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Cinema Tools 4 User Manual - Help Library

1. Original camera negative Conform original camera negative to workprint Create Develop Create Edit film workprint workprint release Create audio Edit audio prints Record Mix audio tracks scratch scratch audio Add sound effects tracks tracks Original production audio Appendix A Film Background Basics Stage 1 Shooting the Film and Recording the Sound Audio is always recorded separately from the film on a separate sound recorder This is known as shooting dual system sound While shooting the film you need to include a way to synchronize the sound to the picture The most common method is to use a clapper board also called a slate or sticks at the beginning of each take There are a number of other methods you can use but the general idea is to have a single cue that is both audible and visible you can see what caused the noise Stage 2 Developing the Film The developed film is known as the original camera negative This negative will eventually be conformed to create the final movie and must be handled with extreme care to avoid scratching or contaminating it Normally the negative is used to create a workprint film positive and then put aside until the negative is conformed Stage 3 Creating the Workprint The workprint is created from the original camera negative and gives you a copy of the raw film footage to use for the editing process Because workprints are film positives they can be projected and
2. If your video and audio clips do not span exactly the same timecode values and you have one or more shots that you tail slated at the end You can use Out points to line up all the clips you want to merge When you do this the end of the resulting merged clip corresponds to the Out point you used and all clips line up at that point The beginning of this merged clip corresponds to the beginning of the clip with the earliest timecode value a Video For details about how to synchronize and merge clips in Final Cut Pro see the section in the Final Cut Pro documentation that describes working with merged clips 140 Chapter 8 Preparing the Source Clips for Editing 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 On the other hand you may feel that the captured source clips need to be broken down into individual takes or you may want to eliminate some of the content you captured before you begin editing in order to make efficient use of available disk space Strategies for Breaking Down Source Clips Before Editing Before you begin if the edge code number to timecode relationship is not continuous throughout the c
3. Chapter 3 Cinema Tools Workflows Clip Based Workflow for a Camera Roll Transfer The clip based method is more reliable because there are fewer variables Create a new database Import log into database should generate one record per camera roll Optional Enter additional records one for each clip recommended when you have device control Telecine log Enter at least one record for each camera roll defining key number and timecode relationship Optional Enter additional records one for each clip recommended when you have device control Device control Generate a batch capture Key number list with Cinema Tools burned in Import the batch list into Use Final Cut Pro Use Final Cut Pro the Final Cut Pro Browser to manually capture to manually capture and batch capture each clip each clip Use the Cinema Tools Connect Clips command gi to connect clips to database Trim clips to match Connect clips to database records the database and use Identify feature to determine and enter key number and Connect clips timecode for a known ORUG EIGL EES frame of each clip Indicates steps that use automated processes The blue boxes show the preferred workflow which contains the most automated steps and produces the most accurate cut list Chapter 3 Cinema Tools Workflows 45 46 Timecode Based Workflow for a Camera Roll Transfer The timecode based method must be used in certain sit
4. Using the Export Audio EDL Feature from Cinema Tools You will most often use the Cinema Tools Export Audio EDL feature from within Final Cut Pro You can use this feature from within Cinema Tools but because Cinema Tools does not have the edited sequence directly available an additional step is required to create a Cinema Tools program file Chapter 11 Export Considerations and Creating Audio EDLs 199 200 Final Cut Pro creates a Cinema Tools program file if you select Save a Cinema Tools program file in the Export Film Lists dialog A Cinema Tools program file contains information about the edit sequence in a format that can be used by Cinema Tools to create the audio EDL Other settings within the Export Film Lists dialog such as whether or not the various available lists are included have no effect on the program file To open the Export Audio EDL dialog from within Cinema Tools In Cinema Tools choose File gt Export gt Audio EDL from Program DB In the dialog that appears select the program file to use then click Open The Export Audio EDL dialog appears Chapter 11 Export Considerations and Creating Audio EDLs Working with External EDLs XML 12 and ALE Files 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 or from a Final Cut Pro instal
5. Stage 1 Making a Workprint Video Make a workprint from the original camera negative with ink numbers applied to the edge and make a telecine transfer video of the workprint Stage 2 Exporting a Cut List of the Edited Workprint Video Edit the workprint video in a digital editing system and export a cut list usually based on ink numbers to use as a guide to conform the workprint as well as either a Cinema Tools program file or a Final Cut Pro XML file from the sequence to use when exporting the change list Stage 3 Projecting the Cut Workprint Project the cut workprint for screenings and make decisions to cut or add to the movie Stage 4 Making Changes in the Editing System Make any changes to the movie in the digital editing system Stage 5 Exporting a Change List to Conform the Workprint to the Changes Export a change list which provides instructions for modifying the workprint to conform to the new version of the movie Stage 6 Conforming the Workprint Using the Change List With the change list as a guide conform the workprint to match the new version of the movie Chapter 10 Generating Film Lists and Change Lists 175 176 Stages 3 through 6 are repeated until it is decided that the picture is locked Finally the original camera negative is cut to match the final workprint and cut list When Are Change Lists Used in Other Workflows Change lists can be used in a variety of other workflows including those that do n
6. 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 35mm 3p 35mm film 3 perforations per frame New Database Choose the default database settings Video TC Rate Cinema Tools supports four different video timecode rates See Film Background Basics for information about timecode rates The film lab that transfers your film to video can tell you what kind of timecode is recorded on the videotape Choose the type of timecode recorded on the videotapes for your project from the Video TC Rate pop up menu 30 NDF Non drop frame NTSC timecode at 29 97 fps 30 DF Drop frame NTSC timecode at 29 97 fps e 25 FPS PAL timecode at 25 fps 24 FPS Video timecode at 24 fps or 23 98 fps New Database Choose the default database settings Film Standard 3Smm 4p Video TC aE eet Sound TC es Telecine Coane Goes Sound TC Rate Usually timecode is recorded along with the soundtracks on the production sound rolls That timecode can be used to locate the audio that goes with any particular clip and many systems can use that timecode to synchronize the audio with the video The primary purpose for entering the sound roll and audio timecode information in the database is for matching audio back to an audio Edit Decision List EDL See Exporting an Audio EDL for mo
7. Create a new Cinema Tools database file Je Where Documents by Save As L Choose the default settings Film Standard 35mm 4p Video TCRate 30NDF Telecine Speed 24 FPS 3 Audio TC Rate 30NDF T Cancel Save To open a dialog where you can select an existing database to import the telecine log file records into Click Choose Database Click Open when finished The selected database whether new or previously existing is listed in the Database field of the Import a Cinema Tools Telecine Log dialog Chapter 6 Entering and Modifying Database Information 89 90 7 A U N Click Open to import the selected telecine log file into the selected Cinema Tools database After the records have been imported and the offline clips have been added to the Browser you can use Final Cut Pro to batch capture the clips See the Final Cut Pro documentation for information about batch capturing clips Importing Database Information from a Batch Capture List You may want to create database records by importing a Final Cut Pro batch capture list if You don t have a telecine log or Avid Log Exchange ALE file You have already batch captured the clips you want into Final Cut Pro and you want database records to be created for those source clips instead of the takes listed in your telecine log Creating database records from a Final Cut Pro batch capture list is not ideal because you lose the advantages of
8. For example if you enter 1 in the Scene field and then click Find Records Cinema Tools finds all records associated with scene 1 including the shots 1 1A 1B 1C and so on If you enter 1A in the Scene field only the records for shot 1A are found To find the record for a specific scene and take Select Show only exact matches enter the scene and take identifiers in the Scene and Take fields then click Find Records See Scene Shot and Take Number Details for more information Results Choose one of the following from the Results pop up menu Replace Current Found Records Found records replace the records displayed in the List View window Add to Current Found Records Found records are added to the set in the List View window The Add to Current Found Records option is useful when you want to find records for more than one scene but not for all scenes For example to see only the records for scenes 5 and 6 choose Replace Current Found Records enter 5 in the Scene field then click Find Records Then choose Add to Current Found Records enter 6 in the Scene field and click Find Records Only the records for scenes 5 and 6 appear in the List View window e Show only exact matches Select this checkbox to find a specific record that matches the Scene and Take field entries Chapter 5 Working with Databases Scene Shot and Take Number Details The way Cinema Tools interprets scene numbers
9. If you selected Same faster you can choose whether Cinema Tools checks for cadence discontinuities While removing the pull down Cinema Tools looks for breaks in the pull down cadence If any breaks are found it adjusts the processing to accommodate those discontinuities A cadence discontinuity might occur if a recording was stopped and then started again at another point in the five frame sequence Checking for cadence discontinuities is more time consuming for the Same file option than it is for the New file option so if you select Same faster you can deselect the Check for cadence discontinuities checkbox for the fastest possible processing Note If this checkbox is deselected and cadence discontinuities exist in the clip or if the cadence changes from 2 3 3 2 to 2 3 2 3 or any other pattern in the middle of a clip because the settings were changed during the recording reverse telecine cannot be properly performed on the clip 5 Click OK to start the pull down removal process If you selected the New file option you are asked to give the new reversed clip a name and location If the original clip was connected to a database record the new reversed clip replaces its connection to the record regardless of whether or not the new clip overwrites the old clip Chapter 13 Working with 24p Video and 24 fps EDLs 221 To use automated batch reverse telecine to remove the pull down from several clips at once
10. In the example below all records for scene A54 will have the same descriptive text Outside and page numbers 146 to 167 All takes for this shot A54J will have the same descriptive text Left in this example and page numbers 148 to 155 Each take for that shot will also have a unique Take Notes entry Entering Information in a Database Record Once you have created a database record you can enter the information about its clip To enter information in a database record Make sure the record is displayed in the Detail View window If necessary click the record in the List View window to open it in the Detail View window See Finding and Opening Database Records for more information Enter information and settings in the Detail View window Settings in the Detail View Window describes all the settings and specifies which ones are required if you plan to use the database to generate cut lists or change lists You can press the Tab key to navigate from one field or setting to another Tip When you connect a clip to a database record and the record does not yet contain the clip timecode reel and timecode duration Cinema Tools looks for this information in the clip file and automatically enters it in the database record Chapter 6 Entering and Modifying Database Information 95 96 If you know the edge code or timecode number for another frame in a clip the Identify feature
11. The production audio for a film is recorded separately on a sound recorder this is known as dual or double system recording Synchronizing the audio with the film and video ensuring good lip sync is a critical step in making a movie How you synchronize depends on the equipment used and when syncing is done There are also considerations related to your video standard how the telecine transfer was done and the timecode used that directly impact the process There are three times when audio synchronization is important During the telecine transfer During editing While creating the release print Different strategies may be required to maintain sync at each of these times Make sure you have planned accordingly Chapter 2 Before You Begin Your Film Project Synchronization Basics Synchronizing the audio with the video image can be fairly easy as long as some care was taken during the shoot There are two aspects to synchronizing your audio establishing sync at a particular point in each clip and playing the audio at the correct speed so that it stays in sync While shooting you must provide visible and audible cues to sync on The most common method is to use a clapper board also called a slate or sticks at the beginning of each take Even better you can use a timecode slate that displays the sound recorder s timecode To sync the audio with the video position the video at the first frame where the slate is closed then
12. To close the dialog click Save when finished Click OK A new Cinema Tools database is created and the selected clips along with any film related information they might contain are added to it Chapter 4 Creating a Cinema Tools Database See Synchronizing Final Cut Pro Clips with Cinema Tools for more information about the Synchronize with Cinema Tools command including how to use it to synchronize clips to an existing database Importing a Telecine Log File to Create a New Database When you import a telecine log file into Final Cut Pro you can choose to import it into a new or existing Cinema Tools database See Importing Telecine Logs Using Final Cut Pro for more information Settings in the New Database Dialog When you make choices in the New Database dialog keep the following points in mind Choosing a default setting does not lock you into using that setting in the database records Default settings are applied automatically to new database records but you can change the film standard video timecode rate and audio timecode rate for each clip individually in the Detail View window When you import data from a telecine log the film standard video timecode rate audio timecode rate and telecine speed are typically included in the log and are automatically set in Cinema Tools Data from the telecine log takes precedence over the defaults so even if your default settings are different from the telecine log data Cinema T
13. gt wW N Cancel Cox Choose Feet Frame from the Time Display pop up menu 4 Choose the film standard from the Default Film Standard pop up menu The film standard defines how many frames are in a foot Important To ensure that correct film lists are exported make sure to choose the film standard set in the Cinema Tools database See the Final Cut Pro documentation for more information about the Project Properties window You can also individually control the timecode display of the Timeline Viewer and Canvas To change the timecode display of the Timeline Viewer or Canvas Control click a timecode field in the window whose timecode display you want to change then choose the mode from the shortcut menu Chapter 9 Editing with Final Cut Pro 150 For the Viewer and Canvas this affects both timecode fields along their tops and in the case of the Viewer the timecode fields of its tabs For the Timeline this affects the timecode shown along the top of the window and in the Current Timecode field The timecode displays in the Transition Editor and Trim Edit windows are also affected Important The feet and frame values that are shown are not the same as keycode or ink numbers The feet and frame values always start at 0000 00 at the beginning of the sequence or clip When using the Feet Frame timecode display mode you can enter values in the same places you can enter timecode values For example you can enter a value
14. 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 Tip Use the scenarios in Cinema Tools Workflows to guide you in determining the basic steps you need to take to capture your source clips and connect them to the database The steps you need to take and the order of those steps differ depending on factors that are summarized in the workflow examples For example in some situations it is not necessary to connect the clips to the database Preparing to Capture Detailed information about capturing clips is provided in the Final Cut Pro documentation Before you capture you need to pay attention to a few factors that can affect your project Avoiding dropped frames during the capture process e How your hardware is set up for video capture Considerations regarding the capture of audio 105 How to prepare for batch capturing if you have a video deck with device control Considerations for capturing source clips individually if you do not have device control 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 2 hours of video per gigabyte GB of hard disk space H
15. 146 Opening Final Cut Pro Clips in Cinema Tools p 150 Restrictions for Using Multiple Tracks p 150 Using Effects Filters and Transitions p 151 Tracking Duplicate Uses of Source Material p 157 Ensuring Cut List Accuracy with 3 2 Pull Down or 24 amp 1 Video p 158 About Easy Setups and Setting the Editing Timebase Cinema Tools installs Easy Setups that were created to make setting up Final Cut Pro convenient for Cinema Tools users When you select an Easy Setup in Final Cut Pro your sequence presets capture presets device control presets and external video presets are all set for you so that you don t have to select them individually Cinema Tools users may want to take advantage of these Easy Setups 23 98fps from DV PAL Choose this Easy Setup to capture PAL video and to set the editing timebase to 23 98 fps This option assumes you will conform the captured video to 23 98 fps 24fps from DV PAL Choose this option to capture PAL video and to set the editing timebase to 24 fps This option assumes you will conform the captured video to 24 fps 23 98fps from DV NTSC Choose this option to capture NTSC video in the non drop frame timecode format and to set the editing timebase to 23 98 fps This option assumes you will reverse telecine the captured video to 23 98 fps 143 144 24fps from DV NTSC Choose this option to capture NTSC video in the non drop frame timecode format and to set the edi
16. If this option is selected the change list displays entries for new edits only Unchanged footage is not listed However if the Cut List checkbox is selected a cut list is included in the change list file listing all the footage in the sequence including the unchanged footage Chapter 10 Generating Film Lists and Change Lists 185 Combine deletions If this option is selected footage deletions that are contiguous are listed as one deletion rather than individual deletions This instructs the film assistant to cut them as a lift a series of pieces removed as one piece and stored intact rather than as individual pieces Film assistants tend to prefer seeing and performing the series as one deletion because it saves time and effort About the PDF Items and Change Lists Unlike cut lists for the most part change lists cannot be customized Change lists provide specific information and must have the columns to support that information However the items you drag to the right column in the Export Change List dialog can affect the type of data that appears in those columns You need to add one item from each of these four categories Time measurement Feet amp frames Time or Count Name identifier Scene amp take or Clip name Roll number Camera roll Lab roll or Daily roll Edge code Key numbers or Ink numbers Important If you add multiple items of one type for example if
17. Original camera negative Conform negative Final Cut Pro with Cinema Tools offline edit Cinema Tools Create Export cut list database Export 24 fps EDL Convert to RE Capture video WRA zi a telecine and process Telecine log Cut list Online Edited editor video 24p video master If you intend to conform the film to match the edited video you must have its edge code tracked by a Cinema Tools database See Film Edge Code for details about edge code The film must be transferred to video using a telecine Typically the offline telecine video output contains burned in video and audio timecode as well as key numbers These burned in values known as window burn are invaluable when you intend to later conform the film Unfortunately their visibility is a problem if you also intend to use the 24p video to produce a video version of the program For this reason if you intend to produce both a conformed film and an edited video version of the project you might have the telecine run on two decks simultaneously one with the window burn and the other without Whether you re shooting film or 24p video sound is almost always recorded separately from the picture with a separate sound recorder This is often referred to as recording dual system sound Although 24p productions can record the sound on the 24p video recorder providing synced audio that is easily captured with Final Cut Pro film productions d
18. The original camera negative is what the negative cutter cuts after all the edits have been finalized in the digital editing system There is only one original camera negative Duplicate negatives can be made but they are expensive PAL Acronym for Phase Alternating Line A video format used by many European countries and other countries outside North America The PAL video standard is 25 fps 625 lines per frame and interlaced progressive video A video frame format that progressively scans all lines in a frame See also interlaced video pull list A film list Cinema Tools users can export which list shots in the cut list in the order in which they can be found on the negative rolls The lab refers to a pull list when going through your negative rolls to pull shots for a workprint or original camera negative cut release print A positive print of a finished movie the final product for distribution reverse telecine The process that removes the extra frames from 3 2 pull down video returning it to its original 24 fps frame rate Reverse telecine creates a one to one relationship between the video and film frames so that the cut lists are accurate Reversing the 3 2 pull down can be accomplished with hardware in real time during capture but if you do not have the proper equipment you can use the Cinema Tools Reverse Telecine feature See also 3 2 pull down scene In filming a time and place setting for one or more shots typically ti
19. at the end to indicate field 1 and 2 to indicate field 2 In the Clip window use the arrow keys on your keyboard to step through a few frames of a clip and observe the sequence of film frame numbers Refer to the table below to find out your field information If the repeating frame In the Reverse Telecine dialog sequence is Then your video contains select as capture mode AA BB BC CD DD or A1A2 Both fields with field 1 Field 1 Field 2 B1B2 B3C1 C2D1 D2D3 dominance AB BB CC DD DA or A2B1 Both fields with field 2 Field 2 Field 1 B2B3 C1C2 D1D2 D3A1 dominance A B B C D or A1 B1 B3 C2 D1 One field with field 1 dominance Field 1 Only A B C D D or A2 B2 C1 D1 D3 One field with field 2 dominance Field 2 Only Chapter 8 Preparing the Source Clips for Editing 129 130 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 At the telecine the two fields are scanned at different times which means that the film frame can advance between the time that the first field is scanned and the time that the second field is scanned When only one field is captured Field 1 dominance means that only field 1 is captured and field 2 dominance means that onl
20. rev extension in the dialog so that the new file has the same name as the original Keep in mind though that if you delete the original file you cannot use reverse telecine a second time if you want to try a different setting From the Conform to pop up menu choose the frame rate that allows you to maintain or restore audio video sync 23 98 This frame rate is useful if you want to later use the Final Cut Pro pull down feature that lets pe ca 23 98 fps video as 29 97 fps video See Pull Down Patterns You Can 3 Video for more information Apply t tC 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 Note If the audio and video are contained in the same clip and you choose 24 0 from this pop up menu the Reverse Telecine feature increases the audio speed by a very small percentage so that it is in sync with 24 fps instead of 23 98 fps New smaller 23 98 3 Choose a frame rate O Same faster Leave this checkbox selected Leave the Standard Upper Lower checkbox selected The Standard Upper Lower checkbox should be selected unless you find that the reverse telecine process does not produce the correct results It is only relevant when both video fields are captured it has no effect if only one field was captured See Checking Your Reverse Telecine Results for more information Click OK to start t
21. screen the program If changes are required you make the edits in the sequence and then export a change list that compares the file representing the initial edit with the current sequence More changes required Final Cut Pro Screen program Loo Change list for sound conforming and so on Edit Export sequence change list Exported XML for initial edit Exporting from Cinema Tools When you export a change list from Cinema Tools the following rules apply You must have two files one that represents the original sequence and another that represents the new sequence e You can use a mixture of Final Cut Pro XML files and Cinema Tools program files as the original and new sequences The frame rates of the original and new files must be the same By using Final Cut Pro XML files for the original and new versions of the sequence you can output a change list with a frame rate that is not actually supported by a Cinema Tools database such as 59 94 fps or 50 fps This can be useful in nonfilm based DI workflows Cinema Tools program files always use a frame rate supported by Cinema Tools databases Note Change lists exported from Final Cut Pro are always based on Cinema Tools supported telecine speed TK Speed frame rates as specified in the Export Film Lists dialog These frame rates include 24 fps 25 fps and 30 fps Chapter 10 Generating Film Lists and Change Lists 179 180 You cannot exp
22. 1 Place all the clips that you want to process in one folder Make sure that they are all clips that were captured from a 24p digital video camcorder 2 Choose File gt 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 4 Choose a frame rate from the Conform to pop up menu 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 aa video as 29 97 fps video See Pull Down Patterns You Can Apply to 23 98 fps Video for more information 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 Note If the audio and video are contained in the same clip and you choose 24 0 from this pop up menu the Reverse Telecine feature increases the audio speed by a very small percentage so that it is in sync with 24 fps instead of 23 98 fps Batch Reverse Telecine Automated Batch Reverse Advanced 2 3 3 2 File Frames New smaller Conform to res Choose a frame rate from O Same faster the pop up menu M check for cadence discontinuities F keep Originals Ceance 5 Select New smaller or Same faster to specify the kind of files you want to create e New smaller Creates new clip files that do not contain the ext
23. After you import this batch capture list into Final Cut Pro those source clips appear in the Browser as offline clips meaning they are logged and ready to be batch captured When your source media is on multiple tapes you can still use batch capture When you begin the batch capture you see a list of all the video reels needed When all the clips from one reel are captured you are prompted to select another reel Chapter 7 Capturing Source Clips and Connecting Them to the Database 109 110 Advantages of Using a Cinema Tools Batch Capture List Using a Cinema Tools batch capture list provides several benefits Time savings You can let Cinema Tools generate your batch capture list for you instead of creating it manually yourself e Accuracy The batch capture list captures source clips that match your database records Convenient source clip filenaming When you batch capture from a database batch capture list your source clip files are named with a naming scheme based on the scene and take identifiers For example scene 10 take 1 would be given the filename 10 1 Automatic linking between source clips and the database With the Connect Clips command you can automatically link your captured source clips to the appropriate database records Note You do not have to create a batch capture list from a Cinema Tools database An alternative is to first batch capture your clips with Final Cut Pro and then generate a datab
24. Apple Inc AppleCare is a service mark of Apple Inc registered in the U S and other countries Other company and product names mentioned herein are trademarks of their respective companies Mention of third party products is for informational purposes only and constitutes neither an endorsement nor a recommendation Apple assumes no responsibility with regard to the performance or use of these products Production stills from the film Koffee House Mayhem provided courtesy of Jean Paul Bonjour Koffee House Mayhem 2004 Jean Paul Bonjour All rights reserved nttp www je JIDO om Production stills from the film A Sus Ordenes provided courtesy of Eric Escobar A Sus Ordenes 2004 Eric Escobar All rights reserved http w entfilms com Preface Chapter 1 Chapter 2 Chapter 3 Chapter 4 oNN 12 13 13 14 16 19 20 21 23 23 24 24 25 28 34 38 41 41 42 46 49 51 53 53 Contents Welcome to Cinema Tools About Cinema Tools About the Cinema Tools Documentation Additional Resources An Overview of Using Cinema Tools Editing Film Digitally Why 24p Video Working with 24p Sources Offline and Online Editing Creating the Cinema Tools Database Capturing the Source Clips with Final Cut Pro Preparing the Clips for Editing Creating Cut Lists and Other Lists with Cinema Tools How Much Can Be Done from Final Cut Pro Before You Begin Your Film Project An
25. B How Cinema Tools Creates Film Lists About the Timecode Based Method There are some situations in which the timecode based method is useful or even essential Ifyou have not logged clips in the Cinema Tools database by connecting them to database records Only the timecode based method can locate the database records If the database contains the data that is needed to match the edge code and the timecode and if the source clips were captured by Final Cut Pro using frame accurate device control Final Cut Pro should know the video reel and timecode information for each clip and a film list can be produced from this information In such a case you do not have to connect the source clips to the database records saving you a fair amount of labor Ifyou are generating a film list from an external EDL The timecode based method is used assuming you have not connected the source clips to the database Ifthe clip files are inaccessible offline when the film list is generated Only the timecode based method can locate the database records Appendix B_ How Cinema Tools Creates Film Lists 243 Solving Problems Appendix There are a number of resources you can turn to for help when you have issues with Cinema Tools This appendix covers the following e Resources for Solving Problems p 245 e Solutions to Common Problems p 245 Contacting AppleCare Support p 247 Resources for Solving Problems If you run into p
26. Before you capture from a deck using serial device control you need to take these steps to ensure all important timecode accuracy e Genlock your deck with your video capture interface Calibrate the timecode offset Genlocking the Deck and Video Capture Interface In addition to connecting the serial device control cable from your deck to your computer using a recommended serial interface adapter and connecting the necessary video and audio connectors you must also make sure that your deck is genlocked with your video capture interface Genlocking refers to locking two video devices together using a blackburst generator If your deck and video capture device support genlock also called external sync connect them to a common signal generator usually a blackburst generator which outputs a continuous black video signal This is done using the genlock connectors found on your video deck and video capture interface these may also be labeled reference video Genlocking your deck with your video capture interface synchronizes these devices ensuring timecode accuracy Important If you are capturing from a deck using serial device control and your video capture interface cannot be genlocked with the deck the accuracy of the timecode captured with your clips cannot be guaranteed Chapter 7 Capturing Source Clips and Connecting Them to the Database 107 Calibrating the Timecode Offset Even when your deck and video capture interface a
27. Chapter 13 Working with 24p Video and 24 fps EDLs For offline editing it is preferred that the 24p video be compressed and captured directly with no frame rate conversions This removes the possibility of errors during video and timecode rate conversions and eliminates the need to convert the video s aspect ratio see Understanding Aspect Ratios However this requires specialized hardware so the following alternatives using standard downconverted versions of the 24p video have been developed 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 NTSC Converting 24p video to NTSC video requires using a pull down method that adds redundant fields maintaining the action s original speed 1 second of 24p video equals 1 second of NTSC video The Reverse Telecine feature removes the pull down by removing the extra fields and restores the original 24 fps rate See Reversing the Telecine Pull Down for information about using the Reverse Telecine feature If your source clips originated from a special type of DV camcorder that shoots 24p such as the Panasonic AG DVX100 camcorder a simpler form of the Reverse Telecine dialog appears See Removing 2 3 3 2 or 2 3 2 3 Pull Down with Cinema Tools for information about rev
28. 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 Chapter 4 Creating a Cinema Tools Database If you haven t done so yet take a look at Cinema Tools Workflows for general information Use these examples to guide you in determining the basic us you need to take to create your database and capture your clips The steps you take and the order of those steps differ depending on a number of factors most of which are summarized in the workflow examples Capturing Before You Create the Database When using a traditional film workflow it is possible to capture your source clips before creating your database and to build the Cinema Tools database by importing a batch capture list created in Final Cut Pro This approach is not as easy as building a database from a telecine log or ALE file because you then need to ee add the og number and film roll information to each database record See Importing Database Information a Batch Capture List for more information from When using a digital intermediate workflow you will need to capture or more often transfer your video files from their source media using the Final Cut Pro Log and Capture or Log and Transfer window You can then create the Cinema Tools database by simply dragging the folder with the captured files to the Cinema Tools application icon If You Have a Telecine Log or AL
29. Final Cut Pro See About the Timecode Based Method for more information Appendix 241 242 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 an entry is logged in the missing elements list if you chose to include a missing elements list in the film list This process is outlined in the flow chart below Cinema Tools gets clip name Cinema Tools looks for clip from Final Cut Pro name in database Cinema Tools uses film roll and key number in database record to describe edit in cut list Database record found Cinema Tools gets clip timecode and reel identifier from Final Cut Pro Cinema Tools looks for clip timecode and reel identifier in database Database record found A missing element note is made in the missing elements list 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 requires that Cinema Tools know the relationship between the key numbers or ink numbers and the video reel and timecode Because the clip based method relies on fewer variables it is more reliable which is why Cinema Tools tries to use this method first Appendix
30. If Cinema Tools is unable to complete the reverse telecine process for a clip that clip is moved into a Cinema Tools created subfolder named Skipped A clip is not processed if it doesn t contain a video track if the frame rate is not supported if the clip does not contain cadence information or if there is no codec found for the video track A text file appears at the top level of the folder you started with named reverse log This log gives the date and time that the process started and ended as well as a start time for each clip If any problems were encountered such as running out of disk space or memory an error message describing the problem also appears in the log 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 There are three pull down patterns that Final Cut Pro can apply to 23 98 fps video Chapter 13 Working with 24p Video and 24 fps EDLs 3 2 Pull Down 3 2 pull down is the same type employed by a telecine See Working with NTSC Video for more information Because 3 2 pull down is the conventionally supported pull down pattern for NTSC devices you need to use this pull down p
31. Introduction to Film Projects Before You Shoot Your Film Which Film to Use Transferring Film to Video Frame Rate Basics Audio Considerations Working in Final Cut Pro Cinema Tools Workflows Basic Film Workflow Steps Film Workflow Examples Basic Digital Intermediate Workflow Steps Digital Intermediate Workflow Using a Telecine Working with REDCODE Media Creating a Cinema Tools Database An Introduction to Cinema Tools Databases Chapter 5 Chapter 6 Chapter 7 Chapter 8 54 58 65 65 66 66 67 73 74 76 77 80 80 81 84 85 85 86 91 96 98 98 99 100 101 105 105 105 109 115 120 123 123 123 125 127 139 139 141 Deciding How You Should Create the Database Creating and Configuring a New Database Working with Databases Opening an Existing Database Viewing Database Properties About the Detail View Window Settings in the Detail View Window About the List View Window Settings in the List View Window Finding and Opening Database Records Settings in the Find Dialog Backing Up Copying Renaming and Locking Databases About the Clip Window Settings in the Clip Window Accessing Information About a Source Clip Entering and Modifying Database Information About Working with Database Information Importing Database Information Entering Database Information Manually Using the Identify Feature to Calculate Database Information Deleting a Database Record Choosing a Different Po
32. Negative or ink numbers added to the edge of workprints See also ink number key number Edit Decision List EDL A text file that sequentially lists all of the edits and individual clips used in a sequence EDLs are used to move a project from one editing application to another or to coordinate the assembly of a program in a tape based online editing facility Extensible Stylesheet Language Transformations XSLT The language used by the Cinema Tools style sheets XSLT based style sheets are commonly used to extract information from XML files When you export a style sheet based film list Cinema Tools first exports an XML format film list and then processes that XML output with the selected style sheet resulting in exactly the output items and layout the style sheet specifies See also style sheet field Half of an interlaced video frame consisting of the odd or the even scan lines Alternating video fields are drawn every 1 60 of a second in NTSC video 1 50 of a second in PAL to create the perceived 29 97 fps video 25 fps PAL There are two fields for every frame an upper field and a lower field It is possible to capture only one field of each frame See also interlaced video field dominance Refers to the field that occurs first in an interlaced video frame If only one field is captured field 1 dominance means that only field 1 is captured and field 2 dominance means that only field 2 is captured See also field film list A te
33. Setting Up Your Hardware to Capture Accurate Timecode for more information about capturing your clips Ifyou do not have a telecine log file and the clips are provided using a tape based system In this case you use the Final Cut Pro Log and Capture window to manually capture each clip Once the clips are captured you can create a Cinema Tools database based on them using the Synchronize with Cinema Tools command In some cases third party hardware is required Ifthe clips are provided using a file based system such as on a hard disk or DVD ROM disc In this case most often you also have a telecine log file You can import the telecine log file into Final Cut Pro copy the files to your computer and connect them to your Final Cut Pro project Ifyour clips are coming directly from a digital acquisition source such as camcorders using solid state cards In this case you use the Log and Transfer window in Final Cut Pro to ingest the clips You then use the Synchronize with Cinema Tools command to create a Cinema Tools database based on the clips Recompressing the Captured Files Regardless of how you captured your video you may decide to recompress the files to make them smaller and easier to work with For example taking advantage of the correct codec may allow you to edit on an older portable computer About Compression Compression in terms of digital video is a means of squeezing the content into smaller files that require l
34. Telecine Speed 24 FPS B Audio TC Rate 30 NDF 1 Cancel Save Chapter 9 Editing with Final Cut Pro 147 148 To choose an existing database Click Choose Database This opens a dialog that allows you to select an existing database to synchronize with Click Open when finished If you used either the New Database or Choose Database button click OK The selected clips are synchronized with the selected database Showing Film Related Information in Item Properties The Film tab of the Item Properties window contains the film related information for each clip To see film related information in the Item Properties window Select the clip in the Browser Do one of the following Choose Edit gt Item Properties gt Film Control click the clip then choose Item Properties gt Film from the shortcut menu Press Command 9 to open the Item Properties window then click the Film tab Note Comments added to a record in Cinema Tools or a record in a telecine log file appear in the Take Note row Showing Film Related Information in the Browser You can add columns to the Browser to show the specific film related information you require To add columns to the Browser Control click the heading for the column before which you want to insert the new column then choose the column to add from the shortcut menu See the Final Cut Pro documentation for more information about arranging columns in the Browser Note Comments
35. The sections that follow describe a number of ways that you can use Final Cut Pro or Cinema Tools to remove advanced 2 3 3 2 pull down or 2 3 2 3 pull down from digital video clips You can Use Final Cut Pro to remove 2 3 3 2 pull down while capturing or after capturing Use Cinema Tools to remove 2 3 3 2 or 2 3 2 3 pull down on one clip at a time Use Cinema Tools to remove 2 3 3 2 or 2 3 2 3 pull down on several clips at a time What Is 2 3 2 3 Pull Down A 2 3 2 3 pull down pattern is exactly the same as a 3 2 pull down pattern 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 ae down can be removed using the automated form of reverse telecine See Removing nith Cinema Tools for more information IXA a Ve tia se Dowr 2 3 3 2 or 2 3 2 3 Pull Dow Chapter 13 Working with 24p Video and 24 fps EDLs 217 218 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 actually 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 B
36. The settings in this dialog can be left at their default values when you are creating a database from video clips and do not intend to track any film related information in the database records 3 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 in it See About Working with Database Information for more information Important If you created the database by dragging a folder that contains many clips especially if they are DPX image sequences it can take Cinema Tools a significant amount of time to process and add all of the clips to the new database Cinema Tools may appear to have stopped responding during this time Be sure to allow plenty of time for Cinema Tools to finish processing the folder of clips Creating a New Database Using Final Cut Pro There are two methods you can use to create a Cinema Tools database while using Final Cut Pro Synchronize a set of clips with a new database Import a telecine log file into a new database Synchronizing a Set of Selected Clips to Create a New Database You can use the Synchronize with Cinema Tools command if you have one or more clips in the Final Cut Pro Browser that you would like to add to a new Cinema Tools database This can be useful when you have manually captured a set of clips but have no telecine log to go with them or when you want to create a separate dat
37. accurately represents the true passage of time For example 38 seconds of video will actually take 40 seconds to play You can see the timecode rate for a clip in the Item Properties window To verify a clip s timecode rate In the Browser select the clip to be verified Do one of the following to open the Item Properties window e Choose Edit gt Item Properties gt Logging Info Control click the clip then choose Item Properties gt Logging Info from the shortcut menu Clips that have been conformed from 25 fps to 24 fps display 24 25 in the TC Rate row About the Sequence Presets There are two sequence presets designed for 24 fps PAL video DVPAL 48 kHz 24 25 This preset uses a 24 fps editing timebase and 25 fps timecode for both the source and record In and Out points retaining the original source 25 fps timecode The DV PAL 24 25 Easy Setup uses this sequence preset When you export an EDL it will be based on 25 fps timecode values This should be used when you intend to export a 25 fps EDL and not a cut list DV PAL 48 kHz 24 This preset uses a 24 fps editing timebase and 24 fps timecode for both the source and record In and Out points replacing the original source 25 fps timecode This should be used when you intend to export a cut list Chapter 9 Editing with Final Cut Pro 145 146 Displaying Film Information in Final Cut Pro You can display a variety of film related information while edit
38. all the databases into one database Chapter 4 Creating a Cinema Tools Database 57 Creating an audio Edit Decision List EDL If you plan to give an audio EDL to the audio post production facility make sure that the audio timecode video timecode and sound roll information is entered in each database record Creating the database by importing a telecine log is the easiest and most efficient way to make sure that all the necessary information is entered in the database Creating and Configuring a New Database When you create a new Cinema Tools database you make default selections for your project settings in the New Database dialog Note When you import data from a telecine log the film standard video timecode rate audio timecode rate and telecine speed are typically included in the log and are automatically set in Cinema Tools Data from the telecine log takes precedence over the defaults so even if your default settings are different from the telecine log data Cinema Tools uses the settings in the telecine log You can create a new database using Cinema Tools or Final Cut Pro Creating a New Database Using Cinema Tools You can create a new database and configure its default settings directly in Cinema Tools Note If a database is already open when you create a new one the currently open database is closed To create a new database Do one of the following Open Cinema Tools and click Create a New Database in the Welcome
39. and choose the EDL file to convert In the next dialog choose the name and location for the new file to be created then click Save The new EDL file is identical to the original with the exception of the timecode values and effects durations which have been converted to match the new frame rate Important 24p timecode is always non drop frame and the NTSC timecode to be converted must also be non drop frame Cinema Tools does not prevent you from converting an NTSC drop frame based EDL but instead treats it as if it were non drop frame The exported 24 fps EDL will contain errors and Cinema Tools inserts a warning message into the EDL You can now import the 24 fps EDL into Final Cut Pro using the process described in Understanding Aspect Ratios When capturing NTSC or PAL video from 24p sources you typically choose how to handle the differences in their aspect ratios SD video NTSC or PAL has a 4 3 1 33 aspect ratio This means the picture is 75 percent as tall as it is wide Many 24p formats use a 16 9 1 78 aspect ratio that is closer to the common film aspect ratio of 1 85 and is the same as that of the widescreen broadcast HD formats Many HD VTRs can downconvert 16 9 video to SD 4 3 video Final Cut Pro systems not capable of capturing 24p video directly can capture using one of these SD video outputs for editing See the Final Cut Pro documentation for detailed information about the options for converting 16 9 video t
40. at 4567 feet and 8 frames TK Speed pop up menu This pop up menu gives you the option of individually specifying the telecine transfer film speed for each database record If the database record was created from a telecine log this setting should already be correct and there should be no need to change it If you are creating the database manually the setting in this pop up menu should reflect the telecine film seen oe ies chose when you set your project defaults See Settings in the New Database Dialog for more information Film Std pop up menu This pop up menu gives you the option of individually specifying the film standard for each database record If the database record was created from a telecine log this setting should already be correct and there should be no need to change it If you are creating the database manually the setting in this pop up menu should reflect the setting you chose in the New Database dialog For clips that are in reverse direction you can specify a reverse direction for the film standard by choosing either the 35 4p rev for 4 perf 35mm or 16 20 rev for 16mm 20 item Reverse direction film is film that has key numbers going in a descending rather than an ascending order You ll see this when for example film has been shot in reverse or when a film roll was loaded into the camera tails out so that the key numbers are in reverse order See Settings in the New Database Dialog for more information For
41. batch capture list from Cinema Tools that you can import into Final Cut Pro to automate the clip capture process Chapter 1 An Overview of Using Cinema Tools 15 Importing telecine logs using Final Cut Pro When you import a telecine log using Final Cut Pro you choose whether to import it into an existing Cinema Tools database or whether a new database should be created As records are added to the selected Cinema Tools database each record also creates an offline clip in the Final Cut Pro Browser so that clips can be batch captured The film related information from the telecine log is automatically added to each clip You can show this information in a variety of ways while editing the clips in Final Cut Pro See Displaying Film Information in Final Cut Pro for more information Manually Entering Database Records The most common reason to manually enter a record into the database is that there is no log available from the film to video transfer process Some film to video transfer methods such as film chains do not provide logs Each record in a database should represent a media file that has continuous timecode and key numbers With scene and take transfers each take requires its own record because film key numbers are skipped when jumping from take to take during the transfer With camera roll transfers because the film roll and video recorder run continuously from start to finish you require only one record for the entire clip e
42. because these apply directly to tape based editing If necessary Cinema Tools can work with pre read events but the name of the pre read reel must be PREREAD Make sure that comments are included because these can display the clip transition and effects names They will be recognized by Cinema Tools and included in the cut list comments The reel names that appear in the EDL must match those used in the Cinema Tools database Even a slight difference such as an added space or an extra leading 0 001 instead of 0001 can cause problems Be aware that some editing systems modify the reel names when exporting an EDL The CMX 3600 format allows a maximum of eight characters with only numbers and uppercase letters no spaces Often a reel conversion list is appended to the end of the EDL to make it easier to resolve any naming issues that occur You can use the Cinema Tools Change Reel command to change all occurrences of a particular reel name in the database to match the EDL for example you can change all instances of reel Tape 004 to TAPEO04 See Changing All Reel or Roll Identifiers for more information Note To reduce the chance of issues with the EDL file select Generic Edits in the Reel Conflicts section of the EDL Export Options dialog Chapter 12 Working with External EDLs XML and ALE Files EDL Video Standards EDLs are built on references to video timecode points This means that EDLs have a frame rate ty
43. between the source clip and the record so that they are no longer connected It does not delete the clip from your hard disk 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 If a group folder of source clips has been moved you can use the Connect Clips command in the Database menu to update any broken links to clips that are in the folder you select Reconnecting Individual Clips You can easily reconnect a single clip whose link to the database has been broken because the clip was renamed or moved To reconnect a source clip that has been renamed or moved 1 Open the database record in the Detail View window See Finding and Opening Database Records for details 2 Click Open Clip 3 In the dialog that appears click Reconnect then select the clip The clip is connected to the database record 120 Chapter 7 Capturing Source Clips and Connecting Them to the Database Locating Broken Links and Reconnecting Groups of Clips For clips that have been moved or renamed the Connect Clips command in the Database menu makes it easy to locate and fix the broken links for several clips in one folder This command updates any broken links to clip
44. both audio and video the Reverse Telecine feature also adjusts the audio speed so that the audio and video remain in sync after the frame rate is changed Use the Conform feature If your clips have the PAL standard frame rate of 25 fps you can use the Conform feature to convert them to the frame rate at which you want to edit When clips contain both audio and video the Conform feature also adjusts the audio speed so that the audio and video remain in sync after the frame rate is changed Note If the audio is separate and not contained in the source clips you also need to sync audio and video clips and merge them together as one clip in Final Cut Pro See C j Synchronizing Separately Captured Audio and Video for more information 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 If the clip contains audio and video the Conform feature also adjusts the audio rate so that the audio and video remain in sync Refer to Ways an Prepare the Source Clips for help in deciding whether or not you should use the Conform feature Importan
45. can lead to unexpected results when using the Find dialog Cinema Tools looks at a scene number as having up to four parts Prefix This is an optional set of one or more letters in front of the scene number usually used to indicate a new unique scene added to the script For example the A in scene A54C 3 Prefixes don t always indicate unique scenes however the actual letters used in the prefix control how they affect using the Find dialog Prefixes using the letters A B C and D are treated as indicating unique scenes Prefixes using any of the other letters are not treated as indicating unique scenes Scene number This is the first set of numbers Depending on the prefix it might be the entire scene number although with some prefixes A B C or D the prefix becomes part of the scene number For example in the A54C 3 example the scene is A54 In the example E54C 3 the scene is 54 Suffix This is a set of one or more letters after the scene number indicating the shot for the scene For example the C in scene A54C 3 e Take number This is the number after the suffix shot indicator that identifies a specific take Usually it is preceded by a hyphen which you don t enter in the Find dialog For example the 3 in scene A54C 3 The tricky part is determining whether the prefix indicates a unique scene or not Prefixes using letters from A to D are treated as referring to unique scenes Pre
46. changes See If You Need to Reel Balance for more information See Exporting Change Lists from Within Cinema Tools for information about exporting change lists using Cinema Tools See About Exporting Change Lists for information about how the change list export process differs between Final Cut Pro and Cinema Tools Chapter 10 Generating Film Lists and Change Lists 181 182 About Change Lists Effects Gaps and Soundtracks If you add motion effects to a program an optical will have to be made and the length of that section of film changes affecting the sync The film assistant who conforms the workprint needs to know where to put in slug fill leader or substitute footage in order to preserve synchronization while the optical is being made For this reason Cinema Tools lists motion effects in the change list similarly to the way it displays leader information For motion effects Insert Leader appears in the Do This column and Effect is displayed under the First Last Key column Gaps in a sequence are also described as leaders in change lists A change list does not provide information about transitions superimposed titles supers filters or soundtracks However to see whether or not any transitions or supers were changed or added you can export a cut list and an optical list for each of the sequences and compare the lists Or if you are marking the transitions on the workprint you can export a cut list with t
47. database closes if one is already open Viewing Database Properties You can use the Database Properties dialog to see a wide variety of information about the current database including its default settings and statistics about the records To open the Database Properties dialog Choose Database gt Database Properties or press Command l Default Film Standard 35mm 4 perf Default Video Timecode Standard 30 FPS NDF Default Sound Timecode Standard 30 FPS NDF Default Telecine Film Speed 24 FPS File Massive Project Massive Project Size 192 KB Created Tue Jan 16 2007 at 1 55 PM Last Modified Tue Jan 16 2007 at 2 33 PM About the 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 The Detail View window appears along with the List View window whenever you open a database To view the Detail View window Do one of the following Choose Window gt Detail View or press Command 2 If necessary drag the List View window to a different screen position Chapter 5 Working with Databases If necessary click the Detail View window to bring it to the front See Settings in t
48. detailed explanation of this process Original camera negative Conform original camera negative to cut list Cut Final Cut Pro list Telecine log Cinema Tools Create Cinema Tools database Export cut lists based on edits Convert to Reverse telecine Edit Create video with Conform decisions release a telecine prints Shoot Develop film film Capture Prepare Edit video clips k video and audio Capt Audio for edit SPS Mix audio tracks Add sound effects audio Record audio Original production audio Although this workflow appears more complicated than the traditional editing method many of these steps can be automated For most filmmakers the benefits of being able to edit digitally easily offset any added procedures Several parts of this process are the same as for the traditional method as mentioned earlier it is only the middle part of the film editing process that is affected by editing digitally Appendix A Film Background Basics Stage 1 Shooting the Film and Recording the Sound Audio is always recorded separately from the film on a separate sound recorder This is known as shooting dual system sound While shooting the film you need to include a way to synchronize the sound to the picture The most common method is to use a clapper board also called a slate or sticks at the beginning of each take There are a number of other methods you can use bu
49. device control you must manually capture either the individual takes you want or the entire tape You may need to trim a take that you capture manually and you will also have to manually set its timecode to match the source tape An advantage to capturing the entire tape is that you only have to set the clip s timecode once assuming that the source tape had continuous timecode The drawback is the amount of disk space required although once the tape is captured you can use Final Cut Pro to create subclips of the useful takes and then delete the unused material r r See Capturing Source Clips and Connecting Them to the Da turing ase for details about capturing clips Chapter 1 An Overview of Using Cinema Tools Scene and Take Transfers Scene and take transfers generally result in records in the Cinema Tools database that are suitable for performing a batch capture You can export a capture list from Cinema Tools and import it into the Final Cut Pro Browser Final Cut Pro can then perform a batch capture assuming it can control the source device creating clips as directed by the Cinema Tools list These clips can then be easily linked to records in the Cinema Tools database Finishing with High Quality Video If you intend to provide a high quality video output when you have finished the project there are several issues you might need to consider When capturing video for the initial offline edit you can capture with relati
50. digital visual effects facility If you are using a DI workflow that uses low bandwidth versions of the program s clips draft versions of the effects are made and edited into the program replacing the temporary placeholder effects if present The original high resolution effects are used during the finishing process Chapter 9 Editing with Final Cut Pro 151 152 If you are using a traditional film workflow the effects must be output back to film using a digital film recorder This is sometimes called the film digital film method First the original camera negative is scanned digitally then the scanned digital copy is imported into a digital film workstation and your special effects are created there before being recorded back to film There are digital effects labs that offer this service using your film list as a guide in determining the location and duration of motion effects and of superimposed compositing effects such as blue screen effects Although the film digital film method can produce wonderful effects be aware that it can be more expensive than optical printing Effects involving filters and color correction Digital film restoration and artifact removal are other types of digital manipulation that commonly occur with the film digital film method This kind of digital manipulation is tracked by the filter effects list which is part of the optical list In a DI workflow you can use Color to perform many of these ty
51. display from an older slower computer or a computer with a heavy processing load that drops frames when you try to output 3 2 or 2 3 3 2 pull down video 2 2 2 4 Pull Down h One second y Before 23 98 fps me m After 29 97 fps 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 Important You must have a FireWire device connected and the sequence must have a 23 98 fps timebase for the pull down options to appear They do not appear if the sequence has a 24 fps timebase To add pull down back in while sending 23 98 fps video to an NTSC device via FireWire In Final Cut Pro select the sequence in the Timeline Choose the type of pull down to use from the RT pop up menu in the Timeline Chapter 13 Working with 24p Video and 24 fps EDLs See Pull Down Patterns You Can Apply to 23 98 fps Video for details about the available patterns Output the video using your FireWire connection Refer to the Final Cut Pro documentation for details about outputting video The pull down is performed on the video that is sent out of your computer via FireWire Using Audio EDLs for Dual System Sound As with film productions 24p video productions almost always record the soun
52. duplicate usages of source material and you have only one original camera negative to cut you have a couple of options You can reedit your scene or scenes in order to avoid using the material more than once Or you can export a duplicate list and give it to a lab so the lab can create duplicate negatives of each shot that is used more than once You then transfer the duplicate negatives to video capture them into Final Cut Pro log them in the Cinema Tools database and use them to replace the duplicate sections in your edited project The key numbers in the cut list do not match the key numbers in the digital clips First make sure that it is something to be concerned about When editing at the NTSC video rate of 30 fps actually 29 97 fps key numbers might be off by one frame This is normal and to be expected if you edited at the NTSC video rate See Frame Rate ics for more information Also the key number may be off by more than one frame at the end of the cut if it was necessary to add or subtract a frame in order to maintain sync with the audio However under no circumstances should the key number be off by more than one frame at the beginning of the cut And if you are editing PAL video at 24 fps the key number you see burned in to the frame should never be different from the key number you see in the cut list at the In and Out points If the difference is more than one frame the most likely cause is that the clip is not pro
53. face Which film to use Choices for transferring the film to video Frame rate issues between the film your video standard and your editing timebase Audio issues such as which recorder and timecode to use and how to synchronize the audio with the video Issues with Final Cut Pro such as selecting a sequence timebase and using effects Note Much of this information is very general in nature and is not intended to serve as a complete guide to filmmaking The digital filmmaking industry changes rapidly so what you read here is not necessarily the final word 23 24 Before You Shoot Your Film Before you begin your project make sure to discuss it with all parties involved in the process Those providing equipment or supplies used during the production e Those involved in the actual production e The facility that will develop your film create workprints and create the release print The video transfer facility The editor using Cinema Tools and Final Cut Pro if it is not you The negative cutter e The audio post production facility These are people who are experts in their fields They can provide invaluable information that can make the difference between a smooth successful project and one that seems constantly to run into obstacles Be Careful How You Save Money There are anumber of times throughout the film production process when you will get to choose between doing it right and doing it well eno
54. fades and dissolves to be printed optically regardless of their length Handles Your negative cutter or optical printer may want to have some spare frames on either side of a transition These extra frames are called transition handles Enter a number between 0 and 32 When checking to see if any frames are used more than once Cinema Tools adds this number of frames plus one half to the head of the incoming shot and the tail of the outgoing shot for each transition The setting you choose for cut handles does not apply to transitions Cut Handles In determining whether or not any frames have been used more than once Cinema Tools assumes that at least one half of a frame is destroyed at both the In point and the Out point of each cut Some negative cutters may want to use more than a half frame on each side of a cut You can specify up to five and one half frames of cut handles If you inadvertently include in a sequence frames that are needed as cut handles Cinema Tools reports them as duplicate usages in the duplicate list and the double usage warnings e Track You can choose the video track to base the exported list on 170 Chapter 10 Generating Film Lists and Change Lists Starting Footage Enter a starting number to use for the film list s Feet amp frames value The default value is 0000 00 Following are some tips for how to use the Starting entries Ifyou are generating a cut list for conforming the nega
55. file then click Save A dialog appears asking if you want to have txt appended to the end of your filename Click Don t append If you often find yourself editing plain text files you may want to configure TextEdit preferences to make it easier Note Double clicking a filename with an edl extension opens it in a read only window in Final Cut Pro 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 A difference is that they are tab delimited making them a bit more difficult to read Although it is possible to edit the contents with a text editor you must use great care to avoid corrupting the file by accidentally deleting a tab character Supported ALE Fields Each line in an ALE file corresponds to one database record Cinema Tools supports the following ALE fields Film Related Fields e Camroll Contains the number used for the Cam Roll field e Labroll Contains the number used for the Lab Roll field Chapter 12 Working with External EDLs XML and ALE Files Daily roll Contains the number used for the Daily Roll field Ink number Contains the Ink field values KN Start Contains the Key fie
56. file contains a list of every edit with the reel names of the source clips and their In and Out point timecode numbers Stage 7 Importing the EDL into Color When you import an EDL into a Color project you can choose the folder that contains the source clips the EDL refers to You can choose the folder that contains the scanned DPX clips and have Color connect the EDL records to the clips or you can choose a Cinema Tools database you create from the clips Chapter 3 Cinema Tools Workflows The advantages of choosing the Cinema Tools database are You can easily correct any issues there might be between the EDL and the actual clips For example if a reel name does not match you can change the reel name in the Cinema Tools database to match the name listed in the EDL Once you have created the Cinema Tools database choosing it when importing an EDL into Color can be faster than choosing the folder with the clips Choosing the database becomes especially useful if you end up importing the EDL into Color multiple times as additional clips become available If the EDL refers to clips on more than one volume a Cinema Tools database can connect to all of the clips Color can automatically connect to the clips on only one volume and you must manually connect to the clips on the other volumes Stage 8 Finishing the Project in Color Once you have imported the EDL into Color and matched it to the source clips the clips are conformed to ma
57. frame count number Telecine systems also often add a frame type identifier to the key number For example in the key number KJ 291010 5867 07 the key prefix is KJ 291010 and the frame number is 5867 07 Also known as edge code latent key number A number added to the film edge during its manufacturing process Also known as latent edge code See also key numbe Glossary 254 match back To match the edits of a video program that originated on film back to the original camera negative All the edits to the video are listed in a cut list which the negative cutter uses to cut the workprint and original camera negative NDF See non drop frame timecode negative cutter A professional who conforms the original camera negative according to a cut list or a visual reference such as a workprint or a videotape generated by the digital editing system non drop frame timecode Normal NTSC timecode where frames are numbered sequentially and there are 30 frames per second 60 seconds per minute and 60 minutes per hour Because NTSC s frame rate is actually 29 97 fps non drop frame timecode is off by 3 seconds and 18 frames per hour in comparison to actual elapsed time See also drop frame timecode NTSC Abbreviation for National Television Standards Committee the organization that defines North American broadcast standards The term NTSC video refers to the video standard defined by the committee which is 29 97 fps 525 lines per fr
58. from EDL To export a film list based on an XML file Choose File gt Export gt Film Lists from XML Select the EDL or XML file in the dialog that appears If you are using an EDL file choose the list s frame rate from the EDL Frame Rate pop up menu XML files contain a parameter that defines their frame rate Choose the output format of the film list from the List Format pop up menu The choices are PDF XML and With Style Sheet See Choosing the List Format for more information about these formats If you chose With Style Sheet choose a style sheet from the Style Sheet pop up menu 7 Click Continue Chapter 12 Working with External EDLs XML and ALE Files 203 204 A dialog appears in which you can configure the information in the output file The settings in the dialog vary depending on the output format you chose from the List Format pop up menu See Settings the Export Dialogs Have in Common and PDF Configuration Settings in the Export Film Lists Dialog for details about the settings 8 Click Export 9 Choose a location and name for the film list file to be created then click Save 10 If you chose to have a Cinema Tools program file created in the Export Film Lists dialog choose a location and name for the file then click OK The film list is generated Note If Cinema Tools has any problems processing the EDL file a parsing error message appears that includes the line number that caused the proble
59. in the Current Timecode field of the Viewer to position its playhead To ensure the number you enter is correctly interpreted by Final Cut Pro make sure to use one of the following characters to separate the feet and frame values plus sign ampersand amp period or comma Opening Final Cut Pro Clips in Cinema Tools You cannot directly change any items in a Cinema Tools database while in Final Cut Pro However you can open a clip in Cinema Tools from Final Cut Pro to make changes to that clip s database record Once you have done this you need to synchronize that clip so that the changes appear in Final Cut Pro To open a clip in Cinema Tools from Final Cut Pro Select a clip or a group of clips in the Browser Choose View gt Open in Cinema Tools The clip opens in a Cinema Tools Clip window If you selected multiple clips each opens in its own Clip window Any changes you make such as to a camera roll number are added to the clip s database record After you have finished making the changes you can synchronize the clips in Final Cut Pro with the modified Cinema Tools database See Synchronizing Final Cut Pro Clips with Cinema Tools for more information Restrictions for Using Multiple Tracks Final Cut Pro allows you to edit in multiple video tracks and multiple audio tracks Although there are advantages to using numerous tracks there are some restrictions to keep in mind when you are using Final Cut Pro with
60. in timecode window burn and film information It is the edit based cut list that you can generate with Cinema Tools that is the goal About the Digital Intermediate Process As movies become more sophisticated and the demand for digitally generated special effects grows the digital intermediate process also known as DI has become increasingly important to filmmakers This process often starts with a high quality scan of the original film This scan results in extremely high quality video often in the form of digital picture exchange DPX image sequences whose quality rivals or surpasses that of film This high quality video can then be edited manipulated and color corrected digitally The big difference between this process and the telecine based film editing process described previously is that the DI process does not actually conform the original camera negative instead the final digital output is either printed to film or distributed directly The term DI is also used to describe the editing digital manipulation and color correction processes used when the source of the video is a high resolution camera system that does not use film at all such as the RED ONE camera The video clips created most often during this process are referred to as 2K video image sequences An image sequence is actually a folder containing individual image files for each video frame Because of the large size of these video clips they are not generally edi
61. know the correct edge code number or timecode value This is easy if your video has window burn Click Identify to show the current frame s settings a r sd WR 08 40 56 03 KK061997 6063 12A L__________1 L y Burned in Burned in timecode value edge code value 3 If necessary click Identify to show the record s settings 4 Look at the Key Ink and Video Timecode fields in the Identify pane 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 5 If any of the Key Ink or Video Timecode fields are incorrect enter the correct numbers in the fields 6 In the clip playback area locate a frame near the end of the clip and repeat steps 4 and 5 Ifthe edge code number and timecode values are correct at the beginning of the clip but not at the end of the clip Frames may have been dropped during capture in which case you should recapture the clip See Avoiding Dropped Frames for more information It might also be because the clip doesn t have a continuous edge code number to timecode relationship in which case the Identify feature cannot help you confirm the edge code number and timecode values because it works by a calculation based on a continuous edge code number to timecode relationship Ifthe timecode value is incorrect There is a good chance t
62. layout and font size so that more selected columns will fit Layout Options Oriemation Pona Fomsize 9 Load Settings Save Settings Chapter 10 Generating Film Lists and Change Lists To customize the PDF page layout Choose Portrait or Landscape from the Orientation pop up menu Choose a font size from the Font Size pop up menu You can save and load settings files that include the column configuration and the Orientation and Font Size settings Additionally most of the other settings in the dialog are also saved as part of the settings file The exceptions are the Track Starting Footage Starting Time and Starting Count settings Being able to save and load settings files for this dialog makes it easy to configure multiple Cinema Tools systems to export lists with the same configuration Note The dialogs you use to export film lists and change lists automatically remember the last settings you used and will use those settings the next time the dialog appears To save the current settings Click the Save Settings button Enter a filename and location for the settings file in the dialog that appears Click Save To load a settings file Click the Load Settings button Select the settings file and click Open Following is a list of the items you can choose to include in your exported PDF film list Item name PDF name Shows Feet amp frames Footage Running footage count start
63. list entry if a motion effect is also included Ifthe optical list entry contains only a filter and a motion effect The entry links to a filter effects list entry which links to a motion effects list entry Ifthe optical list entry contains only a motion effect The entry links directly to a motion effects list entry Each entry in the effects lists includes the original optical list entry number and the original cut list event number the entry applies to making it easy to relate the different lists to each other Transition Effects List The transition effects list contains information about the 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 Export Film Lists dialog If you choose to treat all transitions as cuts the transition effects list is empty and the transitions are listed as cuts in the cut list Filter Effects List The filter effects list contains information including the actual filter name and its category related to any filter effects applied to the sequence Motion Effects List If a shot has a speed other than the normal forward speed of 24 fps an entry is made in the motion effects list and the optical list refers to the motion effects list for that shot A digital editing system can assign almost any arbitrary speed to a clip to create a motion effect digitally but neither video
64. locate the sound or timecode of the related audio Note that production requirements occasionally require the slate to occur at the end of the take generally with the slate held upside down Because 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 Synchronizing During the Telecine Transfer During the shoot you typically start the sound recorder a little before the camera rolls and stop it a little after the camera stops Because you end up recording more audio than film you cannot play the audio tape and the film through several takes and have them stay in sync If you want the telecine transfer to record synchronized audio on the videotape you must either use the scene and take transfer method synchronizing each take on its own or create a synced sound roll before performing a camera roll transfer A large benefit to synchronizing during the telecine transfer aside from having videotapes with synchronized audio ready to be captured is that the telecine log usually includes the audio timecode and sound roll number information Importing the log into Cinema Tools makes it possible to export an audio EDL so that an audio post production facility can recapture the audio clips at
65. new empty database record Do one of the following e Choose Database gt New Record or press Command N e Click New Record in the Detail View window In the dialog that appears either enter identifiers for the scene and take or leave these fields blank then click OK See Using Scene Shot and Take Identifiers for more information Chapter 6 Entering and Modifying Database Information Note You don t have to enter anything in the Scene and Take fields in order to use Cinema Tools to match your digital edits back to your original camera negative You can leave these fields blank or enter their values later Also keep in mind that the scene and i entries are used to create the clip names if you export a batch capture list See Generating a Batch Capture List from Cinema Tools for more information The Detail View window appears after you click OK To create new database records with connected clips Do one of the following Choose File gt Import gt Files choose one or more media files to import in the dialog that appears then click Open Choose File gt Import gt Folders choose one or more folders that contain media files you want to create database records from then click Open Drag one or more media files or folders from a Finder window to the Cinema Tools List View window Note You cannot drag a mix of media files and folders to the List View window A dialog appears that tells how many new records were crea
66. not be able to match all audio edits within the sequence This may be due to incomplete database records or the use of audio from sources other than the logged sound rolls For those edits that cannot be matched back to the database an entry is added to the EDL using the sound roll and audio timecode information from the sequence with an asterisk placed by the roll name A comment stating that no matching database record was found is also added to the EDL entry Cinema Tools creates two files during the export a CMX 3600 EDL format file and a text file containing information about the EDL export The CMX 3600 EDL format is widely used as a standard for EDL interchange and should be acceptable at virtually all facilities Chapter 11 Export Considerations and Creating Audio EDLs 197 198 The text file created along with the EDL file uses the EDLs filename with a txt extension The file contains information regarding the sequence used and all the settings of the Export Audio EDL dialog including the number of tracks and their mapping It also lists any errors that occurred during the export Settings in the Export Audio EDL Dialog Cinema Tools uses information from the sequence to fill in several fields in the top part of the Export Audio EDL dialog Export Audio EDL File Audio Tracks 2 Project name Sequence 1 Start time 01 00 00 00 Project timebase 24 eou Tite seguen OOOO O toL sta time 01000000 File The n
67. numbers for each of your source clips make sure you do not trim off any of the marked frames If the telecine transfer involved the 3 2 pull down method it s a good idea to start each source clip on an A frame After the 3 2 pull down A frames are the only film frames that are not divided into two video frames Because of this and because the A frame is the start of the video five frame pattern it is preferable to have one as the first frame in all video clips See About A Frames for more information Chapter 8 Preparing the Source Clips for Editing 141 142 The Difference Between Self Contained and Reference Media Files There are two basic video and audio file types that you need to be aware of especially if you are breaking a large media file into smaller ones using QuickTime Pro Because video files tend to be large the type of media file you create can have a large impact on your hard disk space Self contained media files A self contained media file is complete you can delete the original file and its duplicate will still play on its own For that reason self contained media files are typically large files It s a good idea to save your media as self contained if you intend not to use large portions of the original and then you can delete the original once you have saved the bits you want Reference media files A reference media file is a file with dependencies on the original media file Reference files do not contain a
68. point will result in serious problems when the negative is conformed The most common way to verify these numbers is to have the lab or transfer facility physically punch a hole or otherwise mark a film frame note its key number and compare it to the burned in key number when viewing the transferred video Make sure you verify this at least once for each camera roll preferably for each take Compare the timecode in the window burn with the value the videotape deck displays Speed Film normally has a frame rate of 24 frames per second fps This means a new image is exposed or projected 24 times a second To ease conversion to video frame rates it is common to run the film at rates other than 24 fps during the telecine transfer Cinema Tools supports film transferred to video with the telecine running at the rates of 23 98 fps 24 fps 25 fps and 29 97 fps often referred to as 30 fps See Frame Rate Basics for more information about frame rates Editing Film Using Traditional Methods The traditional process of editing film has changed little over the years Although 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 The negative must be handled as little as possible and then by professionals in the proper environment to avoid damaging it
69. pop up menu you can add an asterisk to the end of the Easy Setup filename For example you would edit the Cinema Tools 23 98fps from DV NTSC filename to look like this Cinema Tools 23 98fps from DV NTSC The Easy Setup files are found in the following location Library Application Support Final Cut Pro System Support Custom Settings Working with 25 fps Video Conformed to 24 fps The most commonly used method for transferring 24 fps film to PAL video is the 24 25 method described in 24 25 Method Because this method requires the film to play 4 percent faster you might have audio sync issues at the least the onscreen action will be sped up Chapter 9 Editing with Final Cut Pro To help with the audio sync issues you can use the Conform feature to slow the video back down to its original 24 fps rate Because the conform process does not alter the 25 fps timecode created during the film transfer you have the option of retaining that timecode format while you edit in a 24 fps editing timebase This can be useful for those situations where your negative cutter prefers to receive a 25 fps EDL instead of a film cut list for film match back See Using the Conform Feature for more information about conforming video About the Timecode When you conform 25 fps video to 24 fps the clip s timecode rate is defined as 24 25 Note Because the timebase and playback are based on 24 fps the 25 fps timecode no longer
70. reason you should delete any database records you don t need See Deleting a Database ord for more information Chapter 6 Entering and Modifying Database Information Importing an Existing Cinema Tools Database One Cinema Tools database can be imported into another Cinema Tools database There are a few reasons why you might want to do this You may want to create separate databases for organization and archiving purposes and then bring them all together in a master database For example you might want to create separate databases for your dailies If you want to manage your dailies by creating a date named database for each of the dailies you can import the telecine log for that daily session export a batch capture list capture the clips and use the Cinema Tools Connect Clips command to connect all the clips to that date named database file Then you can import that database file into a master database that contains all of the daily databases You may need to correct a database that has incorrect project defaults To do this you create a new empty database with the correct defaults and then import your original database file into the new one To import one database file into another Open the database into which you want to import another database file by choosing Database gt Open Database or pressing Command Shift O and then selecting the database in the dialog Choose File gt Import gt Database In the dialog t
71. save it Chapter 8 Preparing the Source Clips for Editing 4 Follow the steps in Using Batch Reverse Telecine for Multiple Source Clips to perform the batch reverse telecine Note If you connected the original reverse telecined clips to the database records using the Reconnect command the new reverse telecined clips should automatically be connected to the database Making Adjustments to Audio Speed If you need to make audio speed adjustments in order to reestablish 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 e You can adjust the speed with the Final Cut Pro Speed command First unlink the audio and video clips Select the audio clip in the Timeline then choose Modify gt Speed and enter a new speed percentage For example to slow down an audio clip by 0 1 percent enter 99 9 Relink the audio and video clips when you have finished modifying the speed of the audio clip Some sound recorders and audio playback equipment can have their playback speed adjusted to sync with the video When using such equipment you can capture the audio with the correct speed for synchronization You can use specialized equipment such as that available from Aaton designed to control and adjust the audio for proper sync with any video rate You use this equip
72. the edits and you can proceed with the usual color correction process Color is then used to render the final output video Digital Intermediate Workflow Using a Telecine Using a telecine to create the offline video clips to edit with Final Cut Pro requires far less storage space than using a film scan for all of the film footage After the edit is finished you use Cinema Tools to generate the pull list which is used to create scans for only the video clips that are actually used in the program The drawbacks of this method are that the original camera negative must be processed twice and the clips from each process must use the same reel names and timecode Original Color camera negative Create E a R high quality 3 film scan DEX video correct Ena program DPX output image Pull list sequences Cinema Tools Convert to video with a telecine Create database Telecine log Film list Final Cut Pro Capture EDL Chapter 3 Cinema Tools Workflows 49 50 Stage 1 Creating the Offline Video Clips Using a telecine you create the offline video clips that Final Cut Pro uses to edit the program You should try to create offline video clips with the same frame rate as the DPX image sequence clips you will create with the film scan when the offline edit is finished You also need to make sure the reel name and timecode of the telecine clips will match those
73. the frame showing the slate or the last frame of the previous shot doesn t end up in the final film When setting edit points for a clip be careful not to place the In point at the first good frame in the clip or the Out point at the last frame In other words set the In point at least one frame after your shot starts and the Out point at least one frame before the last frame in the shot If you must edit on the first or last frame of a shot make a note of the key number from the window burn and review the cut list later to confirm that the key number is the same in the cut list Avoid putting In or Out points at frames with two fields that came from two different frames of the film For example don t place an edit at a BC or CD frame Chapter 9 Editing with Final Cut Pro Generating Film Lists and Change 10 Lists Cinema Tools can create a variety of lists from your edited project This chapter covers the following An Introduction to Film Lists and Change Lists p 159 Choosing the List Format p 160 Lists You Can Export p 161 Exporting Film Lists Using Final Cut Pro p 166 Creating Change Lists p 174 Working with XSL Style Sheets p 189 An Introduction to Film Lists and Change Lists When you ve finished editing and are 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 th
74. the video contains only field 2 e F1 F2 Select this option if the video contains both fields and field 1 is the dominant field the first field to appear e F2 F1 Select this option if the video contains both fields and field 2 is the dominant field Batch Reverse Telecine Batch reverse the telecine 3 2 Capture Mode Frames All files were captured as Conform to 23 98 FPS O Field 1 only standard Upper Lower ores Ea ase oni Select the field capture Or information for this clip Gor See Determining the Field Capture Information for details 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 for more information Pull Down with Cinema Tools From the Conform to pop up menu choose the frame rate that allows you to maintain or restore audio video sync 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 for more information 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 Note If the audio and video are contained in the same clip and you choose 24 0 from this pop up menu the Reverse Telecine feature increases the audio spee
75. timecode number ending in 0 or 5 is an A frame for example 1 23 14 10 and 1 23 14 15 During batch reverse telecine if a clip starts on a timecode number that is not evenly divisible by five that is timecode numbers ending in 5 or 0 Cinema Tools trims frames from the beginning of the clip so that the clip starts on the next frame with a timecode number that ends in 0 or 5 This is done to make sure that all source clips start on an A frame Clips that are trimmed are noted in the batch reverse telecine log file which is named reverse log When key numbers are not burned in to the video finding an A frame is much more difficult If there is a lot of motion in the video you might be able to distinguish one of the original film frames from the next in the video In that case look for a video frame made up of two fields from the same original film frame which has different film frames before and after it Such a frame would be an A frame Using Reverse Telecine on a Single Source Clip in Cinema Tools Use single clip reverse telecine to perform reverse telecine on one clip You can also perform reverse ne on clips using Final Cut Pro See Using Reverse Telecine on Source Clit x C 9s in Final Cut Pro for more information In most cases you need window burn to use the Reverse Telecine feature because you need to examine the key numbers or timecode in the clip itself to make reverse telecine sett
76. up menu See Settings in the Cinema Tools Export Change List Dialog for details about the settings you see in this dialog Settings in the Cinema Tools Export Change List Dialog The settings available in the Export Change List dialog when exporting from Cinema Tools change based on the output format you chose from the List Format pop up menu Chapter 10 Generating Film Lists and Change Lists 187 188 Settings Common to All Output Formats Following are the settings that appear in all versions of the Export Change List dialog when exporting a change list from Cinema Tools Original Track Choose the video track to compare from the original sequence New Track Choose the video track to compare from the new sequence e Pull List Select to include a change pull list which lists any film that needs to be newly added to the workprint Discard List Select to include a discard list which lists only clips that need to be removed from the workprint Show only changes If this option is selected the change list displays entries for new edits only Unchanged footage is not listed Combine deletions If this option is selected footage deletions that are contiguous are listed as one deletion rather than individual deletions This instructs the film assistant to cut them as a ift a series of pieces removed as one piece and stored intact rather than as individual pieces Film assistants tend to prefer seeing and perf
77. workprint and ae list process hen Are Cha ge Chapter 1 An Overview of Using Cinema Tools See An Introduction to Film Lists and Change Lists for more details about all the film related lists that are available How Much Can Be Done from Final Cut Pro Because of the high level of integration between Cinema Tools and Final Cut Pro you have several options for each stage in your project s workflow For example should you import the telecine log into Cinema Tools and export a batch capture list for Final Cut Pro or should you import the telecine log directly into Final Cut Pro Your situation and preferred working methods will often make this decision for you Among the Cinema Tools related functions you can perform directly from Final Cut Pro are Importing telecine log files Conforming 25 fps video to 24 fps Reversing the telecine pull down using the last settings in Cinema Tools Opening a clip in the Cinema Tools Clip window Synchronizing a Cinema Tools database to a group of selected clips Exporting film lists and change lists Chapter 1 An Overview of Using Cinema Tools 21 Following is a diagram showing an ideal workflow that focuses on using Final Cut Pro methods Steps Performed from How Cinema Tools Final Cut Pro Is Involved Create a new Final Cut Pro project Import a log into the A new Cinema Tools Final Cut Pro project database is created creating the offline clips for capture Batch
78. you add both Key numbers and Ink numbers to the right column in the Export Change List dialog the one that appears first in the right column is used by the change list If you choose to include a cut list with your change list you can add additional items to the right column and arrange them in the order in which they should appear in the cut list Note Although XML output contains all change list information the style sheet you choose for the Style Sheet output format determines which information appears in the output If you use the supplied Plain Text style sheet the information included in the output depends on how the last PDF format style sheet was output In other words what you choose for the above four categories when you output a PDF format change list also affects the Style Sheet output when you choose the Plain Text style sheet Exporting Change Lists from Within Cinema Tools If the most recent version of a sequence is not available or conveniently accessible or if it is damaged you can still create a change list as long as you have the exported program ogm files or XML xml files for the two sequences you need to compare You can export the change list from Cinema Tools using the program or XML files instead of exporting the change list from Final Cut Pro where you need to select a sequence 186 Chapter 10 Generating Film Lists and Change Lists When you export a change list from within Cinema Tools you c
79. 01 does not match reel 0001 Ifyou find the timecode value but the video reel name doesn t match the one listed in the missing elements list Update the reel name in the database record or change it in Final Cut Pro Ifthe reel name matches one or more records in the database but the missing elements list tells you that the database record is missing The timecode is incorrect The best way to resolve this is to create a new database record and connect the source clip to it Then you can use the Identify feature to determine and enter the edge code and timecode information for the clip If you create a new database record delete the incorrect record that the new record replaces Alternatively you can update the Video Timecode or the Video Duration field in the database record but then you also have to update the Key and Ink fields Chapter 10 Generating Film Lists and Change Lists 163 164 Duplicate 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 usages because the footage exists only once on the original camera negative But first you have to know where the duplicate usages are and that is the purpose of the duplicate list and double usage warnings Duplicate List The duplicate list is what you give to your lab if y
80. 124 e Maintain or restore audio video sync Note See Working with 24p Video and 24 fps EDLs for information about working with 24p video Choosing an Editing Frame Rate In general it s a good idea to edit at the frame rate at which the picture was originally filmed and recorded For example if you film record and edit at 24 fps the audio the video and the original sound and picture are at the same rate When you edit at the same speed at which you filmed and recorded you can digitize directly from the original sound recordings because the picture and sound are in sync No adjustments need to be made for synchronization purposes 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 output your 23 98 fps video to an external FireWire device as 29 97 fps video You can choose from three different pull down patterns 2 3 2 3 2 3 3 2 and 2 2 2 4 These pull down patterns are not available with 24 fps video Note Additionally Final Cut Pro includes two pull down options for 24 fps PAL video that allow you to output the 24 fps video to an external FireWire device as 25 fps video See Adding Pull Down to 23 98 fps Video for more information about adding a pull down using Final Cut Pro See the Final Cut Pro documenta
81. 1997 5067 08 AS4E 1 A KK061997 8424 08 AS4E 1 8 KK061997 5284 00 ASAF 1 A KK061997 8626 06 AS4F 1 8 KK061997 5490 04 AS4F 2 A KKO61997 3861 01 ASAF 2 8 KK061997 5872 02 AS4G 2 A KU062112 7285 12 A54G 3 A KK061997 4311 08 AS4G 3 B KK061997 6368 15 A54G 3 B mov A54G 4 A KK061997 4430 03 A54H 2 A KK231166 3863 10 A54H 2 8 KK051354 2853 01 A54H 2 8 mov 4 A54J 1 A KK231166 4079 04 A54J 1 A mov of AS4K 1 A KK231166 4280 04 A54K 1 A mov A Chapter 5 Working with Databases List View Window Controls The following controls along the top of the List View window determine the columns that appear and allow you to choose the records that are shown Display mode pop up menu Use this pop up menu to configure the List View window to show the columns most useful to you e Keycode Displays information about the film including key numbers and rolls Video Displays video timecode and reel information Sound Displays audio timecode and sound roll information Ink Numbers Displays information about the workprint including ink numbers and daily rolls Show All Click this button to show all of the records in the current database Find Click this button to open the Find dialog You can use the Find a to choose which records appear in the List View window See Settings in the Find g for more information List View Window Columns The following columns can appear in the
82. 24 25 The most common method of transferring film to PAL video where the film is sped up during the telecine transfer to 25 fps This creates a one to one alli to video frame relationship but speeds up the action by 4 percent See also 24 amp 1 24 25 pull down 24 25 pull down The Final Cut Pro term for the 24 amp 1 method See also 24 amp 1 24 24p A high definition video format using a 24 fps rate and progressively scanned video It is finding wide use in film production because of its high quality and identical frame rate It also converts easily to most 29 97 fps and 25 fps standard and high definition video formats Acmade number See ink number A frame The first frame in the repeating five frame 3 2 pull down sequence In two field 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 A frames normally occur on timecode numbers ending with 0 or 5 when using non drop frame timecode See also 3 2 pull down field ALE file Abbreviation for Avid Log Exchange A file format that allows film databases to be shared between different systems See also telecine answer print The first film print that includes sound and picture submitted by the laboratory for the customer s approval aspect ratio The ratio of an image s width to its height expressed either as two numbers width height or as a val
83. 3 2 pull down with Final Cut Pro while capturing the source media or with Final Cut Pro or Cinema Tools after capturing Note See 2 3 3 2 Pull Down for information about applying 2 3 3 2 pull down to video rather than removing it from video Removing 2 3 3 2 Pull Down with Final Cut Pro You can remove 2 3 3 2 pull down with Final Cut Pro either while capturing the video or after the clips have been captured To remove the pull down while capturing from a digital video source In Final Cut Pro choose Final Cut Pro gt Audio Video Settings Click the Capture Presets tab Select the preset you want to use then click Edit Select Remove Advanced Pulldown and or Duplicate Frames from FireWire sources Chapter 13 Working with 24p Video and 24 fps EDLs 219 At some point after removing the 2 3 3 2 pull down you may want to output the video with 2 3 3 2 pull down added back to recapture it with the camera Or for NTSC broadcast or distribution you may want to apply the more conventionally supported 3 2 pull down You can output 24p video in either of these pull down patterns See Pull Down Patterns You Can Apply to 23 98 fps Video for more information lid To remove the pull down in Final Cut Pro after capturing 1 In Final Cut Pro select the clips or sequence 2 Choose Tools gt Remove Advanced Pulldown Removing 2 3 3 2 or 2 3 2 3 Pull Down with Cinema Tools Clips captured from digital video camcorders that shoot 2
84. 3 98 fps Reverse Telecine Automated Reverse File Frames New smaller Conform to 23 98 es Choose a frame rate from O Same faster the pop up menu FM Check for cadence discontinuities 220 Chapter 13 Working with 24p Video and 24 fps EDLs 4 Select New smaller or Same faster to specify the kind of file you want to create e New smaller Creates a new media 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 reference or self contained this method creates a self contained file See The Differe and Reference Media Files for more information Same faster Modifies the current media 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 reference if it was reference File Frames O New smaller Conform 23 98 FPS A o aerate If you select New _ Same faster the file will be smaller Check for cadence discontinuities If you select Same Comet the processing will be faster When New is selected Check for cadence discontinuities is on For Same you can deselect it to speed up processing
85. 4p 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 If Cinema Tools detects this cadence information when you use the Reverse Telecine feature the Automated Reverse Telecine dialog appears It s a simplified version of the regular Reverse Telecine dialog Note The Reverse Telecine feature cannot be used with temporally compressed video such as MPEG 2 format video You can use automated reverse telecine to remove the pull down either from one clip at a time or from a group batch of clips To use automated reverse telecine to remove the pull down in a single clip 1 Choose File gt Open Clip then select the clip in the dialog 2 Inthe Clip window click Reverse Telecine 3 Choose a frame rate from the Conform to pop up menu 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 for more information 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 Note If the audio and video are contained in the same clip and you choose 24 0 from this pop up menu the Reverse Telecine feature increases the audio speed by a very small percentage so that it is in sync with 24 fps instead of 2
86. 7 28 Additionally because of the way it is recorded audio is difficult to synchronize at the telecine during a camera roll transfer During a production the sound recorder typically starts recording before film starts rolling and ends after filming has stopped You also will often shoot some film without sound known as MOS shots This means you cannot establish audio sync at the start of the film roll and expect it to be maintained throughout the roll Instead each clip needs to be synced individually The Cinema Tools database includes provisions for tracking the original production sound rolls and audio timecode Once captured a single large clip can be broken into smaller ones allowing you to delete the excess video Even with multiple clips it is possible for Cinema Tools to generate a complete cut list with only one database record Another approach is to manually add additional records for each clip alia yen to take T of ue extensive database capabilities of Cinema Tools See C he Cinema Tools Database for a detailed discussion of these choices Scene and Take Transfers Scene and take transfers are a bit more expensive than camera roll transfers but they offer significant advantages Scene and take transfers make it easier to synchronize audio during the transfer Because the telecine log contains one record per take it establishes a solid database when imported into Cinema Tools With an established database Cine
87. 9 59 29 to 00 00 00 00 while the tape is playing You have the option to use record run or free run timecode during the production Record run timecode The timecode generator pauses each time you stop recording Your tape ends up with continuous timecode because each time you start recording it picks up from where it left off Free run timecode The timecode generator runs continuously Your tape ends up with a timecode break each time you start recording To avoid potential issues while capturing clips it is strongly suggested that you use the record run method which avoids noncontinuous timecode within a tape Whenever a tape has noncontinuous timecode with jumps in the numbers between takes make sure to allow enough time handles for the pre roll and post roll required during the capture process when logging your clips See the Final Cut Pro documentation for additional information about timecode usage About NTSC Timecode Normal NTSC timecode referred to as non drop frame timecode works as you would expect each frame uses the next available number There are 30 frames per second 60 seconds per minute and 60 minutes per hour Because NTSC s actual frame rate of 29 97 fps is a little less than 30 fps non drop frame timecode ends up being slow by 3 seconds and 18 frames per hour when compared to actual elapsed time Chapter 2 Before You Begin Your Film Project To compensate for this drop frame timecode skips ahead
88. C C C DiD Field Field Field Field Field Field i ae 2 i 2 Field Field Field Field ie 2 ia 2 3 3 2 Pull Down Before 23 98 fps bD a s c o a e After 29 97 fps One second There are some advantages to shooting with and then removing 2 3 3 2 pull down instead of working with 3 2 pull down Final Cut Pro can easily remove the 2 3 3 2 pull down while you are capturing so that you can edit 24 fps actually 23 98 fps progressive video Chapter 13 Working with 24p Video and 24 fps EDLs A WwW N 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 Final Cut Pro eliminates the redundant fields by simply pulling out the frames containing fields with two different images the frames that were constructed from two different original frames Only frames containing one still image are left resulting in a clean picture 2 3 3 2 Pull Down Removal hH One second Before 29 97 fps afe 8qedoo ipla alB cic bolas s Bic cic p pJA a je c o ale c o a s c o a e c o a e c After 23 98 fps Field Field Field Field Field Field Field Field oala 23 Doom a You can remove the 2 3
89. Cinema Tools When you export your film lists you specify the video track to base the list on If you have included titles and superimposed images on a second video track you must export a second film list to include that information Chapter 9 Editing with Final Cut Pro Ifyou are going to export an audio Edit Decision List EDL you need to limit the audio to the first eight tracks in the Final Cut Pro Timeline See Exporting an Audio EDL for more information Using Effects Filters and Transitions Final Cut Pro and other Final Cut Studio applications provide extensive effects capabilities for video including common film effects such as dissolves wipes motion effects titles color correction and compositing If your final output uses standard broadcast SD or HD resolutions these effects can often be included directly in the final output However if your output is going to be higher resolution video for digital projection such as a 2K DPX image sequence if the output will be converted to film using a digital film printer or if you intend to conform the original camera negative these effects will generally be used only to preview the final effect which will be created at a visual effects facility Effects and transitions are usually created for digitally edited film in the following ways because of the changing and diverse nature of the industry your actual experience may vary Basic transitions titles and motion e
90. Cinema Tools 4 Copyright 2009 Apple Inc All rights reserved Your rights to the software are governed by the accompanying software license agreement The owner or authorized user of a valid copy of Final Cut Studio software may reproduce this publication for the purpose of learning to use such software No part of this publication may be reproduced or transmitted for commercial purposes such as selling copies of this publication or for providing paid for support services The Apple logo is a trademark of Apple Inc registered in the U S and other countries Use of the keyboard Apple logo Shift Option K for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws Every effort has been made to ensure that the information in this manual is accurate Apple is not responsible for printing or clerical errors Note Because Apple frequently releases new versions and updates to its system software applications and Internet sites images shown in this manual may be slightly different from what you see on your screen Apple 1 Infinite Loop Cupertino CA 95014 408 996 1010 com Apple the Apple logo Final Cut Final Cut Pro Final Cut Studio FireWire Mac Mac OS Monaco and QuickTime are trademarks of Apple Inc registered in the U S and other countries Cinema Tools Finder and OfflineRT are trademarks of
91. Dialog When exporting a PDF format film list you can control which items appear in the list and their order This allows you to create a film list that includes exactly the information you require To add items to the PDF film list Drag items from the left column to the right column The left column lists all of the possible items that can appear in the PDF film list film list Data Columns Available Columns Included Columns Feet amp frames Fest frames The right column lists Time Footage length i Count Key numbers the items in the order Footage length Camera roll i Time length Scene amp take that they will appear Count length e Key numbers in the PDF film list Ink numbers Source reel Source time Source count Camera roll Lab roll Daily roll Clip name Scene amp take DPX frame Drag and drop columns from the list on the left to the list on the right to include them in the list You can remove a column from the Included list by selecting it and pressing Delete To remove items from the PDF film list Select items in the right column and press Delete To set the order of the items in the PDF film list Drag items up and down in the right column The width of the PDF film list is limited and it is possible to add more items than will actually appear in the list By using the settings in the Layout Options area of the Export Film Lists dialog you can customize the PDF page
92. E File A telecine log sometimes referred to as a FLEx file is a file created by the telecine technician during a telecine transfer You can also use an Avid Log Exchange ALE file as you would use a telecine log The telecine log records the key numbers of the original camera negative and the timecode of the video transfer and tracks the relationship between them Advantages of Using a Telecine Log or ALE File Creating your database from a log is ideal because it provides these advantages Time savings You can create database records from a telecine log You don t have to manually create and enter details in each record You can then generate a batch capture list from the database expediting the capture process Accuracy and completeness Assuming the log you use is accurate you ll instantly have an accurate database and you won t have to worry about your own potential data entry errors Using the database batch capture list also ensures that the source media files you capture match your database information To build a database from an existing log Create a new empty database base for more information See Creating and Configuring a New Da Generate the database records from the log Chapter 4 Creating a Cinema Tools Database 55 See Importing Database Information from a Telecine Log or ALE File for more information If You Do Not Have a Telecine Log or ALE File Although it s faster and more efficient to use a log
93. If any clips have exactly the same information in the Slate column modify the Scene or Take fields in those database records so that they are not the same This helps ensure that none of the clips in the batch capture list have the same name Important In order to make the clip connecting process as automated as possible do not change the filenames that Cinema Tools creates for the source clips when they are captured Using Standard Batch Capture Lists Exporting standard batch capture lists and importing them into Final Cut Pro is a straightforward process To export a standard batch capture list from Cinema Tools Make sure that the List View window displays the database records of the clips you want to capture Chapter 7 Capturing Source Clips and Connecting Them to the Database 111 To display all of the records in the database click Show All in the List View window In the List View window display the database records for which you want to capture clips Important The batch capture list will include only database records that have video reel timecode start and timecode duration values Also any database records that are already connected to a clip do not appear in the batch capture list 2 Choose File gt Export gt Batch Capture 3 In the Export Batch Capture dialog choose what you want to capture then click OK Final Cut Pro Video Choose this option to capture all video and audio contained i
94. LE Scene A54 Reel 1068 wae Take 1A Timecode 08 49 46 00 Notes 76 Chapter 5 Working with Databases To find a key number In the List View window choose Keycode from the pop up menu then click the Keycode column heading to sort by key number See About the List View Window for more details To use the Find command to find records in the open database Open the Find dialog by doing one of the following Choose Database gt Find or press Command F Click the Find button in the List View window Configure the settings and click Find Records See Settings in the Find Dialog for more information Alternatively you can click Show All Records if you want to see all of the database records Settings in the Find Dialog The settings in the Find dialog make it easy to find specific records based on their Scene and Take values The Find dialog contains the following settings Scene and Take The values you enter in the Scene and Take fields depend on what you want to do To find all the records in the open database Leave the Scene and Take fields blank and click Show All Records Chapter 5 Working with Databases 77 To find all the records for a particular scene or shot Enter the identifier for that scene or shot in the Scene field leave the Take field blank then click the Find Records button The Take field is disabled unless you select the Show only exact matches checkbox
95. List View window depending on the the display mode you choose Columns that appear in all display modes The following columns appear in all display modes Slate A combination of the Scene and Take fields separated by a hyphen e Clip The name of the clip connected to each database record Keycode display mode columns The following columns appear in the Keycode display mode Lab Roll The value entered in the Lab Roll field in the Detail View window Cam Roll The value entered in the Cam Roll field Keycode The value entered in the Key field Video display mode columns The following columns appear in the Video display mode Reel The value entered in the Video Reel field Timecode The value entered in the Video Timecode field Sound display mode columns The following columns appear in the Sound display mode Roll The value entered in the Sound Roll field Timecode The value entered in the Sound Timecode field Ink Numbers display mode columns The following columns appear in the Ink Numbers display mode Lab Roll The value entered in the Lab Roll field Chapter 5 Working with Databases 75 Daily Roll The value entered in the Daily Roll field Ink Number The value entered in the Ink field Finding and Opening Database Records You typically open database records in the Detail View window by selecting the record in the List View window The set of records displayed in the List Vi
96. TSC EDL for use with a 24p project you first need to convert the NTSC 29 97 fps EDL to 24 fps or most often to 23 98 fps Note Cinema Tools does not support converting PAL EDLs to 24 fps See Converting NTSC EDLs to 24 fps for more information After you have converted the EDL you can import the 24 fps EDL into Final Cut Pro using the process described in mporting 24 fps EDLs above 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 the offline edit using a 24 fps timebase This allows you to open the project with the online system and maintain all special settings effects and filters elements that are not included in an EDL With online systems other than Final Cut Pro systems you need to provide a 24 fps EDL from the project Cinema Tools provides two tools that make it easier to use Final Cut Pro for 24p offline editing Reverse Telecine and Conform features These features are useful when you have captured downconverted versions of the 24p video and want to convert them back to 24 fps NTSC to 24 fps EDL conversion This is useful when you must edit using an NTSC 29 97 fps timebase but need a 23 98 fps or 24 fps EDL
97. View window you can tell whether a database record is connected to a clip by looking at the button below the clip poster frame The Open Clip button replaces the Connect Clip button if a clip is K already connected to Open clip the record If the button is labeled Open Clip the current database record has a clip connected to it If the button is labeled Connect Clip there is no clip connected to the database record To use the Detail View window to connect a clip to a database record 1 Open the database record in the Detail View window See Finding and Opening Database Records for details 2 Click the Connect Clip button Note If the button is labeled Open Clip the database record already has a clip connected to it If you want to connect a different clip to the record you need to disconnect the current clip first 3 In the dialog that appears select a clip to connect to the current database record When you select the clip three things happen e The clip is connected to the database A poster frame of the first frame of the clip appears in the Detail View window and above the poster frame you see the name of the clip Clip AS4G 1 8 mov The name of the clip appears above the clip poster frame Tip Additionally placing the pointer over the thumbnail display shows a tooltip with the clip s location This can be especially useful if the clip is missing because it lets you know where Cinem
98. _____ PP EEPE EEE EPE EPP PEEP 9 R E L F 14 15 j6 17 i8 P 20 21 22 23 24 1 10 11 13 14 15 16 17 18 19 J 21 22 23 al 25 fps First frame of next second Note Final Cut Pro includes an Easy Setup and sequence preset with 24 25 in their names as well as a timecode format named 24 25 These are all intended to be used with Sui that oe as PAL 25 ee video put have been conformed to 24 fps video See Working with 25 fps Video Conformed to 24 fps for more information 1 2 34 56 78 3 4 5 6 7 8 9 24 amp 1 Method Adding two extra video fields per second also known as the 24 25 pull down method in Final Cut Pro 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 ma One second 1 2 314 5 61 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 24 fps TEEF 11 12 12 13 14 15 16 17 18 19 20 21 22 23 24 25 fps 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 24 p Repeated field Repeated field Working with 24p Video With its frame rate and progressive scanning 24p video is well suited for use with telecine transfers It uses the same frame rate as film providing a one to one relationship between the film and video frames without requir
99. a Tools thinks the clip should be A Clip window opens for the clip If you want a different frame to represent the clip in the database go to that frame then click the Set Poster Frame button See Choosing a Different Poster Frame for a Clip and Settings in the Clip Window for more information 118 Chapter 7 Capturing Source Clips and Connecting Them to the Database Note If you don t want the Clip window to open after you connect a clip press the Command key when you click the Connect Clip button To use the Detail View window to disconnect a captured clip Open the database record in the Detail View window and press the Command key The Open Clip button changes to Disconnect Clip Click Disconnect Clip Note Clicking this button breaks the link between the source clip and the record so that they are no longer connected It does not delete the clip from your hard disk Connecting Clips Using the Clip Window When a clip has not been connected to a database record the Clip window contains a button labeled Enter in Database If a clip is already connected the button is labeled Disconnect Clip The Enter in Database button offers you a way to connect a source clip to an existing database record or create a new database record and connect the clip to it To use the Clip window to connect a source clip to the database Choose File gt Open Clip to open the clip in the Clip window then select the clip in the dialog Click the Ente
100. a higher quality later if needed NTSC transfers When transferring film to NTSC video it is always necessary to run the film 0 1 percent slower than 24 fps 23 976 fps typically referred to as 23 98 fps to compensate for NTSC video s actual frame rate of 29 97 fps instead of an ideal 30 fps Because the film has been slowed down audio too must be slowed to maintain sync PAL transfers PAL transfers using the 24 25 method speeding up the film to 25 fps require that the audio also be sped up if you are syncing the audio during the telecine transfer or if you intend to edit the video at this rate If you are transferring the film to video using the 24 amp 1 method recording an extra video field every twelfth film frame you should run the audio at its normal speed regardless of where sync is established Use 25 fps timecode for the audio in this case Chapter 2 Before You Begin Your Film Project 37 38 Synchronizing in Final Cut Pro If you don t synchronize your sound and picture onto tape via the telecine transfer they are captured into Final Cut Pro as separate audio and video clips You can then synchronize them in Final Cut Pro using the clapper board shots See Synchronization Basics for more information After you synchronize two or more clips you can link them together as one clip using the Final Cut Pro merged clips feature See Synchronizing Separately Captured Audio and Video and the Final Cut Pro documentati
101. a negative Because there is only one negative it is crucial that no mistakes are made at this point As opposed to the cutting and splicing methods used when working with the workprint the cutting and splicing methods used for conforming the negative destroy frames on each end of the edit This makes extending an edit virtually impossible and is one of the reasons you must be absolutely sure of your edit points before beginning the conform process Appendix A Film Background Basics 239 240 Stage 11 Finishing the Audio You usually rough cut the audio while editing the video stage 7 the audio is typically finished while the film is being conformed As mentioned in stage 5 you can use an exported OMF version of the Final Cut Pro edited audio or export an audio EDL and recapture the production audio using the original sound rolls at a DAW Finishing the audio is where you perform the final sound mix including cleaning up dialogue issues and adding sound effects backgrounds and music Stage 12 Creating the Answer and Release Prints After the original camera negative has been conformed and the audio finalized you can have an answer print created This print is used for the final color timing where the color balance and exposure for each shot are adjusted to ensure the shots all work well together You may need to create several answer prints before you are happy with the results Once you are Satisfied with the answer print the fina
102. abase for a set of clips already in a database Chapter 4 Creating a Cinema Tools Database 60 To create a new database using the Synchronize with Cinema Tools command In the Final Cut Pro Browser select the clips that you want to add to a new Cinema Tools database These can be clips that are already in a database or they can be new clips that are not in a database Choose Tools gt Synchronize with Cinema Tools A dialog appears that allows you to configure the synchronization process Synchronize with Cinema Tools Madd new records Auto connect Choose Database Database Massive Project Massive Project Conce OKs The Database field shows the currently selected database Select the Add new records checkbox This option must be selected when you are synchronizing with a new database Select the Auto connect checkbox if you want the database to automatically connect the clips to any new records that are created in the database Click New Database to create a new Cinema Tools database In the dialog that appears enter a name and location for the database and configure its default settings See Settings in the New Database Dialog for information about these settings Create a new Cinema Tools database file Save As 3 Choose the default settings Film Standard 35mm 4p e Video TC Rate 30NDF fis Telecine Speed 24FPS T Audio TC Rates 30NDF T Cancel Save
103. added to a record in Cinema Tools or a record in a telecine log file appear in the Take Note column Showing Film Related Overlays in the Viewer and Canvas You can configure the Viewer and Canvas overlays to show a clip s keycode and ink numbers in addition to the timecode To show film related overlays in the Viewer and Canvas Click in the Viewer or Canvas to make it active Choose View gt Show Overlays or press Option Control W Chapter 9 Editing with Final Cut Pro 3 To configure the overlay choose View gt Timecode Overlays to see a list of items you can display Click an item to either display or hide it Checkmarks appear next to items that are shown Showing Film Based Frame Counts You can set a project s timecode display format to a Feet Frame mode giving film editors a more familiar way to judge project length This setting affects the time display along the top of the Timeline as well as the timecode fields along the top of the Viewer and Canvas To set a project to display the Feet Frame mode 1 Select the project s tab in the Browser 2 Choose Edit gt Project Properties The Project Properties window appears Project Properties for User Manual Time Display Timecode B _ Reset Time Display Default Film Standard 35mm 4p be Time Mode Source Time id F View Native Speed r Comment Column Headings 1 Master Comment 1 Master Comment 2 Master Comment 3 Master Comment 4
104. ake the following changes In the heading section Modify the following three lines a Change lt xsl itext gt Key Prefix lt xsl text gt tab tO lt xsl text gt Ink Prefix lt xsl text gt amp tab Change lt xsl text gt First Key lt xsl text gt amp tab tO lt xsl text gt First Ink lt xsl text gt amp tab a Change lt xsl text gt Last Key lt xsl text gt amp tab tO lt xsl text gt Last Ink lt xsl text gt amp tab If other names better suit your workflow you can enter whatever text you like into the data part of these lines Additionally if you want to leave the original lines as they are and just add new lines for the ink numbers you can do that but keep in mind that this will make the output wider which could make the output file difficult to print if that s your final goal Another option is to change the key number based lines into comments by preceding each line with lt and following each with gt For example lt lt xs1 text gt Key Prefix lt xsl text gt atab gt is treated as a comment and is ignored when the file is used to process the XML film list In the item selection section Modify the following three lines Change lt xsl value of select keyprefix gt amp tab tO lt xsl value of select inkprefix gt amp tab Change lt xsl value of select keynumstart gt amp tab tO lt xsl value of select inknumstart gt amp tab s Change lt xsl value of select keynum
105. ality doesn t matter too much As with film chains you have to create a workprint to project Being able to proof your cut list before the original camera negative is worked on is very important with this type of transfer How Much Should You Transfer Deciding how much of your film to transfer to video depends on a number of issues the biggest one probably being cost The amount of time the telecine operator spends on the transfer determines the cost Whether it is more efficient to transfer entire rolls of film a camera roll transfer including bad takes and scenes that won t be used or to spend time locating specific takes and transferring only the useful ones a scene and take transfer needs to be determined before starting Camera Roll Transfers Cinema Tools uses a database to track the relationship between the film key numbers and the video and audio timecode numbers The database is designed to have a record for each camera take but this is not required If you transfer an entire roll of film continuously to videotape Cinema Tools needs only one record to establish the relationship between the key numbers and the video timecode All edits using any portion of that single large clip can be accurately matched to the original camera negative s key numbers A drawback to this transfer method is the large file sizes especially if significant chunks of footage will not be used Chapter 2 Before You Begin Your Film Project 2
106. although the difference is not large it cannot be ignored when transferring film to video because of its impact on audio synchronization explained in Synchronizing the Audio with the Video Another issue is how to distribute film s 24 fps among NTSC video s 29 97 fps The most common approach to distributing film s 24 fps among NTSC video s 29 97 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 1 second of film end up filling the 30 frames in 1 second of video Note The actual NTSC video frame rate is 29 97 fps The film frame rate is modified to 23 98 fps in order to create the 3 2 pattern a alB Ble clc polo p Field Field Field Field Field Field Field Field Field Field 3 2 Pull Down Before 23 98 fps a e c ola e c o a e c o a e c o a s c o TEREE EEEE After 29 97 fps One second y As shown above the 3 2 pattern actually a 2 3 2 3 pattern because frame A is recorded to two fields followed by frame B recorded to three fields repeats after four film frames Virtually all high end commercials movies and non live television shows use this process prior to being broadcast Chapter 2 Before You Begin Your Film Project 29 Note that there is not a one to one correspondence between film frames and video frames after this pull down occurs The d
107. ame and interlaced offline edit The creative edit where edit decisions are made When the offline edit is finished the material is often recaptured at high seed oran EDL i is generated for re creating the edit on another system See also Edit Decision List EDL OMF Abbreviation for Open Media Format A media interchange format supported by many Digital Audio Workstations DAWs that allows all of the audio and edit points in an audio sequence to be exported as a self contained file OMF files are often given to an audio post production facility finished there and then used as the final audio in a feature online edit The final editing process where all the decisions made in the offline edit are applied to the original camera negative or full resolution video reels 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 opticals Effects Pania by an optical printer including transitions and superimposed titles See also optical printer Glossary original camera negative Also known as OCN The negatives from the film shoot the original source film
108. ame of the Cinema Tools program file just opened This is used only when exporting an audio EDL directly from Cinema Tools See Using the Export Audio EDL Feature from Cinema Tools for more information e Audio Tracks The number of audio tracks used in the edit Project name The name of the Final Cut Pro sequence on which the file is based Project timebase The frame rate of the sequence in the Timeline Start time The sequence start time as assigned in the Final Cut Pro Audio Video Settings window EDL Title The name of the EDL By default it is the same as the project name from the sequence EDL start time and timecode format The start time for the EDL and the timecode format to be used By default the start time is the same as the start time from the sequence This should not be changed unless your audio post production facility has a specific requirement Chapter 11 Export Considerations and Creating Audio EDLs Audio Mapping Use these pop up menus to assign each of the eight possible sequence audio tracks to the four audio EDL tracks the maximum supported by audio EDLs See Audio Track Usage for details about configuring these settings Taam E Track or i Track AZ Track OF Taas or Tazo Track 4 1 OFF Tracke or _ M include clip comments Mi include scene and take comments C Open in text editor TextEdit C cane J Include clip comments When this option is selected
109. amera roll from which a source clip came be aware that there are a couple of important things you need to do after you break down source clips Create a new database record for the new source clip that is created when you break down a clip and make sure the new source clip is connected to the database record Update the clip s database record so that the edge code number information is correct for the clip s new first frame This is necessary only if you delete material from the beginning of a clip Note See Is Your Edge Code Number to Timecode Relationship Continuous or Noncontinuous for more information There are a variety of ways to break down source clips before editing An easy way to break source clip files into smaller source clips is to use Final Cut Pro First make one or more subclips from the clip in the Browser You can then use the Media Manager to delete any part of the clip that you did not select as a subclip See the section about creating and working with subclips in the Final Cut Pro documentation for more information Another way to select and save portions of a clip is to use QuickTime Pro If you use QuickTime Pro for this purpose make sure to choose Make movie self contained in the Save as dialog See The Difference Between Self Contained and Reference Media Files for more information If you are using hole punched or otherwise marked frames rather than window burn to identify the key
110. ange Open Clip to Disconnect Clip Click Disconnect Clip to disconnect the clip from the database record About the List View Window The List View window displays a list of database records in the open database It might show a complete list of all database records or if you use the Find feature it might show only those records that are found the found set The List View and Detail View windows appear whenever you open a database To view the List View window Do one of the following Choose Window gt List View or press Command 1 Drag the Detail View window to a different screen position Click the List View window to bring it to the front Chapter 5 Working with Databases 73 74 The Show All and Find buttons allow you quickly either to show all of the records in the open database click Show All or to show a specific set of records by using the Find dialog click Find See Finding and Opening Database Records for information about using the Find button The pop up menu at the top left corner of the window lets you choose the display mode determining the type of information that appears See Settings in the List View Window for details about the different display modes and how to use the columns to select records to work with By default the columns in the List View window are sorted by the Slate value in ascending order You can sort the data based on any displayed column by clicking the column
111. annot include a cut list or any of the other film lists that you can export using the Export Film Lists dialog you can only export lists and information specific to change lists See About Exporting Change Lists for information about how the change list export process differs between Final Cut Pro and Cinema Tools To open the Export Change List dialog in Cinema Tools Choose File gt Export gt Change List et List Choose two different Final Cut Pro XML or Cinema Tools program files Original Media Massive Project ProjectFiles MassiveSequenc New Media Massive Project ProjectFiles MassiveSequenc Choose the format for the exported list Uist Format Syte Shee cance continues In the dialog that appears choose the original and new program or XML files to be compared You can use a mix of program and XML files if necessary Choose the output format of the change list from the List Format pop up menu The choices include PDF XML and With Style Sheet See About PDF Format Film Lists About XML Format Film Lists and About Style Sheet Based Film Lists for information about these formats If you chose With Style Sheet from the List Format pop up menu choose a style sheet from the Style Sheet pop up menu Click Continue Configure the settings in the Export Change List dialog that appears then click Export Note The settings in the dialog change based on the output format you chose from the List Format pop
112. anslates well to film providing an easy high quality method of originating and editing on video and finishing on film is needed 24p video provides all this It uses the same 24 fps rate as film making it possible to take advantage of existing conversion schemes to create NTSC and PAL versions of your project It uses progressive scanning to create an output well suited to being projected on large screens and converted to film Additionally 24p video makes it possible to produce high quality 24 fps telecine transfers from film These are very useful when you intend to broadcast the final product in multiple standards Chapter 1 An Overview of Using Cinema Tools Working with 24p Sources With the emergence of 24p HD video recorders there is a growing need for Final Cut Pro to support several aspects of editing at 24 fps in some cases actually 23 98 fps To this end Final Cut Pro and Cinema Tools provide the following The import and export of 24 fps and 23 98 fps EDLs The ability to convert NTSC 29 97 fps EDLs to 23 98 fps or 24 fps EDLs A Reverse Telecine feature to undo the 3 2 pull down used when 24 fps film or video is converted to NTSC s 29 97 fps The ability to remove 2 3 3 2 or 2 3 2 3 pull down from NTSC media files so you can edit at 24 fps or 23 98 fps The ability to output 23 98 fps video via FireWire at the NTSC standard of 29 97 fps video The ability to match the edits of videotape audio with the original
113. apter 9 Editing with Final Cut Pro 157 158 If you are editing your project as multiple sequences for example one sequence for each reel it s best to place all the sequences together before exporting a duplicate list This way Cinema Tools can find duplicate usages across the entire feature An easy approach is to place all the sequences into a nested sequence before generating a duplicate list However when you intend to export a film list do not nest part of one sequence into another sequence Only whole sequence nesting is supported when you export a Cinema Tools list See the Final Cut Pro documentation for information about creating a nested sequence Ensuring Cut List Accuracy with 3 2 Pull Down or 24 amp 1 Video With 3 2 pull down NTSC video or 24 amp 1 PAL video also known as 24 25 pull down video in Final Cut Pro 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 See Frame Rate Basics for an explanation With 3 2 pull down NTSC video you can avoid such match back inaccuracies by using the Cinema Tools Reverse Telecine feature or third party reverse telecine hardware to reverse the 3 2 telecine pull down before you begin editing If you did not reverse the 3 2 pull down in NTSC video or if you are working with 24 amp 1 PAL video you can still avoid cut list inaccuracies through careful editing Your goal for each clip is to make sure that
114. as an XML representation of the database for those records Your facility may find additional uses for these lists beyond capturing clips Chapter 7 Capturing Source Clips and Connecting Them to the Database 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 identifiers 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 For example a clip from reel 001 that begins at timecode value 01 35 30 15 would be named 001 01 35 30 15 When naming the clips Cinema Tools makes sure that none of the clips have the same name For example clips from different cameras may have had the same scene and take identifiers When this happens the clip names are distinguished by adding the roll or reel identifiers to clips after the first one For example the clips for scene 4 take 4 in roll 1A and roll 1B would be named 4 4 and 4 4B respectively If there were no roll or reel identifiers found those clips would be named 4 4 and 4 4_ 1 Note Before exporting a batch capture list from Cinema Tools it s best to sort by Slate in the List View window to see if any clips have the same Slate column descriptions
115. ase of a clip Cinema Tools lets you select the frame rate you want to conform a clip to Chapter 1 An Overview of Using Cinema Tools 19 20 In order to understand the Conform feature you need to know a bit about the nature of QuickTime video files Each video frame within a QuickTime file has a duration setting that defines the length of time that a particular frame is displayed normal NTSC or PAL based QuickTime video has the same duration assigned to all frames For example the NTSC video rate has a value of 1 30 of asecond actually 1 29 97 of a second assigned to each frame The PAL video rate is 1 25 of a second Occasionally captured video clips have some frames whose durations are set to slightly different values Although the differences are not visible when playing the clip they can cause problems when Cinema Tools creates the cut list or when you use the Reverse Telecine feature In these cases you can conform the clip to its current frame rate There are also times when you may want to change the frame rate of a clip If you transferred 24 fps film to video by speeding it up either to 29 97 fps for NTSC or to 25 fps for PAL in each case ensuring a one to one relationship between the film and video frames the action during playback will be faster than in the original film and the audio will need to have its playback speed adjusted to compensate You can use the Conform feature to change the clip s frame rate to 24 fps
116. ase from your Final Cut Pro batch capture list However this is not ideal because you lose some of the advantages of building your database from a telecine log or Avid Log Exchange ALE file Most importantly the key number and camera roll information is not added to each database record so you have to enter that information manually See Importing Database Information from a Batch e List for more information About Standard and XML Batch Capture List Differences You have the option with Cinema Tools of creating either a standard or XML based batch capture list In both cases you can choose whether to include all records in the found set or just those records that have valid video reel timecode start and timecode duration values and are not already connected to a clip Standard batch capture lists These are plain text files that contain reel clip name based on the shot and take fields comment and timecode information You choose whether to output a video or audio list XML batch capture lists These lists contain the same information as the standard lists including both the audio and video information plus all of the film information such as edge code values film type and telecine speed This additional information is added to each clip s entry in the Final Cut Pro Browser where it can be displayed Tip When set to include all records in the current found set exported XML batch capture lists can actually be thought of
117. at can be exactly repeated if necessary You can even set up a batch capture that automates the process freeing you to do other tasks Capturing without device control presents several challenges Clips that are captured manually do not have precise start and end times If you intend to match start and end times from a telecine log you must trim the clips after capturing them Additionally without device control a clip s timecode does not match the timecode on the tape Final Cut Pro has a provision for changing a clip s timecode but in order for that timecode to match the source tape you must have a visual reference a hole punched or marked frame with a known timecode value For more information about device control see the Final Cut Pro documentation 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 requires only a single database record showing the relationship between the two If Final Cut Pro has device control of your source deck the best method for capturing the desired takes is to use the Final Cut Pro Log and Capture window and enter the In and Out points and reel number for each You can then use batch capture to finish the process It s not necessary to create a database record for each clip as long as you do not change the timecode Without
118. at you access from within Final Cut Pro contains the same settings as the Export Film Lists dialog described in Settings the Export Dialogs Have in Common and if you chose PDF from the List Format pop up menu the same PDF column options described in PDF Configuration Settings in the Export Film Lists Dialog with the exceptions and additions described below The Export Change List dialog contains these settings that are either not available in the Export Film Lists dialog or are used differently e Transitions The best choice for handling transitions when you export a change list is All are cuts in which transitions are represented by a cut in the middle of the transition regardless of whether or not the transitions are of standard length Cinema Tools inserts notes in the cut list exported with the change list to indicate where the start and end of the transition should be for both the outgoing and incoming clips These notes can be used as a guide in marking the transitions on the conformed workprint See Settings the Export Dialogs Have in Common for information about the other settings Change List Options The following options control what is included in change lists e Pull List Select to include a change pull list which lists any film that needs to be newly added to the workprint Discard List Select to include a discard list which lists only clips that need to be removed from the workprint Show only changes
119. atabase renaming the clips causes them to be disconnected As long as the clips still have the same reel number and timecode information you can use the Connect Clips command to reconnect the records to the renamed clips fsome clips have been updated and put in a different folder If you have created different versions of some connected clips for example versions that have been color corrected or recaptured using a different codec and have put the new clips in a separate folder you can use the Connect Clips command to connect records to those new clips Important Records connected to DPX image sequence clips use the folder name that contains the image sequence files as the reel name and the name of the first image as the clip name If you change the name of the folder that contains the image sequence files you have effectively changed the clip s reel name and you cannot use Connect Clips to reconnect to the DPX image sequence clip The Connect Clips command uses a record s video reel and timecode values when trying to connect records in the found set to clips in the selected folder and its subfolders You also need to keep the following in mind when using the Connect Clips command Only records with video reel and timecode entries can be connected to a clip Chapter 7 Capturing Source Clips and Connecting Them to the Database e Ifa record in the found set matches a clip in the selected folder the record is connected to that
120. attern to record to an NTSC device such as an SD television an MPEG 2 encoding device or a high end finishing system ld Field Field Field Field Field Field Field Field i alaiealaealla ia 3 2 Pull Down Before 23 98 fps j pojaales After 29 97 fps e One second 2 3 3 2 Pull Down Another type of pull down you can use is 2 3 3 2 pull down 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 for details about this pattern and the advantages it provides Although 3 2 pull down is the conventionally supported pattern for NTSC devices you may want to use 2 3 3 2 pull down to output video that you can record to tape and yet later convert back to 23 98 fps with the advantages of 2 3 3 2 removal the ability to remove the pull down without the recompression and re creation of any frames Chapter 13 Working with 24p Video and 24 fps EDLs 225 226 2 2 2 4 Pull Down The 2 2 2 4 pull down pattern is not typically supported for recording devices or cameras but because it requires the least amount of processing power it s a good choice if you are editing 23 98 fps video and want to preview it with as many real time effects as possible on an NTSC monitor This pattern is also useful if you need to output video for
121. base this field is required if you intend to create a cut list or change list or audio EDL Enter the timecode duration of the source clip The value for this field can come from a telecine log If you connect a clip to a database record that does not yet contain the clip timecode duration Cinema Tools looks for this information in the clip file and automatically enters it in the database record Because duration is expressed as hours minutes seconds and frames you might find it more informative than the length of the film expressed as feet and frames The timecode duration is significant if you intend to perform a batch capture or if you will be creating a cut list or change list by matching the edited program back to the video reel and timecode Video TC Rate pop up menu This pop up menu displays the default video timecode rate that you chose when you created the database or the format that was indicated by the telecine log you imported to create the database The lab that transfers your film to video can tell you which kind of video timecode is recorded on the videotape See Settings in the New Database Dialog for more information Sound Settings The following settings relate specifically to the audio clips Sound Roll field Required if you intend to create an audio EDL Enter the sound roll name Sound Timecode field Required if you intend to create an audio EDL Enter the starting audio timecode number for the clip The au
122. base records by using either the Detail View window or the Clip window These two methods are equally easy and accessible so the one you choose may depend on which window happens to be open The Clip window is most convenient if you re interested in selecting a new poster frame for each clip as you go or if you want to use the Conform or Reverse Telecine feature on each clip immediately after you connect it to the database Keep in mind these basic rules for connecting clips Each database record can have a maximum of one clip connected to it and each clip can be connected to a maximum of one database record in the same database In other words you can t have two clips connected to one database record and you can t have one clip connected to two different records in the same database However a clip can be connected to records in multiple databases For example you could have a clip connected to a record in a master database and to a record in a second smaller database that represent an edited sequence See Synchronizing a Set of Selected Clips to Create a New Database for more information Also a database record does not have to have a clip connected to it You can connect source clips to database records any time between the time you capture the clips and the time you export lists If you are working with camera roll transfer video that has a continuous key number to timecode relationship you can use the timecode based method o
123. ber in a smaller font 3 Perf 35mm Offsets Because the 3 perf 35mm format does not have a whole number of frames between each key number an additional perforation offset number is added to the end of the key number This number indicates the relationship of the perforation marked with a and the frame at that position gt gt a BEE ERE 29 1234 5678 Offset 1 i L Offset 3 Offset 2 Appendix A Film Background Basics Ink Numbers Ink numbers frequently used for workprints are another method of encoding the edge of film in order to track feet and frames Ink numbers are added to workprints and corresponding magnetic stripe film soundtracks called mag tracks after the workprint and the mag track have been synchronized On transferred workprints ink numbers are easier to read than key numbers and they provide a counting mechanism that is synchronized for both the soundtrack and the workprint Ink numbers are sometimes called Acmade numbers because Acmade makes a machine that is used to print ink numbers Machines that print ink numbers are commonly rented or owned and run by film crews The typical style of ink numbering is a three digit prefix followed by a character or space followed by four digits representing the footage number followed by digits representing the frame offset For example in ink number 123 4567 08 123 is the prefix and 4567 08 is the frame number indicating that the frame o
124. ble with the facility s equipment Note Make sure to consult with the facility and make this determination before the shoot begins In general if you are syncing the audio during the telecine transfer the timecode should match the video standard 29 97 fps for NTSC 25 fps for PAL or 24 fps for 24p Check with your sound editor before you shoot to make sure the editor is comfortable with your choice Mixing the Final Audio The way you mix the final audio depends on how complicated the soundtrack is multiple tracks sound effects and overdubbing all add to its complexity and your budget You can either finish the audio with Final Cut Pro or have it finished at a post production facility Finishing the Audio with Final Cut Pro If you capture high quality audio clips you can finish the audio for your project with Final Cut Pro which includes sophisticated audio editing tools Keep in mind however that good audio is crucial to a good film and a decision not to put your audio in the hands of an audio post production facility familiar with the issues of creating audio for film might lead to disappointing results Chapter 2 Before You Begin Your Film Project 35 36 You can export the audio from Final Cut Pro as an Open Media Framework OMF file for use at an audio post production facility An exported OMF file contains not only the information about audio In and Out points but also the audio itself This means that for example a
125. bsites For software updates and answers to the most frequently asked questions for all Apple products go to the general Apple Support webpage You ll also have access to product specifications reference documentation and Apple and third party product technical articles e http www apple com support For software updates documentation discussion forums and answers to the most frequently asked questions for Cinema Tools go to http www apple com support cinematools For discussion forums for all Apple products from around the world where you can search for an answer post your question or answer other users questions go to e http discussions apple com Preface Welcome to Cinema Tools An Overview of Using 1 Cinema Tools Cinema Tools combined with Final Cut Pro gives unprecedented power to film digital intermediate and 24p video editors This chapter covers the following Editing Film Digitally p 9 Why 24p Video p 12 Working with 24p Sources p 13 Offline and Online Editing p 13 Creating the Cinema Tools Database p 14 Capturing the Source Clips with Final Cut Pro p 16 Preparing the Clips for Editing p 19 Creating Cut Lists and Other Lists with Cinema Tools p 20 How Much Can Be Done from Final Cut Pro p 21 Editing Film Digitally Computer technology is changing the film creation process Most feature length films are now edited digitally using sophisticated and expensi
126. by two frames each minute except those minutes ending in 0 Note that it is only the numbers that are skipped not the actual video frames This correction makes the timecode accurate with respect to real time but adds confusion to the process of digital film editing With non drop frame timecode once you find an A frame you know that the frame at that frame number and the one five away from it will always be A frames For example if you find an A frame at 1 23 14 15 you know that all frames ending in 5 and 0 will be A frames With drop frame timecode you are not able to easily establish this sort of relationship Note It is standard practice to have A frames at non drop frame timecode numbers ending in 5 and 0 It is highly recommended that you use non drop frame timecode for both the video and audio in all film editing projects even though both Cinema Tools and Final Cut Pro are able to use either type Whichever you use make sure to use the same for both the video and audio tapes Note PAL timecode does not have this issue it runs at a true 25 fps What Happens to the Timecode After Using Reverse Telecine The Reverse Telecine feature used to change 29 97 fps video to 23 98 fps video directly affects the timecode of the video frames Because Cinema Tools must generate new 23 98 fps timecode for the frames based on the original timecode you may see a difference between the burned in timecode n
127. can be tracked back to the original film frames Otherwise you must manually verify that the correct frames were used to create the effects which can be time consuming You need to create temporary versions of the effects to use in your offline edit of the program In some cases the visual effects facility may provide these If so make sure the facility knows which codec to use and your sequence settings so that the clips will not have to be reencoded or rendered These temporary versions of the effects clips also need to have the same timecode as the original video clips Chapter 9 Editing with Final Cut Pro The effects clips are often not tracked by the Cinema Tools database Including Titles Supers and Transitions in a Film Workflow The following workflow shows you how effects supers superimposed images or frames 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 Important With the fast changing diverse nature of the industry your best workflow option may be different from the workflow described here Make sure you consult your lab for the most accurate instructions and options for your unique situation Stage 1 Confirming Support and Needs with the Lab Depending on your budget before you edit you should check with the lab the optical hous
128. can help you determine the correct timecode or edge code number for the first frame of a clip See Using the Identify Feature to Calculate Database Information for details Click Save Until you save data in the Detail View window is not entered in the database You can choose Database gt Revert Record or press Command R to revert to the last saved version of the record Using the Identify Feature to Calculate Database Information You can use the Clip window s Identify feature to determine the key number ink number or timecode values for clips in the database The database requires these values for the first frame of the clip but you might not have them if you aren t creating database records from a telecine log or if your clips lack window burn Note the following requirements for using the Identify feature to determine or verify edge code or timecode values You need to know a key number ink number or timecode value for at least one frame in the clip The clip needs to have a database record The key number to timecode relationship must be continuous See Is Your Edge Code Number to Timecode Relationship Continuous or Noncontinuous for more information Keep in mind that with the Identify feature the Key Ink Video Timecode and Sound Timecode fields should always reflect the values of the frame currently displayed in the Clip window whereas in the Detail View window these fields are associated with the first frame o
129. capture clips Process clips if needed Cinema Tools Reverse telecine does the processing Conform 25 24 Synchronize captured clips The clips are connected to with Cinema Tools database the Cinema Tools database Edit clips Cinema Tools creates the lists Export lists In this workflow you can focus on using Final Cut Pro and Cinema Tools performs tasks in the background as needed You must use Cinema Tools manually if you want to add information to the database beyond what the telecine log provided or if you have a unique issue with reverse telecine and need to configure its settings Chapter 1 An Overview of Using Cinema Tools Before You Begin Your Film Project 2 Start planning your project early to ensure its success This chapter covers the following An Introduction to Film Projects p 23 Before You Shoot Your Film p 24 Which Film to Use p 24 Transferring Film to Video p 25 Frame Rate Basics p 28 Audio Considerations p 34 Working in Final Cut Pro p 38 An Introduction to Film Projects 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 This chapter provides basic information about many of the issues you will
130. ccurs at 4567 feet and 8 frames The ink numbers encoded on the film do not actually include the last part the frame offset number Rather the frame offset is calculated by the telecine and appears in the telecine log The prefix may contain fewer or more than three digits and the numbering technique for the prefix is usually determined by an editing assistant For example the numbering could be associated with the scene number as in 042 for the footage in scene 42 Or the prefixes might represent daily roll numbers Window Burn As part of the telecine transfer process described in Transferring Film to Video 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 a 08 40 56 03 KK061997 6063 12A It is much easier to use Cinema Tools if you can see the key numbers You can use Cinema Tools without the window burn but it requires more effort on your part to ensure that edits are being tracked properly Appendix A Film Background Basics 233 234 Note After you have captured your video but before you start editing check the burned in key numbers and timecode to make sure they match the actual ones on the film and videotape There are a variety of reasons why the window burn values might not be correct ranging from incorrectly entered values to faulty automatic detection Any errors at this
131. clip even if the record already had a connected clip This is useful when you have moved a set of clips to a new location and want to reconnect them to their records Any records that do not match clips in the selected folder are not modified if a record is already connected to a clip in a different folder it remains connected to that clip if no matching clip is found in the selected folder To use the Connect Clips command to connect clips to the database Make sure that the List View window displays the records to which you want to connect clips To display all of the records in the database click Show All in the List View window In the List View window display the database records to which you want to connect clips Choose Database gt Connect Clips In the dialog that appears navigate to the folder where the clips are located All clips in the folder and its subfolders are available for Cinema Tools to connect to Click Open For every database record Cinema Tools looks in the selected folder and its subfolders for a clip with a matching video reel and timecode value Each time Cinema Tools finds a matching clip it connects the clip to the correct database record Additionally poster frames are automatically created for each record that gets a clip connected Chapter 7 Capturing Source Clips and Connecting Them to the Database 117 Connecting Clips Using the Detail View Window In the Detail
132. clips that use the 3 perf 35mm standard you choose the perforation offset of the key number This offset 3 perf 1 3 perf 2 or 3 perf 3 refers to the relationship of the slay marked with the symbol and the film frame at that point See 3 Peri 35mm Offsets for more information Note Reverse direction 3 perf 35mm film is not supported Chapter 5 Working with Databases Video Settings The following settings relate specifically to the video clips Video Reel 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 identifier of the video reel that contains this take This field is essential for creating an accurate cut list or change list When you connect a clip to a database record that does not yet contain the reel identifier Cinema Tools looks for this information in the clip file and automatically enters it in the database record Make sure you enter the exact correct identifier here so that the database record can be properly matched to the shot after you digitally edit your program For example 001 is not the same as 0001 Important When connecting DPX image sequences to a database Cinema Tools uses the name of the folder containing the DPX image sequence files as the video reel name This folder name should not be changed during a DI project Video Timecode field Unless all the clips yo
133. ct ratio so that there is enough room below the video to show the numbers Flash the burn in information on the first frame only Although not quite as useful as a continuous burn in this does provide the editor with the ability to ensure that the relationship of the edge code to the timecode is correct In most cases telecines produce a log file that can provide the basis for the Cinema Tools database This allows you to automate capturing the video into the computer Increasingly telecine facilities can also capture the video clips for you providing the clips ona DVD disc or FireWire drive along with the telecine log and videotapes 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 You should avoid using a film chain if at all possible Film chains are relatively old technology as compared to telecines A film chain is basically a film projector linked to a video camera Film chains typically do not support features such as reading the key numbers or controlling video recorders and they cannot create a positive video from a film negative You must create a workprint to use a film chain Using a film chain is usually less expensive than using a telecine although the cost of creating a workprint partly offsets the lower cost The biggest challenge is being able to define the relationship between the film s key n
134. cuts from the Transitions pop up menu to export a film list for a contact printing quote Note See An Introduction to Film Lists and Change Lists for details about the Export Film Lists dialog List Title Sequence 1 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 unmas enna Settings Film Standard 35mm 4p _ 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 Chapter 9 Editing with Final Cut Pro To export a film list supporting both contact and optical printing In the Export Film Lists dialog choose Std are cuts from the Transitions pop up menu Us Tie seguens Cut Handles v frame See Exporting Film Lists Using Final Cut Pro for more information about generating a film list Tracking Duplicate Uses of Source Material Cinema Tools makes it possible to track multiple uses of the same source material in your edited sequence There are two basic reasons to do this Ifyou want to use the same source material more than once in your project You can export a dupl
135. d and then rethreaded When the film is rethreaded it may be on a different perforation number This means that at the telecine the telecine technician needs to stop reframe and make an edit thus breaking the edge code number to timecode relationship in the camera roll This should be evident in the telecine log Chapter 4 Creating a Cinema Tools Database 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 If the Edge Code Number to Timecode Relationship Is Continuous on Each Roll You can create one database record per camera roll and Cinema Tools can use the timecode based method of locating database records in order to create film lists In this case each camera roll acts as one source clip As long as you create an accurate database record for the camera roll Cinema Tools will be able to accurately create film lists However if you also connect the source clips to the database records you are providing extra insurance that the match back will go smoothly even if there is a timecode error See Timecode Based Workflow for a Camera Roll Transfer and How Cinema Tools Creates Film Lists for more information Even if you have a continuous edge code number to ti
136. d by a very small percentage so that it is in sync with 24 fps instead of 23 98 fps Leave the Standard Upper Lower checkbox selected Chapter 8 Preparing the Source Clips for Editing 138 The Standard Upper Lower checkbox should be selected unless you find that the batch reverse telecine process does not produce the correct results See Checking Your Reverse Telecine Results for more information To save the original clips in a separate folder leave the Keep Originals checkbox selected If you don t want to save the original clips deselect it When you deselect the checkbox the original clips are deleted as each new clip is created Important You cannot undo a reverse telecine operation If you do not save the original clips and later find out that one of the settings was incorrect you will need to recapture the clips to correct the setting and perform reverse telecine on the clips a second time Click OK to start the batch reverse telecine process After the process is complete the following occur For each clip in the folder a new clip with the same name is created and placed in a Cinema Tools created subfolder named Reversed If you selected Keep Originals the original files are placed in a Cinema Tools created subfolder named Originals If Cinema Tools is unable to complete the reverse telecine process for a clip that clip is moved into a Cinema Tools created subfolder named Skipped A clip is not processed i
137. d has its own film format setting 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 point timecode values You also need to make decisions regarding film and video frame rates used during the transfer These affect the editing timebase and impact the accuracy of the cut list that Cinema Tools generates Telecines By far the most common method of transferring film to video is to use a telecine Telecines are devices that scan each film frame onto a charge coupled device CCD to convert the film frames to video frames Although a telecine provides an excellent picture for the purposes of Cinema Tools the more important benefit is that it results in a locked relationship between the film and video with no drifting between them Telecines are typically gentler on the film and offer sophisticated color correction and aparana control as compared to film chains described in Transfer Techniques That Are Nc mended Another advantage is that telecines can create video from the Siaina camera ngoniie most other methods require you to create a film positive workprint first Although fro
138. d separately from the picture with a separate sound recorder This is referred to as using dual system sound This audio is often simultaneously recorded onto the videotape of the 24p VTR making it easy to later capture both the video and audio with the audio already synced to the video for the edit Production 24p video Online video 24p editor Final Cut Pro with Synchronized Cinema Tools video 5 E Video Production Offline edit EDL export Final edited audio mixer master Synchronized audio Database for audio EDL export Audio recorder Original production audio porkina In most cases once you have finished editing you will want to recapture the audio from the original production sound rolls and finish it at an audio post production facility The difficulty is that the EDL from Final Cut Pro does not know the roll numbers and audio timecode of the original production sound rolls it only has the videotape information Because the production sound recorder is started and stopped independently of the VTR its timecode will not match the VTR s Using its database feature Cinema Tools can match the edits using the videotape audio with the original production sound rolls and generate an audio EDL that can then be used to recapture and finish the audio You must create a Cinema Tools database before you can use this feature See Creating and Configuring a New Database for details about creating a database and Exportin
139. dditional Resources p 8 About Cinema Tools In today s post production 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 For editors and filmmakers who specifically want to shoot and finish on film or use a digital intermediate workflow Cinema Tools becomes an essential part of the post production process when editing with Final Cut Pro For example when working with film you need to be able to track the relationship between the original film frames and their video counterparts Cinema Tools includes a sophisticated database feature that tracks this relationship regardless of the video standard you use ensuring that the film can be conformed to match your Final Cut Pro edits Cinema Tools also provides the ability to convert captured video clips to 24 frame per second fps video For NTSC this includes a Reverse Telecine feature that removes the extra frames added during the 3 2 pull down process commonly used when transferring film to video or when downconverting 24p video Cinema Tools in combination with Final Cut Pro provides tools designed to make editing film digitally using digital intermediate processes involving Color and working with 24p video easier and more cost effective providing functionality previously fou
140. dialog if it appears The Welcome dialog generally appears only the first time you open Cinema Tools Welcome Welcome to Cinema Tools The Film Manager for Final Cut Studio Where would you like to start o Create a New Database Create and configure a new empty film database o Open Existing Database Open an existing film database o View Documentation Access comprehensive information about Cinema Tools After that Cinema Tools opens the database that was open the last time you closed Cinema Tools If there was no database open when you closed Cinema Tools the Welcome dialog appears again Choose Database gt New Database or press Command Shift N Chapter 4 Creating a Cinema Tools Database Drag one or more folders with clips from a Finder window to the Cinema Tools application icon Note If you drag a mixture of selected clips and folders to the application icon a dialog appears advising you not to mix the two types of items Dragging selected clips to the application icon does not create a new database but opens the clips in the Clip window instead 2 In the New Database dialog choose default settings for your database and click OK See Settings in the New Database Dialog for information about the settings New Database Choose the default database settings fm standard 35mm 4 Video Tc ate Goror Sound T rate onor Telecine soe a Coane G Note
141. dio timecode standard can be different from the video timecode standard Sound TC Rate field Required if you intend to create an audio EDL Enter the type of timecode used on your production sound rolls Clip Button and Settings The following apply specifically to the clip linked to this record Take Notes field Enter any notes you want to include about the source clip Clip thumbnail The thumbnail display shows the poster frame of the connected clip Additionally placing the pointer over the thumbnail display shows a tooltip with the clip s location This can be especially useful if the clip is missing because it lets you know where Cinema Tools thinks the clip should be Clip AS4G 1 8 mov Chapter 5 Working with Databases See Choosing a Different Poster Frame for a Clip for more information about the poster frame 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 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 Click Open Clip to open a Clip window for the connected clip If the related clip is not found a dialog opens so that you can select the correct clip Press the Command key to ch
142. e Following are some tips for using reverse telecine e Reverse telecine works best if the captured video does not have any dropped frames If you attempt to use the Reverse Telecine feature on a clip that has dropped frames a warning appears See Avoiding Dropped Frames for more information e Ifyou have to reverse the pull down for several clips you might want to use the Batch Reverse Telecine feature instead because it allows several clips to be processed at once See Using Batch Reverse Telecine for more information e Reversing the 3 2 pull down with software is a time consuming process you ll need to allow waiting time while your computer does its work Hardware reverse telecine performed by a third party capture card while the video is captured into your computer is a speedier option 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 Look at the key number and timecode window burn on the video frames to determine the frame sequence and verify whether the video has one or two fields The key number window burn usually includes the A B C and D frame type indicators Also the timecode often has the number 1
143. e T068 Timecode 08405603 ii i 08 40 56 03 KK061997 Click the Set Poster Frame You can drag the button to have the playhead to locate and current frame appear as display the frame you the thumbnail image in want to use as the clip the Detail View window poster frame Click Set Poster Frame when the clip playback area displays the frame you want to use The new poster frame appears in the Detail View window of the clip Note Regardless of the poster frame you set the Clip window always opens to the first frame of the clip Changing the Default Database Settings Although you cannot directly change a database s default settings you can get the same effect by creating a new database with the proper settings and importing the original database into it Chapter 6 Entering and Modifying Database Information 99 To change the default settings for a database 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 for more information 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 For example you might need to change a reel identifier that is not EDL compatible to one that is EDL compatible Or you might need to change the reel or roll identifier in a database to match identifiers that are actually used in a
144. e you might see error messages about these files in the cut list The most likely reason for this problem is that there is not enough disk space available on the storage volume Make sure the storage volume has disk space available Contacting AppleCare Support Included in your Final Cut Studio 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 when you contact Apple for support The more of this information you have ready to give to the support agents the faster they will be able to address your issue The Support ID number found on the back of the Installing Your Software booklet that came with Final Cut Studio Note The 11 digit Support ID number is different from the product serial number used to install Final Cut Studio The version of Mac OS X you have installed To find the version of Mac OS X choose Apple menu gt About This Mac Appendix C Solving Problems 247 The version of Cinema Tools you have installed including updates if applicable To find the version of Cinema Tools choose Cinema Tools gt About Cinema Tools The model of computer you are using The amount of RAM installed in your computer and how much is available to Cinema Tools To find out how much RAM is installed choose Apple menu gt About This Mac e What ot
145. e Editing 24p Video with Final Cut Pro for more information Creating the Cinema Tools Database There are a number of issues to take into account when you create your database How the Database Works The database can contain one record or thousands of records depending on how you decide to use Cinema Tools These records are matched to the edits made in Final Cut Pro so that the cut list can be created To be valid in a film workflow a record must have values for the camera daily or lab roll as well as the edge code key numbers or ink numbers In addition the record must either have a clip connected to it or have video reel and video timecode In point and duration values 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 media file used in the edit If a record is found Cinema Tools then locates the file adds a note to the cut list and moves on to the next edit If no record is found using an edit s media file or the file is not located Cinema Tools looks at the video reel number to see if any of its records have the same number 001 is not the same as 0001 If so it then looks to see if the edit s In and Out points fall within the range of one of the records If this condition is also m
146. e are other potentially significant differences discussed in About Exporting Change Lists To export a change list from Final Cut Pro You select the first version s XML file Final Cut Pro assumes you want to compare this with the current sequence so the second XML file is not used and choose the type of list to export PDF format XML format or style sheet based Toexporta change list from Cinema Tools You simply select the two XML files to compare and choose the type of list to export PDF format XML format or style sheet based Stage 6 Using the Change List How you use the change list depends on the style of change list you chose to output PDF based XML based or a custom output based on a style sheet and who the list is intended for A PDF version of the change list might be used by the sound department to manually adjust the parts of the program the sound editors are working with or an XML version might be part of an automated process providing the closed captioning department with new video clips to work on Chapter 10 Generating Film Lists and Change Lists 177 178 About Exporting Change Lists You can export change lists from either Final Cut Pro or Cinema Tools This section describes the differences between the two methods See Exporting Change Lists Using Final Cut Pro and Exporting Change Lists from Within Cinema Tools for details about the change list export process This section also describes the differe
147. e edits made in Final Cut Pro into information a negative cutter can use as a guide This information is provided in the form of a cut list A number of other lists that are useful for film can be exported with the cut list All of these lists including the cut list are called film lists One film list file can contain several related lists including any of the following Cut list A list of edits and titling information also known as an assemble list Missing elements list A list of any required information that could not be found in the database Duplicate list A list of duplicate usages of the same source material Optical list A list for the effects printer describing any transition filter and motion effects Pull list A list to aid the lab in pulling the required negative rolls Scene list A list of all the scenes used in your program and the shots used in the opticals 159 160 You can generate another type of list called a change list after an initial cut list has been created or when you want to compare two XML versions of a Final Cut Pro sequence In a film workflow the change list assumes a workprint has been cut to the specifications of a cut list or prior change list and specifies further changes to make to the workprint based on edits you have made to the sequence in Final Cut Pro See Creating Change Lists for more information Choosing the List Format Cinema Tools provides three format options for exp
148. e 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 reference or self contained this method creates a self contained file See The Difference Between Self Contained and Reference Media Files for more information Same faster This option 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 reference if it was originally reference Chapter 8 Preparing the Source Clips for Editing 133 134 Note This Same faster method is available only when the clip has been captured or recompressed to have only one field per frame This is because reversing the 3 2 pull down for a clip with two fields per frame requires deinterlacing two different frames removing one field from each of those two frames and then making a new frame out of the other two fields When new frames are being created a new movie file must be created Tip If you choose the New smaller method the original file is no longer needed but it is not automatically deleted A dialog suggests naming the new file the same name as the original with the extension rev added To delete the original file by replacing it with the new one remove the
149. e into an existing Cinema Tools database or into its own new database It s recommended that you import into a new database you can always import that database into another one later You can also import the ALE file using either Final Cut Pro or Cinema Tools See Importing Database Information from a Telecine Log or ALE File for more information about importing ALE and telecine log files using either Final Cut Pro or Cinema Tools Chapter 12 Working with External EDLs XML and ALE Files 207 208 Exporting an ALE File Cinema Tools exports an ALE file based on the current found set To avoid problems make sure all of the records are complete and accurate prior to exporting To export an ALE file Create a found set that contains the records you want to export See Finding and Opening Database Records for details about creating a found set In Cinema Tools choose File gt Export gt Avid Log Exchange Enter a name and location for the new file It s recommended that you add an ale extension to the filename Export Avid Log Exchange Save the ALE file as C weel ws ooo O Ceancet Jise Click Save to export the file Chapter 12 Working with External EDLs XML and ALE Files Working with 24p Video and 24 fps 13 EDLs Cinema Tools provides several tools that are useful when editing 24p video The proliferation of high definition HD video standards and the desire for worldwide distribution have c
150. e log automatically creates the database entries Create a new database Import a telecine log into the database Device control Generate a batch capture ap Key number list with Cinema Tools burned in Import the batch list into Use Final Cut Pro Use Final Cut Pro the Final Cut Pro Browser to manually capture to manually capture and batch capture each clip each clip Use the Cinema Tools A Trim clips to match Connect clips to Connect Clips command Ay databaserecords the database and to connect clips to database use Identify feature to determine and enter key number and Connect clips timecode for a known to the database frame of each clip Indicates steps that use automated processes The blue boxes show the preferred workflow which contains the most automated steps and produces the most accurate cut list Workflow for a Scene and Take Transfer Without a Telecine Log With no telecine log to import you can do either of the following Manually add entries to the database for each clip With this workflow outlined in the following diagram you export a batch capture list with Cinema Tools If you have device control and you already know the In and Out points of the clips this method can be efficient Chapter 3 Cinema Tools Workflows 43 44 Manually capture the clips with Final Cut Pro and use the Synchronize with Cinema Tools command to create the Cinema Tools database This workflow is most useful wh
151. e open database and each new record is displayed in the List View window When Cinema Tools has 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 After the records have been imported you can export a batch capture list from Cinema Tools that you can import into Final Cut Pro to automate the clip capture process See Generating a Batch Capture List from Cinema Tools for more information Importing Telecine Logs Using Final Cut Pro When you import a telecine log using Final Cut Pro you choose whether you want to import it into an existing Cinema Tools database or whether a new database should be created When records are added to the selected Cinema Tools database each record creates an offline clip in the Final Cut Pro Browser so that the clips can be batch captured Each of these clips also has the film related information contained in the log file added to it To import a telecine log using Final Cut Pro 1 Create a new project or open an existing project This project will contain the offline clips created when the telecine log file is imported 2 Select the project in the Browser 3 Choose File gt Import gt Cinema Tools Telecine Log Chapter 6 Entering and Modifying Database Infor
152. e or other facility that will print your effects to find out what it can offer Often the lab has standard effects for you to choose from custom effects may cost substantially more or not be available at all The lab can also educate you about exactly what you need to provide Stage 2 Creating Effects and Transitions in Final Cut Pro It s helpful to experiment with styles and durations in Final Cut Pro That way you ll be confident in communicating what you need to your lab Because you can export a separate cut list for each video track you can add titles and superimposed images to multiple video tracks for example as alternative versions and choose which to include in the exported film list Stage 3 Exporting a Film List When you ve finished editing your program export a film list See An Introduction to Film Lists and Change Lists for more information The film list can contain a number of different types of lists The optical list includes descriptions of transition filter and motion effects You will also need to export a film list for each video track that contains titles or superimposed images If you are going to have all of your transitions contact printed instead of having opticals created choose All are cuts from the Transitions pop up menu See Dividing Transitions Between a Contact and Optical Printer for related information Chapter 9 Editing with Final Cut Pro 153 154 Stage 4 Optical Printing Giving t
153. e video contains only field 2 e Field 1 Field 2 Select this option if the video contains both fields and field 1 is the dominant field the first field to appear e Field 2 Field 1 Select this option if the video contains both fields and field 2 is the dominant field See Determining the Field Capture Information for details Note If Cinema Tools finds pull down information embedded in the source lips a simpler version of this dialog appears See Removing 2 3 3 2 or 2 3 2 3 Pull D vith Cinema Tools for more information In the Fields area use the pop up menu to choose the style of frame types to show Style 1 shows letters only and Style 2 shows letters with field numbers then select the frame type that matches the type of frame currently displayed in the Clip window Chapter 8 Preparing the Source Clips for Editing Your frame type choices vary depending on the field capture mode you selected If you want to see the choices as letters and numbers for example A2 B2 C1 and so on choose Style 2 from the pop up menu Select the frame type that corresponds to the frame showing in the Clip window Different choices are available depending on which capture mode is selected om 6 Select New smaller or Same faster to specify the kind of file you want the Reverse Telecine feature to create e New smaller This option creates a new clip file that does not contain th
154. ed the project database Cinema Tools uses the film standard that you choose here to calculate footage counts in the cut list Telecine Speed Select the speed at which the film was transferred If you are working with NTSC video You would typically choose 24 fps though the actual speed of the film in the telecine was approximately 23 98 fps If you edited NTSC video that was transferred at 29 97 fps Choose 30 fps If your film was transferred to video at 24 fps Choose 24 fps If your film was transferred to video at 25 fps Choose 25 fps Duplicates Choose whether you want to be notified when duplicate usage of source material is found If you choose Warn a warning message appears in the cut list every time a duplicate usage occurs The message tells you exactly which frames have been used more than once and exactly where in your editing project they are used All of these messages also appear in a double usage warning list If you choose Ignore these double usage warnings do not appear Chapter 10 Generating Film Lists and Change Lists 169 Transitions Choose how transitions should be listed in the film list See Contact Printing A s Optical Printing for more information Note 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 media as 20 30 40 60 80 and 120 frames in du
155. ed together by a common story line or certain characters scene list A film list Cinema Tools users can export which lists all the shots that are in the cut list with each shot listed only once Scene lists are typically used to order prints of the shots in a program so that a workprint can be conformed prior to cutting the original camera negative SD video See standard definition video 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 Abbreviation for Society of Motion Picture and Television Engineers The standard setting organization that established the SMPTE timecode standard for video SMPTE timecode is the most commonly used timecode format Glossary 255 256 source clips The media files you start with when you begin editing These are the files that are captured into your computer and linked to the Cinema Tools database before editing begins standard definition video Refers to the NTSC and PAL video standards See also high definition video NTSC PA style sheet Style sheets are Extensible Stylesheet Language Transformations XSLT files that Cinema Tools uses to provide customized output lists This includes controlling the specific types of information to include and defining the output layout and f
156. editing can make the editing experience smoother This chapter covers the following An Introduction to Preparing Source Clips for Editing p 123 Determining How to Prepare Source Clips for Editing p 123 Using the Conform Feature p 125 Reversing the Telecine Pull Down p 127 Making Adjustments to Audio Speed p 139 Synchronizing Separately Captured Audio and Video p 139 Dividing or Deleting Sections of Source Clips Before Editing p 141 An Introduction to Preparing Source Clips for Editing After 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 for information about these processes If your audio and video were captured separately see Synchronizing Separately Captured Audio and Video for more information Also in the interest of efficient use of disk space you may want to eliminate some of the content you captured before you begin editing See Dividing or Deleting Sections of Source Clips Before Editing for information Determining How to Prepare Source Clips for Editing The steps you need to take to prepare your clips for editing depend on the telecine speed whether you have NTSC or PAL video and which frame rate you plan to use for editing Your main goals are to Set the video frame rate to match the frame rate at which you want to edit 123
157. efining the list information you want to output cut list pull list and so on You then define the specific items in that list s events that you want included in the output such as key numbers and source timecode start and end points Pull List Style Sheet Example A simple style sheet to start out with is the supplied Pull List style sheet Make a copy of the file see About Style Sheet Based Film Lists for details about where to find the file and give it a name you can easily recognize When you open the copy of the Pull List style sheet in a text editor there are two main sections that appear with these lines at their head e lt xsl template match ctlists pulllist items gt This section lists the column headings for all of the items that are included in the list The path that is listed ctlists pulllist items directs this section to the events in the pull list area of the film list e lt xsl for each select pull gt This section lists the specific items in each pull list event to output Each event in a pull list is wrapped by a pu11 element If you want to add or remove an item from the pull list output you need to make a change to both sections the first section that controls the column headings and the second section that specifies the data to put under those headings Chapter 10 Generating Film Lists and Change Lists For example if you want this style sheet to output ink numbers and not key numbers you would m
158. efore finalizing the cut Then transfer the optical to video You can edit the transferred optical into your digital program to see how it will look Cost If you have standard length transitions and there are a lot of them it will probably cost less to have them printed on a contact printer Although optical printing has the advantage of resulting in a new negative being made that you can edit into your digital program to see how it looks and include in your cut list the optical s negative must first be transferred to video at an additional cost It s a good idea to compare quotes for having your transitions printed in different ways Chapter 9 Editing with Final Cut Pro 155 156 _ Length Contact printing requires that the length of the transition be one of a set of standard lengths whereas optical printing does not 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 media as 20 30 40 60 80 and 120 frames in duration Make sure to check with your contact printer about the standard lengths required for different frame rates Comparing Quotes To get quotes to compare costs of contact and optical printing you need to export two versions of the film list To export different film lists to give to the printers for quotes In the Export Film Lists dialog choose All are
159. elecine Before you start a batch reverse telecine process use the single clip reverse telecine process on one of your clips and check the results to make sure the settings you plan to use work correctly See Using Reverse Telecine on a Single Source Clip in Cinema Tools for instructions e Ifyou are working with video that contains two fields make sure that all your clips have the same field dominance See Determining the Field Capture Information for more information Some digitizing hardware may switch unpredictably between field 1 and field 2 dominance If you find that some of your clips have one and some have the other you can separate your clips into two field dominance batches and batch process them separately Using Batch Reverse Telecine for Multiple Source Clips Before you use batch reverse telecine to process multiple source clips make sure to read Preparing to Use Batch Reverse Telecine Chapter 8 Preparing the Source Clips for Editing To use batch reverse telecine Place all the clips that you want to process in one folder Choose File gt Batch Reverse Telecine In the dialog that appears select any source clip file in the folder that contains the source clips then click Choose In the Batch Reverse Telecine dialog that appears select the capture mode that indicates the correct field capture for the clip Field 1 Only Select this option if the video contains only field 1 Field 2 Only Select this option if
160. en you don t know the exact In and Out points for each clip or if you do not have device control You can also create the Cinema Tools database by dragging the folder containing the clips to the Cinema Tools application icon You can use the Identify feature of Cinema Tools to determine and enter the key number information for each database record Create a new database Add an entry for each clip to the database Device control Generate a batch capture Key number list with Cinema Tools burned in Import the batch list into Use Final Cut Pro Use Final Cut Pro the Final Cut Pro Browser gt to manually capture to manually capture and batch capture each clip each clip Use the Cinema Tools lr Trim clips to match Connect clips to Connect Clips command SD daracaccrecords the database and to connect clips to database use Identify feature to determine and enter key number and Connect clips timecode for a known to the database frame of each clip Indicates steps that use automated processes The blue boxes show the preferred workflow which contains the most automated steps and produces the most accurate cut list If You Used Camera Roll Transfers The primary consideration when using camera roll transfers is the film list generation method you intend to use See How Cinema Tools Creates Film Lists for an explanation of the two available methods Make sure to sync the audio to the video before you capture the clips
161. end gt amp tab tO lt xsl value of select inknumend gt amp tab If you added or removed lines in the heading section you must add or remove lines in this section as well The values you use here such as inkprefix must exactly match the way they appear in the film list XML file The order of the items is important as well because that order determines how the items match the heading names After you have modified the Pull List XSL file you can try it out and verify that you get the correct output Chapter 10 Generating Film Lists and Change Lists 191 Export Considerations and 1 Creating Audio EDLs After you ve edited your project you may want to export to videotape export the audio or export an audio EDL based on the edited project This chapter covers the following e About Common Items You Can Export for Your Project p 193 Considerations When Exporting to Videotape p 194 Considerations When Exporting Audio p 194 Exporting an Audio EDL p 195 About Common Items You Can Export for Your Project The primary goal of using Cinema Tools is to generate an accurate cut list For most projects you may also want to create other helpful items from your edited program A videotape of the program This may be useful so that you can show the program to others or provide a visual guide to the negative cutter There are a number of considerations to take into account such as the editing frame rate and any re
162. eo Generating Film Lists and Change Lists An Introduction to Film Lists and Change Lists Choosing the List Format Lists You Can Export Exporting Film Lists Using Final Cut Pro Creating Change Lists Working with XSL Style Sheets Export Considerations and Creating Audio EDLs About Common Items You Can Export for Your Project Considerations When Exporting to Videotape Considerations When Exporting Audio Exporting an Audio EDL Working with External EDLs XML and ALE Files Creating EDL Based and XML Based Film Lists Working with ALE Files Working with 24p Video and 24 fps EDLs Considerations When Originating on Film Editing 24p Video with Final Cut Pro Adding and Removing Pull Down in 24p Clips Using Audio EDLs for Dual System Sound Film Background Basics Film Basics Editing Film Using Traditional Methods Editing Film Using Digital Methods How Cinema Tools Creates Film Lists Film List Creation Overview About the Clip Based Method About the Timecode Based Method Contents Appendix C Glossary 245 245 245 247 249 Solving Problems Resources for Solving Problems Solutions to Common Problems Contacting AppleCare Support Contents Welcome to Cinema Tools Cinema Tools is a powerful database that tracks Final Cut Pro edits for conforming film digital intermediate and 24p video projects This preface covers the following e About Cinema Tools p 7 e About the Cinema Tools Documentation p 8 e A
163. equired Stage 6 Optical Printing Giving the Optical Negative to the Negative Cutter Assuming you have screened the opticals and are happy with them give the optical negative along with the original camera negative and your entire film list to the negative cutter With the film list and the workprint if there is one as a guide the negative cutter cuts and splices the effects into your film Stage 7 Contact Printing Giving the Film List to the Contact Printer When the conformed negative is ready to be printed by the contact printer make sure the contact printer is given a film list that includes information about your titles and supers and any transitions you want printed into the film Note The negative cutter makes a list of printer cues including transition needs and this list is given to the printer with the cut original camera negative Chapter 9 Editing with Final Cut Pro 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 The optical lab typically uses a low contrast film print of the relevant parts of the original camera negative called an interpositive as the raw source footage from which to assemble the opticals After the opticals are assembled from the interpositive they are printed as optical ne
164. ersing the pull down for clips that originated from a 24p capable digital video camcorder PAL There are several methods of converting 24p video to PAL The most common is to play the tape 4 percent faster providing a one to one relationship between the 24p and PAL frames but speeding up the action by 4 percent Cinema Tools and Final Cut Pro provide a Conform feature that you can use to restore the video back to 24 fps in order to edit it at 24 fps in Final Cut Pro See Frame Rate Basics for information about frame rate issues Converting NTSC EDLs to 24 fps You may decide to edit the downconverted NTSC version of the 24p video using a standard NTSC 29 97 fps timebase however most 24p online editing systems require a 23 98 fps or 24 fps EDL Cinema Tools includes a feature that allows you to convert NTSC 29 97 fps EDLs to 23 98 fps or 24 fps This makes it possible for you to perform an offline edit of your downconverted 24p video on an NTSC system and export an EDL that can be converted and used by an online system Note Cinema Tools does not support converting PAL EDLs to 24 fps To convert an NTSC EDL to 24 fps you need the EDL file to be converted in the CMX 3600 or GVG format You do not need a Cinema Tools database Chapter 13 Working with 24p Video and 24 fps EDLs 215 To convert an NTSC EDL to 24 fps In Cinema Tools choose File gt Export gt Converted EDL gt 24 FPS from 30 FPS In the dialog that appears locate
165. ess 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 in an environment where high quality would be expected The most common use of the edited video is to give the negative cutter a visual guide to go along with the cut list This means that the quality of the video only needs to be good enough to make your edit decisions and read the window burn values However because your edit decisions are sometimes based on subtle visual cues it s best not to get too carried away with excess compression Important Do not use long GOP codecs such as most MPEG 2 XDCAM H 264 or HDV codecs In addition to being difficult to edit these files cannot take advantage of the Reverse Telecine feature Chapter 1 An Overview of Using Cinema Tools 17 18 Capturing Tactics There are several approaches to capturing your video and audio Determining which is right for you depends on a number of factors including whether you have device control of the source tape deck and the transfer type used camera roll or scene and take Device Control A primary consideration when determining how to capture video and audio is whether Final Cut Pro supports device control for the deck you use Device control allows you to capture precisely the video and audio you want in a way th
166. essage describing the problem also appears in the log Reversing the Telecine Pull Down When you use a telecine to transfer your 24 fps or 23 98 fps film to 29 97 fps NTSC video the typical way the film s frames are distributed into the NTSC frames is by the 3 2 pull down method The 3 2 pull down method described in Working with NTSC Video inserts extra fields of video The reverse telecine process removes the extra fields as shown in the illustration below changing the frame rate of the video to the original film frame rate In other words the reverse telecine process reverses the 3 2 pull down Reversing or removing the 3 2 pull down provides a one to one relationship between the video and film frames so that your cut lists are accurate Chapter 8 Preparing the Source Clips for Editing 127 128 Note The Reverse Telecine feature cannot be used with temporally compressed video such as MPEG 2 format video 3 2 Pull Down Removal One second y Before 29 97 fps After 23 98 fps Important If your source clips originated from a special type of DV camcorder that shoots 24p such as the Panasonic AG DVX100 camcorder a simpler form of the Reverse Telecine dialog appears See Removing 2 3 3 2 or 2 3 2 3 Pull Down with Cinema Tools for instructions for reversing the pull down for clips that originated from a 24p capable DV camera Chapter 8 Preparing the Source Clips for Editing Tips for Using Reverse Telecin
167. ession and merge them all together when the shoot is complete The telecine log from scene and take transfers where only specified film takes are transferred to video can provide the basic information for the database You can add additional records comments and other information as needed 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 using Cinema Tools or Final Cut Pro You can choose either method according to your workflow In both cases you have the option of assigning a camera letter which is appended to the take entries to the import This is useful in those cases where multiple cameras were used for each take See Assigning Camera Letters for more information See Importing Database Information from a Telecine Log or ALE File for more information about importing telecine logs Importing telecine logs using Cinema Tools To import a telecine log into Cinema Tools you must first have a database open The database can be an existing one that you want to add new records to or it can be a new one with no records Once the records have been imported you can export a
168. esult This approach is detailed in this section Chapter 3 Cinema Tools Workflows Use a telecine for all of the film and then scan only the clips that are used This approach is a bit more complicated and uses a telecine to provide the offline video for Final Cut Pro to edit This approach is detailed in the Digital Intermediate Workflow Using a Telecine section A typical scan based DI workflow is outlined below Cinema Tools Create database Creat SEH Conform Color film scan video correct Final program output 2K DPX image sequences Offline QuickTime conversion Apple ProRes video clips Final Cut Pro Offline edit EDL Stage 1 Creating Apple ProRes Files for Final Cut Pro Final Cut Pro cannot work directly with the DPX image sequences that are typically used in this workflow You can use Color to create QuickTime files usually based on an Apple ProRes codec from the DPX image sequences Using Color ensures that the QuickTime files have the correct reel number the folder name that contains the actual DPX files and timecode as embedded in the DPX files Chapter 3 Cinema Tools Workflows 47 48 You can create these downconverted files in Color by creating a new project with Render File Type set to QuickTime and Export Codec set to the codec you want to use Then simply edit all the shots you want to convert into the Timeline add them to the Render Queue and click Start Re
169. et the edit is added to the cut list and Cinema Tools moves on to the next edit If a record cannot be found that uses an edit s clip pathname or video reel number with suitable timecode entries lt missing gt appears in the cut list and a note is added to the missing elements list If a record is found but is incomplete missing the key number for example lt missing gt is placed in those fields and a note is added to the missing elements list See An Introduction to Film Lists and Change Lists and How Cinema Tools Creates Film Lists for details about this process and the missing elements list Chapter 1 An Overview of Using Cinema Tools A Detailed or Simple Database Cinema Tools is designed to allow you to create a record for an entire camera roll for each take or somewhere in between depending on how you like to work Each record can contain e Scene shot and take numbers with descriptions The film s camera roll number edge code and related video timecode and reel number The sound roll and timecode A clip poster frame showing a representative frame from the clip Basic settings such as film and timecode format The records can be entered manually or imported from a telecine log You can modify delete and add records to the database as required even if it is based on the telecine log You can also merge databases For example if you are working with dailies you can create a new database for each s
170. ew window is often referred to as the found set because you use the Find command to specify which records are listed there Note You can select only one record at a time To select a database record in the List View window Do one of the following Click any displayed record Double click a record to have its clip open in the Clip window Use the keyboard s Up Arrow key to select the record before the currently selected one Use the keyboard s Down Arrow key to select the record after the currently selected one Use the keyboard s Page Up key to jump up one page of records in the list Use the keyboard s Page Down key to jump down one page of records in the list Once you have selected a record it stays selected as you change the display mode Important You cannot change the settings in any of the records in the List View window Use the Detail View window to make changes To display specific records in the List View window Use the Find dialog See the instructions for using the Find command below for details To navigate through records within the Detail View window Click the Previous Record and Next Record buttons Previous Record and Next Record buttons ang Detail View Massive P Record 28 of 29 Crew Record save Scene A54 Script Pages 146 to 167_ Take Notes Outside Shot A54 Script Pages 148 to 155 Left Telecine Session Session 2 Film Video File 068 A
171. f film list one uae so you don t have to connect a source pees to database records See A oll Transfers and How Cinema Too tial D Is Film Lis eh more information Chapter 7 Capturing Source Clips and Connecting Them to the Database 115 116 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 to database link is broken if e The source clip filename is changed e The source clip file is moved or deleted base Links for information about fixing broken links See Fixing Broken Clip to Da Using the Connect Clips Command You can use the Connect Clips command to connect source clips to the database ina variety of situations Ifyou captured clips using a batch capture list The Connect Clips command can connect your captured source clip files to the appropriate database records This process requires that the reel name and the timecode of the captured clips match those of the database entries Ifyou moved your connected clips to a new location Once you have clips connected to your database moving the clips to a different folder or disk causes the clips to be disconnected You can use the Connect Clips command to reconnect the records to the relocated clips Ifyou renamed one or more of your clips Once you have clips connected to your d
172. f it doesn t contain a video track if the frame rate is not supported or if no codec is found for the video track A text file appears at the top level of the folder you started with named reverse log This log gives the date and time that the process started and ended as well as a start time for each clip If any problems were encountered such as running out of disk space or memory an error message describing the problem also appears in the log Additionally you will need to use the Reconnect command to connect the tie created reverse telecined clips to their records See Fixing Broken Clip to Databas s for more information Using Batch Reverse Telecine a Second Time If after performing the batch reverse telecine you decide you need to change a setting and redo the batch reverse telecine perform the following steps To prepare to use batch reverse telecine a second time Move the clips from the Originals folder to their original folder Note If you did not select Keep Originals you must recapture the original clips If you would like to keep the current reverse telecine versions of the clips while creating the new versions you need to move them from the Reversed folder to another folder or rename the Reversed folder for example to Reversed 1 You can leave the current files where they are if you would like them to be overwritten Similarly you need to move or rename the reverse log file if you would like to
173. f 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 In the List View window click Clip to sort the records by clip name Or if the clip name includes its scene identifier you can use the Find command to search for the clip by the scene identifier If no database record is found for the clip create one and connect the clip to it Use the Identify feature in the Clip window to enter the required information If the Video Reel and Timecode Appear in the Missing Elements List You can use the video reel and timecode information to look for an existing database record for the clip In the List View window choose Video from the pop up menu at the top of the window Click Reel or Timecode to sort the records by the video reel or timecode Look for the missing video reel or timecode value or a similar timecode value Keep in mind that the timecode value given in the missing elements list is not likely to match the database record exactly because the timecode value in the database corresponds to the first frame of the clip You know it s a match if the timecode value in the missing elements list occurs before the end of the timecode duration specified in the database record Note Remember that the video reel name must appear exactly as it appears in the missing elements list For example reel 0
174. f the clip The Identify feature will however calculate and enter the first frame values you see in the Detail View window Calculating Edge Code and Timecode Numbers If you know the edge code key number or ink number and timecode values 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 This feature is especially useful if you are working with video that does not have window burn because without window burn you have to track the timecode and edge code by physically marking one frame in each clip If the frame that is marked is not the very first frame of the clip the Identify feature can calculate what the values are for the first frame and those values are automatically entered in the database Chapter 6 Entering and Modifying Database Information To enter the edge code and timecode values in the database If it isn t already open open the clip in the Clip window in one of the following ways Choose File gt Open Clip or press Command O and use the dialog to select the clip e Click Open Clip in the Detail View window of the clip s database record Click Identify in the Clip window to display the settings for the current frame Locate the marked frame in the clip playback area Tip Use the arrow keys on your keyboard to move forward and backward frame by frame The Identify settings update to show
175. ffects for DI workflows These effects are typically re created by a digital visual effects facility The facility uses a Cinema Tools generated film list to either pull the already scanned DPX image sequences for the required video or have high quality scans of the original film made providing finial resolution video clips to work with See S al v for more information Basic transitions titles and motion effects for film workflows 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 Certain types of transitions can be created through contact printing sometimes called A B roll printing where the emulsion sides of the original camera negative and the print stock are in contact as the original film is projected onto the print stock Transitions titles and motion effects can be made through optical printing where effects are created via a process of manipulating and projecting the original camera negative onto print stock heh the lens on an optical printer This process is often called creating opticals See Contact IS al Printing for more information about factors to consider hen choosing whether to use optical printing or contact printing Complex effects that involve compositing for all workflows Effects such as chroma keying animation and repositioning can be re created digitally at high resolution at a
176. fflined on an NTSC system See Using Final Cut Pro as a 24p Offline Editor for more information Removing 2 3 3 2 or 2 3 2 3 pull down Use if you are capturing your source clips from a digital video camcorder that applied 2 3 3 2 or 2 3 2 3 pull down to 24p video This feature cleanly eliminates the redundant frame fields created by the pull down without any recompression so you can edit at 23 98 fps or 24 fps See Working with 2 3 3 2 Pull Down for more information Adding pull down Use to output 23 98 fps video in a format that you can play on an NTSC device such as an NTSC monitor and to record it as 29 97 fps video This feature lets you output 23 98 fps video via FireWire at the NTSC standard of 29 97 fps video See Pull Down Patterns You Can Apply to 23 98 fps Video for more information Creating an audio EDL when using dual system sound Use if you intend to recapture the audio elsewhere for final processing See Using Audio EDLs for Dual System Sound for more information Using Final Cut Pro as a 24p Online Editor An important consideration when using Final Cut Pro as your online editor is how to import the offline edit information When using a separate system as the offline editor there are three methods you can use to get edit information from the offline system presented in order of preference Copy the project Can be used when a separate Final Cut Pro system is the offline system and you used a 24 fps editing timebase fo
177. file imported into the database if applicable Telecine Session Notes field Enter any notes you want to include about the telecine session Note This field is available only if you have imported a telecine log file into the database Scene and Shot Description Fields You only need to enter this data once per scene Once you enter it it is added to all existing and new records for the same scene Scene description field Enter a description of the scene Chapter 5 Working with Databases Shot description field Enter a description of the shot Script Pages fields Enter the starting and ending script pages associated with the scene and the shot Film Settings The following settings relate specifically to the film In general you can ignore these settings if your project does not involve film or you are not intending to finish the project by conforming the original camera negative Scene field Use this field to enter or modify the identifier for the scene See Using Scene Shot and Take Identifiers for more information 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 subclip identifier Cam Roll field If you intend to create a cut list or change list for a film based project one of the film roll fields
178. fixes using letters from E to Z are treated as being modifiers to the scene number but not unique scenes For example if you use the Find dialog to search for scene 54 it will find 54 G54 and K54 all are considered to be scene 54 but will not find A54 B54 C54 or D54 which are all considered to be different scenes from scene 54 Suffixes indicate shots that are part of the scene If you search for scene 54 you will find all shots for scene 54 such as 54A and 54F but not B54A because the prefix makes this a different scene Take numbers are related to specific shots which in turn are related to specific scenes If you search for scene 54 you will find all shots and takes for that scene If you enter 54A in the Find dialog s Scene field you will find only those records for shot A of scene 54 you will not find records for scene 54B Entering a number in the Take field will find only shots using that take For example entering 54A in the Scene field and 3 in the Take field will find only record 54A 3 Entering 54 in the Scene field with no shot specified and 3 in the Take field will find any records for scene 54 that have a take 3 such as 54A 3 and 54D 3 Chapter 5 Working with Databases 79 80 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
179. formation from non timecode based sources such as audio CDs Audio EDLs describe only edits using timecode based sources and do not include any references to sources such as audio CDs See the Final Cut Pro documentation for information about exporting OMF files Chapter 11 Export Considerations and Creating Audio EDLs 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 based sources such as audio CDs Audio EDLs describe only edits using timecode based sources See the Final Cut Pro documentation for information about exporting multiple tracks as AIFF files Audio Speed Often the playback speed of the edited audio is slightly different from what it was when it was originally recorded its natural speed This compensates for film speed changes made during the telecine transfer Anytime you are editing at 29 97 fps or 23 98 fps the audio is running 0 1 percent slower than its natural speed If you are editing at 25 fps and the telecine transfer film rate was 25 fps the audio is 4 percent faster This speed difference is maintained when you export an AIFF or OMF file Make sure to find out the requirements of your audio post production facility with regard to audio speed issues before you export the files Exporting an Audio EDL Just as the final edited video from Final Cut Pro is n
180. g an Audio EDL for details about exporting an audio EDL from Cinema Tools Chapter 13 Working with 24p Video and 24 fps EDLs 227 Film Background Basics A Appendix 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 about 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 There are a wide variety of resources that can provide detailed information on the subject This appendix covers the following Film Basics p 229 Editing Film Using Traditional Methods p 234 Editing Film Using Digital Methods p 236 Film Basics There are a number of things that differentiate the various film standards The most common are Frame size For more information see Frame Size Perforation arrangement how many sprocket holes per frame For more information see Perforations Film edge codes including key numbers and ink numbers For more information see Film Edge Code Speed how many frames per second For more information see Speed The following sections discuss these points as they relate to Cinema Tools Frame Size Cinema Tools supports two common film frame sizes 16mm and 35mm The aspect ratio height versus
181. gatives that can be spliced into the original camera negative Usually before the final interpositive is created one or more trial prints are made with the guidance of a color specialist to find the proper combination of exposure and color balance Note In some cases when opticals need a very stable image as with images behind text a registration interpositive is required Registration interpositive printing minimizes unwanted lateral film motion in the optical printer gate The optical lab will tell you when a registration interpositive is needed 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 Saving original footage Contact printing requires the original camera negative to be cut and spliced Optical printing essentially results in a new negative being made so the original footage can be used again elsewhere Previewing If your transitions are printed on a contact printer you don t have the option of seeing the finished transitions before the negative is cut but if they are printed optically you do After they are printed transitions and motion effects may not appear exactly as they did within your digital editing system If you want to know exactly how a transition is going to appear in the finished film have it made optically b
182. ge 5 Recapturing the Material in the Duplicate Project Now that you know exactly which video clips your project needs you can recapture the video at its native resolution Chapter 13 Working with 24p Video and 24 fps EDLs 211 212 Even if your Final Cut Pro system is not configured to edit uncompressed 24p video it can serve as an offline editor and export a 24 fps EDL to be used by a 24p online editing system Even better if your 24p online editing system uses Final Cut Pro you can simply copy the project from the offline system allowing you to preserve far more information about the edit than with an EDL alone See Using Final Cut Pro as a 24p Online Editor and Using Final Cut Pro as a 24p Offline Editor for more information about each option 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 Importing 24 fps EDLs Use for performing an online edit of 24p material that has been offlined on another system See Using Final Cut Pro as a 241 Online Editor for more information Exporting 24 fps EDLs Use for performing an offline edit of 24p material with a 24 fps editing timebase See Using Final Cut Pro as a 24p Offline Editor for more information Converting an EDL to or from 24 fps Use for performing an offline edit of 24p material using an NTSC editing timebase or for doing an online edit of 24p material that has been o
183. hapter 10 Generating Film Lists and Change Lists 6 Click Continue There are two different dialogs that can appear one for PDF output and one for XML and With Style Sheet output The differences are similar to those between the Export Film Lists and Export XML Film Lists dialogs 7 Inthe Export Change List dialog that appears configure the settings then click Export See Settings in the Export Change List Dialog for details These lists provide These lists provide information about information about the changes the entire sequence When you select film list options such as Cut List and Pull List in the Settings area of the Export Change List dialog the change list file includes in addition to the selected change list options the same content you would get if you exported those lists from the Export Film Lists dialog Note Keep in mind that the following settings should be the same for the two sequences you are comparing Film Standard Telecine Speed whether key numbers or ink numbers are in the Included Columns area and whether the Start with 8 seconds of leader checkbox is selected The two sequences must also have the same editing timebase set in Final Cut Pro In the dialog that appears enter a filename and choose a location 9 Click Choose Database to choose the database associated with the clips in the sequences you are comparing Make sure you select the same database that was used when the pre
184. hat appears select the database you want to import 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 pane of the Clip window to enter information See Using the Identify Feature to Calculate Database Information for details Chapter 6 Entering and Modifying Database Information 91 92 Understanding the Relationship Between Scenes Shots and Takes To enter scene shot and take information in the database you first need to know how scenes shots and takes are understood by the database A motion picture production is composed of a series of scenes and each scene is typically composed of a number of shots or angles A shot is a continuous film recording that does not have any cuts In shooting the film there may be a number of takes for each shot so a take is a version of a shot There can be many shots for each scene The diagram below shows an example of the relationship between scenes shots and takes as they might exist in a Cinema Tools database Slate 1 1 Slate 1 2 Slate 1 4 Shot 1A Slate 1A 2 Scene 1 Slate 1A 3 Shot 1B Slate 1B 5 Creating a New Database Record You must create database records if you are manually entering database information To create a
185. hat the timecode is wrong in Final Cut Pro Open the same frame in Final Cut Pro and see if the timecode value is correct If it isn t make sure to correct the timecode in Final Cut Pro You can do this by using the Modify Timecode dialog See the Final Cut Pro documentation for more information about how to modify the timecode Chapter 6 Entering and Modifying Database Information If you used serial device control the timecode mismatch may have happened because you didn t set the appropriate timecode offset in Final Cut Pro for the specific deck you used You need to make this setting once per deck per computer For more information see the section about calibrating the timecode signal in the Final Cut Pro documentation 7 Ifyou entered new numbers in the fields click Save Otherwise if the values were already correct close the window Chapter 6 Entering and Modifying Database Information 103 Capturing Source Clips and 7 Connecting Them to the Database Establishing the relationships between the source clips and the Cinema Tools database is key to a successful project This chapter covers the following About Source Clips and the Database p 105 e Preparing to Capture p 105 Generating a Batch Capture List from Cinema Tools p 109 Connecting Source Clips to the Database p 115 e Fixing Broken Clip to Database Links p 120 About Source Clips and the Database Once you have created the project database it
186. he A frame is the only one that has all its fields contained within one video frame The others B C and D frames all appear in two video frames Because the A frame is the start of the video five frame pattern it is highly desirable to have one as the first frame in all video clips It s common practice to have A frames at non drop frame timecode numbers ending in 5 and 0 See A A Frames for more information Working with PAL Video The PAL video frame rate is exactly 25 fps There are two methods used when transferring film to PAL running the film at 25 fps referred to as the 24 25 method and adding two extra fields per second similar to NTSC s 3 2 pull down referred to as the 24 amp 1 method or the 24 25 pull down method Chapter 2 Before You Begin Your Film Project 24 25 Method Running the film at 25 fps sets up a one to one relationship between the film and video frames The drawback is that the action in the film is soed up by 4 percent and the audio will need an identical speed increase to maintain synchronization To take advantage of the wide variety of 25 fps video equipment available you can choose to edit with the action 4 percent faster Another option is to use the Cinema Tools Conform feature to change the clip s timebase to 24 fps correcting the speed The video can then be edited with Final Cut Pro as long as the sequences using it have a 24 fps timebase One second _________
187. he Detail View Window for more information about the Detail View window 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 The required settings depend on the type of list you will create and the method you will use to create it These settings are required if you intend to generate a cut list or change list for a film based project Lab camera or daily roll Key number or ink number Additionally each source clip must be connected to a record unless you can use the timecode based method for cut list or change list generation see A Potential Database Shortcut for Camera Roll Transfers To use the timecode based method for cut list or change list generation these elements are also needed e Video reel Video timecode and duration These settings are required if you intend to export an audio EDL e Each source clip must be connected to a record or each record must have the video reel and video timecode and duration entered Each record must have the sound roll audio timecode and audio timecode rate Sound TC Rate entered Chapter 5 Working with Databases 67 68 The Detail View window contains the following fields and buttons Previous Record and ia Record buttons eX Ea Detail View Massive Project
188. he Film List and Any Appropriate Footage to the Lab If you are having effects and transitions created as opticals your lab uses the specifications and descriptions in your film list as a guide for creating the opticals The lab needs relevant film footage from which to create the opticals The optical lab may want you to provide interpositives or the lab may print the interpositives The lab may also request a videotape of your movie to use as a reference If you ve made a workprint you can provide it to the lab as a reference or you can give the lab a color copy dupe of the parts of the workprint that contain the opticals Discuss the options with your lab See About Interpositives for more information about working with interpositives Stage 5 Optical Printing Adding the Opticals to Your Project Transfer the opticals using a telecine add them to the database capture them into your sequence and export a cut list If you are having opticals created for your film this step is ideal because it provides a cut list that most accurately documents the opticals and because it allows you to preview the opticals in your sequence and see if you like the way they work Alternatively if you have a workprint the negative cutter may be able to use it as a guide for cutting the opticals into your film so that you don t need to transfer them to video and create a new cut list Make sure to check with your negative cutter to find out what is r
189. he change list and run the conformed workprint through the synchronizer noting where the transitions start or end at different places in the cut list To export a change list using Final Cut Pro In Final Cut Pro select the new version of the sequence then choose File gt Export gt Cinema Tools Change List In the dialog that appears click Choose to bring up a dialog to choose either the Cinema Tools program pgm file that you saved when you exported a film list for the previous version of the sequence or the Final Cut Pro XML file you exported for the previous version of the sequence They contain needed information about the previous sequence Export Change List Choose the original Final Cut Pro XML sequence or Cinema Tools program file Original Media Massive Project ProjectFiles MassiveSequenceV1 xml Original Track 1 Choose the format for the exported list Ust Format Style Sheet Plain Text 3 C cancel _ continue If you chose a Final Cut Pro XML file choose the track number to compare from the Original Track pop up menu Choose the type of list to output from the List Format pop up menu The choices are PDF XML and With Style Sheet See About PDF Format Film Lists About XML Format Film Lists and About Style Sheet Based Film Lists for information about these formats If you chose With Style Sheet from the List Format pop up menu choose a style sheet from the Style Sheet pop up menu C
190. he cut list which the negative cutter uses to match the original camera negative to the edited video Additional lists can also be generated such as a duplicate list which indicates when any source material is used more than once Stage 9 Creating 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 There are a number of things that can cause inaccuracies in a cut list Damaged or misread key numbers entered during the telecine transfer process e Incorrect timecode values e Timecode errors introduced during the capture process With NTSC video 3 2 pull down problems In addition to verifying the cut list other issues such as the pacing of a scene are often hard to get a feel for until you see the film projected on a large screen This also gives you a chance to ensure that the selected shots do not have unexpected problems If your production process involves workprint screenings and modifications you can also export a change list that describes what needs to be done to a workprint to make it match a new version of the sequence edited in Final Cut Pro Stage 10 Conforming the Negative The negative cutter uses the cut list the edited workprint and the edited video if available as a guide to make edits to the original camer
191. he cut list with 8 seconds of leader Eight seconds is the standard length of Academy or SMPTE leader If you select this option 8 seconds of leader is inserted at the beginning of the cut list If you have already included a leader clip at the beginning of the sequence do not select this checkbox It s better to use a leader clip in your sequence instead of selecting this option in the cut list because the timecode in the digital sequence will not match the timecode in the cut list unless a leader clip actually exists in the sequence Note The Extras folder on the Final Cut Studio installation disc contains a folder with head leader clips and a document explaining how to use them Film list checkboxes Select the list types to include in the exported film list Cut List Select to include a cut list See Cut List for more information Dupe List Select to include a duplicate list See Duplicate List and Double Usage Warnings for more information Optical List Select to include an optical list See Optical List for more information e Pull List Select to include a pull list See Pull List for more information Chapter 10 Generating Film Lists and Change Lists 171 172 Scene List Select to include a scene list See Scene List for more information e Missing Elements List Select to include a missing elements list See Missing Elements List for more information PDF Configuration Settings in the Export Film Lists
192. he opticals and motion effects with each shot listed only once The lab can use this list to pull the footage needed to make the opticals Exporting Film Lists Using Final Cut Pro In most situations you will use Final Cut Pro to export any of the lists described in the previous sections As long as you have an EDL or XML file based on a Final Cut Pro sequence you can also export film lists directly from Cinema Tools See Creating EDL Based and XML Based Film Lists for more information In either case one film list file is generated and that file contains all the lists you selected in the export dialog Exporting the Film Lists Exporting film list files works similarly for PDF format XML format and style sheet based film lists To export a film list file In the Final Cut Pro Browser or Timeline select the sequence for which you want to create a list Choose File gt Export gt Cinema Tools Film Lists A dialog appears so you can choose the format of the list Choose the format of the list from the List Format pop up menu Chapter 10 Generating Film Lists and Change Lists The options are PDF XML and With Style Sheet See About PDF Format Film Lists About XML Format Film Lists and About Style Sheet Based Film Lists for information about these formats 4 If you chose With Style Sheet from the List Format pop up menu choose a style sheet from the Style Sheet pop up menu 5 Click Continue The Export Film Lists dialog ap
193. he previous or next record as currently sorted and displayed in the List View window that has a clip assigned to it Note These buttons are active only when the current clip is linked to a record in the current database and that record is part of the List View window s found set Additionally one of these buttons is dimmed if there isn t a previous or next clip Chapter 5 Working with Databases Buttons in the Upper Right Corner Identify Click to show the Identify pane which displays the clip s information from the Cinema Tools database it is connected to You can use the Identify pane to enter film and timecode information in the database or to get information about the frame that is currently displayed in the Clip window Additionally the settings update to show the information for each frame as you move through a clip See Using the Identify Feature to Calculate Database Information for more information about using the Identify feature Analysis Click to show the Analysis pane which displays the clip s file information This information includes both file specifics name and size where it is located and when it was created and content specifics duration frame rate frame size and compression type used Chapter 5 Working with Databases 83 84 Accessing Information About a Source Clip The Analysis pane of the Clip window gives you access to specific information about a source clip Click the Analysis butto
194. he reverse telecine process If you selected the New smaller file option you are asked to give the new reversed clip aname and location If the original clip was connected to a database record the new reversed clip replaces its connection to the record regardless of whether or not the new clip overwrites the old clip Chapter 8 Preparing the Source Clips for Editing Note Occasionally there are clips with individual frame durations that are longer than they should be This situation can cause the Reverse Telecine feature to report one or more dropped frames when in fact there aren t any If you see this message try using the Conform feature to conform the clip to 29 97 fps before starting the reverse telecine process again The Conform feature ensures that all the frames are the same length See Using the Conform Feature for more information As long as you created a new file by default with the extension rev and did not delete the original file you can perform reverse telecine a second time if necessary for example to try a different field setting To prepare to use the single clip Reverse Telecine feature a second time Disconnect the current reversed file from its database record Connect the original file to the database record Rename or move the current reversed file if you want to keep it from being overwritten Now you can perform the steps for using the single clip Reverse Telecine feature on a clip in Cinema T
195. he video and audio digitally on the computer prior to editing An exception is if you intend to use the video transfer to also create an edited video version of the project perhaps for a video trailer This requires two tapes to be made at the transfer one that is high quality and without window burn and another that has window burn It is strongly recommended that the audio be synced to the video and recorded onto the tape along with the video during the telecine process There are also methods you can use to sync the audio after the telecine process is complete the important thing is to be able to simultaneously capture both the video and its synchronized audio with Final Cut Pro Appendix A Film Background Basics 237 238 Stage 4 Creating a Cinema Tools Database The key to using Cinema Tools is its database The database is similar to the traditional code book used by filmmakers It contains information about all elements involved in a project including film key numbers video and audio timecode and the actual clip files used by Final Cut Pro Depending on your situation the database may contain a record for each take used in the edit or may contain single records for each film roll The film to video transfer process provides a log file that Cinema Tools can import as the basis of its database It is this database that Cinema Tools uses to match your Final Cut Pro edits back to the film s key numbers while generating the cut lis
196. hen using reverse telecine directly in Cinema Tools the settings that are used for the reverse telecine process using Final Cut Pro are the last settings that were used in Cinema Tools Therefore you should always perform reverse telecine on a clip directly in Cinema Tools to verify the proper settings before processing clips using Final Cut Pro Important Performing reverse telecine using Final Cut Pro modifies the original media file you do not have the option of creating a new media file as you do when using Cinema Tools You must have read and write privileges for the media files To use Final Cut Pro to perform reverse telecine on source clips In the Final Cut Pro Browser select the clips you want to process Note Only files using a frame rate of 29 97 fps will be processed Choose Tools gt Cinema Tools Reverse Telecine Cinema Tools opens and performs the reverse telecine displaying a dialog that shows the task s progress Using Batch Reverse Telecine If you need to reverse the telecine 3 2 pull down of several clips you can use the Batch Reverse Telecine command to process several clips at once Note If your source clips originated from a certain type of DV camcorder that shoots 24p such as the Panasonic AG DVX100 camcorder see Removing 2 3 3 2 or 2 3 2 3 Pull Down with Cinema Tools for more information Preparing to Use Batch Reverse Telecine There are a couple of things you should do before using batch reverse t
197. her third party hardware is connected to or installed in the computer and who the manufacturers are Include hard disks graphics cards and so on Any third party plug ins or other software installed along with Cinema Tools In certain support situations AppleCare may require information about both your computer and how this particular application is configured Choosing Help gt Create Support Profile creates a file that contains the necessary information and can be emailed to AppleCare You would not normally use this feature unless directed to by an AppleCare representative To access AppleCare Support for Cinema Tools go to tt ry A IVS anple O NUP WW WwW appPIC cCoIT Ort cinematoo IOrt CINEMAtoOOoIs 248 Appendix C Solving Problems Glossary 2 3 2 3 pull down A pull down method that is the same as the 3 2 pull down method 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 See also 3 2 pull down 2 3 3 2 pull down A method of distributing film s 24 fps among NTSC video s 29 97 fps when film or 24p video is transferred to NTSC video In the transfer the recording alternates two fields of one frame and then three fields of the next
198. hosen 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 about using Easy Setups The naming of the source clips is important because you will need to connect clips to database records To make the connection process as smooth as possible use an easy naming scheme with the scene and take identifiers For example the clip for scene 33 take 1 could be named 33 1 Hyphens are fine in a clip name but do not use a slash or colon Generating a Batch Capture List from Cinema Tools If you have a video deck or camera with device control such as a DV format camera with FireWire or a high end video deck or camera batch capturing is the most convenient way to bring media into your computer With batch capture you connect a video deck or camera 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 In other words when you use batch capture you do not need to use your video deck or camera to manually locate each source clip before you capture it with Final Cut Pro To set up a batch capture you specify the clips you want to capture after your Cinema Tools database has been created and Cinema Tools generates a list based on the information in the database
199. icate dupe list and give it to your lab as a part of a duplicate negative order Ifyou don t want to spend the money required to create a duplicate negative You need to be careful not to edit in a way that uses the same source material more than once because there is only one original camera negative When editing digitally it s so easy to use the same material twice that you may not even realize that you ve done it but Cinema Tools lets you check for duplicate usages on a regular basis In determining whether or not any frames have been used more than once Cinema Tools assumes that because of typical A and B roll film splicing also called checkerboarding at least one half of a frame will be 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 In the Export Film Lists dialog you can specify up to five and one half frames of cut handles If you inadvertently include in a sequence frames that are needed as cut handles Cinema Tools reports them as duplicate usages in the duplicate list and the double usage warnings It s important to check for duplicate usages before you lock the picture and prepare to have the original camera negative cut See Duplicate List and Double Usage Warnings to find out how to export a duplicate list and include duplicate usage information in a film list Ch
200. ile usually the one with _M in its name is played Important There has to be at least one mov file in the folder for Cinema Tools to be able to play the clip in the Clip window Chapter 3 Cinema Tools Workflows Creating a Cinema Tools Database 4 At the heart of Cinema Tools is its database providing powerful organizational tools This chapter covers the following e An Introduction to Cinema Tools Databases p 53 Deciding How You Should Create the Database p 54 e Creating and Configuring a New Database p 58 An Introduction to Cinema Tools Databases A Cinema Tools database contains records that Describe your source clips Track the relationship between the film rolls and edge code key numbers ink numbers or both and the video reels and timecode Can also track other elements such as scenes shots and takes as well as sound rolls and audio timecode You generally create a database for each film or video project Alternatively you can create databases for sections of your project and later merge them all into one large database When you work on film projects the database makes it possible for you to export film lists that tell the negative cutter how to cut your original camera negative When you work on projects using a digital intermediate workflow the database makes it easier to manage your original full resolution media Beyond creating film lists you may want to use the database as an
201. ils about how to ensure that you have correct values in your database Important Before you can enter information in the database you need to have an existing database See Creating and Configuring a New Database for details about creating a new empty database Importing Database Information You can create a database by importing information from a telecine log or ALE file a Final Cut Pro batch capture list or an existing Cinema Tools database Importing Database Information from a Telecine Log or ALE File You can enter information in the database by importing the telecine log from the film to video transfer Cinema Tools currently supports the following telecine logs ATN log files from Aaton FLX Film Log EDL Exchange commonly known as FLEX log files from TLC Time Logic Controller software Film Transfer List FTL log files from Evertz Avid Log Exchange ALE files not technically telecine logs but contain similar information for your database Chapter 6 Entering and Modifying Database Information You can import telecine log files using either Cinema Tools or Final Cut Pro See Importing Telecine Logs Using Cinema Tools and Importing Telecine Logs Using Final Cut Pro for more information Assigning Camera Letters Whether you import the telecine log file using Cinema Tools or Final Cut Pro you have the option of having Cinema Tools dynamically assign a camera letter to all records that are imported The ca
202. information about building a Cinema Tools database 201 202 Important When you export film lists from an EDL or XML file Cinema Tools has to use the timecode based method of film list creation For this reason you must be careful to have accurate video timecode values in the database because they alone and not the actual clips provide the edit information for generating the lists There are two ways you can generate film lists from an EDL Use the Cinema Tools Export commands This is the easiest approach See Before You Use the Cinema Tools Export Commands for more information 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 If the clips are available it is possible to actually play and modify the sequence before you export the lists For information about importing an EDL see the Final Cut Pro documentation See An Introduction to Film Lists and Change Lists for details about generating film lists from within Final Cut Pro Before You Use the Cinema Tools Export Commands In addition to the Cinema Tools database a suitable EDL or XML file is required to create film lists from within Cinema Tools EDL Requirements Cinema Tools supports EDLs that comply with the CMX 3600 and GVG formats As a general rule any options to include pre read or B reels should be disabled
203. ing a frame rate conversion w D Kea fo N Chapter 2 Before You Begin Your Film Project 32 Your Final Cut Pro system needs to be equipped with specialized hardware to capture 24p video either as compressed or uncompressed clips Alternatively some DV cameras such as the Panasonic AG DVX100 camcorder can shoot 24p video and use the 2 3 3 2 pull down method to record it to tape at 29 97 fps the NTSC standard Using Final Cut Pro and Cinema Tools you can capture this video and remove the 2 3 3 2 pull down so that you can edit it at 24 fps See Adding and Removing Pull Down in 24p Clips for more information Note When used as part of an NTSC system the 24p videotape recorder s VTR s frame rate is actually 23 976 fps referred to as 23 98 fps to be compatible with the NTSC 29 97 fps rate Timecode Considerations There are several general issues related to timecode that you should be aware of If you re using NTSC video you can also choose between two timecode formats General Timecode Tips When using video or audio equipment that allows you to define the timecode setting it is recommended that you set the hours part of the timecode to match the tape s reel number This makes it much easier to recognize which reel a clip originated from It is also best to avoid crossing midnight on a tape This happens when the timecode turns over from 23 5
204. ing the film s clips in Final Cut Pro There are four areas you can control Item Properties window The Film tab of the Item Properties window lists the film related information for a clip See Showing Film Related Information in Item Properties for details Browser You can add columns that show film related information such as key numbers and telecine film speed TK Speed This information also appears in the Item Properties window See Showing Film Related Information in the Browser for details Viewer and Canvas You can choose to include the keycode and ink numbers with the timecode values in the overlay See Showing Film Related Overlays in the Viewer and Canvas for more information Timeline Viewer and Canvas You can choose to show the frame count in a feet and frames mode See Showing Film Based Frame Counts for more information To show film related information in Final Cut Pro you must first import the information from Cinema Tools There are three ways to do this When you import an XML batch capture list exported from Cinema Tools the film related information is also imported See Using XML Batch Capture Lists for more information Use Final Cut Pro to import a telecine log file This adds any film related information contained in the log file to the offline clips See Importing Telecine Logs Using Final Cut Pro for more information Use the Synchronize with Cinema Tools command described in the nex
205. ing with the Starting Footage value Time Time Running timecode starting with the Starting Time value Count Count Running frame count starting with the Starting Count value Footage length Length Length of each event in feet and frames Time length Length Length of each event in timecode Count length Length Length of each event in frames Key numbers Prefix and Key Starting source key number of each event Ink numbers Prefix and Ink Starting source ink number of each event Source reel Reel Source reel number Source time Src Time Starting source timecode value of each event Source count Src Count Starting and ending source frame counts Camera roll Cam Roll Camera roll number Chapter 10 Generating Film Lists and Change Lists 173 Item name PDF name Shows Lab roll Lab Roll Lab roll number Daily roll Dly Roll Daily roll number Clip name Clip Name Source clip name Scene amp take Scene and Take Scene and take settings DPX frame DPX Frame Starting and ending frame DPX filenames Creating Change Lists A change list reports the differences between two versions of a sequence edited in Final Cut Pro For film based projects the purpose of the change list is to describe the changes that need to be made to the workprint or negative since it was conformed to a prior version of the sequence For DI projects change lists are used to let other departments such as the sound department or closed captioning de
206. ings However if your source clips originated from a certain type of camcorder that shoots 24p such as the Panasonic AG DVX100 camcorder you do not need window burn m in order to reverse the pull down See Removing 2 3 3 2 or 2 3 2 3 Pull Down with Cinema Tools for specific information Note For reverse telecine to function properly a media file cannot be in use by any other application Also a clip cannot be open in the Finder nor can it be write protected If you perform reverse telecine on clips that are open in another application an alert message appears warning you that the file is busy To use the single clip Reverse Telecine feature on a clip in Cinema Tools Choose File gt Open Clip then select the clip in the dialog In the Clip window position the playhead so that a still frame with clearly readable window burn is displayed You need to see the window burn in order to identify the frame type for the Reverse Telecine dialog Often the first frame will do but any frame in the clip can be displayed Reverse telecine will be applied to the entire clip regardless of which frame is displayed In the Clip window click Reverse Telecine Chapter 8 Preparing the Source Clips for Editing 131 132 4 Inthe dialog that appears select the capture mode that indicates the correct field capture for the clip Field 1 Only Select this option if the video contains only field 1 Field 2 Only Select this option if th
207. ins a list of every edit with the reel names of the source clips and their In and Out point timecode numbers Stage 5 Importing the EDL into Color When you import an EDL into a Color project you can choose the folder that contains the source clips the EDL refers to You can choose the folder that contains the original DPX clips and have Color connect the EDL records to the clips or you can choose the Cinema Tools database you created from the clips The advantages of choosing the Cinema Tools database are You can easily correct any issues there might be between the EDL and the actual clips For example if a reel name does not match you can change the reel name in the Cinema Tools database to match the name listed in the EDL Once you have created the Cinema Tools database choosing it when importing an EDL into Color can be faster than choosing the folder with the clips Choosing the database becomes especially useful if you end up importing the EDL into Color multiple times as additional clips become available Chapter 3 Cinema Tools Workflows If the EDL refers to clips on more than one volume a Cinema Tools database can connect to all of the clips Color can automatically connect to the clips on only one volume and you must manually connect to the clips on the other volumes Stage 6 Finishing the Project in Color Once you have imported the EDL into Color and matched it to the source clips the clips are conformed to match
208. irst make sure that other programs are not open so that performance is not slowed Then recapture the source clip If you attempt to use the Reverse Telecine feature for a source clip that contains dropped frames a warning appears 106 Chapter 7 Capturing Source Clips and Connecting Them to the Database Setting Up Your Hardware to Capture Accurate Timecode The ability of Final Cut Pro 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 results in 100 percent accurate timecode If you are instead capturing from a deck using serial device control for example a Digital Betacam or Beta SP deck there are a couple of important steps you need to take during setup to ensure timecode accuracy What Is Device Control Device control makes it possible for Final Cut Pro to control your video camera or video deck If your video camera or deck uses a protocol supported by Final Cut Pro Final Cut Pro can exchange timecode and device control data with the camera or deck If you have device control you can cue and capture several source clips at once called batch capturing If you do not have device control you need to capture source clips individually See the Final Cut Pro documentation for supported device control protocols
209. itor is not a Final Cut Pro system the best way to import information about the offline edit is to provide an EDL EDLs contain only the basic information about an editing project the In and Out edit points for the first two video tracks and the first four audio tracks information for simple transitions and any notes you have added To import a 24 fps EDL into Final Cut Pro Open an existing Final Cut Pro project or create a new one Choose File gt Import gt EDL Configure the Import Options dialog then click OK Chapter 13 Working with 24p Video and 24 fps EDLs 213 214 Note If the dialog does not allow you to choose 24 fps as the editing timebase it s probably because the Easy Setups included with Cinema Tools are not installed If they are not installed reinstall Cinema Tools Select the name and location of the EDL file then click Choose A new sequence opens in the project containing the edits of the EDL all indicating that the media is offline The Browser contains a list of the media used in the edit You can then use the Final Cut Pro Media Manager to capture the clips for the online edit See the Final Cut Pro documentation for details about capturing clips importing EDLs and configuring the Import Options dialog Importing NTSC EDLs You can perform an offline edit of your downconverted 24p video on an NTSC system and export an EDL that can be converted and used by an online Final Cut Pro system To import an N
210. l Cut Pro for more information 4 42 Stage 3 Connecting the Clips to the Database Once you have captured the source clips you can connect them to the Cinema Tools database also known as linking the clips to the database Connecting a clip to the database gives Cinema Tools the ability to access a record s clip while creating the cut list reducing the chance of timecode entry problems When creating a cut list Cinema Tools starts by looking at the clip pathname used in the edit and matching it back to the database Being able to work with the clip file in this way reduces the chances of a timecode error which can cause inaccurate records in the cut list This is especially important when editing at 24 fps See How Cinema Tools Creates Film Lists and Connecting Source Clips to the Database for more information Stage 4 Preparing the Clips for Editing 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 See Preparing the Clips for Editing for more information Stage 5 Editing the Clips in Final Cut Pro You edit the clips in Final Cut Pro much as you would for any video project but there are a few important things to keep in mind See Editing with Final Cut Pro for descriptions of these considerations Stage 6 Creating Cut Lists and Other Lists with Cinema Tools Once you have edited your clips and are satisfied with your digitally edi
211. l camera negative or workprint to match the digitally edited program Cut lists are also known as assemble lists Chapter 10 Generating Film Lists and Change Lists 161 162 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 For each clip listed in the missing elements list the element that is missing is specified The shot number where that clip appears in the cut list is called out on a separate line If any of the following are missing they are listed in the missing elements list Lab camera or daily roll Key number or ink number Additionally each source clip must be connected to a record unless you can use the timecode based method for cut list generation see A Potential Databe Camera Roll Transfers To use the timecode based method for cut list generation each record must also include these elements e Shortcut for e Video reel Timecode and duration Chapter 10 Generating Film Lists and Change Lists 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 i
212. l release print is made Appendix A Film Background Basics How Cinema Tools Creates Film B Lists 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 This appendix covers the following e Film List Creation Overview p 241 e About the Clip Based Method p 242 e About the Timecode Based Method p 243 Film List Creation Overview In creating a film list there are two basic methods Cinema Tools uses to locate a database record associated with a particular edit Clip based method Cinema Tools obtains the clip s filename from Final Cut Pro and then looks for the clip in the database Cinema Tools first tries to locate the clip based on the clip pathname indicated in the editing system If it fails to find the clip by looking for the pathname it searches for the clip by its name and modification date When Cinema Tools finds the clip in the database it can also locate the associated record because each clip must be linked to one record See About the Clip Based Method for more information Timecode based method If Cinema Tools can t find the database record using the clip s filename it finds the database record by looking for the video reel and timecode information associated with the edit in the sequence in
213. lation on a different computer For this reason Cinema Tools lets you generate film lists based on Edit Decision Lists EDLs created with Final Cut Pro and other systems as well as film lists based on Final Cut Pro XML files Cinema Tools also lets you import and export Avid Log Exchange ALE files These files contain most of the film video and audio information in a Cinema Tools database in a format supported by most film based editing systems ALE files do not contain any edit based information as is found in an EDL This chapter covers the following e Creating EDL Based and XML Based Film Lists p 201 e Working with ALE Files p 206 Creating EDL Based and XML Based Film Lists The same considerations you have to take into account when creating film lists from within Final Cut Pro apply to other video editing applications You must Have a complete and accurate Cinema Tools database that includes the film and timecode information Have video timecode and reel numbers in the EDL or XML file that exactly match those in the Cinema Tools database Be prepared to deal with audio speed issues that may affect synchronization with the picture All of the considerations related to the telecine transfer including whether the scene and take or camera roll method was used apply as well The telecine log from a scene and take transfer is still the best way to build your Cinema Tools database See Creating a Cinema Tools Database for
214. ld values Video Related Fields e Tape Contains the Video Reel field value Start Contains the Video Timecode field value End Within Cinema Tools this is a calculated value created by adding the Video Duration field to the Video Timecode field Duration Contains the contents of the Video Duration field TC 24 Contains a 24 fps based Video Timecode value that is used in place of the Start value if the database you are importing this file into is set for 24 fps timecode Additionally if the ALE file does not include a Sound TC column the TC 24 column values are added to the database as the Sound Timecode values Audio Related Fields Tracks Cinema Tools inserts VA1 into this field during export Soundroll Contains the contents of the Sound Roll field e Sound TC Contains the contents of the Sound Timecode field representing the timecode value of the first frame General Fields Name When exporting contains the filename of the connected clip if there is one or a Cinema Tools created name combining the scene and take numbers if they have been entered or as a last resort the video reel and timecode values separated by a hyphen Scene Contains the Scene field contents e 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 fil
215. lists Optical list This list contains an entry for each cut list event that uses an optical effect Based on the type of optical effect each entry links to one of the three effects lists described next that are also included with the optical list These effects lists include the actual details of the optical effect Transition effects list This list contains an entry for each optical list entry that contains a transition effect such as a cross dissolve or wipe See Transition Effects List for more information Filter effects list This list contains an entry for each optical list entry that contains a filter effect such as a blur or color correction See Filter Effects List for more information Chapter 10 Generating Film Lists and Change Lists Motion effects list This list contains an entry for each optical list entry that contains a motion effect such as a time remapping speed change See Motion Effects List for more information How the List Entries Are Linked If an optical list entry contains multiple types of effects such as a transition a filter and a motion effect the optical list entry only links to one of the effects lists Ifthe optical list entry includes a transition effect The optical list entry links to an entry in the transition effects list If the optical list entry also includes a filter effect the transition effects list entry links to a filter effects list entry which links to a motion effects
216. low What Cinema Tools Does Cinema Tools tracks all of the elements that go into the making of the final film It knows the relationship between the original camera negative the transferred videotapes and the captured video clips on the editing computer It works with Final Cut Pro to store information about how the video clips are being used and generates the cut list required to transform the original camera negative into the final edited movie Chapter 1 An Overview of Using Cinema Tools Cinema Tools also checks for problems that can arise while using Final Cut Pro the most common one being duplicate uses of source material using a shot or a portion of it more than once Besides creating duplicate lists you can use Cinema Tools to generate other lists such as one dealing with opticals the placement of transitions motion effects video at other than normal speed and titles Cinema Tools can also work with the production audio tracking the relationship between the audio used by Final Cut Pro and the original production audio sources It is possible to use the edited audio from Final Cut Pro when creating an Edit Decision List EDL and process or finish the audio at a specialized audio post production facility It s important to understand that you use Final Cut Pro only to make the edit decisions the final edited video output is not typically used since the video it is edited from generally is compressed and includes burned
217. lt gt Record 21 of 29 Scene A54 Field for take notes Shot A54G Film Scene AS4G Take 10 Camo labro DaiyRot Key kK061997 6053 10 Sound Ink Field for telecine session notes 1 Rolt TkSpeed 24 ieee 0727 36 19 a Film Std 35mm 4p 3 TC Rate 30 NDF 3 Database Fields and Buttons These fields and buttons apply to the entire database Previous Record and Next Record buttons arrows Click these buttons to switch to the previous or next record as currently sorted and displayed in the List View window Note One of these buttons is dimmed when you are at the beginning or end of the list and there isn t a previous or next record As a shortcut you can use the Left Arrow and Right Arrow keys on your keyboard If you have made changes to the current record a dialog appears asking if you want to save those changes New Record button Click to create a new database record In the dialog that appears enter the scene and take identifiers for the new database record See Using Scene Shot and Take Identifiers for more information Save button Click when you have added or modified data in the current database record Your added or modified information is not recorded unless you click Save Telecine Session area This area in the middle right part of the window lists the name of the telecine log
218. m See What Actually Happens to the EDL for more information What Actually Happens to the EDL Once you start the film list export Cinema Tools first processes the EDL file and creates a version for its own internal use During this processing Cinema Tools looks for errors that would make the EDL unsuitable to use for creating a film list If it encounters nonstandard or unexpected text the export is halted and an error message appears listing the line number where the processing failed This is referred to as a parsing error Problems in an EDL can often be repaired by manually editing its contents Because EDLs are actually plain text files they can be opened in TextEdit Be careful often the line number listed is not the actual problem the real issue may be with the line before Experiment with deleting lines and comparing them to similar ones that occur previously in the EDL to help determine the problem See Using TextEdit to Make Changes to an EDL for more information Chapter 12 Working with External EDLs XML and ALE Files 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 recorded over by any edits that follow Any transitions or supers that are completely overlapped by a following edit are removed If the transition or super is only partly overlapped by a following edit it is flagged as a conflict the la
219. m a budget viewpoint it may be a benefit not to create a workprint workprints are generally created anyway since they provide the best way to see the footage on a large screen and spot any issues that might impact which takes you use Even more importantly they allow you to test the cut list before working on the negative In addition to providing a high quality transfer most modern telecines read the key numbers from the film and can access the video recorder s timecode generator burning in these numbers on the video output An additional benefit of the telecine transfer method is its ability to provide synchronized audio along with the video output It can control the audio source and burn in the audio timecode along with the video timecode and the key numbers Chapter 2 Before You Begin Your Film Project 25 26 But What If You Want a Clean Master If you plan to conform the original camera negative the presence of burned in timecode and key numbers on the video clips you edit in Final Cut Pro may not be a problem especially if you are working with a highly compressed video format The burned in numbers can be a problem however if you intend to use the edited video for screenings or for broadcast As valuable as they are to the editor the burned in numbers can be distracting when watching an edited project There are two common methods you can use to minimize this problem Letterbox the video during capture using a 2 35 aspe
220. ma Tools can export a batch capture list With this list and appropriate device control Final Cut Pro can capture and digitize the appropriate takes with minimum effort on your part Maintaining an accurate film log and using a timecode slate can help speed the transfer process and reduce costs Frame Rate Basics When transferring film to video you need to take into account the differences in film and video frame rates Film is commonly shot at 24 frames per second fps although 25 fps is sometimes used when the final project is to be delivered as PAL video as opposed to the more common technique of just speeding up 24 fps film to 25 fps Video can have a 29 97 fps rate NTSC a 25 fps rate PAL or either a 24 fps or 23 98 fps rate 24p depending on your video standard The frame rate of your video whether you sync the audio during the telecine transfer or not and the frame rate you want to edit at can determine what you need to do to prepare your clips for editing You may find it useful to read Determining How to Prepare Source Clips for Editing before you make any decisions about frame rates Chapter 2 Before You Begin Your Film Project Working with NTSC Video The original frame rate of NTSC video was exactly 30 fps When color was added the rate had to be changed slightly to the rate of 29 97 fps The field rate of NTSC video is 59 94 fields per second NTSC video is often referred to as having a frame rate of 30 fps and
221. making it play back at the original film rate and stay in sync with the audio See Using the Conform Feature for details Note Make sure to use the Conform feature on a clip before editing it in Final Cut Pro Also make sure the editing timebase in the Final Cut Pro Sequence Preset Editor is set at the same rate you are conforming to See Determining How to Prepare Source Clips for Editing for more information Creating Cut Lists and Other Lists with Cinema Tools There are a number of other useful lists that can be generated at the same time as a cut list One film list file can contain any of the following Missing elements list A list of any required information that could not be found in the database Duplicate list A list of duplicate usages of the same source material Optical list A list for the effects printer describing any transitions and motion effects e Pull list A list to aid the lab in pulling the required negative rolls Scene list A list of all the scenes used in your program and the shots used in the opticals You can also export a change list useful if your production process involves workprint screenings and modifications The change list assumes a workprint has been cut to the specifications of a cut list or prior change list and it specifies further changes to make to othe workprint based on edits you have made to the sequence in Final Cut Pro See e Change Lists Used in a Film Workflow for a flow chart of the
222. mation The Import a Cinema Tools Telecine Log dialog appears ooe Import a Cinema Tools Telecine Log Choose a log file faj 2 Logs B Q search 24PMedia G 068 ALE og Massive ALE J Massive Project Massive Pr tch Capture I Media gt amp Massive Pr L Batch xml Select the telecine log file to import Documents _ g Movies 4 i MW Music Y as Append a camera letter New Database Choose Database Choose to either Database Massive Project Massive Project create a new database or import the file into Cancel Open an existing database Choose a camera letter Lists the currently to append to the selected database imported takes if needed 4 Use the top half of the dialog to select the telecine log file to import 5 To assign a camera letter to the imported records select the Append a camera letter checkbox the camera letter is dynamically determined by the first letter of the camera roll value if present and is appended to the Take entry of each record 6 Do one of the following To create a new Cinema Tools database to import the telecine log file into Click New Database This opens a new dialog where you can enter a name and location for the database as well as configure its default settings See Settings in the New Database Dialog for information about these settings Click Save when finished Import a Cinema Tools Telecine Log
223. mation added to each record Choose Tools gt Synchronize with Cinema Tools A dialog appears that allows you to configure the synchronization process Synchronize with Cinema Tools F Add new records Ml Auto connect Choose Database Database Massive Project Massive Project Cone Ke The Database field shows the currently selected database Select the Add new records checkbox if you want the database to automatically have new records added for selected clips that are not already in the database This option must be selected when you are synchronizing with a new database Select the Auto connect checkbox if you want the database to automatically connect the clips to any new records that are created in the database Do one of the following Ifthe database shown in the Database field is the correct one Click OK The Database field is updated if you use the New Database or Choose Database button To create a new Cinema Tools database Click New Database This opens a dialog that allows you to enter a name and location for the database as well as configure its default settings See Settings in the New Database Dialog for information about these settings Click Save when finished Synchronize with Cinema Tools Create a new Cinema Tools database file Save As fy Where _ Massive Project wy Choose the default settings Film Standard 35mm 4p IS Video TC Rate 30NDF i
224. mecode relationship you may want to take the time to create database records for each source clip for your own organizational and tracking purposes For example A database can be used to cross check which take is on which sound roll and which lab roll contains a negative you need e You may want to have records for each clip so that you can add notes about different clips Database records provide a poster frame of each clip for quick visual reference and you can access and play the whole clip from the database If the Edge Code Number to Timecode Relationship Is Noncontinuous on Each Roll You need to create separate database records for each clip and connect each clip to its record Each database record must include the key number or ink number of the first frame of the associated source clip so that Cinema Tools can adequately track the edge code number to timecode relationships throughout your sequence 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 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 If you do create individual databases for dailies consider naming each database file by the date of the daily Eventually you can merge the databases into a master database by importing
225. ment before capturing the audio into your computer If you don t need the audio speed adjusted for editing but you do need it adjusted for the finished project you can have the audio finished at an audio post production facility that can adjust the speed Synchronizing Separately Captured Audio and Video If your sound and picture were not synchronized onto videotape but were instead captured separately you can synchronize them in Final Cut Pro In Final Cut Pro a feature called merged clips lets you link one or more source media files together so that they become one clip First you synchronize them and then you merge them into one clip Chapter 8 Preparing the Source Clips for Editing 139 The clapper boards also called slates in your shots provide the audible and visible cues on which to sync your audio and video clips There are a couple of different techniques you can use to synchronize clips before merging them depending on how you shot your footage Ifyour video and audio clips do not span exactly the same timecode values 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 Video
226. mera letter uses the first letter of the camera roll value and is appended to the take entry of each record This is useful in those cases where multiple cameras were used for each take with the letters making it easy to distinguish between the clips from different cameras Additionally if you set up a multiclip in Final Cut Pro the camera letters are used to create the different angles Importing Telecine Logs Using Cinema Tools To import a telecine log into Cinema Tools you must first have a database open The database can be an existing one to which you want to add new records or it can be a new one with no records To import a telecine log using Cinema Tools 1 Doone of the following Open an existing Cinema Tools database See Opening an Existing Database for more information e Create a new Cinema Tools database See Creating and Configuring a New Database for more information 2 Import the telecine log file by choosing File gt Import gt Telecine Log or pressing Command L 3 In the dialog that appears select the telecine log or ALE file Chapter 6 Entering and Modifying Database Information 87 4 Toassign a camera letter to the imported records select the Append a camera letter checkbox the camera letter is dynamically determined by the first letter of the camera roll value if present and is appended to the Take entry of each record 5 Click Open The data in the log is entered in th
227. must be completed If editing material from camera rolls enter the camera roll identifier given to the roll of film by the camera assistant during production The camera roll identifier should be the same as that which appears on the slate for the take Note In many cases the camera roll and the lab roll are the same thing and can be given the same identifier You can choose to enter data in either one or both of these fields You should however be consistent When creating a cut list or change list Cinema Tools gives you the choice of showing the camera roll lab roll or daily roll Whichever one you choose it must be present in every database record or Cinema Tools will report an error when you export a film list Lab Roll field If you intend to create a cut list or change list for a film based project one of the film roll fields must be completed If editing material from lab rolls enter the identifier given to the lab roll by the laboratory that processed the film Or enter an identifier for a roll created from select takes for printing sometimes such a roll is referred to as the A negative In many cases the lab roll and the camera roll are the same thing and can be given the same identifier see the note above Daily Roll field lf you intend to create a cut list or change list for a film based project one of the film roll fields must be completed If editing material from daily rolls enter the identifier given to
228. n EDL or to correct situations where reel identifiers are not exact matches such as 0001 and 001 Note If you will be exporting a batch capture list from the database it s best to make the reel or roll identifier changes before exporting the list To change all instances of a reel or roll name in a database 1 Click the Show All button in the List View window to make sure that all of the database records are listed in the List View window 2 Choose Database gt Change Reel 3 Make the following settings in the Change Reel dialog Choose the type of roll or reel In the From field enter the identifier that you want to change In the To field enter the new identifier 4 Click OK Choose the type of reel or roll Change Reel Change all occurrences of Video Reel From To Enter the old and new identifiers Cone Eo After you click OK all records displayed in the List View window are searched and each time the roll or reel identifier that you want to change is found it is replaced by the new identifier 100 Chapter 6 Entering and Modifying Database Information Verifying and Correcting Edge Code and Timecode Numbers Assuming you know the timecode key number or ink number values for a frame in a clip either by a marked frame or by window burn you can use the Identify feature to verify these values for the clip Verification is important because your cut list or change lis
229. n the source clips When you choose this option the batch log includes the video reel and video timecode information entered in each clip s database record Final Cut Pro Audio Choose this option to capture only the audio from the source clips When you choose this option the batch log includes the sound roll and audio timecode information entered in each clip s database record 4 Inthe dialog that appears select a location and enter a name for the batch capture list 5 Do one of the following To include all records in the batch file Click Export all records in the current found set 112 Chapter 7 Capturing Source Clips and Connecting Them to the Database To include only those records that have video reel timecode start and timecode duration values and are not already connected to a clip Click Export only eligible records in the current found set Click Save A plain text batch capture list is created and saved to the designated location Tip You can edit the batch capture list in a text editor However make sure that you do not delete or overwrite the Tab characters that separate the fields in each line You can delete lines for clips you don t want to capture To import a standard Cinema Tools batch capture list into Final Cut Pro Either open an existing project or create a new project in Final Cut Pro In Final Cut Pro choose File gt Import gt Batch List at current fps where current f
230. n to display the Analysis pane The Analysis pane displays the full path location and name of the file along with its size and dates of creation and modification You can also see the duration of the movie contained in the clip Information is also listed for each track in a clip For video tracks You see the frame size and frame rate the compressor used and the compression quality the average data rate and whether it is a self contained or reference media file See The Difference Between Self Contained and Reference Media Files for more information For audio tracks You see the sample rate and the number of channels for up to two tracks Chapter 5 Working with Databases Entering and Modifying Database 6 Information Once you have created and configured your Cinema Tools database you are ready to start entering information This chapter covers the following About Working with Database Information p 85 Importing Database Information p 86 Entering Database Information Manually p 91 Using the Identify Feature to Calculate Database Information p 96 Deleting a Database Record p 98 Choosing a Different Poster Frame for a Clip p 98 Changing the Default Database Settings p 99 Changing All Reel or Roll Identifiers p 100 Verifying and Correcting Edge Code and Timecode Numbers p 101 About Working with Database Information As described in Deciding How You Should Create the Databa
231. nce in Final Cut Pro See the Final Cut Pro documentation for details about setting the editing timebase in the Sequence Preset Editor There may be dropped frames or discontinuities in the key numbers of the video Try recapturing the clips When you try to use the Reverse Telecine feature you see an error about dropped frames e Occasionally there are clips that contain frames that are longer than they should be This situation can cause the Cinema Tools reverse telecine process to report one or more dropped frames when in fact there aren t any Try conforming the clip to 29 97 fps with the Conform feature then start the reverse telecine process again If frames were actually dropped during the capture process it s best to recapture the source clips without evoppedt frames because oppas frames can interfere with the reverse telecine process See Avoiding Dropp nes for more information You see unexpected tmp files Cinema Tools may create several temporary files in the process of creating the cut list These files are normally deleted when the process is complete so you don t see them If a system failure occurs before the film list is generated these files might not be deleted If you find any Cinema Tools generated files with a filename extension of tmp tmp dat or tmp idx you can delete them In the cut list you see an error about a temporary file Ifa problem occurs while Cinema Tools is creating a temporary fil
232. nces between using Final Cut Pro XML files and Cinema Tools program files when exporting change lists Exporting from Final Cut Pro When you export a change list from Final Cut Pro the following rules apply In addition to the change list specific change pull list and discard list you have the option to include all of the standard film lists such as a cut list a duplicate list and so on The change list s frame rate is determined by the Telecine Speed setting in the Export Change List dialog If you choose a Cinema Tools program file to represent the original edit the program file must be based on the same telecine speed This means that you can only export a change list from Final Cut Pro that uses a frame rate supported by a Cinema Tools database 24 fps 25 fps or 30 fps However you can export a change list from Cinema Tools that is based on nonsupported frame rates such as 50 fps or 59 94 fps You must select a Cinema Tools database If you are not concerned about film based settings such as key numbers or camera rolls you can select any database or even create an empty database in Cinema Tools to be used for this purpose Chapter 10 Generating Film Lists and Change Lists The following diagram shows the basic process when exporting a change list from Final Cut Pro After you finish the initial edit of the program you export a Final Cut Pro XML file or a Cinema Tools program file if you are using a film based workflow and
233. nd have other departments such as sound conforming and closed captioning begin working on it you need to export a Final Cut Pro XML file for the program s sequence This XML file provides a snapshot of the current state of the project It is required if you end up making changes to the project later and want to export a change list Note An alternative approach is to save a copy of the initial sequence You can later export the Final Cut Pro XML file by opening that saved initial sequence Stage 3 Screening the Program and Making Changes After you screen your program you may find that you need to make some changes to it Make the changes as needed Stage 4 Exporting an XML File of the Revised Program After you have finished the second edit of the program and are again ready to screen it you can either export the change list directly from Final Cut Pro or export a new Final Cut Pro XML file and use Cinema Tools to export the change list Note If there is a chance of additional revisions you should export a new Final Cut Pro XML file even if you are going to generate the change list using Final Cut Pro because the XML file will be needed to generate future change lists Stage 5 Exporting a Change List The biggest difference between exporting a change list using Final Cut Pro and exporting one using Cinema Tools is that with Final Cut Pro you can choose to include any of the other traditional film lists along with the change list Ther
234. nd only on high end or very specialized editing systems Preface The integration between Cinema Tools and Final Cut Pro makes it possible to perform the most common Cinema Tools tasks directly from Final Cut Pro Cinema Tools performs the tasks automatically in the background About the Cinema Tools Documentation Cinema Tools comes with the Cinema Tools 4 User Manual this document which provides detailed information about the application This comprehensive document describes the Cinema Tools interface commands and menus and gives step by step instructions for creating Cinema Tools databases and for accomplishing specific tasks It is written for users of all levels of experience This manual documents not only all aspects of using the Cinema Tools application but also all related functions within Final Cut Pro Note This manual is not intended to be a complete guide to the art of filmmaking Much of the film specific information presented here is very general in nature and is supplied to provide a context for the terminology used when describing Cinema Tools functions Additional Resources Along with the documentation that comes with Cinema Tools there are a variety of other resources you can use to find out more about Cinema Tools Cinema Tools Website For general information and updates as well as the latest news on Cinema Tools go to apple com finalcutstudio finalcutpro cinematools html Apple Service and Support We
235. nder See the Color documentation for more information Stage 2 Creating the Cinema Tools Database A Cinema Tools database for a DI workflow is much simpler than a database for a typical film workflow because there is often no film information to track You can create the database by simply dragging the folder that contains the original media files to the Cinema Tools application icon it doesn t matter whether Cinema Tools is already open or not A dialog appears asking if you want to create a new database The new database creates a record for each clip found in the folder and its subfolders Note If you create a Cinema Tools database by dragging a folder containing many DPX files to the Cinema Tools application icon the process can take a long time and it might appear that Cinema Tools is not responding Be sure to give Cinema Tools plenty of time to process the clips Once you have created the database you can easily add new clips to it as they become available by dragging them to the List View window Stage 3 Editing the Clips in Final Cut Pro You edit the downconverted video clips in Final Cut Pro much as you would for any video project but there are a few important things to keep in mind See Ec for descriptions of these considerations ing with Final Cut Pro Stage 4 Exporting an EDL File from Final Cut Pro After you have completed editing the downconverted video clips in Final Cut Pro you export an EDL This file conta
236. ne film speed of 25 fps choose 25 fps Chapter 4 Creating a Cinema Tools Database 63 Working with Databases 5 To work with the database you need to know how to open it find specific records and access information about a record s clip This chapter also details using the List View Detail View and Clip windows This chapter covers the following Opening an Existing Database p 65 Viewing Database Properties p 66 About the Detail View Window p 66 Settings in the Detail View Window p 67 About the List View Window p 73 Settings in the List View Window p 74 Finding and Opening Database Records p 76 Settings in the Find Dialog p 77 Backing Up Copying Renaming and Locking Databases p 80 About the Clip Window p 80 Settings in the Clip Window p 81 Accessing Information About a Source Clip p 84 Opening an Existing Database The first step in working with a database is to open it To open an existing database Do one of the following Choose Database gt Open Database or press Command Shift O then select the database in the dialog Drag a database file from a Finder window to the Cinema Tools application icon 65 All the records in the open database are listed in the List View window and the Detail View window shows the first record s details See About the Detail View Window and About the List View Window for details about using these two windows Note The current
237. negative The cut list is a type of film list you can export from Final Cut Pro using Cinema Tools Also known as an assemble list 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 digital intermediate DI A film workflow that does not rely on conforming the original camera negative for the final output Generally the film is scanned and processed at a high enough quality that the final output can be directly sent to a film printer or distributed as digital video This term is also used even if the source for the video is a high quality digital camera such as the RED ONE and no film is involved at all downconverted video Video created by converting high definition video such as 24p to standard definition video NTSC or PAL DPX image sequence Digital Picture Exchange DPX image sequences are often referred to by their resolution For example DPX image sequences with 2048 horizontal pixels are referred to as 2K resolution and DPX image sequences with 4096 horizontal pixels are referred to as 4K resolution The video is actually a set of still images one per frame within a folder The images are played back in sequence at their specified frame rate DPX image sequences are often used as part of a DI workflow Cinema Tools uses the folder name as the reel name and extracts the timecode from each image See also digital intermediate dr
238. ns all of the lists you have selected If you exported a PDF format list it automatically opens in Preview or the application you have set as your default for opening PDF files After exporting a film list you should compare the edge code key numbers or ink numbers in the film list to the edge code in the window burn at the In point frame of each edit Although it can be time consuming to go through all of the edits and compare the edge code numbers it prevents the loss of time and money caused by incorrect cuts It s particularly important to check the edge code numbers if you are not conforming a workprint before cutting your negative Chapter 10 Generating Film Lists and Change Lists Settings the Export Dialogs Have in Common The settings available in the export dialogs vary depending on which output format you choose from the List Format pop up menu but all versions have the same basic settings The dialog that appears when you choose PDF from the List Format pop up menu contains additional formatting settings See PDF Configuration Settings in the Export Film Lists Dialog for more information about configuring PDF film lists The export dialogs have these settings in common List Title Enter a name for the film list file you are going to export 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 creat
239. nter 1D in the Scene field you see the following at the top left corner of the Detail View window 1 next to the word Scene 1D next to the word Shot Tip In the Scene field you can enter a letter A through D before the first number and the letter will be part of the scene identifier Adding a letter to the beginning of a scene identifier is a useful naming scheme when you need to add a scene in the middle of an existing series of scenes For example between scene 1 and scene 2 you could add a scene named A2 so the new order would be scene 1 scene A2 scene 2 scene 3 and so on Adding other letters E through Z does not add a new scene For example scene G2 is the same as scene 2 See S ce Numb for more information About the Descriptive Scene and Shot Data All the shots for a scene are related to that scene and all the source clips for a shot are related to that shot Because the database remembers these relationships you only need to enter the descriptive data for each scene and shot once When you enter or change the descriptive data for a scene that same data appears for all the other shots associated with that scene both in existing database records and any records you create later that have the same scene identifier Similarly any descriptive data you enter for a shot appears in existing database records with the same shot identifier Chapter 6 Entering and Modifying Database Information
240. ny actual media content they contain only pointers to a specific part of the original media file The files for these clips are small If you delete move or rename the original media file any files that refer to it will no longer play because they cannot locate the original One way to tell if a media file is self contained or reference is to open it in the Cinema Tools Clip window and click the Analysis button The Analysis pane displays this information Another way to tell is to look at its file size media files with dependencies have small 20 kilobyte or so file sizes whereas self contained media files even short ones can have file sizes up to hundreds of megabytes or more Deleting a Source Clip File To eliminate an unwanted source clip file before you start editing drag the clip to the Trash Then if there is a record for that clip in the Cinema Tools database delete that database record Refer to Deleting a Database Record for more information Chapter 8 Preparing the Source Clips for Editing Editing with Final Cut Pro 9 Once your source clips have been captured and prepared you can edit them in Final Cut Pro However there are a number of issues to consider before you begin editing material that originated on film This chapter covers the following About Easy Setups and Setting the Editing Timebase p 143 Working with 25 fps Video Conformed to 24 fps p 144 Displaying Film Information in Final Cut Pro p
241. ny sound effects clips you may have added are included When you use an OMF file the recording quality must be as high as possible as this is what the audience will hear Make sure to use a good capture device and observe proper recording levels Exporting Audio EDLs Another approach is to use lower quality clips in Final Cut Pro and then export an audio Edit Decision List EDL for use at an audio post production facility There they can capture high quality versions of the audio clips straight from the original production audio source and edit them based on the audio EDL For this to work the timecode and roll numbers of the original sound rolls must be kept track of and used to create the audio EDL Audio clips captured as part of video clips do not retain their original timecode and roll numbers and the Final Cut Pro EDL cannot be used by an audio post production 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 But because the telecine log from the transfer generally contains timecode and reel number information for both the video and audio importing this log into the Cinema Tools database allows the database to track audio usage and you can export an audio EDL from Cinema Tools once you finish editing See Exporting an Audio EDL for details about the process Synchronizing the Audio with the Video
242. o 4 3 video Chapter 13 Working with 24p Video and 24 fps EDLs 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 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 See Frame Rate Basics for more information 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 tape as a 60 field interlaced signal by applying a special kind of pull down called advanced 2 3 3 2 pull down With Final Cut Pro or Cinema Tools you can remove the redundant fields created by the camera s pull down so that you can edit at 23 98 fps or 24 fps When you edit 23 98 fps video you may need to output it to an NTSC monitor record it to an NTSC videotape or send it to another type of NTSC device Because the NTSC standard specifies a frame rate of 29 97 fps Final Cut Pro gives you a way to add pull down back in to the video as you output it To accommodate various circumstances Final Cut Pro provides a few different types of pull down patterns for outputting your 23 98 fps video as ag vai video 3 2 pull down 2 3 3 2 pull down and 2 2 2 4 pull down See Pull Down atterns You Can Apply to 23 98 fps Video for a description of these pull down patterns
243. o not have the option of recording sound on the film so the audio must be synced to the picture at some point later in the process The preferred workflow is to synchronize the audio during the telecine transfer This makes it easy to capture the audio along with the video clips for editing with Final Cut Pro The Cinema Tools database can track the original sound roll numbers and audio timecode and generate an audio EDL that can be used to recapture and edit the audio at an audio post production facility See Telecines for information about telecine transfers See Exporting an Audio EDL for information about exporting audio EDLs Chapter 13 Working with 24p Video and 24 fps EDLs 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 Even with a properly configured system you may be able to capture only the video you actually intend to use not the typical 20 to 100 hours you may have shot The typical approach to editing 24p video with Final Cut Pro involves two steps an offline edit using compressed 24p clips or downconverted to standard definition NTSC and compressed clips followed by an online edit with recaptured uncompressed clips What Is Downconverted Video It i
244. of the timeline or press your keyboard s Left Arrow and Right Arrow keys to step through the clip one frame at a time s 48 08 40 56 03 KK061997 6063 12A Geet Poster Frame Disconnect cip_ Scene AS4G_ Take 100 Creverse Tersane iC contorn J Leed Most of the buttons along the bottom of the window open additional windows or dialogs and are also available as commands in the Clip menu The two buttons in the upper right corner determine what information is shown on the right side of the window Buttons Along the Bottom of the Window Set Poster Frame Assigns the currently displayed frame to the Detail View window s thumbnail display Disconnect Clip The Disconnect Clip button changes depending on whether the current clip is connected to the database With a clip connected as shown above the button is labeled Disconnect Clip Click Disconnect Clip to disconnect the clip from the database Enter in Database If the current clip is not connected to the database the Disconnect Clip button is labeled Enter in Database Click Enter in Database to open a dialog where you can connect the clip to an existing record or a new record by entering scene and take values Reverse Telecine Opens the Reverse Telecine dialog Conform Opens the Conform Clip dialog Previous Clip and Next Clip buttons arrows The left and right arrows in the lower right corner of the Clip window make it easy to switch to t
245. of the clips from the film scan Note Cinema Tools and Color use the name of the folder containing the DPX image sequence files as the reel name You should also generate a telecine log file that Cinema Tools can use to create a database for exporting the pull list used by the film scanner Stage 2 Creating the Cinema Tools Database You create a Cinema Tools database using the telecine log file This database is used to generate the pull list after you finish editing the program Stage 3 Editing the Clips in Final Cut Pro You edit the offline video clips in Final Cut Pro much as you would for any video project but there are a few important things to keep in mind See Editing with Final Cut Pro for descriptions of these considerations Stage 4 Exporting the Pull List After you have finished editing the offline video clips you can export a Cinema Tools film list that includes the pull list used to scan the high quality video clips used in the program Stage 5 Creating the High Quality Video Clips The pull list is used by a film scanner to create high quality video clips usually DPX image sequences that are then used to finish the program in Color It is critical that the reel names and timecode of the scanned clips match what the telecine process provided for the offline video clips Stage 6 Exporting an EDL File from Final Cut Pro After you have completed editing the offline video clips in Final Cut Pro you export an EDL This
246. oid having to go through a second export process to create the Final Cut Pro XML file Chapter 10 Generating Film Lists and Change Lists Cinema Tools program files must use a valid telecine speed 24 fps 25 fps or 30 fps as the frame rate If you are not working on a film project and are using a frame rate other than the supported telecine speed frame rates exporting a Final Cut Pro XML file retains the sequence s frame rate This frame rate is maintained if you export the change list using Cinema Tools Exporting Change Lists Using Final Cut Pro Exporting a change list is similar to exporting a cut list Take note of the following before you start Only one video track is compared A change list describes the difference between a selected video track in one sequence and a selected video track in another sequence It does not describe any other video or audio tracks Avoid modifying the Cinema Tools database between exporting change lists When a database is altered after the previous list was exported the new change list may not be reliable However if you did alter the database after you exported the previous list you can eliminate this risk by exporting a new cut list for the previous sequence and saving a new program file Then use that program file when you export the change list Ifyou have each reel in a separate sequence in Final Cut Pro and you want to do some reel balancing Perform the reel balancing edits after any other
247. ols fails to find a match based on using the name of the folder that contains the DPX image sequence files as the reel name It tries to match edits to records based on the timecode alone Important To prevent issues with DPX image sequence reel names you should never rename the folder that contains the image sequence files and you should never move the files from the folder or change their names Using TextEdit to Make Changes to an EDL By default TextEdit saves files in the Rich Text Format RTF but the EDL needs to be a plain text file Follow these steps to edit an EDL in TextEdit and save it in a plain text format Chapter 12 Working with External EDLs XML and ALE Files 206 Warning Use great care when editing an EDL file some items that appear meaningless can be very important Make sure you have a backup copy available in case you alter your working copy beyond usability To edit an EDL file in TextEdit Open TextEdit Choose File gt Open then locate the EDL file and click Open Choose Format gt Make Plain Text then click OK in the dialog that appears The font changes to Monaco a fixed width font that ensures the text columns line up properly The name changes to Untitled Make your text edits then choose File gt Save By default the name is Untitled and a txt extension is appended to it Enter a name for the file and replace the txt extension with edl or whatever was used in the original
248. on or 40 frames depending on the film stock Cinema Tools supports the 16mm 20 format 35mm film has a key number every 64 perforations which works out to every 16 frames with the 4 perf format or 21 and one third frames with the 3 perf format Unlike video timecode which provides a unique number for each video frame key numbers do not appear on every frame of film For this reason when identifying a specific frame in a log book or in Cinema Tools key numbers have a frame count extension added specifying the actual frame A 08 at the end of a key number indicates it is the eighth frame from that key number s first frame 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 16mm film places the at the beginning of the key number 35mm film also has mid foot markers halfway between the zero frame markers These help to identify a midpoint the 08 frame in the previous example and reduce the chance of a miscount These markers use the same key number with a 32 appended indicating the perforation number not the frame num
249. on feature in Final Cut Pro to apply a pull down pattern to the video thus outputting it at 29 97 fps See Pull Down Patterns You Can Apply to 23 98 fps Video for details There are also third party cards and applications that can perform a 3 2 pull down on the video allowing it to run at the NTSC 29 97 fps rate If you re working with PAL video If you know that you will want to record a videotape when finished it s easiest to edit at 25 fps with the film having been sped up to maintain the one to one relationship Chapter 2 Before You Begin Your Film Project Using Effects Final Cut Pro provides extensive effects capabilities including common film effects such as dissolves wipes speed changes and text credits Keep in mind that the video output of Final Cut Pro is not intended to be transferred to film and these effects must be created by a facility specializing in opticals or created digitally using high resolution scans of footage to be composited See Using Effects Filters and Transitions for more information including an outline of the basic workflow for including effects and transitions in your digitally edited film Chapter 2 Before You Begin Your Film Project 39 Cinema Tools Workflows 3 The primary purpose of Cinema Tools is to export film lists based on edits made in Final Cut Pro You can also use Cinema Tools in workflows involving Color DPX image sequences and REDCODE media files There are a few critical s
250. on for more information 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 If you do the resulting film list is likely to be inaccurate For example if you want to edit at 24 fps make sure your clips frame rates are all set at 24 fps either by using the Reverse Telecine feature or the Conform feature See About Easy Setups and Setting the Editing Timebase and the Final Cut Pro documentation for details about setting the editing timebase for sequences Outputting to Videotape When Editing at 24 fps One of the benefits of editing at 24 fps is that you get a one to one relationship between the film and video frames allowing for very accurate cut lists A drawback is that you need a 24p VTR to directly record video as 24 fps you cannot easily record the video on standard NTSC or PAL video equipment This can be a problem if you want to record a videotape of the edited project either to show others or to give the negative cutter a visual reference to use along with the cut list but there are solutions If you re working with NTSC video You can use the pull down inserti
251. ools as described previously in this section 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 selected Cinema Tools determines what needs to be done and the clips are processed correctly However on rare occasions video is captured or processed in such a way that field orders are switched and this can result in flawed reverse telecine results To check your results look at the frames of a clip that has been processed by reverse telecine As you look at each frame in the clip you should see the sequence of A B C and D frames repeat and each letter should be clearly legible You should not see any interfield flicker The film frame numbers should increase sequentially and those digits should also be clearly legible If not try using the reverse telecine process again but without selecting the Standard Upper Lower checkbox Using Reverse Telecine on Source Clips in Final Cut Pro Final Cut Pro includes a menu command that allows you to perform reverse telecine on the clips selected in the Browser Chapter 8 Preparing the Source Clips for Editing 135 136 It is important to understand that although Final Cut Pro initiates the reverse telecine process it is Cinema Tools that actually performs the task Additionally you are not presented with the same choices as w
252. ools uses the settings in the telecine log The settings in this dialog can be left at their default values when you are creating a database from video clips and do not intend to track any film related information in the database records such as in a typical DI workflow If you need to change default settings you already made see Changing the Default Database Settings for information Tip If you are combining existing databases or want to check information such as default settings filenames and modification dates for an existing database choose Database gt Database Properties The Database Properties dialog displays the full pathname and size of the database file as well as the creation and modification dates You can see the default project settings for the film standard video timecode rate and audio timecode rate The New Database dialog contains the following settings Film Standard Cinema Tools supports the 4 perf 35mm 3 perf 35mm and 16mm 20 formats See Film Background Basics for information about these standards Normally you use the same film stock throughout a film so the film standard doesn t change However if you need to you can set the film standard for each shot individually in the Detail View window For example if you have some clips that are reverse but most are normal you can specify the reverse film standard in the Detail View window for those clips Chapter 4 Creating a Cinema Tools Database 61
253. op frame timecode NTSC timecode that skips ahead in time by two frame numbers each minute except for minutes ending in 0 so that the end timecode total agrees with the actual elapsed clock time Timecode numbers are skipped but actual video frames are not skipped This skipping corrects for NTSC s actual frame rate of 29 97 fps which results in an inaccuracy of 3 seconds and 18 frames per hour in comparison to actual elapsed time when non drop frame timecode is used To avoid confusion ver frame timecode should be avoided in film based productions See also non drop frame dropped frames Frames that are not captured If computer performance is impeded or if the scratch disk is not fast enough frames may be dropped during the capture process When a frame is dropped during capture the frame before it is repeated Dropped frames can result in an incorrect cut list and interfere with the reverse telecine process Glossary 251 252 dual system sound Sound for any production using separate devices to record the image and the sound Dual system recording is always used in film productions and often used in 24p productions Also known as double system production duplicate list A film list Cinema Tools users can export indicating duplicate uses of the same film source material in an edited program Also known as a dupe list edge code Refers to feet and frame count numbers found on the film edge May be latent key numbers on Pela camera
254. opposed to the cutting and splicing methods used when working with the workprint the cutting and splicing methods used for conforming the negative destroy frames on each end of the edit This makes extending an edit virtually impossible and is one of the reasons you must be absolutely sure of your edit points before beginning the conform process Appendix A Film Background Basics 235 236 Stage 7 Editing the Audio You typically rough cut the audio while editing the workprint While the negative is being conformed the audio is edited using the original sound rolls and finished with sound effects and any required dialogue enhancements Stage 8 Creating the Answer and Release Prints After the original camera negative has been conformed and the audio finalized you can have an answer print created This print is used for the final color timing where the color balance and exposure for each shot are adjusted to ensure the shots all work well together You may need to create several answer prints before you are happy with the results Once you are satisfied with the answer print the final release print is made 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 process See Cinema Tools Workflows for a more
255. organizational tool It can function similarly to the code book traditionally used in the post production of film tracking important elements such as the scene shot and take the camera and lab rolls the edge code numbers the video reels and timecode numbers the sound rolls and audio timecode numbers and the source clips 53 54 Depending on your situation you may be able to simplify the database creation process by building the database from a telecine log or by creating just one database record per camera roll 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 Ifyou used a scene and take transfer You ll have one database record for each take where each source clip is one take One database record One source clip containing one take Ifyou used a camera roll telecine transfer You ll have one database record per camera roll where each source clip is one camera roll typically containing several takes One database record One source clip containing one camera roll e If you have broken down source clips into groups of takes Each database record is associated with one source clip that contains several takes EEEEHREEEEEESE One database record One source clip containing multiple takes Deciding How You Should
256. orm There are three common situations you would use the Conform feature for Converting PAL 25 fps video to 24 fps The timecode is not changed which ensures that an EDL exported after the clips are edited will accurately refer to the original PAL timecode The drawback is that the timecode at 25 fps no longer accurately represents the true passage of time when played at 24 fps because each frame is displayed for a slightly longer time See Working with 25 fps Video Conformed to 24 fps for more information Conforming 29 97 fps video to 29 97 fps The timecode is not changed This process is used to correct issues in a QuickTime file prior to using the Reverse Telecine feature See Solutions to Common Problems for more information Converting NTSC 29 97 fps video to 23 98 fps The timecode is altered with a number skipped every five frames This conform situation is rarely used See Using the Conform Feature for more information Audio Considerations Because the audio for a film is recorded separately on a sound recorder there are a number of issues that you must be aware of and plan for What type of sound recorder to use For more information see Choosing a Sound Recorder What timecode format to use For more information see Choosing an Audio Timecode Format How to mix the final audio For more information see Mixing the Final Audio How to synchronize the audio with the video For more information see Synchronizing the A
257. ormat plain text HTML and so on Several are anae by Cinema Tools and you can create custom style sheets as needed See also Extensible Stylesheet Language Transformations XSLT supers Short for superimposed Overlays of images or text onto frames For example titles are superimposed onto frames sync Short for synchronization When sound is in unison synchronized with the picture they are said to be in sync synchronizer block A small mechanical bench device with sprocketed wheels mounted on a revolving shaft Located between film reels mounted on shafted rewinds it accepts one strip of film and perforated magnetic soundtrack per sprocketed wheel Once the film and track are locked onto the wheels they can be placed in exact mechanical sync and will maintain this sync while they are advanced forward through the synchronizer block The synchronizer block also keeps track of elapsed footage via a mechanical feet and frame counter geared to the sprocket wheels Also known as a sync block gang sync or synchronizer take A take is another version of a particular shot In shooting a film there may be multiple takes of each shot telecine A machine that copies the images on the original camera doe w a videotape format often including a window burn of the film edge code See also window burn telecine film speed The frame rate at which the film is run in telecine equipment during the transfer to video telecine log A file generated b
258. orming the series as one deletion because it saves time and effort Settings Only in the PDF Output Format The following settings appear only if you chose PDF from the List Format pop up menu Settings available only for PDF format change lists Chapter 10 Generating Film Lists and Change Lists Note Although XML output contains all change list information the style sheet you choose for the Style Sheet output format determines which information appears in the output If you use the supplied Plain Text style sheet the information included in the output depends on how the last PDF format style sheet was output In other words the settings for the two Show pop up menus that appear when you output a PDF format change list also affect the Style Sheet output when you choose the Plain Text style sheet Show upper Choose the time measurement to use The choices are Feet amp Frames Time and Count Show lower Choose how to identify each event The choices are Scene amp Take and Clip Name Orientation Choose Landscape or Portrait for the PDF output Using Portrait allows you to use a larger font Font Size You can choose a font size for the output Working with XSL Style Sheets If you have no prior experience working with Extensible Stylesheet Language XSL style sheets but are reasonably comfortable looking at XML data you can create your own custom style sheets There are many books and Internet
259. ort any of the standard film lists such as a cut list or a duplicate list along with the change list as you can from Final Cut Pro You can include the change list specific change pull list and discard list The following diagram shows the basic process when exporting a change list from Cinema Tools After you finish the initial edit of the program you export a Final Cut Pro XML file or a Cinema Tools program file if you are using a film based workflow and screen the program If changes are required you make the edits in the sequence and then export a new Final Cut Pro XML file In Cinema Tools you export the change list by comparing the file representing the initial edit and the file representing the current edit More changes required Final Cut Pro Edit Screen sequence program Exported Cinema Tools XML for second edit Export Change list for sound conforming and so on change list Exported XML for initial edit Should You Use XML or Program Files There are a few differences between using a Final Cut Pro XML file and a Cinema Tools program file when exporting a change list These differences can help you decide which approach is the best for you to take When you export a Cinema Tools program file you must also export a film list If you do not need a film list exporting a Final Cut Pro XML file is simpler If you do need a film list it is easy to add a Cinema Tools program file to that process and av
260. orting your lists PDF file A format for easy viewing that contains only the information that you specify XML file A format for use with other software that contains all of the film information from the sequence Style sheet based file A format controlled by a style sheet that you choose You can use the style sheets provided by Cinema Tools including a plain text style sheet sing Final Cut Pro for information about creating film lists using ing EDL Based and XML Based Film Lists for information about See Exporting Film Lists U Final Cut Pro and Cre creating film lists using Cinema Tools q About PDF Format Film Lists Exporting a PDF format film list creates a file that can be opened in Preview or any other PDF viewer You can choose which items to include in the list and even set their order Tip Although you cannot directly edit the text in a PDF file when viewing it with Preview you can use the Preview annotation tool to add comments See Preview Help for more information About XML Format Film Lists Exporting an XML format film list creates a file that contains all film related information from the Final Cut Pro sequence Important XML format film lists are not related to the other XML files you can export from Final Cut Pro Unlike PDF format film list files which are intended to be printed and read XML format film list files are formatted so that other applications can reliably extract specific data f
261. ot involve film at all These include digital intermediate sound conforming and closed caption workflows any workflow where you need to know what has changed between two edited versions of a program The key to being able to export a change list is to have available either a Final Cut Pro XML file or a Cinema Tools program file that represents the previous version of the sequence If you export the change list using Final Cut Pro the file representing the previous sequence version is compared against the current sequence If you choose to export the change list using Cinema Tools you will need a second Final Cut Pro XML file or a Cinema Tools program file that represents the current sequence See About Exporting Change Lists for details to help you choose how to export your change lists More changes required Final Cut Pro Edit Screen sequence program Exported Cinema Tools XML for second edit Export gt Change list for sound conforming and so on change list Exported XML for initial edit Following is a typical workflow for using Final Cut Pro XML files to export a change list for use in a nonfilm project Stage 1 Completing the Initial Edit of the Program Edit your program using Final Cut Pro as usual Chapter 10 Generating Film Lists and Change Lists Stage 2 Exporting an XML File of the First Version of the Program After you have finished the initial edit of your program and are ready to screen it a
262. ot generally used when conforming the negative the edited audio might not be used If you intend to recapture and reedit your audio at an audio post production facility you need an audio Edit Decision List EDL indicating how the audio clips are used in the edit Although the Final Cut Pro EDL contains both video and audio information it may not contain references to the timecode and roll numbers from the original production sound rolls depending on how the clips were captured and how the video was synced to the audio A Cinema Tools database makes it possible to generate an audio EDL with the original production audio timecode and sound roll information Where s the Audio Timecode Film productions use dual system recording separate camera and audio deck for capturing the pictures and sound You must sync the two of them together either during the telecine transfer or before capturing the clips with Final Cut Pro Chapter 11 Export Considerations and Creating Audio EDLs 195 If your audio is synced during the telecine transfer and recorded onto the audio tracks of the videotape the timecode and roll number of the original sound roll is no longer part of the clip and all edits within Final Cut Pro refer only to the video timecode and reel number Fortunately the telecine log created during the transfer usually contains the audio information and adds it to the database when you import the log into Cinema Tools You can also manually enter
263. ou want the lab to pull specific shots from your negative rolls and make duplicate negatives for you It documents every shot for which there is one or more duplicate usages Note Content that is part of an optical is not counted as a duplicate usage However placing a dissolve transition between two clips that have no other source footage available between them such as two clips that were originally one clip results in a duplicate usage Double Usage Warnings If you choose Warn from the Duplicates pop up menu in the Export Film Lists dialog a warning message appears where duplicate usages occur in the cut list The message tells you exactly which frames have been used more than once and exactly where in your editing project they are used All of these messages also appear in a double usage warning list Optical List The optical list serves as a master list for transition filter and motion effects 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 Note Titles which are another kind of optical use a second video track and are not part of the optical list You can export a separate cut list for the track that contains the titles See Using Effects Filters and Transitions for more information An optical list actually consists of up to four separate
264. owever it can be very difficult if not impossible to read the key number and timecode information in the window burn after capturing with OfflineRT compression You typically need to see the window burn in order to verify and correct the key number and timecode values and to use the Cinema Tools Reverse Telecine feature For this reason OfflineRT may not be ideal for Cinema Tools users For more information about OfflineRT see the Final Cut Pro documentation Avoiding Dropped Frames If computer performance is impeded or if your scratch disk is not fast enough frames may be dropped during the capture process meaning one or more individual frames are not captured at all When a frame is dropped during capture the frame before it is repeated As a result a frame you see while editing may not be the frame you see when the film is cut Dropped frames can cause timecode errors which can result in an incorrect cut list and interfere with the reverse telecine process You can prevent this problem in Final Cut Pro by setting the program to stop capturing and to notify you when a frame is dropped To set Final Cut Pro to stop capturing when frames are dropped 1 In Final Cut Pro choose Final Cut Pro gt User Preferences 2 In the General tab make sure Abort capture on dropped frames is selected When this option is selected a message appears when frames are dropped during capture and the capture is stopped If dropped frames occur f
265. p window opens for each clip Note If you drag a folder containing clips to the Cinema Tools icon a new database is created See Creating a New Database Using Cinema Tools for more information Chapter 5 Working with Databases You can have multiple Clip windows open at one time They are dynamically added to and removed from the Window menu as you open and close them Key Kk061997 6063 12_ O Test 24 2 rim su Gam a Timecode 07274112 08 40 56 03 KK061997 6063 12A AMG Take 10 CReverse Telecine Conton Coy See Settings in the Clip Window for information about the buttons and settings in the Clip window Settings in the Clip Window You can play the clip by clicking the Play button the triangle to the left of the timeline or by pressing the Space bar To play the clip using the Space bar you must make sure that an Identify pane text field is not currently selected you can press the Tab key as needed or click the Analysis button to deselect the text fields Important Depending on your computer high resolution video such as 2K media may not play back smoothly Chapter 5 Working with Databases 81 If the clip has audio you can control the volume by clicking the speaker icon next to the Play button and then dragging the volume slider You can also drag the playhead to scroll through the clip You can click the left arrow and right arrow buttons at the right side
266. partment know the details about changes you have made to the sequence When you export a change list you can also choose to include in the change list file a change pull list which lists film rolls in the order in which they need to be pulled to add any new film to the workprint and a discard list which lists any sections that need to be removed When you export a change list file from Final Cut Pro you can also export a new cut list and other standard film lists for the sequence When creating the change list Cinema Tools uses a variety of methods to match up the original and new edits to generate the change list Following is a list of the methods in order from most reliable to least reliable e Each clip s unique identifier The reel number and timecode values Keycode key numbers or ink numbers Clip name 174 Chapter 10 Generating Film Lists and Change Lists When Are Change Lists Used in a Film Workflow Change lists are typically used in a cyclical workflow that involves digital editing sound conforming and workprints Conform original camera negative to latest cut list and workprint More changes required Final Cut Pro with Cinema Tools database Edit sequence Workprint MOILA Transfer screening to video Conform workprint to Export change list change list and cut list Conform workprint to Export cut list cutllist Following is a typical workprint based change list workflow
267. pears The settings in the dialog vary based on the format you chose in the List Format pop up menu Following is the dialog for the PDF list format 6 Configure the settings in the dialog See Settings the Export Dialogs Have in Common for settings information Chapter 10 Generating Film Lists and Change Lists 167 168 10 If you expect to make changes to this Final Cut Pro sequence and want to export a change list later make sure to select Save a Cinema Tools program file You can use that program file to export a change list that compares this version of the sequence to another version Note You can use a Final Cut Pro XML file of the sequence in place of the Cinema Tools program file when you export a change list Click Export If you selected Save a Cinema Tools program file enter a filename and location for the file in the dialog that appears Important Give the program file a name that clearly identifies the sequence and the version so that you can easily locate it later when you need to export a change list that compares this sequence to a newer version In the next dialog that appears enter a filename for the film list choose a location and click Save 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 contai
268. perly identified in the Cinema Tools database To check that the clip is correctly identified go to the corresponding database record then click Open Clip to open the Clip window Use the Identify feature to check the key numbers for more than one location in the clip to see if the frames are properly identified If the key number was entered incorrectly ce correct it in the are ae of the Clip window See and Correcting Edge Code and Timecode Nt s for more information Then E hen cut t list again sane verily tiiat the correct numbers are now displayed 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 you must recapture the source clips If you used serial device control the timecode mismatch may have happened because you did not set the appropriate timecode offset in Final Cut Pro for the specific deck you used You need to make this setting once per deck per computer If the serial device control timecode offset was not set set it then recapture the source clips For more information see the section about calibrating the timecode signal in the Final Cut Pro documentation Appendix C Solving Problems Make sure that all the clips in your sequence have the same frame rate as the editing timebase for the seque
269. pes of digital manipulation Color is capable of outputting DPX image sequences which can be used to print back to film In a film workflow any color correction or filterlike effects in your finished film are created by a specialist at a film printing facility or via the film digitaLtfilm method You can work directly with a color specialist often known as a color timer to include color correction in your film Special Considerations for Effects in a DI Workflow There are a wide variety of approaches to working with effects when you are using a DI workflow There are also an increasing number of third party applications available that specialize in the various aspects of the process such as tracking effect revisions Following is a list of issues that you need to be aware of while working on your project e Ifyou have not already created high quality film scans of the parts of the video involved in the effect you must do that first You can use the optical list section of a film list to identify the film rolls and frames that need to be pulled and scanned There are many methods you can use to generate that film list for example you can place all effects in their own track and specify that track when exporting the film list The digital visual effects facility generally provides the final effects using your final output video format and resolution Make sure to retain all original metadata such as key numbers and timecode so the effects
270. pically either 29 97 fps NTSC 25 fps PAL or 24 fps or 23 98 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 PAL and 24 fps timecode are always non drop frame and do not require the FCM line although it may appear as non drop frame When you use an EDL file to generate a film list you must identify the EDL s frame rate in the selection dialog See Exporting Film Lists from Cinema Tools for more information XML Requirements Cinema Tools supports Final Cut Pro XML files Because XML files contain a lot more information about an edited sequence than an EDL file XML is the preferred format to use when exporting film lists using Cinema Tools Exporting Film Lists from Cinema Tools In Cinema Tools the processes for exporting film lists based on EDL files and film lists based on Final Cut Pro XML files are nearly the same In both cases you can choose to export a PDF format XML format or style sheet based film list To generate film lists using the Cinema Tools Export command Open the Cinema Tools database corresponding to the EDL or XML file you will use to create the film lists This ensures that the frame rate of the list and the database match Do one of the following To export a film list based on an EDL file Choose File gt Export gt Film Lists
271. production audio tapes and generate an audio EDL that can then be used to recapture and finish the audio if you intend to recapture it elsewhere for final processing Several of the features mentioned above are included with Final Cut Pro and do not require Cinema Tools however this manual describes all of these features because they relate to working with 24p which is of specific interest to many filmmakers See Frame Rate Basics for more information about working with the different frame rates Offline and Online Editing If you are working with a high resolution 24p format such as uncompressed HD video you may need to make lower resolution copies of your footage to maximize your computer s disk space and processing power In this case there are four basic steps to the editing process Production generating the master video Transfer film to or natively shoot on uncompressed 24p HD video Offline edit Convert footage to NTSC or PAL video which is generally lower resolution than 24p and edit it Project interchange Export a Final Cut Pro project or an EDL containing your final edit decisions Chapter 1 An Overview of Using Cinema Tools 13 14 Online edit Replace low resolution footage and create a full resolution master 24p master 24p video Online edit Edited 24p source 24 fps master Final Cut Pro with Cinema Tools offline edit Capture Convert NTSC or video to 24 fps PAL video EDL Se
272. ps is the sequence preset frame rate You can change the sequence preset frame rate by choosing Audio Video Settings from the Final Cut Pro menu In the dialog that appears select the batch capture list you exported from Cinema Tools then click Choose The clips appear in the Browser as offline clips ready to be batch captured See the Final Cut Pro documentation for details about batch capturing Important If your video has non drop frame timecode make sure that Non Drop Frame is chosen from the Default Timecode pop up menu of the preset you choose in the Final Cut Pro Device Control Presets tab located in the Audio Video Settings window before you begin capturing Using XML Batch Capture Lists Exporting XML batch capture lists from Cinema Tools and importing them into Final Cut Pro is similar to the process used for standard batch capture lists To export an XML batch capture list from Cinema Tools 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 Show All in the List View window Choose File gt Export gt XML Batch List Export XML Batch List o C Where _ C ProjectFiles Export all records in the current found set O Export only eligible records in the current found set C Chapter 7 Capturing Source Clips and Connecting Them to the Database 113 114 In the dialog that appears selec
273. quired including the creation of a program ne in the Export Film Lists dialog See Using the Export Audio EDL Feature from Cinema Tools for more information To export an audio EDL from Final Cut Pro using Cinema Tools 1 In the Final Cut Pro Timeline or Browser select the sequence from which you want to export an audio EDL 2 Choose File gt Export gt Cinema Tools Audio EDL 196 Chapter 11 Export Considerations and Creating Audio EDLs Cinema Tools opens and its Export Audio EDL dialog appears 3 Enter and select settings in the Export Audio EDL dialog then click OK See Settings in the Export Audio EDL Dialog for settings information 4 In the dialog that now appears select the Cinema Tools database file to use then click Choose Once you select the database Cinema Tools starts matching events in the sequence to it e For each edit involving a track enabled in the Export Audio EDL dialog Cinema Tools searches the database to see if that edit s video clip is connected to any database records If not it uses the edit s video reel number to try to locate a record that includes the edit s timecode In and Out points See Audio Track Usage for more information about audio tracks If Cinema Tools finds a suitable record it checks whether that record includes audio information audio timecode and sound roll number If so an entry is added to the EDL and Cinema Tools moves on to the next edit Cinema Tools may
274. quired specialized hardware See Considerations When Exporting to Videotape for details A file containing the program s audio You usually create this file if you want to use the program s audio but finish it using a specialized application or an audio post production facility There are a couple of approaches you can take to do this and several issues you must be aware of See Considerations When Exporting Audio for details An audio EDL This is required when you intend to recapture the audio using specialized equipment and reedit it using the audio timecode from the edited program See Exporting an Audio EDL for details 193 194 Considerations When Exporting to Videotape You may want to make a videotape of your edited program either to make it easier to view the program or to provide a visual reference for the negative cutter There are a few ways to create a videotape from an edited sequence and these methods are explained in the Final Cut Pro documentation However if you edited video at 24 fps and you want to create a PAL or NTSC videotape there are additional considerations explained here 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 Make sure to le
275. r in Database button 08 52 02 13 KK231166 ro Set Poster Frame Enter tn Database Scene Take J This button changes to Disconnect Clip when the clip is connected to a database Enter a scene and take identifier for the source clip in the dialog that appears Important Text entries are case sensitive Additionally do not enter the hyphen that separates the take number from the scene shot value See Using Scene Shot and Take Identifiers for more information Chapter 7 Capturing Source Clips and Connecting Them to the Database 19 4 Doone of the following e Click OK to connect this clip to the existing record in the database that corresponds to the scene and take you entered in the dialog If no record exists for that scene and take a new record is created Click New Record to create a new record even if there already is an existing record that corresponds to the scene and take you entered In either case the source clip in the Clip window is connected to the record so the relationship is established in the database A source clip can be connected to a record in more than one database but within one database it can only be connected or related to one record If the source clip is moved or renamed the relationship should be re created To use the Clip window to disconnect a captured clip 1 Open the clip in the Clip window 2 Click Disconnect Clip Note Clicking this button breaks the link
276. r in the Browser as offline clips ready to be batch captured See the Final Cut Pro documentation for details about batch capturing Additionally you can see the film details such as keycode information and telecine film speed TK speed in the Browser See Showing Film Related Information in the Browser for information about adding film columns to the Browser Chapter 7 Capturing Source Clips and Connecting Them to the Database Connecting Source Clips to the Database Because source clips and database records can be created by different means at different times you may need to establish the link between a source clip and its record after they both exist This process is called connecting a clip to a record How you connect clips to the database depends on how you captured your clips Ifyou created your database by dragging a folder of clips to the Cinema Tools application icon All of the records were automatically connected to the clips You can use the Connect Clips command to connect the records to a different set of clips later if necessary or to reconnect the source clips if they are moved to a different disk Ifyou captured your source clips by using a batch capture list Use the Connect A command to a connect all your source clips to the database See Using tl ct Clips Command for more information Ifyou did not capture your source clips by using a batch capture list You need to individually connect source clips to data
277. r the offline edit Chapter 13 Working with 24p Video and 24 fps EDLs Import a 24 fps EDL Can be used when your offline system supports exporting 24 fps EDLs ImportanNTSCEDL Can be used when your offline system can only edit downconverted NTSC versions of the 24p video and export an NTSC EDL 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 About Importing EDLs When using non Final Cut Pro offline systems or a Final Cut Pro system editing downconverted NTSC versions of the 24p video you must import an EDL Final Cut Pro provides both 24 fps EDL import and NTSC to 24 fps EDL conversion Final Cut Pro with Cinema Tools Capture A z Export i 24p P Online edit i p Edited source uncompressed 3 Final Cut Pro 24p 24p video i video 24p video movie video Process EDL if necessary Offline EDL 24 fps or NTSC Important Before importing any EDL into Final Cut Pro make sure that the editing timebase for the sequence is the same frame rate as the EDL If the frame rate of the EDL is different from the editing timebase of the sequence the EDL will not be imported correctly Importing 24 fps EDLs Whenever the offline ed
278. ra frames introduced by the pull down The new files are about 20 percent smaller than before but this method is slower Regardless of whether the original files were reference or self contained this method creates self contained files See The Difference Be a Files for more information Ar Mad and Reference Medi Self Contained If you select New smaller you can also choose to keep or delete the original clip files To save the original clips in a separate folder select the Keep Originals checkbox 222 Chapter 13 Working with 24p Video and 24 fps EDLs e Same faster Modifies the current clip files so that the extra frames are not visible to the editing system but the data is not removed from the files This process is faster but does not reduce the size of the files The resulting files are self contained if they were originally self contained or reference if they were reference Batch Reverse Telecine Automated Batch Reverse Advanced 2 3 3 2 File Frames New small A B ee Contores tos 250 PFS If you select New the file will be smaller Check for cadence discontinuities If you select Same the TAIE processing will be faster C cance G For Same you can deselect Check for cadence discontinuities to speed up processing For New selecting Keep Originals saves the original clips in a folder If you selected Same faster you can choose whether Cinema Tools check
279. ransferring the film to video makes it possible to use a nonlinear editor NLE to edit your project The flexible nature of an NLE makes it easy to put together each scene and gives you the ability to try different edits The final edited video is generally not used the edit decisions you make are the real goal They provide the information needed to cut and splice conform the original camera negative into the final movie The challenge is in matching the timecode of the video edits with the key numbers of the film negative so that a negative cutter can accurately create a film based version of the edit This is where Cinema Tools comes in Cinema Tools tracks the relationship between the original camera negative and the video transfer Once you have finished editing with Final Cut Pro you can use Cinema Tools to generate a cut list based on the edits you made Armed with this list a negative cutter can transform the original camera negative into the final film Original camera negative Conform Create Shoot film original camera release negative print Convert Edit in Final Cut Pro film to ae vides with Cinema Tools Cut list 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 See Basic Film Workflow Steps for more details about this workf
280. ration Make sure to check with your contact printer about the standard lengths required for different frame rates There are three choices for how transitions are listed in a film list Allare cuts All transitions are represented by a cut in the middle of the transition regardless of whether or not the transitions are of standard length Choose this option if you are exporting a list for use in conforming a workprint Cinema Tools also inserts notes to indicate where the start and end of the transition should be for both the outgoing and incoming clips These notes can be used as a guide in marking the transitions on the conformed workprint Stdarecuts Those transitions that are of standard length are listed as cuts and those that are of nonstandard length are described as opticals This is the option that you choose if you re going to have your transitions printed on a contact printer If you choose this option standard length transitions appear in the cut list not the optical list and are shown as a cut in the middle of the transition The starting and ending points of the transition also appear in the cut list as three lines for a dissolve and two lines for a fade The cut list contains all of the information that the negative cutter requires to prepare the A and B rolls for these transitions Allare opticals All clips that are part of a fade or dissolve are listed in the optical list Choose this option if you want all of your
281. rd Open the database record in the Detail View window or select it in the List View window Choose Database gt Delete Record or press Command Delete Note When you delete a database record that is connected to a source media file you don t delete the file from your hard disk You delete only the database record Choosing a Different Poster Frame for a Clip By default when you connect a clip to a database record a small picture of the first frame of the clip appears in the Detail View window This picture is called the poster frame You can choose to display a different frame of the clip if the first frame of the clip is hard to recognize as with black frames Chapter 6 Entering and Modifying Database Information The default clip poster frame does not appear in the Detail View window until after e The clip has been connected to a database record The clip has been opened in the Clip window To choose a new poster frame for a clip If it isn t already open open the clip in the Clip window in one of the following ways Choose File gt Open Clip or press Command O and use the dialog to select the clip e Click Open Clip in the Detail View window of the clip s database record 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 Key kx061997 6063 12 O m Mesut 7 Fim Gmm Video Re
282. re 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 the Final Cut Pro Device Control Presets tab prior to capture To use serial device control you need to make this setting once per deck per computer For more information see the section about calibrating the timecode signal in the Final Cut Pro documentation Considerations Before Capturing Audio Before you capture your audio with Final Cut Pro you need to take into account the following Ifyou have an audio deck that can adjust the audio speed to sync to your editing frame rate when necessary Use the audio deck to do this before you capture the audio into your computer See Determining How to Prepare Source Clips for Editing to find out how you might need to adjust your audio speed Note If you don t have an audio deck there are other ways you can adjust the audio A speed after capturing See Making Adjustments to Audio Speed for more information Ifyou will be editing at 24 fps the same frame rate at which the film was recorded Capture the audio at the speed at which it was recorded Before capturing an audio clip that you plan to sync to a video clip Make sure your device controllable audio deck is genlocked to a video capture interface installed in your computer See the Final Cut Pro documentation for more information about genlocking your a
283. re information Choose the type of timecode recorded on your production sound rolls from the Sound TC Rate pop up menu 30 NDF Non drop frame NTSC timecode at 29 97 fps 30 DF Drop frame NTSC timecode at 29 97 fps 25 FPS PAL timecode at 25 fps Chapter 4 Creating a Cinema Tools Database 24 FPS Video timecode at 24 fps or 23 98 fps Telecine Speed Telecine speed shown as TK Speed in the Detail View window the Clip window s Identify pane and optionally in the Final Cut Pro Browser window refers to the frame rate of the film in the telecine equipment during the transfer to video From the Telecine Speed pop up menu you choose the speed at which the film was transferred 24 24 fps or 23 98 fps telecine film speed 25 25 fps telecine film speed 30 29 97 fps telecine film speed If you are working with NTSC video you usually choose 24 fps as the telecine film speed though the actual telecine film speed is approximately 23 98 fps The Telecine Speed pop up menu also allows you to choose a setting of 30 fps because it is possible to transfer film to NTSC video with the film running at a speed of 30 fps actually 29 97 fps If you are working with PAL video see Frame Rate Basics for a discussion of the PAL frame rate choices If your film was transferred to video at a telecine film speed of 24 fps choose 24 fps as the telecine film speed If your film was transferred to video at a teleci
284. reated a demand for a video standard that can be easily converted to all other standards Additionally a format that translates well to film providing an easy high quality method of originating and editing on video and finishing on film is needed 24p video provides all this It uses the same 24 fps rate as film making it possible to take advantage of existing conversion schemes to create NTSC and PAL versions of your project It uses a progressive scanning scheme and usually an HD image to create an output well suited to being projected on large screens and converted to film Additionally 24p video makes it possible to produce high quality 24 fps telecine transfers from film These are very useful when you intend to broadcast the final product in multiple standards Note Several of the features mentioned here are included with Final Cut Pro and do not require Cinema Tools however these features are described here because they relate to working with 24p video which is of specific interest to many filmmakers This chapter covers the following Considerations When Originating on Film p 210 e Editing 24p Video with Final Cut Pro p 211 e Adding and Removing Pull Down in 24p Clips p 217 e Using Audio EDLs for Dual System Sound p 227 209 210 Considerations When Originating on Film When editing 24p material that originated on film you need to be aware of a number of special circumstances Edited film master
285. resolution a wider aspect ratio and progressive scanning See also e video stand Jefinition video progressive CO sld identifier In Cinema Tools a combination of one or more letters numbers or both that identify a shot scene take video reel sound roll lab roll or camera roll ink number A feet and frame count number added to the edge of workprints and magnetic film soundtracks Also known as an Acmade number interlaced See interlaced video interlaced video A video frame format that divides the lines in a frame of video into two fields each consisting of alternating odd and even lines which are scanned at different times Used in standard definition video See also field field dominance progressive deo VIC O interpositive IP A low contrast positive film print made from an original camera negative It is not projectable as a full color image because it has an orange mask on it like a negative IPs are typically used as an intermediate step in creating opticals and duplicate negatives 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
286. resources available to help you learn about working with XML data using XSL style sheets Important The following information is intended to give you a basic understanding of the process and is not a complete reference guide A good place to start is to export an XML film list and look at it in a text editor TextEdit can be used to view and edit XML and XSL files although if you find yourself frequently working with these file types you should get a specialized application with built in tools specifically for working with these sorts of files such as Oxygen or BBEdit XML Film List Basics XML film lists begin with a list of items showing the settings in the Export Film Lists dialog This is followed by sections for each type of list you included in the film list such as a cut list and pull list Each of these list sections include the appropriate events and each event includes a complete list of the items that Cinema Tools tracks Following is a simplified example of this structure Chapter 10 Generating Film Lists and Change Lists 189 190 lt ctlists gt Settings from the Export Film Lists dialog lt cutlist gt lt items gt First event Items in this event Second event Items in this event lt items gt lt cutlist gt lt pulllist gt lt items gt First event Items in this event Second event Items in this event lt items gt lt pulllist gt lt ctlists gt When you set up a style sheet you generally start by d
287. roblems while working with Cinema Tools there are several resources you can use to find a solution This appendix This appendix includes information about some of the most frequent issues users encounter AppleCare Knowledge Base AppleCare Support maintains a database of common support issues that is updated and expanded to include new issues as they arise This is an excellent free resource for Cinema Tools users To access the AppleCare Knowledge Base go to the AppleCare Support page at http www apple com support AppleCare Support There are a variety of support options available to Final Cut Studio customers For more information see the documentation about support options that was included with your Final Cut Studio package Solutions to Common Problems Following is a list of common problems you might have while using Cinema Tools with one or more solutions provided for each problem 245 246 You see warnings about duplicate usages of source material When the number of frames reused is fewer than the number of frames you entered in the Cut Handles or Transition Handles settings in the film list export dialog it s possible that a duplicate usage warning is a result of the cut handles or transition handles To determine whether this is the case try setting the Transition Handles option to zero frames and the Cut Handles option to one half of a frame then export the film list again When your edited program contains
288. rom the film list The XML format is intended to be used to exchange information between software applications The purpose of XML format film lists is to provide all of the film information about a Final Cut Pro sequence in a format that the user can incorporate into other custom software being used in the film workflow Note You can open an XML format film list in a text editor such as TextEdit to see the structure and information it contains Chapter 10 Generating Film Lists and Change Lists See XML Film List Basics for more information about the contents of XML film lists About Style Sheet Based Film Lists Cinema Tools includes support for custom film lists These film lists are based on Extensible Stylesheet Language Transformations XSLT files or as they are referred to in Cinema Tools style sheets Cinema Tools includes style sheets and support for custom style sheets that you create XSLT based style sheets are commonly used to extract information from XML files When you export a style sheet based film list Cinema Tools first exports an XML format film list and then processes that XML output with the selected style sheet resulting in exactly the output items and layout the style sheet specifies The Cinema Tools supplied style sheet files are located in Library Application Support Final Cut Studio Cinema Tools and all have an xsl file extension When you choose Add Style Sheet from the Style Sheet pop up menu in the Expor
289. s name The name changes color to indicate it is controlling the sort and an arrow appears to show the sort direction An arrow pointing up indicates an ascending sort order and an arrow pointing down indicates a descending order Click the column s name to change the sort direction Sorting the columns can make it easy to locate records with missing items For example clicking the Cam Roll column name groups together all records without an entry in that field and places them at the top or bottom of the list depending on the arrow s direction You can also locate a record using a specific key number or timecode number by sorting the columns For example clicking the Keycode column name puts the records in order based on their key numbers You can then scroll through the list and locate a record using a specific film frame Settings in the List View Window The List View window shows a set of columns based on the display mode you choose in the pop up menu at the top left corner of the window 6466 List View Massive Project Showing al 29 cords Slate oa Lab Rott cam Roll Keycode Clip n A54B 1 A KK231166 8235 03 A548 1 8 KK051354 4423 01 AS4B 2 A KK231166 8307 03 AS4B 2 B KKO51354 4492 01 ASAC 3 A KK061997 8590 13 A54C 3 8 KK061997 7122 09 ASAC 4 A kK061997 7892 12 AS4C 4 B kK061997 7329 09 A54D 2 A KK061997 8210 01 A54D 2 8 KK061997 4870 08 A54D 3 A KK061997 8319 02 AS4D 3 8 KK06
290. s been created for that clip The Clip window s Identify pane includes fields and pop up menus for settings that also appear in the Detail View window You can modify these settings with the Identify feature but keep the following important facts in mind The Identify pane s Key Ink Video Timecode and Sound Timecode fields should always reflect the values of the frame currently displayed in the Clip window whereas in the Detail View window these fields are associated with the first frame of the clip Therefore what you see or enter in the Identify pane of the Clip window could be different from what you see or enter in the Detail View window See Using the Identify Feature to Calculate Database Information for details The Identify feature can track the key numbers only if the key number to timecode relationship is continuous as it is with most camera roll transfers See Is Your Edge Code Number to Timecode Relationship Continuous or Noncontinuous for more information If you changed the values in the window and want to go back to previous values click Revert instead of Save After you click Save the database record is updated and these changes are reflected in the Detail View window Deleting a Database Record You may find that you have records that you no longer need You can delete them from a database Note Be careful when you delete a database record because there is no way to undo this command To delete a database reco
291. s for cadence discontinuities While removing the pull down Cinema Tools looks for breaks in the pull down cadence If any breaks are found it adjusts the processing to accommodate those discontinuities A cadence discontinuity might occur if a recording was stopped and then started again at another point in the five frame sequence Checking for cadence discontinuities is more time consuming for the Same file option than it is for the New file option so if you select Same faster you can deselect the Check for cadence discontinuities checkbox for the fastest possible processing Note If this checkbox is deselected and cadence discontinuities exist in the clip or if the cadence changes from 2 3 3 2 to 2 3 2 3 or any other pattern in the middle of a clip because the settings were changed during the recording reverse telecine cannot be properly performed on the clip Click OK to start the pull down removal After the process is complete the following occur e If you selected New smaller for each clip in the folder a new clip with the same name is created and placed in a Cinema Tools created subfolder named Reversed If you selected Keep Originals the original files are placed in a Cinema Tools created subfolder named Originals If you selected Same faster the new versions of the clips replace the old versions in their original folder Chapter 13 Working with 24p Video and 24 fps EDLs 223 224
292. s often necessary to use HD video such as 24p in systems designed for standard definition SD NTSC video The process of converting HD video to SD video is called downconverting Most HD VTRs have an option that provides SD video outputs Several specialized hardware downconverters are also available See Understanding Aspect Ratios for information about dealing with the aspect ratio differences between the standards when downconverting Using a Final Cut Pro System for 24p Offline and Online Editing Using the same Final Cut Pro system for both offline and online editing makes the process as simple and error free as possible The workflow when using the same system for both purposes is outlined below Stage 1 Capturing Your 24p Video as Compressed Clips Capturing your 24p video using a lower resolution codec makes it easier to capture and edit the video without running into storage or performance issues Stage 2 Performing an Offline Edit of the Clips Edit the program using the lower resolution video clips Stage 3 Creating a Duplicate Project That Uses Only Needed Video You can use the Final Cut Pro Media Manager to create a duplicate project containing only the video actually used in the program This is usually much less than half of the originally captured video Stage 4 Deleting the Original Clips Because the next step is to recapture the video using its native codec you can delete the original lower resolution video clips Sta
293. s that are in the selected folder and its subfolders Note When a disk volume containing clips is unmounted Cinema Tools cannot find the clips until the volume is mounted again You don t need to use the Connect Clips command to fix this kind of temporarily broken link To reestablish such connections simply mount the disk volume that contains the missing clips To locate and fix links that are broken because source clips have been moved 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 Show All in the List View window Choose Database gt Connect Clips In the dialog that appears navigate to the folder where the clips are located All clips in the folder and its subfolders are available for Cinema Tools to connect to Click Open In the dialog select the correct clip for the current record and click Open For every database record Cinema Tools looks in the selected folder and its subfolders for a clip with a matching video reel and timecode value Each time Cinema Tools finds a matching clip it connects the clip to the correct database record Additionally poster frames are automatically created for each record that gets a clip connected Chapter 7 Capturing Source Clips and Connecting Them to the Database 121 Preparing the Source Clips for 8 Editing Spending some time with your source clips before you start
294. se there are two basic approaches to creating your project database e You can generate the database by importing a telecine log ALE file or Final Cut Pro batch capture list e You can enter information manually or by dragging a folder of clips to the Cinema Tools application icon See Importing Database Information for information about the different methods you can use to import information into your database 85 86 Even if you do generate a database with a telecine log you may want to make modifications and additions to the database records at a later time You can do this by using the Detail View window or the Clip window In the Clip window you can only modify existing database records See Entering Database Information Manually for more information Also see Using the Identify Feature to Calculate Database Information for details about how to determine various types of database information You can modify any information in the database by editing settings in the Detail View window and the Identify pane of the Clip window Some of the calculations you make using the Identify feature update preexisting information modifying the database automatically See the following for more information e Deleting a Database Record Choosing a Different Poster Frame for a Clip e Changing the Default Database Settings e Changing All Reel or Roll Identifiers Also see Verifying and Correcting Edge Code and Timecode Numbers for deta
295. ster Frame for a Clip Changing the Default Database Settings Changing All Reel or Roll Identifiers Verifying and Correcting Edge Code and Timecode Numbers Capturing Source Clips and Connecting Them to the Database About Source Clips and the Database Preparing to Capture Generating a Batch Capture List from Cinema Tools Connecting Source Clips to the Database Fixing Broken Clip to Database Links Preparing the Source Clips for Editing An Introduction to Preparing Source Clips for Editing Determining How to Prepare Source Clips for Editing Using the Conform Feature Reversing the Telecine Pull Down Making Adjustments to Audio Speed Synchronizing Separately Captured Audio and Video Dividing or Deleting Sections of Source Clips Before Editing Contents Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Appendix A Appendix B 143 143 144 146 150 150 151 157 158 159 159 160 161 166 174 189 193 193 194 194 195 201 201 206 209 210 211 217 227 229 229 234 241 241 242 243 Editing with Final Cut Pro About Easy Setups and Setting the Editing Timebase Working with 25 fps Video Conformed to 24 fps Displaying Film Information in Final Cut Pro Opening Final Cut Pro Clips in Cinema Tools Restrictions for Using Multiple Tracks Using Effects Filters and Transitions Tracking Duplicate Uses of Source Material Ensuring Cut List Accuracy with 3 2 Pull Down or 24 amp 1 Vid
296. t There is no requirement that the database be created before the video and audio are captured or even before they are edited The only real requirement is that it must be created before a cut list can be exported The advantage of creating the database before capturing the video and audio is that you can then use it to create batch capture lists allowing Final Cut Pro to capture the clips The database can also be updated and modified as you edit Stage 5 Capturing 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 third party capture card to capture files from a Betacam SP or Digital Betacam tape machine If you are using a DVCAM source you can import directly via FireWire To take advantage of the batch capture capability of Final Cut Pro you should use a frame accurate device controllable source As opposed to the captured video which is never actually used in the final movie the edited audio can be used You may decide to capture the audio at a high quality and export the edited audio as an Open Media Framework OMF file that can be imported at a Digital Audio Workstation DAW for finishing Another approach is to capture the audio at a low quality and when finished editing export an audio EDL that can be used b
297. t Conforming modifies the actual source media file You must have read and write access to the media file for the Conform feature to be available Additionally you cannot use the Undo command to restore the file to its original frame rate however you can use the Conform feature a second time to return the file to its original frame rate if necessary Conforming One Clip at a Time You can individually conform each clip To conform a clip in Cinema Tools Choose File gt Open Clip then select the clip in the dialog In the Clip window click the Conform button Chapter 8 Preparing the Source Clips for Editing 125 126 3 Inthe Conform Clip dialog choose a new frame rate from the Conform to pop up menu then click Conform Conform Clip Clip Camera_4Trimmed mov The current framerate is 25 0 FPS Conform to 24 0 _ FPS You can also conform 25 fps clips to 24 fps from within Final Cut Pro To conform a clip in Final Cut Pro Select one or more clips in the Browser to conform from 25 fps to 24 fps Choose Tools gt Conform 25 to 24 The clips are conformed to 24 fps Note If any of the selected clips are not 25 fps a warning appears stating that one or more clips will not be processed 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 selec
298. t Film Lists dialog to import a custom style sheet the style sheet is copied to Users username Library Application Support Final Cut Studio Cinema Tools Note You can also manually copy your custom style sheets to either of these folders to have them appear in the Style Sheet pop up menu without having to use Add Style Sheet first See Working with XSL Style Sh better match your workflow ts for information about customizing style sheets to Lists You Can Export You can export a number of useful lists by using the Export 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 dialog Any lists that you did not specifically select are not included in the exported film list file Note All of the lists you choose to include in the film list are based on the video track you choose in the Track pop up menu You can select a different track and export a second list if needed For example if your sequence contains titles including any supers superimposed images or frames on video track 2 you can export a second film list that includes the edit information for them This makes it possible for you to configure alternative title tracks and export film lists for each version Cut List The first list you can select to export is the cut list The cut list you export from Final Cut Pro is the list that contains the instructions for cutting the origina
299. t a location and enter a name for the batch capture list Do one of the following To include all records in the XML file Click Export all records in the current found set To include only those records that have video reel timecode start and timecode duration values and are not already connected to a clip Click Export only eligible records in the current found set Click Save An XML batch capture list is created and saved to the designated location To import an XML Cinema Tools batch capture list into Final Cut Pro In Final Cut Pro choose File gt Import gt XML In the dialog that appears select the XML batch capture list you exported from Cinema Tools then click Choose The Import XML dialog appears Import XML Source Massive Project XML Batch xml Apple XML interchange Format version 2 Destination Massive Show a Sequence Settings Default DV NTSC 48 kHz 3 M Override with settings from XML a_a Options M Reconnect to Media Files Mi Include Markers Include Audio Video Effects Cancel ox Choose the project to add the batch list clips to using the Destination pop up menu You can also create a new project using this pop up menu Choose the default sequence preset to use from the Default pop up menu When importing XML files exported from Cinema Tools you can leave all of the checkboxes unselected Click OK to import the XML file The clips appea
300. t is only as accurate as these values Verifying values with the Identify feature is especially useful when You find a discrepancy between the timecode and ink numbers or key numbers in the window burn and those values in the Cinema Tools database or in Final Cut Pro You entered the values manually and need to double check your data entry work Important The Identify feature can track edge code numbers only if the edge code number to timecode relationship is continuous as it is with most camera roll transfers See Is Your Edge Code Number to Timecode Relationship Continuous or Noncontinuous for more information If the edge code number to timecode relationship is noncontinuous you can verify and correct the edge code number and timecode values for the source clips by visually checking these values against the window burn and if necessary manually updating the edge code number and timecode values in Cinema Tools and the timecode values in Final Cut Pro To verify and correct the edge code and timecode values entered for a clip If it isn t already open open the clip in the Clip window in one of the following ways Choose File gt Open Clip or press Command O and use the dialog to select the clip e Click Open Clip in the Detail View window of the clip s database record Chapter 6 Entering and Modifying Database Information 101 102 2 In the clip playback area locate a frame near the beginning of the clip for which you
301. t section Synchronizing Final Cut Pro Clips with Cinema Tools Important You do not need to import or show film related information in Final Cut Pro to export film lists Synchronizing Final Cut Pro Clips with Cinema Tools You cannot manually update a clip s film information in Final Cut Pro the information must be imported from a Cinema Tools database Final Cut Pro includes the ability to synchronize one or more selected clips with a Cinema Tools database This is especially useful when you have imported a telecine log and captured the clips synchronizing the clips with their database automatically connects the clips to their records You can also create a new database which adds the information for each clip to its record Tip Creating a new database from a group of clips that are already part of another database allows you to create specialized databases from Final Cut Pro All of the film related information that the clips already contain is automatically added to their records in the new database Chapter 9 Editing with Final Cut Pro To synchronize Final Cut Pro clips with a Cinema Tools database In the Final Cut Pro Browser select the clips that you want to synchronize with a Cinema Tools database These can be clips that are already in the database and need their information updated or they can be clips that are not in the database In that case a new record is added to the database for each clip with any applicable infor
302. t the general idea is to have a single cue that is both audible and visible you can see what caused the noise Stage 2 Developing the Film The developed film is known as the original camera negative This negative will eventually be used to create the final movie and must be handled with extreme care to avoid scratching or contaminating it The negative is used to create a video transfer and typically a workprint as with the traditional method and then put aside until the negative is conformed Stage 3 Transferring 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 Telecines are devices that scan each film frame onto a charge coupled device CCD to convert the film frames to video frames Although 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 If you decide against making workprints this may be your only chance to determine if there are undesirable elements such as microphone booms and shadows in each take before committing to them The video output should have the film s key number the video timecode and the production audio timecode burned in to each frame The actual videotape format used for the transfer is not all that important as long as it uses reliable timecode and you will later be able to capture t
303. t your negative cutter know if there are issues with the videotape for example if the video occasionally displays the wrong frame Considerations When Exporting Audio Depending on your project s needs you may be able to use the edited audio from Final Cut Pro directly in the film s release print More often you will want to finish the edited audio using a specialized application or a facility specializing in audio finishing This is typically where sound effects music and any dialogue are added or enhanced There are a couple of items to consider when exporting audio The type of audio file required You can export an Open Media Framework OMF or Audio Interchange File Format AIFF file The audio speed Depending on how the video was transferred you may have slightly altered the speed of the audio to maintain synchronization If you decide to recapture and reedit the audio at an audio post production facility see Exporting an Audio EDL for details OMF Files An OMF file contains not only the audio but also a description of the audio edits Digital Audio Workstations DAWs that can import OMF files can take advantage of having the edit In and Out points along with other information such as cross fades enabling them to make small changes OMF files typically contain all of the audio tracks used in the program other export formats have limits Another advantage of OMF files is that they can contain the audio and edit in
304. tape nor film can perfectly reproduce every speed that the digital editing system can assign Therefore be aware that the optical negative that is made is not necessarily going to look exactly the way the motion effect looked in the editing system Chapter 10 Generating Film Lists and Change Lists 165 166 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 Pull List The pull list is the same as the cut list except that the shots appear in the order in which they can be found on the negative rolls The lab can refer to the pull list when going through your negative rolls to find the shots that will be cut into the film Each item in the pull list displays the shot number from the cut list Scene List The scene list lists all of the shots that are used in the cut list with each shot listed only once You can use the scene list to order prints of the shots in your program so that you can conform a workprint before the negative is cut Optical Scene List If you select Optical list and Scene list in the Export Film Lists dialog an optical scene list is generated along with the scene list The optical scene list is a list of all the shots used in all t
305. tch the edits and you can proceed with the usual color correction process Color is then used to render the final output video Working with REDCODE Media Working with media recorded using the RED ONE camera requires that your computer have RED Final Cut Studio support software installed See the RED Digital Cinema Camera Company website at http ed com support for more information Each REDCODE media file is made up of several files inside a folder with an RDC extension For example you can have a folder with the name H046_C001_1002VL RDC that contains the following files e H046_C001_1002VL_001 R3D e H046_C001_1002VL_F mov e H046_C001_1002VL_H mov e H046_C001_1002VL_M mov e H046_C001_1002VL_P mov The file with the R3D extension is the actual media clip the other files in the folder with mov extensions are QuickTime movies that are optionally created by the RED ONE camera providing different resolutions of the media file To add a record that is connected to a REDCODE clip to a Cinema Tools database you need to drag the RDC folder that contains the media files or any of the mov files in the folder to the Cinema Tools List View window Alternatively you can drag a folder that contains multiple RDC folders representing multiple REDCODE clips to the Cinema Tools application icon to create a new database based on the clips Chapter 3 Cinema Tools Workflows 51 52 When you play the clip in the Clip window a mov f
306. ted Each record includes the video reel video timecode clip duration and timecode rate settings from its connected clip Note New records are not created for any clips that are already connected to other records in this database Chapter 6 Entering and Modifying Database Information 93 94 Using Scene Shot and Take Identifiers An identifier can be any combination of numbers and letters up to 15 characters e 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 subclip identifier If the source clip associated with a database record contains just one take you can think of the take identifier as a source clip identifier Scene identifier The identifier you enter in the Scene field actually identifies both the scene and the shot camera position for the clip For the Scene identifier most people enter the number or letter combination that appears in the Scene field on the slate The typical method for identifying scenes and shots is to use a number for the scene and add a letter to specify the shot in the scene So when a slate says Scene 12B it is referring to shot B in scene 12 You see this reflected in the Detail View window the first number you enter in the Scene field appears next to the word Scene in the Detail View window Next to the word Shot both the number and the letter appear For example if you e
307. ted directly Instead lower resolution versions of the files are created usually based on the Apple ProRes 422 codec and then edited Once the edit is finished the next step is to use Color to apply any needed color correction This color correction is applied to the original 2K media To accomplish this an Edit Decision List EDL is exported from Final Cut Pro This EDL is used to match the edits to the 2K media allowing Color to conform and color correct the 2K media Chapter 1 An Overview of Using Cinema Tools 11 12 Cinema Tools databases can be used in this process to match the EDL to the 2K media linking the reel names and timecode of each edit to entries in a database created from a folder of 2K image sequence clips Using a Cinema Tools database provides powerful tools to diagnose and resolve any issues that occur such as nonmatching reel names See Basic Digital Intermediate Workflow Steps and Digital Intermediate Workflow Using a Telecine for details about this workflow Color Shoot film Scan film Conform and ee to video DPX color correct i print DPX image sequences Offline EDL video Final Cut Pro with Cinema Tools Edit sequence Why 24p Video The proliferation of high definition HD video standards and the desire for worldwide broadcast distribution have created a demand for a video standard that can be easily converted to all other standards Additionally a standard that tr
308. ted folder To batch conform in Cinema Tools Make sure all the clips you want to conform are in the same folder Choose File gt Batch Conform In the dialog that appears select any clip file in the folder that contains the clips you want to conform then click Choose Note You only need to select one clip file All the clips in the folder will be conformed In the Batch Conform dialog choose a frame rate from the Conform to pop up menu then click Conform Batch Conform Folder Batch Conform PAL Conform to 24 0 FPS After the batch conform process is completed the following occur The clips are conformed to the chosen frame rate and placed in a Cinema Tools created subfolder named Conformed frame rate where frame rate is the new frame rate for the clips A folder might be named Conformed 24 0 for example Chapter 8 Preparing the Source Clips for Editing If Cinema Tools is unable to complete the conform process for a clip that clip is moved into a Cinema Tools created subfolder named Skipped A clip is not processed if it doesn t contain a video track if the frame rate is not supported or if no codec is found for the video track A text file named conform log appears at the top level of the folder This log gives the date and time that the process started and ended for each clip If any problems were encountered such as running out of disk space or memory an error m
309. ted project you are ready to generate film related lists that describe how to cut the negative or workprint The cut list provides a list of the edits and of titling information See Creating Cut Lists and Other Lists with Cinema Tools for more information Film Workflow Examples The following sections detail several Cinema Tools database workflow scenarios Keep in mind that there are many possible variations of these workflows and you often do not have to follow the steps exactly in order It s also possible to use parts of several workflows See Basic Film Workflow Steps for details about specific steps For a discussion of the integration between Final Cut Pro and Cinema Tools see How Much Can Be Done from Final Cut Pro Following are sections covering two groups of workflows those that use scene and take transfers if You Used Scene and Take Transfers and those that use camera roll transfers lf You Used Camera Roll Transfers These workflows are further divided depending on whether a telecine log is available and whether you have device control of your video player during the capture process Chapter 3 Cinema Tools Workflows If You Used Scene and Take Transfers Because scene and take transfers require a database record for each take because of noncontinuous key numbers an important first consideration is whether or not a telecine log is available Workflow for a Scene and Take Transfer with a Telecine Log Importing a telecin
310. teps that are necessary for these workflows but for the most part the Cinema Tools workflow you should follow depends on the equipment you use your video standard and how you like to work This chapter covers the following e Basic Film Workflow Steps p 41 e Film Workflow Examples p 42 e Basic Digital Intermediate Workflow Steps p 46 e Digital Intermediate Workflow Using a Telecine p 49 e Working with REDCODE Media p 51 Basic Film Workflow Steps This section details a Cinema Tools database workflow for working with film See Film Workflow Examples for possible scenarios See How Much Can Be Done from Final Cut Pro for information about which steps can be done directly in Final Cut Pro The typical Cinema Tools film workflow is outlined below Stage 1 Creating the Cinema Tools Database The heart of Cinema Tools is its database where the relationships between the elements of your movie the film video and audio are established and tracked Although there is no actual requirement that the database be created prior to editing it can provide some useful tools to help with capturing clips and planning the edit See Creating the Cinema Tools Database for more information Stage 2 Capturing the Source Clips with Final Cut Pro You must capture the video and audio on your editing computer How you do this depends in large part on the actual media used for the telecine transfer See Capturing the Source Clips with Fina
311. ter edit is removed and an entry is added to the cut list indicating that this was done When Cinema Tools successfully processes an EDL it places an entry in the messages section of the film list showing a summary of events that it processed This entry lists how many of each type of event occurred cut dissolve wipe and key The number of events in the list should match the number of events in the EDL About Using EDLs with DPX Image Sequence Media A common DI workflow involves editing your program using offline media files exporting an EDL of the program and then using that EDL to export a film list based on a Cinema Tools database connected to the original DPX image sequence media In this case Cinema Tools tries alternative methods to match edits to database records if the preferred methods don t work Important Although these alternative methods may help you export a film list in cases where there is incomplete information they also increase the chances of matching an edit to an incorrect record Be sure to carefully review the resulting film list to ensure its accuracy Following are the differences in how Cinema Tools matches edits to database records if the records are connected to DPX image sequence media If Cinema Tools fails to find a match based on the timecode extracted from a DPX image sequence It attempts to interpret the image sequence filenames as timecode values and use those values instead If Cinema To
312. the audio EDL includes the name of the clip file if known as a comment for each event in the list Include scene and take comments When this option is selected the audio EDL includes the scene and take numbers as comments for each event in the list Open in text editor When this option is selected the exported audio EDL opens in the text editor specified in the pop up menu Because the audio EDL is actually a text file the TextEdit application is typically used Audio Track Usage Although Final Cut Pro supports many audio tracks the Cinema Tools Export Audio EDL feature includes only the first eight and audio EDLs support a maximum of four The Export Audio EDL dialog provides settings for each of the eight possible audio tracks allowing you to map them to the four EDL tracks The track configuration pop up menus are active for those tracks included in the sequence all others are unavailable Although it is possible to map multiple tracks to a single EDL track this frequently results in errors and confusion in the resulting EDL Because there is no way to fit the eight audio tracks into the four EDL tracks you must export two EDLs one EDL with tracks 1 through 4 enabled and the others off and the other EDL with tracks 5 through 8 enabled Be aware that some sound editors may prefer a single track per EDL requiring you to export multiple audio EDLs Make sure to consult with your sound editor before you export the audio EDL
313. the audio information if no telecine log is available Using Cinema Tools to Export an Audio EDL Cinema Tools can export an audio EDL as long as its database contains accurate audio information an audio timecode number that corresponds to the first video frame of the clip and the sound roll number in each record Because of the way audio is recorded during the production using dual system recording a separate sound recorder that is started and stopped independently of the camera the Cinema Tools Export Audio EDL function is applicable only when the project database has a record for each take as with scene and take transfers It is critical that the value in the Sound Timecode field correspond directly to the first video frame of the clip This is typically the case when you import the audio information from a telecine log Use the Clip window s Identify feature to enter or verify the audio timecode value for a known point in the clip most often at slate close Based c on this value Cinema Tools maleate the timecode for the first frame See Using the Identify eature to Calculate Database Information for more information After you have finished editing and have added the audio timecode and sound roll information to the database you are ready to export the audio EDL You generally open the Export Audio EDL dialog from within Final Cut Pro You can also open it from within Cinema Tools if necessary although additional steps are re
314. the daily roll from which this source clip originated Chapter 5 Working with Databases 69 70 Key fields If you intend to create a cut list or change list for a film based project these fields or the ink number fields are required The first field should contain the key prefix that is constant throughout a roll of film For example for the key number KJ 29 1010 5867 07 the key prefix is KJ 29 1010 which you enter as KJ291010 You can enter up to eight characters including spaces although most often you will be skipping the spaces as in this example In the second field enter the second part of the key number the frame number for the first frame of the clip For example for the key number KJ 29 1010 5867 07 the frame number is 5867 07 The frame number identifies each foot or half foot within the reel plus the frame count number If you know the key number for another part of the clip the Identify feature can ae and enter the key number ae ane for the first frame of your clip See Calculating Edge Code and Timecode Numbers for more information Ink fields If you intend to create a cut list or change list for a film based project these fields or the Key fields are required In the first field enter the prefix number and in the second field enter the frame number For example in the ink number 123 4567 08 the prefix is 123 and the frame number is 4567 08 indicating that the frame occurs
315. the information for each frame as you move through a clip so you can locate the marked frame 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 idemify Analysis Film Cam Roll Lab Roll Daily Roll Key KK061997 6063 12 Re a H Enter the key number TK speed 24 or ink number for i the marked frame Video Reel 068 Timecode 08405603 gt Enter the video Tenate Gonor timecode value for Sound the marked frame Roll Timecode 072274112 TC Rate 30 NOF 3 r 4 gt Note If you decide you want to reset the values to what they were when you opened the clip in the window click Revert When identifying a 3 perf 35mm clip you must also choose the offset 3 perf 1 3 perf 2 or 3 perf 3 from the Film Std pop up menu Note You should not need to change the Film Std setting if you are using any of the other film formats Click Save The clip s database record is immediately updated with the values for the first frame of the clip Additionally the clip s duration is calculated and entered Chapter 6 Entering and Modifying Database Information 97 98 About Modifying Data with the Identify Feature You can use the Identify feature for a clip only if a database record ha
316. ting timebase to 24 fps This option assumes you will reverse telecine the captured video to 24 fps e DV NTSC NDF Choose this option to capture NTSC video in the non drop frame timecode format and to set the editing timebase to 29 97 fps This option assumes you will not perform reverse telecine on the captured video DV PAL 24 25 Choose this option to capture PAL video and set the editing timebase to 24 fps but use 25 fps timecode This option assumes you will conform the 25 fps video to 24 fps Refer to the Final Cut Pro documentation for details about accessing and working with Easy Setups 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 about setting the editing timebase in the Sequence Preset Editor All Easy Setups designed specifically for Cinema Tools users except for DV PAL 24 25 have the name Cinema Tools in the title For example Cinema Tools 23 98fps from DV NTSC By default the Easy Setups for Cinema Tools users do not appear in the pop up menu in the Choose Setup dialog To see all the Easy Setups in the pop up menu including the ones for Cinema Tools select the Show All checkbox in the dialog Or to add specific Easy Setups to the
317. tion for more information about using the Real Time Effects pull down feature Keep in mind that if you record at 24 fps and then convert to 23 98 fps your video is running at a speed slightly slower than that of the original recording Because it is slower it is called pulled down When video is pulled down the digitized audio also needs to be pulled down either by slightly slowing down the playback of the original audio source while digitizing for example in the telecine transfer process or by adjusting the speed of the clip to 99 9 percent after capturing Ways You Can Prepare the Source Clips There are a few different ways to adjust your source clips to the frame rate at which you want to edit Use specialized hardware to capture at your chosen frame rate If you have the right equipment you can use it to convert the frame rate in real time while the clips are captured and adjust the audio speed to match When you do this the clips are already in sync and do not require the Cinema Tools Reverse Telecine or Conform feature for frame rate conversion Chapter 8 Preparing the Source Clips for Editing Use the Reverse Telecine feature If your clips have the NTSC standard frame rate of 29 97 fps you can use the Reverse Telecine feature to reverse the 3 2 pull down that was used to convert the clips to 29 97 fps thus removing the extra fields created by the pull down and converting the clips to 23 98 fps or 24 fps When clips contain
318. tive You typically want to start at zero Ifyou are editing your film by scene or by reel You may want to enter a starting point in the Starting fields that is the same as the ending point of the preceding scene or reel This field is automatically filled in with the sequence starting point you have set in the Final Cut Pro Timeline Ifyou want to generate a cut list with timecode so that you can compare events in the list with edits in Final Cut Pro or in the EDL Start the cut list at the same timecode value as the Timeline sequence or the EDL start time Starting Time Enter a starting timecode number for the film list s Time value The default value is the sequence s starting timecode value Starting Count Enter a starting frame count number for the film list s Count value The default value is 0000 Save a Cinema Tools program file A program file can be used if you want to later create a change list for this sequence reflecting any edits you make after this point Note You can also use a Final Cut Pro XML file for this sequence to create a change list See About Exporting Change Lists for more information A program file is also needed if you want to export an audio EDL from Cinema Tools Exporting an audio EDL from Final Cut Pro is more automated and does not require a Cinema Tools program file See Exporting an Audio EDL for more information Start with 8 seconds of leader Choose whether or not to start t
319. ts the 4 perf 35mm and 3 perf 35mm formats for all types of film lists and change lists These are by far the most common 35mm formats The 4 perf 35mm film format has 16 frames per foot The 3 perf 35mm format does not have a whole number of film frames in a foot there are 21 and one third per foot To avoid tracking fractions of frames the 3 perf 35mm format is considered to have a pattern of two 21 frame feet followed by a 22 frame foot See 3 Perf 35mm Offsets for more information 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 when the film is developed For workprints film labs can add numbers called ink numbers also known as Acmade numbers Edge code is essential to your Cinema Tools database because it makes it possible for you to export cut lists or change lists that specify exactly where your negatives or workprints need to be cut in order to match your digital edits Key Numbers Key numbers provide both an identification number for each roll of film and an incremental footage count number used to identify specific film frames They often appear as both regular text and as a bar code 2 gt E KJ 29 1234 5678 KJ 29 1234 5678 Appendix A Film Background Basics 231 232 Each film standard uses key numbers differently 16mm film can have a key number every 20 frames most comm
320. two frames followed by two fields of the next frame In this way the 24 frames in 1 second of film or 24p video fill up the 30 frames in 1 second of NTSC video Although 3 2 is the conventionally supported pull down pattern for NTSC devices some digital cameras and editing systems are beginning to support 2 3 3 2 pull down 3 2 pull down A method of distributing film s 24 fps among NTSC video s 29 97 fps when film or 24p video is transferred to NTSC video In the transfer the recording alternates two fields of one frame and then three fields of the next so that the 24 frames in 1 second of film or 24p video fill up the 30 frames in 1 second of NTSC video Also known as 2 3 pull down 3 perf 35mm_ A 35mm film format supported by Cinema Tools Refers to having three perforations sprocket holes for each film frame It is gaining popularity especially with episodic television because it contains 25 percent more frames per foot of film than the more common 4 perf 35mm format 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 24 amp 1 A method of transferring film to PAL video where two extra fields per second are added to the video so the 24 frames in 1 second of film are all contained within the 25 frames in 1 second of PAL video This method maintains the original action speed See also 24 25 24 25 pull down Glossary 249 250
321. u 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 The relationship between the key numbers and the timecode is established when the film is transferred to video and this information is usually entered automatically when you create the database from a telecine log When you connect a clip to a database record that does not yet contain the clip timecode Cinema Tools looks for this information in the clip file and automatically enters it in the database record You can also determine the timecode value for this field by looking at the first frame of the clip provided that both the key number and the timecode are burned in to the video Tip If you enter the video reel and timecode information in the Detail View window you can use the database to locate source material on the videotape while you are editing For example if you are editing a clip and there is something in the clip that you are unsure about because you can t see it clearly you may want to view it on the videotape because the video is of higher quality You can check the clip s database record to find which video reel contains the material and the timecode location on the reel Chapter 5 Working with Databases 71 72 Video Duration field Unless all the clips you will be editing are connected to the data
322. uations such as when generating a list from an external EDL or when the clip files are offline Create a new database Telecine log Import log into database Enter at least one record should generate one defining key number and record per camera roll timecode relationship Use Final Cut Pro to capture the entire camera roll as a single clip or capture desired takes as separate clips the timecode must not change from the original Basic Digital Intermediate Workflow Steps The digital intermediate DI process generally refers to any workflow that involves source video of 2K resolution or higher whether from a high quality film scan or a digital camera and that results in new output media being generated for distribution instead of relying on conforming the original camera negative The output can be high resolution digital files or a film print made from the files The primary goal of this workflow is to edit low resolution versions of the source video clips in Final Cut Pro but have Color be able to color correct the original full resolution source video clips and output the final movie This is accomplished by exporting an Edit Decision List EDL from Final Cut Pro that Color uses to match to clip records in a Cinema Tools database There are two common approaches that you can take in a DI workflow Scan all ofthe film This is the simplest approach but requires a lot of disk storage space for the large video files that r
323. udio deck to a video capture interface Also in Final Cut Pro select the Sync audio capture to video source if present option in the General tab of the User Preferences window Considerations Before Capturing Clips Individually Clips can also be captured individually with Final Cut Pro without using device control See the Final Cut Pro documentation for details about capturing clips individually When you capture your clips remember these points If you don t use device control Final Cut Pro cannot receive the correct timecode for the clips during capture This means you need to correct the timecode for each and every source clip in Final Cut Pro To do this open each clip in the Viewer and note the timecode value that appears in the window burn of the first frame of the clip Then choose Modify gt Timecode and enter the value from the window burn in the Source field selecting the Drop Frame checkbox if appropriate Finally make sure to update the key number information for the clip in the Cinema Tools database by using the Identify feature See Verifying and Correcting Edge Code and Timecode Numbers for more information 108 Chapter 7 Capturing Source Clips and Connecting Them to the Database You don t want to drop any frames while capturing because that can result in an incorrect cut list and will interfere with the reverse telecine process If your video has non drop frame timecode make sure that Non Drop Frame is c
324. udio with the Video Choosing a Sound Recorder When choosing a sound recorder you have several options an analog tape recorder typically a Nagra a Digital Audio Tape DAT recorder or a digital disc recorder Whether analog or digital make sure the recorder has timecode capability Chapter 2 Before You Begin Your Film Project Choosing an Audio Timecode Format Unlike video or film which must be structured with a specific frame rate audio is linear with no physical frame boundaries Adding timecode to audio is simply a way to identify points in time making it easier to match the audio to video or film frames During the shoot you have the choice of which audio timecode standard to use typically 30 fps 29 97 fps 25 fps 24 fps or 23 98 fps You also have the choice with 30 fps and 29 97 fps of using drop frame or non drop frame timecode For NTSC transfers it is highly recommended that you use non drop frame timecode for both the video and audio although Cinema Tools can work with either See About NTSC Timecode for more information about drop frame and non drop frame timecode A consideration for the audio timecode setting is how the final audio will be mixed 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 Ifthe final mix is to be completed at an audio post production facility The timecode needs to be compati
325. ue equal to the height divided by the width Standard definition video uses 4 3 0 75 and most high definition video uses 16 9 0 56 Film aspect ratios depend on the format and lenses used change list A list you can export from Final Cut Pro using Cinema Tools which assumes a workprint or negative has been cut to the specifications of a cut list or prior change list and specifies further changes to make based on new edits you have made to a Final Cut Pro sequence conform film To cut and arrange an original camera negative to match edits made in a digital editing naem Also to assemble VIREN or r audio according to an Edit Decision List EDL See also cut list Edit Decision List EDL conform video To change the frame rate of a video clip For example you can use the Cinema Tools Conform feature to change the frame rate of a PAL 25 fps video clip to film s 24 fps rate You can also conform a clip to its current frame rate ensuring there are no frame rate errors within it Glossary contact printing A film printing method in which the emulsion sides of the original camera negative and the print stock are in contact as the negative is projected onto the print stock Creates an image that is reversed in color and light for example black becomes white and white becomes black cutlist A text file that sequentially lists the edits that make up your program The negative cutter uses the cut list to conform the original camera
326. ugh Often your budget or a lack of time drives the decision Make sure you thoroughly understand your workflow choices before making decisions that could end up costing you more both in time and money in the long run Problems based on choices made early in the process for example deciding not to have a telecine log made could take you by surprise later Having professional facilities handle the tasks they specialize in especially when you are new to the process is highly recommended You may actually save money by spending a little for tasks that you could do yourself such as using an audio post production facility Also do not underestimate the importance of using the cut list to conform a workprint before conforming the negative Although creating and editing a workprint adds costs to the project incorrectly conforming the original camera negative will cause irreparable harm to your film Which Film to Use One of the first steps in any film production is choosing the film format to use Cinema Tools requirements must be taken into account when making this choice Cinema Tools supports 4 perf 35mm 3 perf 35mm and 16mm 20 film formats See Filly Basics for details about these formats Chapter 2 Before You Begin Your Film Project Your budget will likely determine which format you use Although it s generally best to use the same film format throughout your production Cinema Tools does not require it Each database recor
327. umbers and the numbers shown in Final Cut Pro Though the timecode discrepancies between the window burn and Final Cut Pro timecode may be confusing Cinema Tools tracks the new timecode of the 23 98 fps video and is able to match it back to its original NTSC or PAL values and thus back to the film s key numbers Note The Reverse Telecine feature is most often used to convert the NTSC video to 23 98 fps to match the audio timecode but it can also convert the video to 24 fps This is what happens to the timecode reverse telecine removes six frames per second so the timecode numbers continue to match at the beginning of each second This means that a clip that lasts for 38 seconds when played at its NTSC rate of 29 97 fps will still last for 38 seconds when played at the reverse telecined rate of 23 98 fps er start NTSC video frames 29 97 fps Discarded fields Reverse telecined video frames 23 98 fps One second Chapter 2 Before You Begin Your Film Project 33 34 In the above illustration the blue NTSC fields represent fields that are removed during the reverse telecine process on a clip using traditional 3 2 pull down See Adding and Removing Pull Down in 24p Clips for information about 2 3 3 2 pull down The window burn NTSC timecode will be different from what Final Cut Pro shows for all frames except the first one of each second regardless of the clip s length What Happens to the Timecode After Using Conf
328. umbers and the video timecode This is usually accomplished with hole punches or some other distinct frame marker at known film frames Important Older film chains may not synchronize the film projector to the video recorder potentially causing the film to video relationship to drift Chapter 2 Before You Begin Your Film Project Recording a Projected Image with a Camcorder Because of the greatly increased chances for error and the additional time you have to spend tracking key numbers this method of transfer is strongly discouraged and should not be considered Projecting your film and recording the results using a video camcorder is a method that although relatively inexpensive almost guarantees errors in the final negative cutting Telecines and film chains are usually able to synchronize the film and video devices ensuring a consistent transfer at whatever frame rates you choose The projector s and video camcorder s frame rates may be close to ideal but will drift apart throughout the transfer making it impossible to ensure a reliable relationship between the film s key numbers and the video timecode You will have to spend extra time going over the cut list to ensure the proper film frames are being used Additionally there may be substantial flicker in the video output making it difficult to see some frames and determine which to edit on Because the video is not actually used for anything except determining edit points its qu
329. uration of a video frame is four fifths the duration of a film frame Because of this discrepancy if you tried to match a specific number of whole video frames to some number of whole film frames the durations would seldom match perfectly In order to maintain overall synchronization there is usually some fraction of a film frame that must be either added to or subtracted from the duration of the next edit This means that in the cut list Cinema Tools occasionally has to add or subtract a film frame from the end of a cut in order to maintain synchronization For this reason if you edit 3 2 pull down video the Cinema Tools cut list is only accurate to within 1 frame on each edit This accuracy issue is easily resolved by using the Reverse Telecine feature or third party hardware or software to remove the extra fields and restore the film s original 24 fps rate before you begin editing digitally providing a one to one relationship between the video and film frames Setting the Final Cut Pro emg timebase i in the Sequence Preset Editor to 24 fps or 23 98 fps see Synchronizing the Audio with the Video allows yu to edit the video and generate a very accurate cut list See Determining How to Prepare Source Clips for Editing for more information about issues related to these AAN What s an A Frame You will see and hear references to A frames whenever you are involved with 3 2 pull down video As the previous illustration shows t
330. used as dailies letting you view what has been shot Stage 4 Creating Audio Scratch Tracks An audio scratch track is similar to the film s workprint it s a copy of the production audio 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 Once the magnetic film is synced with the film on the editor both the audio scratch track and the workprint are run in tandem maintaining their sync during editing Stage 5 Editing the Workprint This is the point when you make decisions regarding which parts of the film footage you want to use and how you want it laid out Editing the workprint involves physically cutting and splicing at each edit point Changing your mind about the exact placement of a cut or trying an alternative edit is time consuming and tends to be hard on the film This is the part of the process that digital editing greatly facilitates When you are satisfied with the edited workprint you send it to the negative cutter Stage 6 Conforming the Negative The negative cutter uses the edited workprint as a guide to make edits to the original camera negative This process is called conforming Because there is only one negative it is crucial that no mistakes are made at this point As
331. using a telecine log or ALE file to build your database For example a Final Cut Pro batch capture list does not contain the key number and camera or lab roll information that would be imported from a telecine log See Advantages of Using a Telecine Log or ALE File for more information Tip In most cases instead of exporting a Final Cut Pro batch capture list and importing it into a Cinema Tools database you should use the Final Cut Pro Synchronize with Cinema Tools feature See Synchronizing Final Cut Pro Clips with Cinema Tools for more information To import database information from a Final Cut Pro batch capture list Make sure that a Cinema Tools database is open In Cinema Tools choose File gt Import gt Final Cut Pro Batch List In the dialog that appears select the batch capture list you exported from Final Cut Pro Click Open to import the batch capture list The data in the batch capture list is used to create database records Note The source clips are not yet connected to database records You still need to use the Connect Clips command to connect them See Using the Connect Clips Command for more information 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
332. ve 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 If you are shooting with 35mm or 16mm film and want to edit digitally and finish on film Cinema Tools allows you to edit video transfers from your film using Final Cut Pro and then generate an accurate cut list that can be used to finish the film Even if you do not intend to conform the original camera negative as in a digital intermediate workflow Cinema Tools provides a variety of tools for capturing and processing your film s video See About the Digital Intermediate Process for more information 10 How Does Cinema Tools Help You Edit Your Film For many film still provides the optimum medium for capturing images And if your goal is a theatrical release or a showing at a film festival you may need to provide the final movie on film Using Final Cut Pro with Cinema Tools does not change the process of exposing the film in the camera or projecting the final movie in a theater it s the part in between that takes advantage of the advances in technology Editing film has traditionally involved the cutting and splicing together of a film workprint a process that is time consuming and tends to discourage experimenting with alternative scene versions T
333. vely high compression and include burned in timecode and key numbers The compression makes it easier for your computer to work with the video and requires less hard disk space allowing you to capture more video to use for making your edit decisions After you have finished the offline edit you can use Final Cut Pro to recapture just the video actually used in the edits using a high quality codec and a version of the video without burned in timecode and key numbers See Working with 24p Video and 24 fps EDLs for more information about this process Also see your Final Cut Pro documentation for more information about offline and online editing workflows Preparing the Clips for Editing Cinema Tools includes two features you can use to help prepare the captured clips for editing 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 23 98 fps See Frame Rate Basics for information about what a 3 2 pull down is and why you might want to reverse it See Reversing the Telecine Pull Down for details about using the Reverse Telecine feature Note The Reverse Telecine feature cannot be used with temporally compressed video such as MPEG 2 format video Conform The Conform feature is useful both to correct errors in video clips and to change the frame rate timeb
334. ven if you later break it into smaller clips that retain the original timecode and delete the unused portions This is because Cinema Tools can use an edit s video reel number and edit points to calculate the appropriate key numbers as long as the video reel and edit point information is part of a record To manually enter database records you need to know the key number and video timecode number for a frame of the clip This is easiest when the transfer has these values burned in to the video See Creating a Cinema Tools Database for details about creating and managing Cinema Tools databases Capturing the Source Clips with Final Cut Pro How you capture the source clips with Final Cut Pro depends in large part on the actual media used for the telecine transfer Ifyou have a telecine log file and the clips are provided using a tape based system In this case you start by importing the telecine log file into either Cinema Tools or Final Cut Pro If you import the telecine log file into Cinema Tools you then export a batch capture list for Final Cut Pro If you import the telecine log file into Final Cut Pro you can use the batch capture process to capture the clips Chapter 1 An Overview of Using Cinema Tools Note Capturing video clips from a tape based device may require third party hardware When using serial device control make sure to calibrate its capture offset See the Final Cut Pro documentation for more information Also see
335. vious list was exported Chapter 10 Generating Film Lists and Change Lists 183 184 10 Click Save 11 If you selected Save a Cinema Tools program file enter a filename and location for the file in the dialog that appears then click Save Give the program file a name that clearly identifies the sequence and the version so that you can easily locate the file later if you need to export another change list A change list file is generated that contains all the lists you selected in the Export Change List dialog If You Need to Reel Balance In reel balancing heads and tails of reels are reapportioned to make sure the length of each reel is in the right range If you want to do any reel balancing in Final Cut Pro perform the reel balancing edits separately from any other changes For instance to move a scene from the head of one reel to the tail of another first conform the two reels to the change lists exported from their associated sequences Then in Final Cut Pro cut the scene from the head of the sequence for reel 1 and paste it at the tail of the sequence for reel 2 Finally export new change and cut lists for both sequences and use those lists as a guide for balancing the two reels Note that shots deleted from one reel should be exactly the same length as the shots added to the other reel Chapter 10 Generating Film Lists and Change Lists Settings in the Export Change List Dialog The Export Change List dialog th
336. 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 If you are going to lock a database file make sure that the database is closed before you lock it You can also use any standard desktop method to rename a database file Changing a database filename as opposed to a source clip filename does not affect the content of the database or any of the database functions Important Changing a source clip filename by editing it in the Finder is not recommended because it breaks the link between the source clip and the database However you can reconnect clips to the database using the Reconnect command About the Clip Window You use the Clip window to play the selected clip identify the timecode and key number of aspecific 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 Choose File gt Open Clip or press Command O locate a clip then click Choose Click Open Clip in the Detail View window if a clip is connected to the current record Click Connect Clip in the Detail View window then select a clip if one has not already been connected to the record Drag one or more up to 20 total clips from a Finder window to the Cinema Tools application icon A Cli
337. width of each size is different 229 230 Because of 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 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 16mm format Super 16mm 35mm film is most commonly used for theatrical releases with 4 perforations per frame 4 perf being the most prevalent version Another common version uses 3 perforations per frame 3 perf There are other versions of 35mm such as 8 perf but they are not currently supported by Cinema Tools 35mm format 35mm format 4 perf 3 perf Perforations Camera and projection equipment uses the perforations also known as sprocket holes along one or both edges of film to pull it past the shutter 16mm Film 16mm film has a single perforation for each frame which comes out to 40 perforations per foot 16mm is available as single perforated perforations along one edge only allowing space for an optical track or in the case of Super 16mm film for a larger frame and double perforated perforations along both edges Cinema Tools supports single and double perforated 16mm film as long as it has a key number every 20 frames See Key Numbers for more information Appendix A Film Background Basics 35mm Film 35mm film has 64 perforations per foot Cinema Tools suppor
338. xt file you give to the negative cutter to use as a guide 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 duplicate list an optical list a pull list and a scene list A film 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 See also telecine log footage number Part of a key number refers to the four digit number indicating the position ona film roll See also fr number key numbe found set The set of database entries shown in the Cinema Tools List View window This set is called the found set because you use the Find command to display it Glossary fps Abbreviation for frames per second frame A single still image Film and video are made up of a series of these images Although a film frame is a photographic image a video frame contains one or more fields frame number The last part of the key number The frame number consists of the footage number and the frame counter and indicates how many feet and frames into the film a particular frame occurs See also key number HD video See high definition video high definition video Refers to any of a wide range of video formats including the 24p format providing a higher quality image than standard definition video Enhancements can include increased
339. y an audio post production facility where the production audio can be captured and processed at a very high quality Stage 6 Processing the Video and Audio Clips Depending on how you are using Cinema Tools the captured clips can be linked to the Cinema Tools database They can also be processed using the Cinema Tools Reverse Telecine and Conform features to ensure compatibility with the Final Cut Pro editing timebase For example the Cinema Tools Reverse Telecine feature allows you to remove the extra frames added when transferring film to NTSC video using the 3 2 pull down process Appendix A Film Background Basics Stage 7 Editing the Video and Audio You can now edit the project using Final Cut Pro For the most part you edit your film project the same as any video project If you captured the audio separately from the video you can synchronize the video and audio in Final Cut Pro Any effects you use such as dissolves wipes speed changes or titles are not used directly by the film These must be created on film at a facility specializing in film opticals It can be helpful for the negative cutter if you output a videotape of the final project edit Although the cut list provides all the information required to match the film to the video edit it helps to visually see the cuts Stage 8 Exporting the Film Lists After you ve finished editing you export a film list that can contain a variety of film related lists including t
340. y field 2 is captured When both fields are captured Field 1 dominance means that each captured frame is digitized from two video fields but field 1 occurs earlier Note With field 1 dominance the two video fields digitized into each captured frame should have the same timecode address because SMPTE timecode is specified as beginning on field 1 Field 2 dominance when both fields are captured means that field 2 occurs earlier and that the captured frame contains video fields with two different timecode values 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 A7A2 AB also known as A2B1 A1 or A2 frame When you view the video a frame at a time the frame type indicator for an A frame shows an A and the frame number is solid not flickering between two frames The frame type indicator ada Ie a in the window burn tells 08 40 56 03 KK061997 6063 12A you this is an A frame Chapter 8 Preparing the Source Clips for Editing If you are using non drop frame timecode and your source clips have not yet been edited there is a reliable five frame pattern where an A frame occurs every five frames Usually any
341. y the telecine technician during the telecine transfer Records the key numbers of the original camera negative and the timecode of the video transfer tracking the relationship between them Sometimes called a FLEx file timecode A format for assigning each frame of video a unique sequential unit of time The format is hours minutes seconds frames TK speed See telecine film speed Glossary 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 In traditional filmmaking the workprint is edited first and then used by the negative cutter as a guide for cutting the original camera negative In digital filmmaking a workprint is usually used to verify the cut list and to create a prototype of the film to view on a big screen before conforming the negative Sometimes called a work pix or cut pix XML Abbreviation for Extensible Markup Language A general purpose markup language that combines human readable text with additional specialized information Because of the large variety of tools available XML files are widely used to exchange information between applications XSLT See Extensible Stylesheet Language Tra Glossary 257
342. you can build a database without one This is the most common approach with digital intermediate workflows To create a database without a log Create a new empty database See Creating and Configuring a New Database for more information Enter database records manually See A Potential Database Shortcut for Camera Roll Transfers and Entering Database Information Manually for more information Note Alternatively you could capture your source clips before creating your database and then build the Cinema Tools database by importing a batch capture list created in Final Cut Pro See Importing Database Information from a Batch Capture List for more information Is Your Edge Code Number to Timecode Relationship Continuous or Noncontinuous The edge code number to timecode relationship in a camera roll is continuous if the camera roll was transferred to video without stopping The edge code number to timecode relationship is noncontinuous if You used a scene and take telecine transfer where the video recording was stopped and restarted in between takes The film roll was made up of takes that were spliced together before it was transferred to video Note Occasionally the edge code number to timecode relationship is broken if during filming the camera crew opened up a camera to check clean or change parts of the camera often called checking the gate When the camera is opened for such purposes the film is typically unthreade

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