Cinema tools film list export - source timecode?

We have a film that's been a real headache, we're exporting film lists from FCP linked to the CT database.
Is it possible to show source clip timecode instead of sequence timecode in the time column of the cut list or the pull list?
It would save us a lot of time, as is we have to go back and forth between the EDL and the film list.

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Is there a way to display and export SOURCE timecode in FCP X?

We need to burn DVDs with the SOURCE timecode of our media files displayed. So far, all we've found is a way to apply a Generator that reflects the PROJECT TC.

Sorry, but this is not possible in FCPX. They didn't include it.

Creating Cinema Tools Program File when Exporting Film Lists

When Exporting a Cinema Tools Film List,
if the "Save a Cinema Tools Program File" option is checked, I get an error message saying:
"An error occurred in getting the parameters for the cut list."
It works fine if the option is unchecked, however, I need to create the Program File in order to generate a Change List later. Does anyone have a solution?
Thanks in advance for your replies.
Rajnesh

If there is anybody from apple, please answer this question. Without possibility changing data is film cut list good for nothing. Thank you.

Create change lists for HDCAM project without Cinema Tools?

Hi
We have an HD project, shot on video, and are getting to final stages of mixing. Is there way to set a version, and then make changes and generate a change list? Needless to say, we haven't been using Cinema Tools (and the Export Change List process asks us to select a CT database). Is this only possible for film projects?
Thanks!
Matt

Actually, I figured it out.
1) Open Cinema Tools and create a new, blank database. Remember its name and where you saved it.
2) Open your original sequence in FCP. Go to FIle - Export - Cinema Tools Film Lists. If it's a video project, you can ignore the film-specific fields (footage length, key numbers and the like), but make sure that "Save a Cinema Tools program file" is ticked. In the columns on the right, I have "Time", "Source Time" and "Clip name" added. When prompted, locate your database file.
3) Export the file.
4) Now, open the changed sequence in FCP. Go to File - Export - Cinema Tools Change List. Locate the Cinema Tools program file you saved earlier.
You can select "Combine deletions" if you don't want to see separate edits across a multi-clip deletion. (ie, trim tail, delete clip, delete clip, trim head).
The first few pages will probably be most useful for video projects, since they use timecodes; the other sections of the report seem to be based on key codes.
Matt

Film list in Cinema Tools from 25 telecine, edited in a DV PAL-24 sequence

Hello professionals out there in the binary world,
I am looking for 24/25/24 answer to my problem and going thru all the questions like mine with no answer is just depressing !!!
Here is the problem:
We are editing on Final Cut Pro 4 with Cinematools 2.1
16mm shot at 24 FPS with a TC at 25fps to edit at 24fps in FCP 4
Sound recorded at 24FPS (Cantar)imported thru sebskytools...
We edited in a sequence DV PAL-24
(24@25 not available on FCP4)
Sound SEEMS ok as I need everything at 24FPS (quicktime movie, omf and edl)
For the image, I need a cut list for the negative cutter, when I want to make it in FCP4, in the settings, it doesn't allow me to change the TC rate to 25, it's greyed out, I have no choice else than 24...EVEN if I logged the database saying it was a 25fps TC.
In the database it's ok but it's not available in the FCP film list settings.
First weird thing..WHY ???
When the list is done, it says at the beginning and for all the clips used in the edit: "warning, the clip x does not have a telecine speed of 24FPS".... But the keycodes seems ok (same as my timeline)
SECOND PROBLEM:
I also need to tape the movie on beta for that negative cutter and it should be at 25FPS, like the TC otherwise the time won't correspond...HOW ??? Is it possible ?
Thanks for any information you could give me to clear it up a little bet !
All that 24/25 is a little cloudy in my mind, I would be thrilled if someone could blow those clouds away !
Marie
Final Cut Pro 4 / Cinema Tools 2.1 Mac OS X (10.3.1)

Hi Marie
Cloudy.....its a pea souper. Below is a cut and paste of some of the answers I have given in other threads. Also, I would get FCP5 studio as it is much better at all this.
Hi
This is the one area where avid beats FCP. 24fps Pal. I have now used FCP on a couple of PAL features and it is a bit of a pain. I also have the Apple pro support but most of this is all new to them.
Lets start with picture. As you know, you can either make tape/dvds that are the correct running length of the film and include a repeat frame or you can make them playing 4% fast with a pitch change but smooth pictures (1 frame film = 1 frame video). Most of the time, ie. when you are editing you will use the first method and live with the repeat frame. However, for VFX work and the NEG CUT or DI you will need to make 25 frame playouts.
The avid does this well but FCP is a pain.
One work around for the fast output is to export a QT of the cut and use cinema tools to conform it to 25fps. Some neg cutters or Digital labs will work to a QT, if they don't, then the 25fps QT can be imported into a new 25fps pal project so you can make a tape for the neg cutter which has the correct time code and you will have machine control. (Hint, I burn in 25fps TC when I make the QT). The edl will depend on your choice of film key number cut lists or a video edl. Key code lists work well but most neg cutters/labs dont like them. If you need an EDL then it should be made in the main 24@25 project but you need to set the edit code to 25fps before you make the edl. This is changed in the browser by going to TC RATE where it is set to 24@25 speed and right clicking. this gives you the option of changing the edit to 25 or 24 as well as 24@25. Most of the time while I cut, I have the edit set to 24fps not 24@25. Then I can see how long the show is running, how long a clip is etc.
Sound. Most people in the UK get rushes synched at the lab/tk house. They speed up the sound to match the speeded up picture. That blows the idea of an omf unless you are ok with the sound going through an analogue transfer which includes a speed change. If not, you will have to reconform from the original dats.
You must get flex files which will track the original location dat tapes and their time codes. These are used to in Cinema tools to make the batch capture list. When you want to make an edl at the end you will use EXPORT...CINEMA TOOLS AUDIO EDL.
Your audio post house may require a video tape with each reel having time code starting on the hour. That is very tricky and I tend to go back to my avid for that. You can do it by doing a crash record with the added frame and loading that back into a 25fps project. Then making tapes from there as you will now have machine control. Not pretty and quite time consuming. If they will work from QT files its easier.
I think you may have imported the audio which I haven't done in FCP yet. I will try BWAV import one day as they work well on the avid but have been told they don't work well on FCP. If they are working well for you then the omf route should be great. Let me know how you get on with audio.
I have managed to get through PAL features shot at 24 with FCP, but it sure is more work than on an avid, mostly for the assistant editors. However, I like cutting on FCP.
Best

Export to Film Lists

I'm having problems Exporting to a Film Lists and getting accurate Keykodes. Whats the best Export format for telecine? (Film, Cut, Pull, Scene, etc.)
When I export I can't get Timecode to export with Cam Rolls and Lab Roll Data. Also the keykodes are slightly off whats causing this?

I did find out that Cinema Tools doesn't support 2 perf at all, which brings up a whole new question of workflow. Hmm...

Film Workflow w/ FCP & Cinema Tools

I am cutting a feature shot on film for the first time and have a workflow question. Apologies if this post has been done to death and feel free to send a link to another post or site.
The film is being shot in 2 perf 35mm. It is going to the post house to be transferred to HDSR for effects. We are being given DVCAM tapes with burnt in timecode at 29.97 for offline editing. We will then give them an EDL at the end for online.
So what's next?
If I capture the DVCam tapes at 29.97, I then have to conform in CinemaTools right? This is where I'm unsure, as I am not familiar with the program.
Any info on the steps would be VERY much appreciated. Cheers in advance!

BTW - That "read the cinema tools" response was both unhelpful and trite.
Your question deals with workflow, however, something confuses me.
If the feature was shot on 35mm, Telecine to HD-CAM SR and then downconverted to SD DV-CAM, I really doubt it is 29.97 w/ burned timecode.
Usually people shoot 24 when shooting film.
If that is the case then:
1) Your HD-CAM SR is 23.98
2) Your DVCAM is 29.97 with 23.98 Timecode burn in.
If you need to deliver an EDL for offline then your EDL will be worthless if your cutting in 29.97. The timecodes won't match.
So, the easiest thing (if an option) is to get the HD-CAM SR and get a Pro-Res file of that at 23.98. That could be converted down to whatever format you need for editing and wouldn't require removing pulldown. It will also give you a perfect EDL because it was taken from the master.
The second way, is to go the route you already have in mind.
1) Capture DVCAM at 29.97 and
2) remove 3:2 pulldown before you start editing.
There are many pitfalls with this method but atleast you have the burn-in to use as reference if you stray off course (meaning, you remove pulldown incorrectly).
Here are some methods:
A) track down After Effects. It has a function called Inerpret Footage. This will guess your pulldown and create new native media. This is my preferred method.
B) Use Cinema Tools. You should export a small segment of your footage and test removing the pulldown. Most don't get it right without determining the I-Frame.
C) Use Compressor's frame controls to remove your pulldown. This method (in my mind) is the sloppies of the bunch. It provides errors around cadence breaks... some people will disagree.
Either way, you'll need to treat that DVCAM footage before you start editing. Otherwise, you'll have to hand write your EDL if you cut in NTSC (29.97).
Hope this helps.

Source Timecode lost when exporting

Hi,
just a quick question:
Hwo do I keep the sourcetimecode of a clip when I export it?
I have a bunch of Red clips which I need to stabilize but when I export them I lose the source timecode of my clips, why?

Thanks Brian... I did, I exported my sss.key into an sss.mov and I could run it 'manually' in QT (clicking on the screen change the slide.. good
In QT Pro, I have an option to export this sss.mov for the web : multi-files
sss.m4v, ReadMe.html, sss-poster.jpg, and sss.mov which is good for testing it embedded into html...
this is where I lost the +manual functionality+....
Message was edited by: kadoudal

MM Source List export to SRM Vendor List

Hi Friends ,
I learnt that we need to create the Vendor List in SRM separtly .
Can any one suggest/ confirm me , whether the Source List craeted in ECC , can be export to SRM ?
If yes , how ?
Regards
NAP

source list is not vendor list
like
backe end contract you can transfer to local tract by SAP report.
but not like source list.
As Virender said , you can not transfer a source list to SRM from ECC as a Vendor list
SAP has designed vendor list like source list with little feature .but vendor list or supplier list not so popular .
muthu

Final cut export edl and cinema tools database. at last, imort to color.

final cut pro 7.0.3 and color 1.5.3
final cut edit prores clip with Log and transfer,export edl and cinema tools generate database. at last, imort to color.
but in Color,all files alway offline,the short name is Aux.Why?

I succeed to do it ago.But now it fail.Why?

29.97 EDl to 24 in Cinema tools ::: inaccurate data result

Hello. I've been looking at some forums but haven't been able to find anybody with the same situation. I'm converting my EDL file from 30fps to 24fps on Cinema Tools. I opened the file to revise if the timecodes were indeed correct. Some of my "in" and "out" timecodes end in 00:00:00:29 or 00:00:00:28 and that shouldn't be since i'm supposedly converting everything to 24fps so everything should end in that range of frames (01 through 24 ), right?
Anything that might come to mind or relate to this problem?
i have a FCP 7
Best regards

Well then, that is your problem. Those aren't reverse telecin-able. What are reversable are DV tapes that you captured at 29.97...in the DV/NTSC codec.
Are you working with Digital Intermediates? Or footage telecined to tape?
Typical Telecine to Tape workflow is:
Telecine to DVCAM
Lab provides DVCAM and Flex file to you.
Open Cinema Tools. Import Flex file and export batch Capture list.
Import batch capture list into FCP.
Batch Capture the DV footage.
Reverse telecine the footage with Cinema Tools.
Edit.
What exactly are you doing? Where did these files come from? What is your workflow?
Shane

Problems with pulldown In Cinema Tools

I am attempting a pulldown on some footage shot at 24pA on the Sony V1U (which I was told on this forum was not real 24p and therefore did not require a pulldown but found out from Sony that it is) and captured at 29.97. Looking at the Quicktime file before the pulldown, every 3 frames are clear followed by 2 blurry ones (which I understand to be blurry due to being interlaced.) After the pulldown in Cinema Tools, 1 frame is clear and 3 are blurry. This gives the footage a "stuttered" or "jittery" look when viewed on an NTSC monitor. If I am editing this video with 29.97 video and my final export is NTSC, what is the best gameplan for dealing with the pulldown issue? To pulldown or not to pulldown? That is the question.

If you're not getting a clean pulldown removal, I wouldn't bother. The only reason to edit at 24 in standard def is if you're trying to author a 24fps DVD (which allows you to get better quality at a lower bitrate).
I don't have any experience with removing pulldown from material shot with this camera. I have removed pulldown from a film to tape transfer. I simply kept trying the different options available in cinema tools til I got a clean 24fps (actually 23.986) quicktime.
Message was edited by: Michael Grenadier

Reverse Telecine in Cinema Tools

My 24p fcp project is finished and I need to reverse telecine it to get rid of the ugly interlacing. How do I do this?
I've tried importing the movie into Cinema Tools and it keeps crashing. When I import the whole thing as a single clip (QT Movie), the Reverse Telecine button isn't available.
Also, why can't I import an mpeg-2 clip?
I'm using Cinema Tools 2.2, in case this has something to do with it.
Thanks in advance.

Oh, and Mr. Gilman was saying that there will be interlacing no matter what if it's on DVD or Beta? Why is this?
It's what I was trying to tell you when I said If tape, you need the pulldown anyway. If DVD, the pulldown would be added by the player.
You have to understand where the interlacing is coming from. It is coming from the pulldown inserted to bring the fps from 24 to 30...
Google reveals these Pulldown explanation pages:
http://www.adamwilt.com/24p/#24pRecording
http://home.aol.com/ajaynejr/pulldown.htm
http://en.wikipedia.org/wiki/24p
http://www.zerocut.com/tech/pulldown.html
http://www.denecke.com/24pinfo.htm
here's a visual representation of 24P with pulldown added to be recorded on a 29.97 tape (this is how all feature films are broadcast on NTSC)
You can see from this image that two frames BC and CD are interlaced - that is, they are made up of two fields taken from different frames. When a DVD has 24fps material on it, the DVD player automatically inserts this pulldown to bring it up to 30 fps so it can be shown on a regular TV.
Now. I believe your problem may stem from an incorrect field order, but first I want to ask - When you created your export of your movie that you fed into DVDSP to make your DVD, did you try importing it into FCP and playing it back on your TV. Did it look okay then?
Patrick

Cinema tools workflow

can't seem to get the cinema tools manual to open on the apple site. Does anyone have any other suggestions for information on good cinema toos-finalcut workflow literature?
thanks

The cut frame (for negative cutting) will be correct for 23.98 or 24. The advantage of 24 is if you sync sound in Final Cut, you can bring sound it at it's captured rate.
If you edit at 23.98, you retain the slow down imposed in film to video transfer (telecine) and thus need to slow down your sound by the same amount (1/10th of 1 percent, or .1%) to sync.
Where there can be some adjustment of cut frames for negative cutting is if you edit at 29.97. This is because the cut frame could potentially contain information from 2 different film source frames.

URGENT: flex files and cinema tools and Final Cut

anyone know anything about flex files and how to batch capture with them using cinema tools? my boss wants me to figure this out. Thank you very much for any help on this.
-Michael

Well, reading the manual for Cinema Tools is a great place to start.
As an overview, you open Cinema Tools, create a new database (one database per tape), import the Flex file or ALE, export a Batch List for FCP, import that list into FCP and then capture.
The manual goes into this in greater detail. And isn't that thick.
Shane

Cinema tools film list export - source timecode?

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