Reverse Telecine vs. Convert EDL

First posted this in the FCP discussion forum and didn't receive a response. Admittedly, I didn't wait very long.
Simple question, long explanation. Apologies in advance.
Basically, a new client of mine shot a project on film, had the footage telecined without sound and synced the sound himself to help whomever was going to cut it. My issue is this, he synced everything before reversing the telecine on the clips, so everyting is still 29.97. The project will eventually go out to film, so a 23.98 EDL will have to be created.
In past projects, when I received telecined footage I'd reverse the telecine before syncing sound, and my EDL's have always been fine. My question is this, if I reverse telecine now, is his work syncing sound in 29.97 lost? Should I just cut in 29.97 and convert the EDL from 30 to 24 in Cinema Tools when everything is finished? I am extremely hesitant to do this, because in the past I've always tried to keep my "23.98" ducks in a row.
I'd prefer to reverse telecine and work in 23.98, but don't relish the thought of re-syncing sound that has already been synced. There's roughly 10 hours of footage.
Thanks.
Mac OS X (10.4.8) 1.25 Dual G4

I'm curious how you solved this problem - I'm assuming you did figure it out as time stands still for no Editor : - )Please share?
Thanks much.

Similar Messages

  • Reverse Telecine Vs. Converted EDL

    Simple question, long explanation. Apologies in advance.
    Basically, a new client of mine shot a project on film, had the footage telecined without sound and synced the sound himself to help whomever was going to cut it. My issue is this, he synced everything before reversing the telecine on the clips, so everyting is still 29.97. The project will eventually go out to film, so a 23.98 EDL will have to be created.
    In past projects, when I received telecined footage I'd reverse the telecine before syncing sound, and my EDL's have always been fine. My question is this, if I reverse telecine now, is his work syncing sound in 29.97 lost? Should I just cut in 29.97 and convert the EDL from 30 to 24 in Cinema Tools when everything is finished? I am extremely hesitant to do this, because in the past I've always tried to keep my "23.98" ducks in a row.
    I'd prefer to reverse telecine and work in 23.98, but don't relish the thought of re-syncing sound that has already been synced. There's roughly 10 hours of footage.
    Thanks.

    I'm curious how you solved this problem - I'm assuming you did figure it out as time stands still for no Editor : - )Please share?
    Thanks much.

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    Thanks for the clip. That helps a lot.
    This confirmed what I thought. You cannot Reverse Telecine something at 59.94. Cinema Tools is designed for footage telecined at 29.97...NTSC. It doesn't recognize 59.94 as NTSC because that is an HD frame rate, not an SD one. Cinema Tools was designed for SD.
    For 59.94 footage, what I have beed doing is either just dropping it into a 23.98 timeline and rendering, or using the Nattress Film Converter to get it from 59.94 to 23.98. Both look great...but require timeline rendering.
    So what you CAN do is drop all this footage into a 23.98 timeline, render or apply the filter...render and export as a self contained QT Movie. But then you lose valuable TC. Best bet would be to drop it into the timeline and just render.
    I put it here for you to see and download if need be:
    http://homepage.mac.com/comeback/.Movies/16mmTestCONV.mov
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    Can a reverse telecine be performed on a finished edit? (By this, I mean an uncompressed export from FCP). Or can this only be done on the original clips?
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    hello john,
    if you work with the material as is (ie 29.97) and create a timeline, then export that and attempt a reverse telecine on it, you will find that cinema tools can't handle it. the cadence of the 3:2 field rhythms will change from clip to clip (unless you are crazy lucky). so you'll end up with some shots looking fine and others incorrectly converted.
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  • Reverse Telecine Question

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  • Reverse Telecine Audio Sync Problems.

    Hello,
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  • Cinema Tools Reverse Telecine problem-24 vs. 23.98 + sound issue

    Hello again folks,
    Trying to figure this all out, and thanks in advance for your input; this forum is amazing and has been invaluable!
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    Macbook Pro   Mac OS X (10.4.8)   FCP ver.5.1.2. and CT ver.3.1.2
    Macbook Pro   Mac OS X (10.4.8)  
    Macbook Pro   Mac OS X (10.4.8)  

    We'll need some more details. Where is your footage coming from? Was it originally HDCAM and downconverted to DV? Was the audio recorded straight to tape or was it synced in post? Is it consistently one or two frames out of sync or does it drift out of sync? How was it digitized? If you open the clip in Cinema Tools and step through it frame by frame do you see any interlaced frames?
    There are dozens of things that can go wrong with this sort of process, so it's important to get really detailed.

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    This issue was resolved working with a local film lab.

  • Hvx200 1080i 24p Footage not Properly Reverse Telecining

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    so after sleeping on the problem, i took the footage and ran compressed it out to prores422, this time making sure to select a frame rate of 29.97 AND checking the "interlaced" button on the codec page. after batching the footage to make it true 60i, i then ran it through compressor again to remove the pulldown, and everything worked as it should. I think the problem arose from the footage reporting itself as DVCHD PRO 30P instead of 60i, and compressor wasn't seeing any fields and therefor not seeing any cadence

  • Blurred fields after reverse telecine

    I am digitizing DVCAM tapes recorded at 29.97 (telecined from film @ 23.98) I'm cutting in a 23.98 timeline but need a correct database to go back to film. I do the normal procedure from Cinema Tools to reverse telecine, but when I bring the clip into the timeline, The A, B, C, D fields are blurred. The video plays fine, but it seems like something is wrong with the fields. Any ideas?

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  • Problems with reversing telecine pull-down

    I'm preparing to edit a feature film shot on S16mm. The film was telecined to HDCAM SR at 23.98 for the online. Than down-converted to DVCAM at 29.97 for the offline. I imported the flex files into FCP and captured a bin. Than ran the batch reverse telecine following all instructions in Cinema Tools manual. Clips were converted to 23.98, but when played in FCP strobe or flicker. I cannot for the life of me figure out why. The A-Frames hit on 0's and 5's and that's what all the clips start at.
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  • Reverse Telecine affecting identical clips different ways

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    remove the "/" in your file name. that happened to me too. Renamer4Mac is a great free utility that may help you.

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