Film workflow advice

Hello,
I need some workflow advice for a feature film and I would really appreciate some input and technical expertise. I am working with telecined footage from 16mm film and I need to perform reverse telecine with Cinematools so that I can edit the footage in Final cut. My end format will be a 35mm blow up from my original 16mm negative, so I need Cinematools to track my footage correctly so that I can later export a cut list for the negative cutter.
My digital footage is SD and is on DV cam tapes. The lab used a telecine speed of 23.98 when they transferred the footage. The lab provided flex files which I used to create a cinema tools database and to batch capture all of the footage.
First, I need to confirm that the footage was captured correctly.
To capture I used the FCP preset: DV NTSC 48 kHz (29.97 fps DV-NTSC Best Quality 720x480)
I did not use the FCP capture preset "DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal" because my understanding is that this preset is designed to remove pulldown during capture when used with external hardware designed to remove pulldown during capture, correct? In this case I will be removing the pulldown with Cinema Tools instead.
I also am assuming that setting the capture fps to 23.98 would have been wrong because my footage is coming from DV Cam tapes, which can only be 29.97, right? So even though the telecine speed was 23.98, the footage needs to be captured at 29.97 and then processed with Cinematools to make it 23.98 or 24 fps, correct?
Second, I need to know if my goal should be to make my footage 23.98 or 24 fps with Cinematools. If my end goal is to export an EDL for a negative cutter to go back to my 16mm footage to cut from, should I edit at 24 fps? I think the answer is yes, but then I am worried that my telecine was done at a speed of 23.98. My audio was recorded at 30 fps - though my understanding is that the fps of the audio doesn't matter since audio is recorded in time and not frames. However, I did read in the Cinematools manual that if the footage is 23.98 as opposed to 24 fps, then it means that my footage is going to playback at a slightly slower rate, thereby affecting audio sync. If that is true, will I have to slow my audio slightly to maintain sync? This doesn't seem ideal.
Third, I am having trouble when I do a reverse telecine test with Cinematools on my footage. I am looking at burned-in key code and film frame numbers in my footage and observing that when I advance through my footage frame by frame in FCP, the film frame numbers of every frame are perfectly clear and legible (they advance thus: A2, B2, C1, D1, D3). However, when I view a clip in Cinematools (pre-reverse telecine), the frame numbers are blurred and have interframe flicker (the interlacing field pattern). The same is true after I perform reverse telecine on the clip. The cinemtools manual mentions this as something to be avoided in a clip that has been reverse telecined (in "Checking you Reverse Telecine Results on page 132) - however I see this problem in clips that I have not yet reverse telecined.
I am worried because another person worked with this footage before me and I fear that they performed reverse telecine on the footage already (and incorrectly) and directed Cinematools to overwrite the original file instead of creating a new one. If this is true then I would have to start over and recapture everything. On the other hand, it seems like if that were the case I would see the problem in FCP as well. Is there a way that I can tell for sure?
Thank you so much in advance for any advice you can give me! I really appreciate it.

Thanks Jim. The project is sort of like an "extended music video".
So it is a record, 45 minutes long and then using that as a guide,
we shot the footage. Its not gonna be just lipsyncing all the time, but
there will be other things inserted there as well.
It is just the workflow that bothers me and mainly:
1 Should I convert HDV material after capturing with prores 422 or stay in native
2 When should I convert from PAL to NTSC?
3 Should I s t a r t, by importing the 5.1 surround mixes to FCP6 and then work
with that as a guide?
I´ve done some music videos before, but this is more like a music movie and
will be sold as a sales DVD.
I would appreciate any help you guys can give.
Thank you, timo

Similar Messages

24 fps Film Workflow in FCP

Hello all,
I'm planning out a film workflow for a feature-length motion picture I plan to edit with my Final Cut Pro setup.
The equipment is as follow:
Mac Pro Quad 2.66 GHz
5 GBs RAM
6 TB Cal Digit RAID
Kona LHe capture card
The stock will originate on 35mm and there is a chance that this will go back to film to have the negative reconformed (pending purchase by a studio and/or distributor). However, the initial plan is to master to HDCAM SR and do a Digital Intermediate.
Ideally, I'd like to stay in 24p (23.98) for offline.
One plan for offline includes getting all dailies transferred via telecine at one-light to DVCAM, then digitize and doing the reverse telecine in Cinema Tools, then correcting for the timecode variance, then doing offline in SD in a 23.98 project.
Would it time-saving (I know not cost-effective) to get all the dailies telecined at one-light to DVCPRO HD tapes at 24p, then digitizing into the system at 24p, and eliminating the whole "reverse telecine" process.
Is this the only way to ensure that offline and online media originates on 24p and stays that way? I want to stay away from conversion as much as possible.
Thanks in advance!
Mac Pro Quad 2.66 GHz / 5.0 Gigs RAM / GeForce 7300 GT / 2.0 TBs internal SATA

Of course Keycodes...I planned on this from the beginning. However, for your recommended method, I don't see why we'd have to have our 1-light transfers to HDCAM SR 4:4:4...wouldn't it make more sense to transfer directly to DVCPRO HD tapes, dig them into the FCP station (we'll rent a deck and tri-sync) and cut, then pull our selects from keycodes for an HDCAM SR 4:4:4 master for the final format.
Ok, you really don't need to transfer as 1-Light, have the colorist make a full color correction. The only reason why I mentioned 1-Light was for reducing the time in the transfer suite. You still be have to do Tape-to-Tape Color Correction and they can do some pretty amazing stuff that you won't be able to do in the dailies and vice-versa (Go with a DaVinci System or EQ or Pablo).
The only reason why I don't recomend the whole transfer to DVCPro and the re-transfer to HDCam SR is because you can get the DVCPro quality from the 4:4:4 Master (Just digitize straight from the HDCam SR master with a DVCPro codec). You save the 2nd Re-Transfer time, the Dubs to DVCPro, the DVCPro Tapes and you same TIME. Remeber that they still have to re-clean the film, spend time loading to the telecine, and problems that are going to arise due to a re-transfer like possible scratches, lab dirt, chemical spots, film tears, etc. And these DO happen).
*Also, if you're also editing your way, and matching back to you keykode for selects, you won't be able to do it in Final Cut. I checked today and this option is only available for Avids. *
Since it's a 1-light transfer, is it really taking advantage of the HDCAM SR's 4:4:4 color space bandwidth? Why not go directly to DVCPRO HD if it's only going to be 1-light...
Again, don't do a one light. If you can afford it have the colorist do their best. Yes, if you are going 4:4:4 might as well go all the way. Regarding the DVCPro, see above.
I'm not sure our budget will allow for an HDCAM SR 4:4:4 transfer of our dailies. Is there typically a price difference between transfering on different HD tapes formats? HDCAM SR seems like it'd be more expensive than DVCPRO HD. If there is no price difference than I can see your point...but how good would it look at only 1-light (albeit w/ video color-correction).
HDCam SR 4:4:4 is expensive. Next best thing would be HDCam SR 4:2:2, followed by HDCam and finally DVCPro HD. Lately, DVCPro and HDCam are going about the same rate for transfers. If you have a good Post Supervisor he/she can probably sweet talk the post house for a HDCam SR deal. DVCPro HD has a compression of about 15:1, HDCam is 7:1, HDcam SR is 3:1 and SR 4:4:4 is 1:1. (It varies from source to source, these are only approximates) If you're doing a Film-Out, the higher quality, the better the Film-Out.
Oh, and one more thing... a friend of mine, after choosing his selects from the final format of his feature, had the HDCAM select reel made with a 3-light transfer, BUT, also had a downconvert made with Keycode and Timecode burn-in to help with the reconform...if the keycode stuff failed to match...it seems to help him a lot. Any merit to this method?
This is how you re-conform your offline. The whole DVCam dub thing is a given, is part of the method. You have DVcam dubs made (with keykode and timecode burns), you digitize this new material with its respective list and then you match the keykode from the dailies, to the keykode from the selects and bring in your new timecode from the new "selects" masters so that your sequence/EDL (and therefore online) will have matching timecode (the timecode from the original dailies will be useless). (*This system is only available on AVID as far as I know*). Again, this is where keeping track of keykode is super important and you will encounter problems.
In my humble opinion, most of this stuff is for the Post Supervisor to figure out with the Editor and the Post-House. I have talked to post supers that have gone this method and you would not believe how confident they were the 1st week and totally lost it after the 4th week. I have seen shows that have gone through 4 or 5 assistant editors and had to hire a 2nd editor to help with the problems that came up. I have worked on this kind of shows many times and that's why I HIGHLY discourage it.
If you (or someone else) wants to know more, feel free to contact me and I can go into details and help you figure out a workflow that will save you TIME and a lot of headaches and a tiny bit of money. My email is in my profile and feel free to contact me, I won't bite! At first...

Looking for some workflow advice

I'm starting work on a project that has media coming from several different sources, and I'd like some workflow advice. I'm using the CS6 Production Premium suite on a Windows7 computer. My primary video source is a Canon XF-100 shooting 24/1080p MXF video, but I'll also be incorporating AVC-HD shots taken with a 60D, XA10, GoPro, and iPhone. So, here are my main questions:
1. Should I transcode or not? Most of the footage (at least 2/3rds or so) will be from the XF-100, which Premiere can edit natively. I'm inclined just to put the AVC-HD clips straight into an MXF-formatted project and let Premiere render them in the sequences as needed. But I'm also wondering if it would be better for overall quality and consistency to transcode everything into the same format before importing into the project and set the project to that format.
2. If I do transcode, what format? Should I just convert the AVC-HD stuff to MXF for use in an MXF-native project? Or should I convert everything to another format entirely?. If so, which one? (I'm thinking AVC-Intra 100 at 24/1080p, but I'm not sure.)
Any experienced sages out there want to offer their $0.02? Thanks in advance,
Stu

transcoding will not produce any better quality. you can actually degrade the quality in most cases, unless transcoding to raw. transcoding is usually done for proxy editing to allow for faster editing, or compatibility, if the original file cannot be read by the editing application. premiere pro usually handles mixed formats well, just make sure to either create the sequence from a clip that matches the destination format or create a sequence manually and specify the format that will be used for export.
if you do need to transcode to get some files to read, the avid dnxhd codec is a popular choice as it takes very little cpu and gpu resources to read. it has several quality options you can choose from, but it is limited to 1080p. if you transcode for faster editing (proxy editing), use dnxhd 36 8bit, and relink to the originals when done to keep their quality.

Workflow advice for 45 minute music film

All the footage in HDV PAL 25fps, around 15 hours of footage. I have 5.1
mixes too about the material, I would like it to be 5.1.
Final output: normal DVD, but it should be in NTSC.
Would someone be so kind and suggest a good rational workflow for this?
I have the Final Cut Studio and 3GHz 8 core Mac Pro with 9 gigs of RAM and
ATI X1900.
Would be much appreciated.

Thanks Jim. The project is sort of like an "extended music video".
So it is a record, 45 minutes long and then using that as a guide,
we shot the footage. Its not gonna be just lipsyncing all the time, but
there will be other things inserted there as well.
It is just the workflow that bothers me and mainly:
1 Should I convert HDV material after capturing with prores 422 or stay in native
2 When should I convert from PAL to NTSC?
3 Should I s t a r t, by importing the 5.1 surround mixes to FCP6 and then work
with that as a guide?
I´ve done some music videos before, but this is more like a music movie and
will be sold as a sales DVD.
I would appreciate any help you guys can give.
Thank you, timo

Does anyone here make movie trailers? Looking for workflow advice.

I'm pretty new to editing and i've mostly done montage/tribute videos on youtube. My process is slow and laborious. I'll scout a bunch of clips in genre or subject of the montage and then go through a fairly long trial and error process trying to put it together like a puzzle.
I'd like to get better as an editor and i'm interested in making story driven trailers. I can't really find any resources online to teach workflow for something like this. I'm wondering how much is planned in the minds eye based of the editor and how much is just trial and error pulling clips and trying to arrange them in some semblence of order. I understand most trailers have several key moments of exposition to clue the audience in a little bit about the plot. And then a bunch of enticing visual shots to make you curious to see the film.
I'm wondering if there is an effecient way to plan out a trailer and pull clips to use without having to go through a long random trial and error process of what looks good next to each other. Pretty much any tips on the process of making a trailer would be helpful. I know theres a million different ways to approach it and creativity is key. Do some people just have what it takes creatively or can it learned?
In general I plan to use a few songs from the subject movie and the tone of the song will reflect the tone of the clips and i'll try and highlight a few emotional dimensions of the film with a few different songs.

Its a big question so here is my way of answering..graphically.
(everything has "structure"...films, books, plays, songs...life)
https://www.google.co.nz/search?q=film+plot+structure&espv=2&tbm=isch&tbo=u&source=univ&sa =X&ei=RIjNU_vZNMn08QXijYJo&ved…

InDesign (or other poster) workflow advice

I have been looking at the "Aperture InDesign Intergration" plugin primarily in order to integrate a "poster workflow".
http://www.macosxautomation.com/applescript/aperture/indesign/index.html
I have used the Indesign Demo for a project and basically the linking of images was really fantastic, the ability to manipulate the image behind a "window" was really great as well. Effectively it seemed like a seamless workflow.
I'm curious to know if anyone has any advice as to whether I need the full CS5.5 - which I guess includes Illustrator and Photoshop? I do plan to do some work in a vector program such as AI as I do a bunch of 3D CAD modeling and I'd like to "bump" some of this into my presentations and vector seems like the way to go.
I guess what I am wondering is if I should just go ahead and bite the bullet and buy this software for 700 clams or if I have options or other considerations here.
Hoping to have it set up shortly so any advice is really welcome.
Thanks
Jon

BIG QUESTION: Is there any reason to belive that Aperture will develop a better quality image if it begins with a NEF file rather than a DNG?< </div>
No reason to speculate on or to wait for Apple to do anything.
Use the format you want to use, find an application that suits your needs, might not be Aperture.
bogiesan

Architecture Portfolio Website Workflow Advice (newbie)

hi all.
i am looking at adobe products and already have creative suite for a (primarily) poster creation workflow which i am very happy with. i need to redo an existing "iFrames" based website after having created a nice blog using the WordPress Blog Themes.
I am hoping someone can help me with advice on adobe specific software i might use of other advice, suggestions etc.
background:
i have been really happy with my ability to organize a very large amount of images in an Aperture database on the mac and to publish them easily to Flickr (among other things). this has now freed me up to focus on creating a new website for an old website that needs updating. right now i have just created a /link/ for the pictures on the webpages which takes the viewer to the flickr albums.
i am looking at "themes" such as the WordPress Photography theme (http://theme.wordpress.com/themes/photography/) and i am also looking at sites that are using the "autoviewer" or "autoviewer pro" software.
http://www.iloveconcrete.net/drive1/drive1.html
http://www.simpleviewer.net/autoviewer/
anyway, i am familiar with using wordpress UI but i am desperately trying to find a method where i don't have to use the wordpress image uploader. i guess the holy grail would be to just "publish" album "code" out of Aperture that i would then embed into a WP theme website which i am sure i could create in a week or something.
anyway, does anyone know of anywhere i can ask such questions or get some leads on keeping this workflow simple but create a nice website at the same time?
TIA and apologies for the off-topic post.
jon

hi nancy, dweb3d.
this is really great help and i very much appreciate it.
can i please ask you some follow ups here as i try and get this together?
for instance my thought at the moment is to use the sidewinder theme [http://graphpaperpress.com/themes/sidewinder/] which i am sort of guessing uses a "parallel" or "plugin" (not sure how you would terms this but) it is called Photoshelter [http://www.photoshelter.com/about/wordpress].
am i correct in thinking that it is THIS plugin that makes the functionality of sidewinder complete?
also, would something as straighforward as a WP plugin (such as NGG gallery) allow me to basically export my Aperture Album images to the desktop and then upload them to FTP to get them into the WP Blog? or are the answers here indicating that i would need a customized set of coding instructions embedded in the blog to get this to happen?
i mean, i guess in an ideal world at some time in the future there could be e link between my aperture Albums and the images displayed in my WP portfolio blog but for the meantime can anyone help me with understanding what it might take to do a reasonably fluid facsimile of this workflow...?
i guess i am not understanding how all the parts discussed here either relate or don't relate...
THANKS

Workflow advice on matching different cameras and lenses

Greetings. I'm currently trying to match six cameras and all their different lenses to produce identical images and I need advice on fine tuning my workflow on making the camera profiles.
Me and my team are shooting weddings. We have Nikon D3s, Nikon D3, 2x Canon 5D mk III, Canon 1D mk 3, Canon 5D mk II with 17 lenses and I'm in the middle of the process of matching their colors so when we shoot together I don't go crazy trying to match the white balance between all the cameras in Lightroom.
The issue I have is that I managed to make all the colors, contrast, saturation and brightness for all cameras and lenses on daylight shots identical (with minimal differences) but shots under 2800k light are very different.
I'll explain what I've done so far so that you can find my error and hopefully decide to help me.
I bought a 24 patch color checker and took photos with all cameras - once with a 2800k halogen lamp and then with a 5500k strobe (Nikon SB-800 @ 1/16 power). I shot in RAW. The exposures are good - no blown highlights or unexposed parts. In Camera raw I applied the "Camera neutral" color profile for all cameras. I exported the shots in DNG. For each camera and lens I imported the halogen and flash lit file into DNG Profile editor.
In the chart section I created a color table for the "2850 K only" halogen lit shot and then for the flash lit shot choosing "6500 K only".
So far so good. The colors are good but to achieve them for the different cameras or lenses I need to input different color temperatures and tint. What I want is to set identical color temperature for all photos (say 5500k) and to get identical colors regardless of camera or lens.
So the next step I took to get at least the daylight shots identical is to play with the "White balance calibration" under the "Color matrices" tab. For instance - DNG Profile editor determines that the flash shot should be set to 6050k +8 tint. I move the "white balance calibration" sliders until I reach the numbers I want above the flash shot (5500k). Because the colors shift I press the "Create color table" button again. My goal is to show the program that I want these (calibrated) colors to be achieved at 5500k +0 tint and not 6050k +8 tint. I get the result I want but that affects the 2850k shot. If I readjust the "white balance calibration" sliders for the 2850k shot and use "create color table" again, that ruins the 6500k adjustment.
So using this workflow I get either the daylight shots right or the tungsten lit shots, but not both.
So in short my question is - How do I create proper profiles that produce identical colors among all cameras and lenses under all white balance settings?
Thanks in advance for your help and for your patience to read all this.
PS
I fear I may have put this topic in a wrong section. If you don't mind, I'd post it in the Lightroom section.

Greetings. I'm currently trying to match six cameras and all their different lenses to produce identical images and I need advice on fine tuning my workflow on making the camera profiles.
Me and my team are shooting weddings. We have Nikon D3s, Nikon D3, 2x Canon 5D mk III, Canon 1D mk 3, Canon 5D mk II with 17 lenses and I'm in the middle of the process of matching their colors so when we shoot together I don't go crazy trying to match the white balance between all the cameras in Lightroom.
The issue I have is that I managed to make all the colors, contrast, saturation and brightness for all cameras and lenses on daylight shots identical (with minimal differences) but shots under 2800k light are very different.
I'll explain what I've done so far so that you can find my error and hopefully decide to help me.
I bought a 24 patch color checker and took photos with all cameras - once with a 2800k halogen lamp and then with a 5500k strobe (Nikon SB-800 @ 1/16 power). I shot in RAW. The exposures are good - no blown highlights or unexposed parts. In Camera raw I applied the "Camera neutral" color profile for all cameras. I exported the shots in DNG. For each camera and lens I imported the halogen and flash lit file into DNG Profile editor.
In the chart section I created a color table for the "2850 K only" halogen lit shot and then for the flash lit shot choosing "6500 K only".
So far so good. The colors are good but to achieve them for the different cameras or lenses I need to input different color temperatures and tint. What I want is to set identical color temperature for all photos (say 5500k) and to get identical colors regardless of camera or lens.
So the next step I took to get at least the daylight shots identical is to play with the "White balance calibration" under the "Color matrices" tab. For instance - DNG Profile editor determines that the flash shot should be set to 6050k +8 tint. I move the "white balance calibration" sliders until I reach the numbers I want above the flash shot (5500k). Because the colors shift I press the "Create color table" button again. My goal is to show the program that I want these (calibrated) colors to be achieved at 5500k +0 tint and not 6050k +8 tint. I get the result I want but that affects the 2850k shot. If I readjust the "white balance calibration" sliders for the 2850k shot and use "create color table" again, that ruins the 6500k adjustment.
So using this workflow I get either the daylight shots right or the tungsten lit shots, but not both.
So in short my question is - How do I create proper profiles that produce identical colors among all cameras and lenses under all white balance settings?
Thanks in advance for your help and for your patience to read all this.
PS
I fear I may have put this topic in a wrong section. If you don't mind, I'd post it in the Lightroom section.

Film Workflow

Can I ask one of the resident experts to give me a brief primer on working with film in FCP? Questions:
* What types of variables are there in getting the film transferred to digi-beta?
* How do I digitize the resultant digi-beta footage? (are there particular settings I should be looking at?)
* Do I edit as normal once the footage is in?
* Is there anything special I need to know about the process of exporting an EDL?
* Is it as simple as providing the EDL to the post-house that will transfer back to video?
* What questions am I not asking that I need to be aware of?
THANKS VERY MUCH FOR ANY ASSISTANCE, IT IS GREATLY APPRECIATED!

Can I ask one of the resident experts to give me a brief primer on working with film in FCP? Questions:< </div>
Only ONE of us? No. You post, the post is free for the taking.
* What types of variables are there in getting the film transferred to digi-beta? < </div>
This question has no answer except YES. What ISO/size/frame rate/positive/negative/Kodak/Fuji of film and how much will you be spending on the competency transfer? What is your release media? Film or digital?
* How do I digitize the resultant digi-beta footage? (are there particular settings I should be looking at?)< </div>
You need a capture mechanism of some kind: card or encoder that suits your production format. How much rez do you need? How big a Mac you workin' worth? You don't need the DigiB footage online unless you need to release back to the DB. You can use DV or any other less intensive video format for your offline.
* Do I edit as normal once the footage is in?< </div>
Lord, "normal" is totally subjective. Do you mean like you'd cut film or how you'd cut video? Yes and no. No and yes.
* Is there anything special I need to know about the process of exporting an EDL?< </div>
Yes. The FCP manual has extensive coverage of EDL formats and compatibility. There are as many answers as there are post production workflows. It's tricky and fraught with gotchas but it's easy if you have all fo the tools in place for your specific needs and have time to practice.
* Is it as simple as providing the EDL to the post-house that will transfer back to video? <</div>
Not at all. Nothing about working on film in video and then going to film or to an third party for online is easy.
* What questions am I not asking that I need to be aware of?
<
That's funny. Run to the NAB or American Cinematographer stores and start buying books. Hit a million indie film production Web sites.
lafcpu.org has alots of film producers on it but, listen, do not go around posting this same list of silly questions everywhere. Do some research and search those forums first. You are NOT the first person to have these thoughts.
Get thick skin because there's so much you obviously do not know that some of us will insist on having some fun with you. It's not personal, you 've simply provided the incentive or the excuse.
bogiesan

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.

LR EXTERNAL HD WORKFLOW ADVICE?

My hardware setup is pretty simple; Powerbook G4 with 2 external HDs (250G and 500G). LR application and Libraries are on laptop (so I assume all Metadata and XMP files are stored on the laptop). Due to storage space limitations on laptop, I'm planning to move RAW image files to EHD and point LR to folder locations there. However, I will often need to do work on images when not connected to EHD (like when I travel). I'd like some advice on a good workflow to assure that when I reconnect to the EHD my latest image Develop work done remotely is synch'd back to my image folders on the EHD. I'm assuming this will require moving the images (or folders) I expect to work on to my laptop temporarily, in which case the workflow will include removing these images (folders) from my laptop when I reconnect so that they don't keep using up storage space there. The whole point of this is to keep my laptop lean and mean, while my image directories on the EHDs grow big and bad.
A related question is that when I am not connected to my image folders, I see that I can use most LR functions, but not the Develop function. That makes sense. However if I use some of the Basic Develop functions in the Library Module, is there a need to synch up any modifications made there when I reconnect to my image folders on the EHD(keep in mind that my LR app and Library is on my laptop)?
Thanks in advance; I've spent many hours searching the archive for an answer; found most of the answer but not all of it.
- E!

Simple in theory, but in trial it wasn't.
When I exported the DNG files to the folder in my laptop labeled Mobile, they didn't show up in LR, although the Finder showed they were there. So I tried to add this folder into the Library, and was prompted to Import these files. I'm assuming that I don't really want to import these files a second time to my laptop, since I already imported them to my EHD once. Is that correct?
Once I've figured out how to get the files to my laptop, I'm curious if the import procedure back to the EHD will recognize to simply add my changes to the original DNG files.
I further will need to design a workflow to suit my situation. Because in fact, my first import is usually to my laptop when I am in the field, after which files get moved to my EHD. But they stay on my laptop until I've sorted through them, and ideally I'd like to keep several months' images on my laptop with the originals on my EHD.
Sounds like there's no elegant silver bullet, but just some workarounds I'll have to cobble together to suit my intended workflow. Any advice or links would be appreciated.
- E!

Film workflow with 24p footage: nightmare

Hoping someone can give advice on a disaster i'm experience as I cut a film I'm working on, the sequel to this-
http://www.youtube.com/watch?v=GpuEMSH6zB4
I shot the film in straight-up 24p. When capturing the footage at 24p, we experience a quality loss. At 29.97, there is no quality loss. This makes no sense.
Also, when I get my 24p footage, captured at 29.97, into a 29.97 timeline, and then resder it out at 29.97, there is a quality loss.
Also, my ability to have moving video not only in the FCP viewer window, but also through the camera out to a TV, comes and goes. It will freeze or unfreeze depending on some thing having to do i think with the framerate of either the clip or the sequence.
It's blowing my mind. I did not experience this problem on the last flick, and I shot it the same way. Is my FCP damaged? Is there a tutorial out there to guide through this problem, or have any of you experienced it?
Any info would be greatly appreciated.

24P runs at 29.97. 24PA is what you shoot if you want to work at 23.98. If you shot 24P, then you work at 29.97.
You capture as normal 29.97 DV footage, edit at 29.97, output at 29.97. You use no pulldown.
Shane

VHS/Hi8 capture - futureproof workflow advice

I have a massive project on my hands.... I have hundreds of VHS tapes and tens of Hi8 tapes I want to convert to digital form. For the past several years, I've been meaning to get around to this project, and have accumulated quite a bit of hardware and software. I've read a ton of formus and blogs on the topic, and quite a few questions were answered, but was hoping to get some advice from people who've done this and have some retrospective advce.
Here is my list of software/hardware
MBP i7 with 10.7.2 (will prob downgrade to 10.6 for this for canopus software reasons)
JVC HR-S7800U SVHS deck (with TBC)
Sony RDR-VX500 VHS/DVD combo recorder
Canopus ADVC-300
Sony Hi8 Camera (S-Video Out)
Sony HVR-A1U HDV camera
Blu-Ray Burner - will put in external case for use with MBP)
Final Cut Pro 7
Final Cut Pro X
I have many questions and would really like advice on setting up a workflow to capture these tapes. I want to futureproof this collection, meaning I want to capture the best uncompressed video possible while at the same time not becoming wed to Final Cut or Apple-only formats (a la FCP7->X issues). Remember realmedia was really neat about 15 years ago???
What capture format is the best:
Uncompressed 8-bit NTSC 48kHz or Uncompressed 10-bit NTSC 48kHz
Anyone optimize the hardware setting on the ADVC-300? I wanted to just capture without the canopus software to make everythign consistent. Where do I put all the dip switches?
IRE 0 or 7.5
Video Audio adjust on or off
Chroma filter on or off
External or Internal vide sync mode
Thank you very much!!

Sequence Preset: DV NTSC 48kHz
Capture Preset: DV NTSC 48kHz
Not a forum expert here, however I completed a very similar project your are describing here. Very tedious and had its issues and challenges.
Here are a few things you should think about. One of the big issues with VHS format is that it is analog and has no timecode as found on modern dv tape based and file based cameras. Is this important to you? To me it was a big factor in utilizing it with other NLE suites down the road.
What I did was to capture/record each hour of vhs to minidv tape to create an archival copy with timecode and 48khz audio, then capture with FCP. In addition to timecode and ability to cleanly log and transfer clips, the audio track will be compatible upon capture in FCP. Batch Capturing of non digital tape may (or "will" is a better term here) create audio drift and other audio issues.
I would recommend doing the same with the Hi8 tapes.
If you proceed without the above process and just batch capture directly, do some research on the camera that was used to record the tapes you are working with. The audio track recordings vary widely from camera to camera and a become issue which must be addressed in altering sequence and capture presets in FCP.
I know recapturing dv essentially "doubles" work but down the road you will always have digital tape archival backups which can be easily recaptured if necessary. Use quality tape. I made sure my dvtape deck heads were clean before and during the transfer and upon FCP capture there appeared to be absolutely no generational "loss" of video or audio quality.
As Studio X answered above, DV file format stored in your project file on scratch disk for FCP will be fine for most NLE suites in the future. Just remember to back up your scratch drive on site and off site.
Hope this helps and good luck!

Mixed digital / film workflow

Hi,
Can anybody tell me how useful Aperture is for managing non-digital capture files ? About half my work is still on film, and so is a lot of my archive. I understand that Aperture supports TIFFs as master files, but the question is, how does it deal with big files ? Some of my 16-bit scans are over 300Mb, and I'm not sure how well Aperture could cope with this. Anybody else doing this ?
Thanks
David

David,
I am using a hybrid film-scan and digicam workflow with Aperture. It works fine.
In January I shot 4300 frames of B+W film. I had them all scanned on a Fuji Frontier for editing purposes and low-res scans. I have since had about 150 selects drum-scanned or scanned on my Imacon. I put the hi-res scans into Stacks with the lo-res Frontier scans. There was a problem in v1.1 with scans over 500MB. That seems to be fixed in v1.1.1.
There are some problems. The open in External Editor command converts everything to Adobe 1998 RGB. You have to work around this by using the Export Master command. I made two Automator workflows to help with that when I export fom Aperture into an "open in Photoshop" folder the files are automatically opened in Photoshop and then moved to the trash.
When I hit save in Photoshop it won't do it (since the file is now in the trash) so it automatically does a "Save As" and I save to an "Import to Aperture" folder that automatically imiports the image back into Aperture.
It sounds worse than it is in practice--which is very easy. I put up a posting a week ago describing the process.

Soundtrack re-edit workflow advice

I cut online videos to production music tracks and would like some input on good workflow practice.
I need to be able to quickly re-edit the production tracks to match the timing of my video tracks so I currently do it in in Final Cut Pro. Needless to say, I don't get much control or functionality in FC so occassionally I send to Soundtrack Pro and re-compile. ST doesn't seem to be particularly well set up for re-editing music tracks either though.
So I'm wondering if anyone has any advice for other software which will enable me to quickly establish beats/bars which can be cut out or added to match my audio to video narrative which also works well with FC.
Cheers,
Jesse.

JOhn
I think this mail is sent by the workflow mailer using the item type System Mailer. This is auto generated notification when the notification itself is canceled or retired. You can customize the subject there based on the source.
Thanks
Nagamohan

Film workflow advice

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