.
UP01101.Book Page 80 Thursday, March 10, 2005 3:16 PM Â Length field: This field is for the length of the clip, expressed as feet plus frame offsets. The value for this field can come from a telecine log. If you know the length of the clip from some other source, such as a production camera report, you can enter that data here. You can also find the value for this field by using the Identify feature. See “About Modifying Data in the Identify Window” on page 88.
UP01101.Book Page 81 Thursday, March 10, 2005 3:16 PM Â Video Timecode field: (Unless all the clips you will be editing are connected to the database, this field is required if you intend to create a cut list or change list or audio EDL.) Enter the timecode number of the video frame that represents the first frame of the clip.
UP01101.Book Page 82 Thursday, March 10, 2005 3:16 PM Â Connect Clip/Open Clip button: If a clip has not been connected to the database record, this button is labeled Connect Clip. If a clip has already been connected, the button is labeled Open Clip. Â Click Connect Clip to select a source clip to connect to this record. When you select a clip, it is connected to the database record and the first frame of the clip appears in the box below the Connect Clip/Open Clip button.
UP01101.Book Page 83 Thursday, March 10, 2005 3:16 PM Using the Identify Window to Enter Edge Code Numbers and Timecode Values in the Database If you know the edge code (key number or ink number) and timecode value for any frame in a clip, you can use the Identify feature to determine these values for the first frame of the clip and that information is automatically entered in the database.
UP01101.Book Page 84 Thursday, March 10, 2005 3:16 PM 4 Enter the edge code and timecode values for the marked frame (the frame showing in the Clip window) in the appropriate fields. Note: You may be using ink numbers instead of key numbers, or vice versa. If so, you can leave the field you aren’t using blank. Enter the video timecode for the marked frame. Enter the key number or ink number for the marked frame.
UP01101.Book Page 85 Thursday, March 10, 2005 3:16 PM Modifying Information in the Database You can modify any information in the database by editing settings in the Detail View window and the Identify window. Some of the calculations you make using the Identify feature update pre-existing information, modifying the database automatically. See “Using the Identify Feature to Enter and Calculate Database Information” on page 82 for more information.
UP01101.Book Page 86 Thursday, March 10, 2005 3:16 PM To choose a new poster frame for a clip: 1 If it isn’t already open, open the clip in the Clip window in one of the following ways: Â Click Open Clip in the Detail View window of the clip’s database record. Â Choose File > Open Clip, then select the clip in the dialog. 2 In the clip playback area, locate the frame you want to use as the poster frame. ∏ Tip: Use the arrow keys on your keyboard to move forward and backward frame-by-frame.
UP01101.Book Page 87 Thursday, March 10, 2005 3:16 PM Changing the Default Project Settings To change the default settings for a project: m Create a new database with the default settings you want, then import your original database into the new one. See “Importing an Existing Cinema Tools Database” on page 72. Changing All Reel or Roll Identifiers There may be times when you want to change all occurrences of a reel or roll identifier in a database.
UP01101.Book Page 88 Thursday, March 10, 2005 3:16 PM About Modifying Data in the Identify Window You can use the Identify window for a clip only if a database record has been created for that clip. The Identify window includes fields and pop-up menus for settings that also appear in the Detail View window.
UP01101.Book Page 89 Thursday, March 10, 2005 3:16 PM To verify and correct the edge code and timecode entered for a clip: 1 If it isn’t already open, open the clip in the Clip window in one of the following ways: Â Click Open Clip in the Detail View window of the clip’s database record. Â Choose File > Open Clip, then select the clip in the dialog. 2 In the clip playback area, locate a frame near the beginning of the clip for which you know the correct edge code number or timecode.
UP01101.Book Page 90 Thursday, March 10, 2005 3:16 PM 4 Look at the Key, Ink, and Video Timecode fields in the Identify window to see if the numbers match the window burn of the frame in the Clip window. (You may be using ink numbers instead of key numbers, or vice versa. If so, you can leave the field you aren’t using blank.) See if the key number and/or ink number matches the frame in the Clip window. See if the video timecode matches the timecode for the frame in the Clip window.
UP01101.Book Page 91 Thursday, March 10, 2005 3:16 PM Working With the Database To work with the database, you need to know about these basic tasks:  opening an existing database  finding and opening database records  accessing information about a clip Opening an Existing Database To open an existing database: m Choose Database > Open Database, then select the database in the dialog. All the records in the open database are listed in the List View window.
UP01101.Book Page 92 Thursday, March 10, 2005 3:16 PM To use the Find command to find records in the open database: 1 Open the Find dialog by doing one of the following: Â Click the Find button in the Detail View window. Â Choose Database > Find. Â Press Command-F. 2 Choose one of the following from the pop-up menu: Â Replace Existing: Found records replace the records displayed in the List View window. Â Add to Existing: Found records are added to the set in the List View window.
UP01101.Book Page 93 Thursday, March 10, 2005 3:16 PM About Backing Up, Copying, Renaming, and Locking Databases As is the case with all important data, it is wise to store backup copies of your Cinema Tools database files and to lock the database files if you want to make sure they are not modified or deleted. Do this by using any of the standard desktop methods for copying and locking files. You can back up your files on your computer’s hard disk or on separate removable media.
UP01101.Book Page 94 Thursday, March 10, 2005 3:16 PM Information is also listed for each different track in a clip: Â For video tracks, you see the frame size and frame rate, the compressor used and the compression quality, the average data rate, and whether the data is self-contained or referenced from another file. See “The Difference Between Self-Contained and Referencing Clips” on page 126 for more information.
UP01101.Book Page 95 Thursday, March 10, 2005 3:16 PM 5 Capturing Source Clips and Connecting Them to the Database 5 Establishing the relationships between the source clips and the Cinema Tools database is key to a successful project. Once you have created the project database, it’s time to capture your source clips with Final Cut Pro. (Source clips are the media files you start with when you begin editing.) After capturing, you establish connections between the database records and the source clips.
UP01101.Book Page 96 Thursday, March 10, 2005 3:16 PM A Caution About Using OffineRT Media With Cinema Tools When you capture media with the OfflineRT Easy Setup in Final Cut Pro, your captured media is highly compressed, allowing you to capture more source clips to your hard disk—approximately two hours of video per gigabyte (GB) of hard disk space.
UP01101.Book Page 97 Thursday, March 10, 2005 3:16 PM Setting Up Your Hardware to Capture Accurate Timecode Final Cut Pro’s ability to capture frame-accurate timecode for each clip is also dependent upon the proper setup of your capture hardware. When using DV decks, this is easy. In Final Cut Pro 3 and later, capturing video with a DV deck using FireWire for both device control and video and audio input will result in 100 percent accurate timecode.
UP01101.Book Page 98 Thursday, March 10, 2005 3:16 PM Calibrating the Timecode Offset Even when your deck and video capture interface are genlocked together, if you are going to use serial device control instead of FireWire device control to capture, it is still essential to calibrate the capture offset (found in Final Cut Pro’s Device Control Preset tab) prior to capture. To use serial device control, you need to make this setting once per deck, per computer.
UP01101.Book Page 99 Thursday, March 10, 2005 3:16 PM Generating a Batch Capture List From Cinema Tools If you have a video deck with device control, such as a DV-format camera with FireWire or a high-end video deck or camera, batch capture is the most convenient way to bring media into your computer. With batch capture, you connect a video deck to your computer and, based on a Cinema Tools–generated list of the source clips, Final Cut Pro copies all of the source clips from the tape to your computer.
UP01101.Book Page 100 Thursday, March 10, 2005 3:16 PM To generate a batch capture list from Cinema Tools and import it into Final Cut Pro: 1 Make sure that the List View window displays the database records of the clips you want to capture. To display all of the records in the database, click Find All in the Find dialog. See “Finding and Opening Database Records” on page 91 for details. In the List View window, display the database records that you want to connect clips to.
UP01101.Book Page 101 Thursday, March 10, 2005 3:16 PM How Cinema Tools Names Batch-Captured Clips If you capture clips with a batch capture list, and if there is both a scene and a take identifier in the database record, Cinema Tools creates a clip name using the scene and take, separated by a hyphen. For example, the clip for scene 10, take 1 would be named 10-1. If there are no scene and take identifiers, Cinema Tools creates a clip name based on the video reel and timecode.
UP01101.Book Page 102 Thursday, March 10, 2005 3:16 PM Â If your video is non-drop frame timecode, make sure that Non-Drop Frame is chosen from the Default Timecode pop-up menu in the Final Cut Pro Device Control Presets tab. A quick way to do this is to choose DV-NDF in the Easy Setup dialog in Final Cut Pro. (Refer to the Final Cut Pro documentation for more details on using Easy Setups.) Â The naming of the source clips is important because you will need to connect clips to database records.
UP01101.Book Page 103 Thursday, March 10, 2005 3:16 PM . Avoid Moving or Renaming Your Source Clips in the Finder Once a source clip is connected to the database, that link must be intact when you generate any film lists. If the link is broken, the lists will be incomplete. A clip-todatabase link is broken if  the source clip filename is changed  the source clip file is moved or deleted To fix broken links, see “Fixing Broken Clip-to-Database Links” on page 107.
UP01101.Book Page 104 Thursday, March 10, 2005 3:16 PM Note: The poster frame for each connected clip does not appear in the Detail View window until you open that clip in the Clip window. In the Detail View window, click the Open Clip button to open the Clip window and make the poster frame appear.
UP01101.Book Page 105 Thursday, March 10, 2005 3:16 PM 3 In the dialog that appears, select a clip to connect to the current database record. When you select the clip, three things happen: Â The clip is connected to the database. Â A poster frame of the first frame of the clip appears in the Detail View window, and below the poster frame you see the name of the clip. The name of the clip appears below the clip poster frame.
UP01101.Book Page 106 Thursday, March 10, 2005 3:16 PM Using the Clip Window to Enter or Disconnect Source Clips When a clip has not been connected to a database record, the second button from the top in the Clip window is labeled Enter in DB. If a clip is already connected, the button is labeled Disconnect Clip. The Enter in DB command offers you a way to create a database record for an individual source clip and connect it to the database at the same time.
UP01101.Book Page 107 Thursday, March 10, 2005 3:16 PM Fixing Broken Clip-to-Database Links When a source clip that has been connected to the database is renamed or moved, the link between the clip and the database breaks and the clip needs to be reconnected. For individual clips, clicking the Open Clip button in the Detail View window opens a dialog that lets you reconnect the clip to the database record.
UP01101.Book Page 108 Thursday, March 10, 2005 3:16 PM To locate and fix links that are broken because source clips have been moved: 1 Make sure that the List View window displays the set of records that you want to search for broken links. To display all of the records in the database, click Find All in the Find dialog. See “Finding and Opening Database Records” on page 91 for details. 2 Choose Database > Reconnect Clips. The set of records displayed in the List View window is searched.
UP01101.Book Page 109 Thursday, March 10, 2005 3:16 PM 6 Preparing the Source Clips for Editing 6 Spending some time with your source clips before you start editing can make the editing experience smoother. Once the Cinema Tools database has been created and your source clips have been captured, there are a few key steps to take before you begin editing. See “Determining How to Prepare Source Clips for Editing,” next, for information on these processes.
UP01101.Book Page 110 Thursday, March 10, 2005 3:16 PM There is an exception to this recommendation: In an NTSC environment, where you need to use NTSC equipment and output to NTSC tapes, you may prefer to edit at 23.98 fps because then you can take advantage of the Real-Time Effects pull-down feature in Final Cut Pro that lets you easily output your 23.98 fps video as 29.97 fps. This output conversion feature does not work on video that is 24 fps.
UP01101.Book Page 111 Thursday, March 10, 2005 3:16 PM Using the Conform Feature Conforming a clip to a frame rate means that each frame in the clip is given an equal duration in seconds based on a frame rate you specify. For example, if you conform a clip with 360 frames to 24 frames per second, each frame becomes 1/24 of a second, and the total duration of the clip is 360/24 seconds, or 15.0 seconds. Use the Conform feature to change the frame rate of a clip to the frame rate at which you want to edit.
UP01101.Book Page 112 Thursday, March 10, 2005 3:16 PM Batch Conforming Several Clips at a Time As an alternative to conforming the frame rate of each clip individually, you can use the Batch Conform feature to conform the frame rates of all the clips in a selected folder. To batch conform: 1 Make sure all the clips you want to conform are in the same folder. 2 Choose File > Batch Conform.
UP01101.Book Page 113 Thursday, March 10, 2005 3:16 PM Reversing the Telecine Pull-Down When you use a telecine to transfer your 24 fps film to 30 fps NTSC video, the typical way the 24 frames are distributed into 30 frames is by the 3:2 pull-down method. The 3:2 pull-down method, as described in “Frame Rate Basics” on page 22, inserts extra fields of video. The reverse telecine process removes the extra fields (as shown in the illustration below), returning the video to its original 24 fps frame rate.
UP01101.Book Page 114 Thursday, March 10, 2005 3:16 PM Determining the Field Capture Information You need to enter field capture information in the Reverse Telecine dialog. Typically, all of your clips are generated with the same hardware and settings, so you only need to look at a few frames of one clip to determine the field capture mode. A clip can be captured as one field or both fields, with field 1 or field 2 dominance.
UP01101.Book Page 115 Thursday, March 10, 2005 3:16 PM What Is Field Dominance? The field dominance of a captured clip is determined by the telecine hardware, and is usually not configurable by the user. Video frames are composed of two fields; one field consists of all the even lines of the video, and the other field consists of all the odd lines.
UP01101.Book Page 116 Thursday, March 10, 2005 3:16 PM 5 Select the capture mode that indicates the correct field capture for the clip. Â Field 1 Only: Select this option if the video contains only field 1. Â Field 2 Only: Select this option if the video contains only field 2. Â F1 - F2: Select this option if the video contains both fields, and field 1 is the dominant field (the first field to appear). Â F2 - F1: Select this option if the video contains both fields, and field 2 is the dominant field.
UP01101.Book Page 117 Thursday, March 10, 2005 3:16 PM 7 Select “New (smaller)” or “Same (faster)” to specify the kind of file you want the Reverse Telecine feature to create: Â New (smaller): Creates a new clip file that does not contain the extra frames introduced by the 3:2 pull-down. The new file is about 20 percent smaller, but this method is slower. Regardless of whether the original file was referencing or selfcontained, this method creates a self-contained file.
UP01101.Book Page 118 Thursday, March 10, 2005 3:16 PM Â 23.98: This frame rate is useful if you want to later use the Final Cut Pro pull-down feature that lets you output 23.98 fps video as 29.97 fps video. (See “Pull-Down Patterns You Can Apply to 23.98 fps Video” on page 194 for more information.) Â 24.0: You may want to conform and edit the clips at this rate if you plan to include them in a project that contains other clips that are exactly 24 fps.
UP01101.Book Page 119 Thursday, March 10, 2005 3:16 PM Checking Your Reverse Telecine Results After a telecine 3:2 pull-down transfer, the upper field is typically field 1 and the lower field is field 2, except when using DV. Normally, when the “Standard upper/lower” checkbox is checked, Cinema Tools determines what needs to be done and the clips are processed correctly.
UP01101.Book Page 120 Thursday, March 10, 2005 3:16 PM About “A” Frames If your video has window burn, the easiest way to locate an A frame is to look at the key number in the video frame, which typically has a letter after it indicating the frame type. This letter is called the frame type indicator. “A” frames include any frame with a frame type indicator that begins with A, including an AA (also known as A1A2), AB (also known as A2B1), A1, or A2 frame.
UP01101.Book Page 121 Thursday, March 10, 2005 3:16 PM Using Batch Reverse Telecine for Multiple Source Clips Before you use batch reverse telecine to process multiple source clips, be sure to read “Preparing to Use Batch Reverse Telecine” on page 119. To use batch reverse telecine: 1 Place all the clips that you want to process into one folder. 2 Choose File > Batch Reverse Telecine. 3 In the dialog that appears, select any source clip file in the folder that contains the source clips, then click Choose.
UP01101.Book Page 122 Thursday, March 10, 2005 3:16 PM Note: If Cinema Tools finds pull-down information embedded in the source clips, a simpler version of this dialog appears. See “Removing 2:3:3:2 or 2:3:2:3 Pull-Down With Cinema Tools” on page 190. 5 From the “Conform to” pop-up menu, choose the frame rate that allows you to maintain or restore audio/video sync. Â 23.98: This frame rate is useful if you want to later use the Final Cut Pro pull-down feature that lets you output 23.98 fps video as 29.
UP01101.Book Page 123 Thursday, March 10, 2005 3:16 PM Making Adjustments to Audio Speed If you need to make audio speed adjustments in order to re-establish synchronization with the video, there are various ways you can do this. Note: The reverse telecine and conform processes automatically adjust the audio speed in a clip to match changes made to the video frame rate of the same clip. Â You can adjust the speed with the Final Cut Pro Speed command. First, unlink the audio and the video clips.
UP01101.Book Page 124 Thursday, March 10, 2005 3:16 PM Â If the timecode of your video and audio clips isn’t identical, and you slated all your shots at the beginning with a clapper board, you can use In points to line up all the clips you want to merge. When you do this, the beginning of the resulting merged clip corresponds to the In point you used, and all the clips line up at that point. The end of this merged clip corresponds to the end of the clip with the latest timecode value.
UP01101.Book Page 125 Thursday, March 10, 2005 3:16 PM Dividing or Deleting Sections of Source Clips Before Editing Before you edit your media in Final Cut Pro, you have the option of further dividing or eliminating parts of source clips. If you used a batch capture list and device control for capturing, you may have captured your source clip files exactly as you want them.
UP01101.Book Page 126 Thursday, March 10, 2005 3:16 PM The Difference Between Self-Contained and Referencing Clips There are two basic video and audio file types that you need to be aware of, especially if you are breaking a clip into smaller ones using QuickTime Pro. Since video files tend to be large, the type of clip you create can have a large impact on your hard disk space.
UP01101.Book Page 127 Thursday, March 10, 2005 3:16 PM 7 Editing 7 Editing film-based source clips in Final Cut Pro presents some unique issues. Once your source clips have been captured and prepared, you can edit them in Final Cut Pro.
UP01101.Book Page 128 Thursday, March 10, 2005 3:16 PM Important: If you don’t use an Easy Setup, you still need to set the editing timebase, before you begin editing, to the frame rate of your source clips. This ensures that new sequences you create in Final Cut Pro are set for the frame rate at which you want to edit. See the Final Cut Pro documentation for details on setting the editing timebase in the Sequence Preset Editor.
UP01101.Book Page 129 Thursday, March 10, 2005 3:16 PM Effects and transitions are usually created for digitally edited film in the following ways. Due to the changing and diverse nature of the industry, your actual experience may vary. Â Basic transitions, titles, and motion effects: These effects are typically re-created by a facility specializing in optical or contact printing, which uses the instructions given in a Cinema Tools–generated film list.
UP01101.Book Page 130 Thursday, March 10, 2005 3:16 PM Including Titles, Supers, and Transitions The following workflow shows you how effects, supers, and transitions might be added to a film that is edited in Final Cut Pro. This is a very basic workflow, containing steps for including both opticals and contact-printed effects in your film, though you may have only one or the other.
UP01101.Book Page 131 Thursday, March 10, 2005 3:16 PM About Interpositives Because the original footage is negative, the whole film must be printed from negative images in order to result in a normal, positive film image. This means you want your opticals to be negative when they are spliced into your original camera negative.
UP01101.Book Page 132 Thursday, March 10, 2005 3:16 PM Contact Printing vs. Optical Printing Choosing between contact printing and optical printing depends on several factors. The good news is you can have some effects created one way and others another way. Here are factors you may want to weigh: Â Saving original footage: Contact printing requires the original camera negative to be cut and spliced.
UP01101.Book Page 133 Thursday, March 10, 2005 3:16 PM Comparing Quotes To ask for quotes, export different film lists to give to the printers: 1 In the Film Lists dialog, choose “All are cuts” from the Transitions pop-up menu to export a film list for a contact printing quote. 2 After exporting that list, choose “All are opticals” from the Transitions pop-up menu to export a film list for an optical printing quote.
UP01101.Book Page 134 Thursday, March 10, 2005 3:16 PM Dividing Transitions Between a Contact and Optical Printer You can have standard length transitions created by a contact printer and the rest of the transitions created as opticals. You do this by exporting a film list in which standard-length transitions are listed as cuts for printing on a contact printer, and nonstandard-length transitions are listed as opticals. m In the Film Lists dialog, choose “Std are cuts” from the Transitions pop-up menu.
UP01101.Book Page 135 Thursday, March 10, 2005 3:16 PM In determining whether or not any frames have been used more than once, Cinema Tools assumes, due to typical A and B roll film splicing (also called checkerboarding), that there is at least one half of a frame lost at both the In point and the Out point of each cut of film. In Cinema Tools, these frames are called cut handles. Some negative cutters may want to use more than a half-frame on each side of a cut.
UP01101.Book Page 136 Thursday, March 10, 2005 3:16 PM Ensuring Cut List Accuracy While Editing 3:2 Pull-Down or 24&1 Video With 3:2 pull-down NTSC video or 24&1 PAL video, a film frame that is matched back from your edits may turn out to be the one before or the one after your original edit point. (This is explained in “Frame Rate Basics” on page 22.
UP01101.Book Page 137 Thursday, March 10, 2005 3:16 PM 8 Generating Film Lists and Change Lists 8 Cinema Tools can create a variety of lists from your edited project. When you’re done editing and ready either to have the original camera negative cut or to conform a workprint, it’s time to export a film list. Using the information in the database, Cinema Tools translates the edits made in Final Cut Pro into information a negative cutter can use as a guide.
UP01101.Book Page 138 Thursday, March 10, 2005 3:16 PM Lists You Can Create With the Film Lists Dialog You can export a number of useful lists by using the Film Lists dialog. When you export a film list, one film list file is generated, and that file contains all the lists you selected in the Film Lists dialog. Any lists that you did not specifically select will not be included in the exported film list file. Cut List The first list you can select to export is the cut list.
UP01101.Book Page 139 Thursday, March 10, 2005 3:16 PM Missing Elements List The missing elements list lists all of the clips in a sequence for which a corresponding database record either was not found or did not contain all of the necessary information. It is important that you export and examine a missing elements list to make sure that there are no elements missing before the negative cutter begins conforming the negative.
UP01101.Book Page 140 Thursday, March 10, 2005 3:16 PM Resolving Missing Elements Resolving a missing element means finding the corresponding database record, if it exists, and filling in the missing information, or creating a new database record if none exists. To locate the database record, there are two basic approaches. If the name of the clip is in the missing elements list: You can use the clip name to look for the clip in the List View window.
UP01101.Book Page 141 Thursday, March 10, 2005 3:16 PM Dupe List and Double Usage Warnings When editing digitally, it’s easy to include a clip or part of a clip more than once in the edited program. When this happens, you either have to create a duplicate negative or reedit the program to remove the duplicate (dupe) usages, because the footage exists only once on the original camera negative.
UP01101.Book Page 142 Thursday, March 10, 2005 3:16 PM Optical List The optical list serves as a master list for transition and motion effects. It can refer to transition effects, motion effects, or both. If there is a series of connected transition and motion effects, the optical list combines them and describes them as a single optical. You give the optical list to the optical house to outline how the effects shots are to be assembled.
UP01101.Book Page 143 Thursday, March 10, 2005 3:16 PM Transition Effects List The transition effects list contains a graphical representation of fades, dissolves, and other transitions from your edited program. Transitions can be treated as cuts or as opticals, based on what you choose from the Transitions pop-up menu in the Film Lists dialog. If you choose to treat all transitions as cuts, the transition effects list will be empty, and the transitions will be listed as cuts in the cut list.
UP01101.Book Page 144 Thursday, March 10, 2005 3:16 PM Important: Because of the frame rate changes involved in motion effects, key numbers that are reported in the motion effects list are not guaranteed to be accurate. If you have a window burn of the key numbers, you should check to make sure that the key numbers in the motion effects list are accurate, and correct them when necessary.
UP01101.Book Page 145 Thursday, March 10, 2005 3:16 PM Exporting Film Lists You use the Film Lists dialog to export any of the lists described earlier. One film list file is generated and that file contains all the lists you selected in the Film Lists dialog. Note: If you want to create a change list you need to use the Change List dialog. See “Creating Change Lists” on page 151 for more information.
UP01101.Book Page 146 Thursday, March 10, 2005 3:16 PM 6 In the dialog that appears, select the database file that Cinema Tools should use to produce the lists that you have selected. (Select the database you created for source media used in this sequence.) A film list is generated as a file that contains all of the lists you have selected. If Cinema Tools is unable to complete any list, messages appear in the file that indicate the problem and guide you to a solution.
UP01101.Book Page 147 Thursday, March 10, 2005 3:16 PM Â Title for this list: Enter a name for the film list file you are going to export. Â Film Standard: Choose the film standard that matches the type of film you are using. This should be the same as the film standard setting you used when you created the project database. Cinema Tools uses the film standard that you choose here to calculate footage counts in the cut list.
UP01101.Book Page 148 Thursday, March 10, 2005 3:16 PM How Cinema Tools Defines Standard-Length Transitions Cinema Tools identifies the set of standard lengths for 24 fps or 23.98 fps media as 16, 24, 32, 48, 64, and 96 frames in duration. Cinema Tools identifies the set of standard lengths for 29.97 fps or 30 fps media as 20, 30, 40, 60, 80, and 120 frames in duration. (Be sure to check with your contact printer about the standard lengths they require for different frame rates.
UP01101.Book Page 149 Thursday, March 10, 2005 3:16 PM Tips for Entering the “Starting at” Point If you are generating a cut list for conforming the negative, you typically want to start at zero, and choose “Feet & frames” from the Show pop-up menu. If you are editing your film by scene or by reel, you may want to enter a starting point in the “Starting footage or time” field that is the same as the ending point of the preceding scene or reel.
UP01101.Book Page 150 Thursday, March 10, 2005 3:16 PM Â Show Keycode or Ink Numbers: Choose to have key numbers or ink numbers displayed in the lists. Important: Ink numbers are only supported in film lists if the film standard is 4-perf 35mm. Â Cut list: Select to include a cut list. Cut lists are described in “Cut List” on page 138. Â Dupe list: Select to include a dupe list. Dupe lists are described in “Dupe List and Double Usage Warnings” on page 141. Â Optical list: Select to include an optical list.
UP01101.Book Page 151 Thursday, March 10, 2005 3:16 PM Creating Change Lists A change list reports the differences between two different versions of a sequence edited in Final Cut Pro. Its purpose is to describe the changes that need to be made to the workprint or negative since it was last conformed to a prior version of the sequence. An example of a change list When you export a change list file you can also export a new cut list (and other film lists) for the sequence.
UP01101.Book Page 152 Thursday, March 10, 2005 3:16 PM When Are Change Lists Used? Change lists are typically used in a cyclical workflow that involves both digital editing and workprints.
UP01101.Book Page 153 Thursday, March 10, 2005 3:16 PM Exporting Change Lists Exporting a change list is similar to exporting a cut list. Take note of the following before you start: Â Only the first video tracks are compared: A change list describes the difference between the first video track (V1) of one sequence and the first video track (V1) of another sequence. It does not describe any other video or audio tracks. Â Only 4-perf 35mm is supported for change lists.
UP01101.Book Page 154 Thursday, March 10, 2005 3:16 PM To export a change list: 1 In Final Cut Pro, select the new version of the sequence, then choose File > Export > Cinema Tools Change List. 2 In the dialog that appears, select the program (.pgm) file that you saved when you exported a list for the previous version of the sequence. (It contains needed information about the previous sequence.) 3 In the Change List dialog that appears, configure the settings, then click OK.
UP01101.Book Page 155 Thursday, March 10, 2005 3:16 PM 5 If you selected “Save a Cinema Tools program file,” enter a filename and location for it in the dialog that appears. Give the program file a name that clearly identifies the sequence and the version for you, so that you can easily locate it later if you need to export another change list. 6 In the next dialog that appears, select the Cinema Tools database associated with the clips in the sequences you are comparing.
UP01101.Book Page 156 Thursday, March 10, 2005 3:16 PM Settings in the Change List Dialog The Change List dialog that you access from within Final Cut Pro contains the same settings as the Film Lists dialog (described in “Settings in the Film Lists Dialog” on page 146), with the following exceptions and additions, described below.
UP01101.Book Page 157 Thursday, March 10, 2005 3:16 PM Using the Export Change List Feature From Within Cinema Tools If the most recent version of a sequence is not available or conveniently accessible, or is damaged, you can still create a change list as long as you have the exported program (.pgm) files for the two sequences you need to compare. You can export the change list from Cinema Tools using the program files, instead of exporting it from Final Cut Pro (where you need to select a sequence).
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UP01101.Book Page 159 Thursday, March 10, 2005 3:16 PM 9 Export Considerations and Creating Audio EDLs 9 Once you’ve edited your project, you may want to export a videotape, the audio, or an audio EDL based on the edited project. Cinema Tools’ primary purpose is to generate an accurate cut list.
UP01101.Book Page 160 Thursday, March 10, 2005 3:16 PM When you make a videotape from a 24 fps sequence, some video output devices create an NTSC or PAL signal by inserting extra fields as needed to go from 24 fps to 25 fps or 29.97 fps. Such a tape is generally fine for viewing, but not as accurate as it should be if it is to be used as a visual reference in cutting the negative.
UP01101.Book Page 161 Thursday, March 10, 2005 3:16 PM AIFF Files An AIFF file contains only the audio, and cannot be easily changed. You must export a separate file for each audio track. As with OMF files, AIFF files can contain the audio from non-timecode sources, such as audio CDs. (Audio EDLs describe only edits using timecode-based sources.) See the Final Cut Pro documentation for information on exporting multiple tracks as AIFF files.
UP01101.Book Page 162 Thursday, March 10, 2005 3:16 PM Using Cinema Tools to Export an Audio EDL Cinema Tools can export an audio EDL as long as its database contains accurate sound information (an audio timecode number that corresponds to the first video frame of the clip and the audio reel number) in each record.
UP01101.Book Page 163 Thursday, March 10, 2005 3:16 PM 3 Enter and select settings in the Export Audio EDL dialog, then click OK. See “Settings in the Export Audio EDL Dialog,” next, for settings information. 4 In the dialog that now appears, select the Cinema Tools database file to use, then click Choose.
UP01101.Book Page 164 Thursday, March 10, 2005 3:16 PM Â File: This is only used when exporting an audio EDL directly from Cinema Tools, and contains the name of the Cinema Tools program file just opened. See “Using the Audio EDL Export Feature From Within Cinema Tools” on page 165 for more information.
UP01101.Book Page 165 Thursday, March 10, 2005 3:16 PM Audio Track Usage While Final Cut Pro supports many audio tracks, Cinema Tools Audio EDL Export feature includes only the first eight, and audio EDLs support a maximum of four. The Audio EDL Export dialog provides settings for each of the eight possible audio tracks, allowing you to map them to the four EDL tracks. The track configuration selections are active for those tracks included in the sequence—all others are unavailable.
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UP01101.Book Page 167 Thursday, March 10, 2005 3:16 PM 10 Working With External EDLs and ALE Files 10 You can use Cinema Tools to work on projects started on other systems. On occasion you may find that you want to create film lists, including a cut list, based on edits from an editing system other than Final Cut Pro. For this reason, Cinema Tools lets you generate film lists based on Edit Decision Lists (EDLs) created with other systems.
UP01101.Book Page 168 Thursday, March 10, 2005 3:16 PM Generating Film Lists There are two approaches you can take to generate film lists from an EDL: Â Use the Cinema Tools Export command: This is the easiest approach. See “Using the Cinema Tools Export Command,” next. Â Import the EDL into a Final Cut Pro sequence: This method requires a bit more effort but displays the edit points in a timeline fashion (with no video or audio if the clips are not available).
UP01101.Book Page 169 Thursday, March 10, 2005 3:16 PM EDL video standards EDLs are built on references to video timecode points. This means that EDLs have a frame rate, typically either 30 fps (NTSC), 25 fps (PAL), or 24 fps (based on either the film rate or the 24P video rate). Additionally, NTSC EDLs must contain a line near the beginning that starts with FCM. This comment specifies whether the timecode is drop frame or non-drop frame.
UP01101.Book Page 170 Thursday, March 10, 2005 3:16 PM 5 In the Cinema Tools Film Lists dialog, choose your settings and click OK. See Chapter 8, “Generating Film Lists and Change Lists,” on page 137 for details on the settings in this dialog. 6 If you chose to have a Cinema Tools program file created in the Film Lists dialog, choose a location and name for the file, then click OK. 7 Select the Cinema Tools database to use for the list export, then click Choose.
UP01101.Book Page 171 Thursday, March 10, 2005 3:16 PM Cinema Tools also looks for conflicts within the EDL, such as when two edits overlap (known as a dirty list). Cinema Tools cleans these edits, removing any portions that would be over-recorded by any edits that follow. Any transitions or supers that are completely overlapped by a following edit are removed.
UP01101.Book Page 172 Thursday, March 10, 2005 3:16 PM Working With ALE Files The Avid Log Exchange (ALE) file format was created so that the contents of film-based databases could be transferred between systems. Cinema Tools supports importing and exporting ALE files, making it possible to share databases with other systems. As with EDL files, ALE files are plain text files that can be opened and edited with any text editor.
UP01101.Book Page 173 Thursday, March 10, 2005 3:16 PM General Fields  Scene: Contains the Scene field contents.  Take: Contains the Take field contents.  Notes: Contains any notes you may have included in the database record. Importing an ALE File You import an ALE file with the Import Telecine Log command. You can import an ALE file into an existing Cinema Tools database or into its own new database.
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UP01101.Book Page 175 Thursday, March 10, 2005 3:16 PM Part II: Working With 24P Using Cinema Tools while editing high definition video projects.
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UP01101.Book Page 177 Thursday, March 10, 2005 3:16 PM 11 Working With 24P Video and 24 fps EDLs 11 Cinema Tools provides several tools that are useful when editing 24P video. The proliferation of high definition video standards and the desire for worldwide distribution has created a demand for a video standard that can be easily converted to all other standards.
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UP01101.Book Page 179 Thursday, March 10, 2005 3:16 PM Editing 24P Video With Final Cut Pro The excellent quality of 24P video presents a challenge when it comes to editing—the bandwidth and storage space it requires. Editing minimally compressed 24P video directly in Final Cut Pro requires that you have a system with a large, fast hard disk and specialized capture hardware.
UP01101.Book Page 180 Thursday, March 10, 2005 3:16 PM See “Using Final Cut Pro as a 24P Online Editor” on page 180 and “Using Final Cut Pro as a 24P Offline Editor” on page 183 for more information on each. Using 24P Video With Final Cut Pro and Cinema Tools Final Cut Pro and Cinema Tools give you the ability to handle various situations related to editing 24P video: Â Importing 24 fps EDLs: Use for performing an online edit of 24P material that has been offlined on another system.
UP01101.Book Page 181 Thursday, March 10, 2005 3:16 PM Copying the Project Copying the project from an offline Final Cut Pro system to the online Final Cut Pro system provides not only the edit In and Out point information, but also all other information related to the project, such as filter and effects usage. To use this method, you must have edited using a 24 fps timebase on the offline system.
UP01101.Book Page 182 Thursday, March 10, 2005 3:16 PM A new sequence opens in the project, containing the edits of the EDL, all indicating the media is offline. The Browser contains a list of the media used in the edit. You can then use Final Cut Pro’s Media Manager to capture the clips for the online edit. See the Final Cut Pro documentation for details on capturing clips, importing EDLs, and configuring the Import Options dialog.
UP01101.Book Page 183 Thursday, March 10, 2005 3:16 PM Using Final Cut Pro as a 24P Offline Editor Editing 24P HD video generally requires that you first edit it with an offline system. This allows you to choose the actual footage you want to use while working with downconverted or compressed versions of the 24P video. When the online system also uses Final Cut Pro, it is highly recommended that you perform an offline edit using a 24 fps timebase.
UP01101.Book Page 184 Thursday, March 10, 2005 3:16 PM About the 24P Aspect Ratio When capturing NTSC or PAL video from 24P sources, you typically choose how to handle the differences in their aspect ratios. Standard definition (SD) video (NTSC or PAL) has a 4:3 aspect ratio. This means the picture is 75 percent as tall as it is wide. 24P video uses a 16:9 aspect ratio that is closer to the common film aspect ratios, and is the same as the widescreen broadcast high definition (HD) formats.
UP01101.Book Page 185 Thursday, March 10, 2005 3:16 PM Using the Reverse Telecine and Conform Features 24P video is often downconverted to make it easier to use with standard video equipment. Cinema Tools provides tools to convert NTSC or PAL captured clips back to their original 24 fps video, enabling you to edit using a 24 fps timebase.
UP01101.Book Page 186 Thursday, March 10, 2005 3:16 PM Converting NTSC EDLs to 24 fps You may decide to edit the downconverted NTSC version of the 24P video using a standard NTSC 30 fps timebase; however, most 24P online editing systems require a 24 fps EDL. Cinema Tools includes a feature that allows you to convert NTSC 30 fps EDLs to 24 fps.
UP01101.Book Page 187 Thursday, March 10, 2005 3:16 PM Adding and Removing Pull-Down in 24P Clips Cinema Tools and Final Cut Pro have pull-down removal and addition features that address issues specific to working with 24P video. Pull-down, as first mentioned in “Frame Rate Basics” on page 22, is a process that adds redundant fields to video in order to distribute 24 frames per second into the NTSC standard of 29.97 frames per second.
UP01101.Book Page 188 Thursday, March 10, 2005 3:16 PM Working With 2:3:3:2 Pull-Down Some camcorders, such as the Panasonic AG-DVX100, are designed to shoot in progressive mode at 24 fps (literally 23.98 fps), and then record the video to a tape as a 60-field interlaced signal by applying 2:3:3:2 pull-down to it. The 2:3:3:2 pull-down is similar in concept to 3:2 pull-down, but has a different pattern of field repetition, as illustrated below.
UP01101.Book Page 189 Thursday, March 10, 2005 3:16 PM There are some advantages to shooting with, and then removing, 2:3:3:2 pull-down instead of working with 3:2 pull-down. Â Final Cut Pro can easily remove the 2:3:3:2 pull-down while you are capturing, so that you can edit 24 (actually 23.98) fps progressive video. Â Unlike 3:2 pull-down removal, removing a 2:3:3:2 pull-down does not require the recompression and re-creation of any frames, so it results in a better picture quality.
UP01101.Book Page 190 Thursday, March 10, 2005 3:16 PM Removing 2:3:3:2 or 2:3:2:3 Pull-Down With Cinema Tools Clips captured from digital video camcorders that shoot 24P, such as the Panasonic AG-DVX100 camcorder, have the pull-down pattern (also called cadence) information embedded in a way that Cinema Tools can read. When you use the Reverse Telecine feature, if Cinema Tools detects this cadence information, the Automated Reverse Telecine dialog appears.
UP01101.Book Page 191 Thursday, March 10, 2005 3:16 PM 4 Select “New (smaller)” or “Same (faster)” to specify the kind of file you want to create: Â New (smaller): Creates a new clip file that does not contain the extra frames introduced by the pull-down. The new file is about 20 percent smaller than before, but this method is slower. Regardless of whether the original file was referencing or self-contained, this method creates a self-contained file.
UP01101.Book Page 192 Thursday, March 10, 2005 3:16 PM Using Automated Batch Reverse Telecine To remove the pull-down from several clips at once: 1 Place all the clips that you want to process into one folder. (Make sure that they are all clips that were captured from a 24P digital video camcorder.) 2 Choose File > Batch Reverse Telecine. 3 In the dialog that appears, select any source clip file in the folder that contains the clips you want to process, then click Choose.
UP01101.Book Page 193 Thursday, March 10, 2005 3:16 PM Â Same (faster): Modifies the current clip file so that the extra frames are not visible to the editing system, but the data is not removed from the file. This process is faster, but does not reduce the size of the file. The resulting file is self-contained if it was originally self-contained, or referencing if it was referencing. For Same, you can deselect “Check for cadence discontinuities” to speed up processing.
UP01101.Book Page 194 Thursday, March 10, 2005 3:16 PM Pull-Down Patterns You Can Apply to 23.98 fps Video When editing 23.98 fps video, you may want to output it to an NTSC monitor, record it to an NTSC videotape, or send it to another type of NTSC device. When you need to do this, you can use the pull-down addition feature in Final Cut Pro. Pull-down addition is a software method of converting 23.98 fps video to the NTSC standard of 29.97 fps.
UP01101.Book Page 195 Thursday, March 10, 2005 3:16 PM 2:3:3:2 pull-down Another type of pull-down you can use is 2:3:3:2. As with 3:2 pull-down, the “3” in the pattern represents three fields, where one redundant field is added to the original two fields of a frame. See “Working With 2:3:3:2 Pull-Down” on page 188 for details about this pattern and the advantages it provides.
UP01101.Book Page 196 Thursday, March 10, 2005 3:16 PM Adding Pull-Down to 23.98 fps Video Final Cut Pro lets you add pull-down to 23.98 fps video as you output it via FireWire. As discussed in the previous section, this is useful when you are editing 23.98 fps video and want to output it to an NTSC device. To add pull-down back in while sending 23.98 fps video to an NTSC device via FireWire: 1 In Final Cut Pro, select the sequence.
UP01101.Book Page 197 Thursday, March 10, 2005 3:16 PM In most cases, once you are done editing, you will want to recapture the audio from the original production tapes and finish it at an audio postproduction facility. The difficulty is that the EDL from Final Cut Pro does not know the reel numbers and timecode of the original production audio reels; it only has the videotape information.
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UP01101.Book Page 199 Thursday, March 10, 2005 3:16 PM Part III: Appendixes III These appendixes contain general information related to using Cinema Tools. The glossary and index can help you quickly find the information you are looking for.
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A Background Basics A Appendix UP01101.Book Page 201 Thursday, March 10, 2005 3:16 PM Before you use Cinema Tools to edit your film, it’s helpful to have a general understanding of a few film properties and be familiar with the traditional film editing method. This appendix provides basic background information on film and how it is edited, both traditionally and digitally. Most of this information is very general and is not intended to be a complete guide (or the final word) on the film process.
UP01101.Book Page 202 Thursday, March 10, 2005 3:16 PM Due to its lower costs, 16mm film is typically used for productions with smaller budgets. If you intend to shoot 16mm but release your project as 4-perf 35mm, then you should use Super 16mm film. It has perforations along only one edge and a larger frame that more closely matches the 4-perf 35mm aspect ratio.
UP01101.Book Page 203 Thursday, March 10, 2005 3:16 PM Film Edge Code To aid in locating specific film frames, film manufacturers place numbers along the edge of the film. These key numbers (also known as latent edge code) appear once the film is developed. For workprints, film labs can add numbers called ink numbers (also known as Acmade numbers).
UP01101.Book Page 204 Thursday, March 10, 2005 3:16 PM In the previous illustration, the actual key number for the center frame is KJ 29 1234 5678+00. The “•” following the number indicates frame 00 for that key number. (With 4-perf film—the kind shown in the illustration—there are 16 frames per key number with the first one starting at “00”.) The frame to the right would be KJ 29 1234 5678+01. The frame to the left would be the last frame of the previous key number, KJ 29 1234 5677+15.
UP01101.Book Page 205 Thursday, March 10, 2005 3:16 PM Window Burn As part of the telecine transfer process (described in “Transferring Film to Video” on page 19), the key number is typically burned in to the video (along with the video and audio timecode), helping to identify specific frames. The burned-in numbers are called window burn. It is much easier to use Cinema Tools if you can see the key numbers.
UP01101.Book Page 206 Thursday, March 10, 2005 3:16 PM Editing Film Using Traditional Methods The traditional process of editing film has changed little over the years. While the equipment has improved dramatically, the steps are basically the same. Following is a simplified workflow outlining the film editing process. Note that the original camera negative is almost never used during the creative editing part of the process.
UP01101.Book Page 207 Thursday, March 10, 2005 3:16 PM Step 4: Create audio scratch tracks An audio scratch track is similar to the film’s workprint—it’s a copy of the production sound to use while editing. Depending on the type of mechanical film editor you intend to use, you will often create an audio scratch track on magnetic film. Magnetic film, known as single stripe, three stripe, mag stock, and fullcoat, uses perforations like regular film, but is coated with magnetic material.
UP01101.Book Page 208 Thursday, March 10, 2005 3:16 PM Editing Film Using Digital Methods The process of editing film digitally is constantly evolving, but the basic concept remains the same—you start and end on film, with only the creative part of the editing process changing. Following is a simplified workflow outlining the basic steps. (See Chapter 2, “The Cinema Tools Workflow,” on page 33 for a more detailed explanation of these steps.
UP01101.Book Page 209 Thursday, March 10, 2005 3:16 PM Step 3: Transfer the film to video The first step in converting the film to a format suitable for use by Final Cut Pro is to transfer it to video, usually using a telecine. While the video that the telecine outputs is typically not used for anything besides determining edit points, it’s a good idea to make the transfer quality as high as possible.
UP01101.Book Page 210 Thursday, March 10, 2005 3:16 PM Step 5: Capture the video and audio The video created during the telecine process must be captured as a digital file that can be edited with Final Cut Pro. The way you do this depends on the tape format used for the telecine transfer and the capabilities of your computer. You need to use a thirdparty capture card to capture files from a Betacam or DigiBeta tape machine. If you are using a DVCam source, you can import directly via FireWire.
UP01101.Book Page 211 Thursday, March 10, 2005 3:16 PM Step 9: Create a test cut on a workprint Before the original camera negative is conformed, it is strongly suggested that you conform a workprint to the cut list to make sure the cut list is accurate (some negative cutters insist on having a conformed workprint to work from).
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B How Cinema Tools Creates Film Lists B Appendix UP01101.Book Page 213 Thursday, March 10, 2005 3:16 PM Cinema Tools can produce a film list only if it can match edits made in the editing system to records in the Cinema Tools database. The database record contains the film roll and key number information that Cinema Tools needs in order to describe the edit in the film list.
UP01101.Book Page 214 Thursday, March 10, 2005 3:16 PM Cinema Tools always uses the clip-based location method when it can. If it doesn’t find a matching clip, it uses the timecode-based location method. If Cinema Tools cannot find a suitable database record with either method, the key number and film roll appear in the film list as “,” and an entry is logged in the missing elements list (if you chose to include a missing elements list in the film list).
UP01101.Book Page 215 Thursday, March 10, 2005 3:16 PM About the Clip-Based Method For Cinema Tools to locate a database record using the clip-based location method, it needs to know only the relationship between the source clip and the key numbers or ink numbers. In contrast, the timecode-based method depends on Cinema Tools knowing the relationship between the key numbers or ink numbers and the video reel and timecode.
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C Solutions to Common Problems and Customer Support C Appendix UP01101.Book Page 217 Thursday, March 10, 2005 3:16 PM If you run into problems while working with Cinema Tools, there are several resources you can use to find a solution. Â This appendix: This appendix includes information about some of the most frequent issues users encounter. Â Late-Breaking News: A late-breaking news page in the Cinema Tools Help menu provides last-minute information that didn’t make it into the manual.
UP01101.Book Page 218 Thursday, March 10, 2005 3:16 PM There are missing elements reported in the cut list. Â In the cut list, “” appears whenever an element that Cinema Tools requires to create the cut list is missing. If you chose to include a missing elements list in the film list, you’ll see all missing items listed there. See “Missing Elements List” on page 139, for information about which elements might be missing and how to resolve them.
UP01101.Book Page 219 Thursday, March 10, 2005 3:16 PM Â Make sure that the timecode is accurate in Final Cut Pro. If you used device control to capture your clips, but find that Cinema Tools is reporting the wrong timecode, there is a good chance that the timecode is incorrect in Final Cut Pro. If the timecode is wrong in Final Cut Pro, recapture the source clips.
UP01101.Book Page 220 Thursday, March 10, 2005 3:16 PM Calling AppleCare Support Included in your Cinema Tools package is documentation about the support options available from Apple. Several levels of support are available, depending on your needs. Whatever your issue, it’s a good idea to have the following information immediately available. The more of this information you have ready to give to the support agents, the faster they will be able to address your issue.
Glossary Glossary UP01101.Book Page 221 Thursday, March 10, 2005 3:16 PM 2:3:2:3 pull-down A pull-down method that is the same as the 3:2 pull-down, except that it is applied by a digital video camcorder (as opposed to any other type of equipment that could apply the same pattern of pull-down). This manual uses the term “2:3:2:3” when referring to the pull-down that comes from a 24P digital video camcorder; this type of pull-down can be removed using the automated form of reverse telecine.
UP01101.Book Page 222 Thursday, March 10, 2005 3:16 PM 4-perf 35mm A common 35mm film format that is supported by Cinema Tools. Refers to having four perforations (sprocket holes) for each film frame. Acmade numbers See ink numbers. “A” frame The first frame in the repeating five-frame 3:2 pull-down sequence. In twofield 3:2 pull-down video, it is the only frame that fully contains both fields from a single film frame. B, C, and D frames have their fields split among two video frames.
UP01101.Book Page 223 Thursday, March 10, 2005 3:16 PM device control Technology that allows Final Cut Pro to control an external hardware device, such as a video deck or camera. DF See drop frame timecode. double system sound Any production using separate devices to record the image and the sound. Always used in film productions and often used in 24P productions. Also known as dual system production.
UP01101.Book Page 224 Thursday, March 10, 2005 3:16 PM film list A text file you give to the negative cutter to guide them in conforming the original camera negative. The film list may contain one or more of the following: a cut list, a missing elements list, a dupe list, an optical list, a pull list, and a scene list. May also contain additional information for pulling the negative rolls, making duplicate negatives, making a workprint, or printing effects. FLEx file A common telecine log file format.
UP01101.Book Page 225 Thursday, March 10, 2005 3:16 PM key number Latent feet and frame count numbers found on the film edge. Key numbers are often superimposed by the telecine onto the edge of the video frames (this is called window burn). Cinema Tools uses key numbers to help match digital edits back to the original camera negative. Key numbers consist of a key prefix, which is unchanging throughout an entire roll of film, and a frame number, which consists of a footage number and a frame count number.
UP01101.Book Page 226 Thursday, March 10, 2005 3:16 PM optical list A film list Cinema Tools users can export for the optical house to use in printing effects for film. The optical list describes transition and motion effects that you created in your digital edit. optical printer Rephotographs one or more film elements onto a new section of film. An optical printer can add or delete light from an image, create superimposed effects, or make scene transitions such as wipes, fades, and dissolves.
UP01101.Book Page 227 Thursday, March 10, 2005 3:16 PM shot A continuous film recording that does not have any cuts. A shot is a subset of a scene. slug Blank (fill leader) or substitute footage used to fill in spaces where footage is temporarily missing, in order to maintain sync between the picture and the soundtrack. SMPTE Acronym for Society of Motion Picture and Television Engineers. The standardsetting organization that established the SMPTE standard timecode for video.
UP01101.Book Page 228 Thursday, March 10, 2005 3:16 PM TK speed See telecine film speed. window burn Visual timecode and keycode information superimposed onto video frames. It usually appears on a strip at the bottom or top of the frame, providing code information to the editor without obscuring any of the picture. workprint A positive copy of the original camera negative, cut to provide a record and prototype of the creative edit.
UP01101.Book Page 229 Thursday, March 10, 2005 3:16 PM 16mm film 18, 202, 203 2:2:2:4 pull-down 195 2:3:2:3 pull-down See also 3:2 pull-down described 187 removing with Cinema Tools 190 2:3:3:2 pull-down 25 advantages 189 described 188 removing with Cinema Tools 190 removing with Final Cut Pro 189 2:3 pull-down. See 3:2 pull-down 23.
UP01101.Book Page 230 Thursday, March 10, 2005 3:16 PM recorders 28, 30, 98 speed issues 161 synchronizing with video.
UP01101.Book Page 231 Thursday, March 10, 2005 3:16 PM entering information using the Detail View window 76 entering information using the Identify feature 82–84 finding records in 91, 92–93 how it works 33 locking 93 manually entering records 36 modifying information in 85–88 opening 91 opening records 91 reconnecting clips to 107–108 relationships between scenes, shots, and takes 73, 78 renaming 93 Scene and Take fields 74 scene-and-take transfers and 34 telecine log data vs.
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UP01101.Book Page 234 Thursday, March 10, 2005 3:16 PM Open Media Framework files. See OMF files optical list 41, 142 optical printing 129, 130–131 vs.
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