Cinema Tools 3
User Manual
Apple Computer, Inc.
© 2005 Apple Computer, Inc. All rights reserved.
Under the copyright laws, this manual may not be
copied, in whole or in part, without the written consent
of Apple. Your rights to the software are governed by
the accompanying software license agreement.
The Apple logo is a trademark of Apple Computer, Inc.,
registered in the U.S. and other countries. Use of the
“keyboard” Apple logo (Option-Shift-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 Computer,
Inc. is not responsible for printing or clerical errors.
Apple Computer, Inc.
1 Infinite Loop
Cupertino, CA 95014-2084
408-996-1010
www.apple.com
Apple, the Apple logo, Final Cut, Final Cut Pro, FireWire,
Logic, Mac, Mac OS, Macintosh, Monaco, and QuickTime
are trademarks of Apple Computer, Inc., registered in the
U.S. and other countries. AppleCare and Apple Store are
service marks of Apple Computer, Inc., registered in the
U.S. and other countries.
Cinema Tools, Finder, and OfflineRT are trademarks of
Apple Computer, Inc.
Photographs by Robert Chadwick, Montreal, Canada.
© 1993 Corel Corporation. All rights reserved.
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.
1
Contents
Preface 7 An Introduction to Cinema Tools
8
Editing Film Digitally
10
Why 24P Video?
10
Working With 24P Sources
11
Editing 24P Video
12
About This Manual
13
Apple Websites
Part I Using Cinema Tools
Chapter 1 17 Before You Begin Your Project
17
Before You Shoot Your Film
18
Which Film to Use?
19
Transferring Film to Video
19
Telecines
20
Transfer Techniques That Are Not Recommended
21
How Much Should You Transfer?
22
Frame Rate Basics
22
Working With NTSC Video
24
Working With PAL Video
25
Working With 24P Video
25
Timecode Considerations
28
Sound Considerations
28
Choosing an Audio Recorder
28
Choosing an Audio Timecode
29
Mixing the Final Audio
30
Synchronizing the Audio With the Video
32
Working in Final Cut Pro
32
Setting the Editing Timebase for Sequences
32
Using Effects
3
Chapter 2 33 The Cinema Tools Workflow
33
Basic Workflow Steps
41
Cinema Tools Workflow Examples
42
If You Used Scene-and-Take Transfers
43
If You Used Camera-Roll Transfers
Chapter 3 47 The Cinema Tools Interface
47
Cinema Tools Windows and Dialogs
56
Dialogs in Final Cut Pro and Cinema Tools
Chapter 4 61 Creating and Using a Cinema Tools Database
63
Deciding How You Should Create the Database
63
Capturing Before You Create the Database
63
If You Have a Telecine Log or ALE File
64
If You Do Not Have a Telecine Log or ALE File
66
Additional Uses for the Database
66
Creating a New Database
67
Settings in the New Database Dialog
70
Entering Information in the Database
70
Importing Database Information
73
Entering Database Information Manually
82
Using the Identify Feature to Enter and Calculate Database Information
85
Modifying Information in the Database
85
Deleting a Database Record
85
Choosing a Different Poster Frame for a Clip
87
Changing the Default Project Settings
87
Changing All Reel or Roll Identifiers
88
About Modifying Data in the Identify Window
88
Verifying and Correcting Edge Code Numbers and Timecodes
91
Working With the Database
91
Opening an Existing Database
91
Finding and Opening Database Records
93
Accessing Information About a Source Clip
Chapter 5 95 Capturing Source Clips and Connecting Them to the Database
95
Preparing to Capture
96
Avoiding Dropped Frames
97
Setting Up Your Hardware to Capture Accurate Timecode
98
Considerations Before Capturing Audio
99
Generating a Batch Capture List From Cinema Tools
101
Considerations Before Capturing Clips Individually
10 2
Connecting Captured Source Clips to the Database
10 3
Using the Connect Clips Command to Connect Source Clips
4
Contents
10 4
Using the Detail View Window to Connect and Disconnect Source Clips
10 6
Using the Clip Window to Enter or Disconnect Source Clips
10 7
Fixing Broken Clip-to-Database Links
10 7
Reconnecting Individual Clips That Have Been Renamed or Moved
10 7
Locating Broken Links and Reconnecting Groups of Clips That Have Been Moved
Chapter 6 109 Preparing the Source Clips for Editing
10 9
Determining How to Prepare Source Clips for Editing
111
Using the Conform Feature
113
Reversing the Telecine Pull-Down
12 3
Making Adjustments to Audio Speed
12 3
Synchronizing Separately Captured Audio and Video
12 5
Dividing or Deleting Sections of Source Clips Before Editing
Chapter 7 127 Editing
12 7
About Easy Setups and Setting the Editing Timebase
12 8
Restrictions for Using Multiple Tracks
12 8
Using Effects and Transitions
13 4
Tracking Duplicate Uses of Source Material
Chapter 8 137 Generating Film Lists and Change Lists
13 8
Lists You Can Create With the Film Lists Dialog
14 5
Exporting Film Lists
151
Creating Change Lists
Chapter 9 159 Export Considerations and Creating Audio EDLs
15 9
Considerations When Exporting to Videotape
160
Considerations When Exporting Audio
161
Exporting an Audio EDL
Chapter 10 167 Working With External EDLs and ALE Files
167
Creating EDL-Based Film Lists
17 2
Working With ALE Files
Part II Working With 24P
Chapter 11 177 Working With 24P Video and 24 fps EDLs
17 8
Considerations When Originating on Film
17 9
Editing 24P Video With Final Cut Pro
17 9
Using One Final Cut Pro System for Both 24P Offline and Online Editing
18 0
Using 24P Video With Final Cut Pro and Cinema Tools
18 0
Using Final Cut Pro as a 24P Online Editor
183
Using Final Cut Pro as a 24P Offline Editor
Contents
5
187
Adding and Removing Pull-Down in 24P Clips
18 8
Working With 2:3:3:2 Pull-Down
18 9
Removing 2:3:3:2 Pull-Down With Final Cut Pro
19 0
Removing 2:3:3:2 or 2:3:2:3 Pull-Down With Cinema Tools
19 4
Pull-Down Patterns You Can Apply to 23.98 fps Video
19 6
Adding Pull-Down to 23.98 fps Video
19 6
Using Audio EDLs for Double System Sound
Part III Appendixes
Appendix A 201 Background Basics
201
Film Basics
206
Editing Film Using Traditional Methods
208
Editing Film Using Digital Methods
Appendix B 213 How Cinema Tools Creates Film Lists
215
About the Clip-Based Method
215
About the Timecode-Based Method
Appendix C 217 Solutions to Common Problems and Customer Support
217
Solutions to Common Problems
220
Calling AppleCare Support
Glossary 221
Index 229
6
Contents
An Introduction to Cinema Tools
Cinema Tools with Final Cut Pro gives unprecedented
power to film and 24P video editors.
In today’s postproduction environment, it’s common for editors and filmmakers to find
themselves faced with a confounding array of formats, frame rates, and workflows
encompassing a single project. Projects are often shot, edited, and output using
completely different formats at each step. For editors and filmmakers who specifically
want to shoot and finish on film, Cinema Tools becomes an essential part of the
postproduction process when editing with Final Cut Pro, allowing you to edit video
transferred from film, and track your digital edits for the purpose of conforming
workprints and cutting the original camera negative.
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.
Preface
Also provided is the ability to convert captured video clips to 24 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 both
editing film digitally and working with the emerging 24P video standard easier and
more cost effective, providing functionality previously found only on high-end or very
specialized editing systems.
7
Editing Film Digitally
Computer technology is changing the film-creation process. Most feature-length films
are now edited digitally, using sophisticated and expensive nonlinear editors designed
for that specific purpose. Until recently, this sort of tool has not been available to
filmmakers on a limited budget.
Cinema Tools provides Final Cut Pro with the functionality of systems costing many
times more at a price that all filmmakers can afford. For filmmakers shooting with
35mm or 16mm film who want to edit digitally and finish on film, Cinema Tools allows
you to edit video transfers from your film using Final Cut Pro, then generate an
accurate cut list that can be used to finish the film.
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 alternate scene versions. Transferring 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 are 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.
Shoot film
Convert film
to video
8 Preface An Introduction to Cinema Tools
Original camera negative
Edit in Final Cut Pro
with Cinema Tools
Conform
original camera
negative
Cut list
Create
release
print
If your production process involves workprint screenings and modifications, you can
also use Cinema Tools to create change lists that describe what needs to be done to a
workprint to make it match the new version of the sequence edited in Final Cut Pro.
What Cinema Tools Does
Cinema Tools tracks all of the elements that go into the making of the final film. 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 on how the video clips are being used and generates
the cut list required to transform the original camera negative into the final edited
movie.
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 sound, tracking the relationship
between the audio used by Final Cut Pro and the original production sound 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 postproduction 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-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.
Preface An Introduction to Cinema Tools 9
Why 24P Video?
The proliferation of high definition video standards and the desire for worldwide
distribution has created a demand for a video standard that can be easily converted to all
other standards. Additionally, a standard that translates well to film, providing an easy,
high-quality method of originating and editing on video and finishing on film, is needed.
The 24P video standard provides all this. 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 a high definition
image (1920 pixels per line, 1080 lines per frame) to create an output well suited to
being projected on large screens and converted to film.
Additionally, the 24P standard 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.
Working With 24P Sources
With the emergence of high definition 24P video recorders, there is a growing need for
Final Cut Pro to support several aspects of editing at 24 fps. To this end, Final Cut Pro
and Cinema Tools provide the following:
 the import and export of 24 fps EDLs
 the ability to convert NTSC 30 fps EDLs to 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 30 fps
 the ability to remove 2:3:3:2 or 2:3:2:3 pull-down when you capture your source clips
from a digital video camera source that applied 2:3:3:2 or 2:3:2:3 pull-down to 24P
video, so you can edit at 24 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 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 book will describe all of these features because
they relate to working with 24P, which is of specific interest to many filmmakers.
10 Preface An Introduction to Cinema Tools
Editing 24P Video
The excellent quality of 24P video presents a challenge when it comes to editing—the
bandwidth and storage space it requires. Editing minimally compressed 24P video
directly in Final Cut Pro requires you to have a system with large, fast drives and
specialized capture hardware. Even with a properly configured system, you will only be
able to capture the video you actually intend to use, not the typical 20 to 100 hours
you may have shot.
The typical approach is to edit in two steps: an offline session, using compressed and
downconverted (to NTSC or PAL) clips, followed by an online session with recaptured
uncompressed clips.
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 online 24P editing system uses Final Cut Pro, you
can simply copy the project from the offline system, which allows you to preserve far
more information about the edit than an EDL alone can provide.
24P master
source
NTSC or
PAL video
24P video
Final Cut Pro with Cinema Tools
Capture
video
(offline edit)
Convert
to 24 fps
Edit
clips
Online edit
(24 fps)
24 fps
EDL
Edited 24P
master
Preface An Introduction to Cinema Tools 11
About This Manual
This manual is a fully hyperlinked PDF document enhanced with many features that
make locating information quick and easy.
 The homepage provides quick access to various features, including Late-Breaking
News, the index, and the Cinema Tools website.
 A comprehensive bookmark list allows you to quickly choose what you want to see
and takes you there as soon as you click the link.
 All cross-references in the text are linked. You can click any cross-reference and jump
immediately to that location. Then, you can use the navigation bar’s Back button to
return to where you were before you clicked the cross-reference.
 The table of contents and index are also linked. If you click an entry in either of these
sections, you jump directly to the section for that entry.
 You can also use the Find dialog to search the text for a specific word or phrase.
This manual provides background and conceptual information, as well as step-by-step
instructions for tasks and a glossary of terms. It is designed to provide the information
you need to get up to speed quickly so that you can take full advantage of the
powerful features of Cinema Tools.
 If you want to begin with some introductory background information about editing
film traditionally as opposed to editing it using digital methods, see Appendix A,
“Background Basics,” on page 201.
 To find out the details of how to use Cinema Tools, as well as some things to consider
in the planning of your project, see Part I, “Using Cinema Tools,” next.
 If you’re interested in the 24P aspects of using both Final Cut Pro and Cinema Tools,
see Part II, “Working With 24P” on page 175.
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.
12 Preface An Introduction to Cinema Tools
Apple Websites
There are a variety of discussion boards, forums, and educational resources related to
Cinema Tools and other Apple products on the web.
Cinema Tools Website
For general information and updates, as well as the latest news on Cinema Tools, go to:
 http://www.apple.com/finalcutpro/cinematools.html
Apple Service and Support Website
For software updates and answers to the most frequently asked questions for all Apple
products, including Cinema Tools, go to:
 http://www.apple.com/support
You’ll also have access to product specifications, reference documentation, and Apple
and third-party product technical articles.
For Cinema Tools support information, go to:
 http://www.info.apple.com/usen/cinematools
Other Apple Websites
Start at the Apple homepage to find the latest and greatest information about Apple
products:
 http://www.apple.com
QuickTime is industry-standard technology for handling video, sound, animation,
graphics, text, music, and 360-degree virtual reality (VR) scenes. QuickTime provides a
high level of performance, compatibility, and quality for delivering digital video. Go to
the QuickTime website for information on the types of media supported, a tour of the
QuickTime interface, specifications, and more:
 http://www.apple.com/quicktime
FireWire is one of the fastest peripheral standards ever developed, which makes it great
for use with multimedia peripherals, such as video camcorders and the latest highspeed hard disk drives. Visit this website for information about FireWire technology and
available third-party FireWire products:
 http://www.apple.com/firewire
Preface An Introduction to Cinema Tools 13
For information about seminars, events, and third-party tools used in web publishing,
design and print, music and audio, desktop movies, digital imaging, and the media
arts, go to:
 http://www.apple.com/pro
For resources, stories, and information about projects developed by users in education
using Apple software, including Cinema Tools, go to:
 http://www.apple.com/education
Go to the Apple Store to buy software, hardware, and accessories direct from Apple
and to find special promotions and deals that include third-party hardware and
software products:
 http://www.apple.com/store
14 Preface An Introduction to Cinema Tools
Part I: Using Cinema Tools
Using Cinema Tools while editing film projects.
Chapter 1 Before You Begin Your Project
Chapter 2 The Cinema Tools Workflow
Chapter 3 The Cinema Tools Interface
Chapter 4 Creating and Using a Cinema Tools Database
Chapter 5 Capturing Source Clips and Connecting Them to the Database
Chapter 6 Preparing the Source Clips for Editing
Chapter 7 Editing
I
Chapter 8 Generating Film Lists and Change Lists
Chapter 9 Export Considerations and Creating Audio EDLs
Chapter 10 Working With External EDLs and ALE Files
1 Before You Begin Your Project
1
Start planning your project early to ensure its success.
Successful film production requires thorough planning well before exposing the first
frame. Besides the normal preparations, additional issues must be considered when
you intend to edit the film digitally. These issues may affect the film you use, how you
record your sound, and other aspects of your production.
This chapter provides basic information on many of the issues you will 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
 sound issues such as which recorder and timecode to use, and how to synchronize it
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. Please be aware that the digital filmmaking industry
changes rapidly, so what you read here is not necessarily the final word.
Before You Shoot Your Film
Before you begin your project, be sure to discuss it with all parties involved in the process:
 those providing equipment or supplies used during the production
 those involved during the actual production
 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
 the audio postproduction facility
17
These are people who are experts in their fields. They can provide invaluable
information that can be the difference between a smooth, successful project and one
that seems constantly to run into obstacles.
Be Careful How You Save Money
There are a number of times throughout the film production process when you will
get to choose between “doing it right” and “doing it good enough.” Often your
budget or a lack of time drives the decision. 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
postproduction facility.
Also, do not underestimate the importance of using the cut list to conform a
workprint before conforming the negative. While 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 and 16mm-20 film formats. See “Film Basics” on
page 201 for details on these formats.
Your budget will likely determine which format you use. While it is recommended that
you use the same film format throughout your production, Cinema Tools does not
require it. Each database record has its own film format setting.
18 Chapter 1 Before You Begin Your Project
Transferring Film to Video
In order to digitally edit your film, you need to transfer it to video so that it can be
captured by the computer. There are a few ways to do this, but an overriding
requirement is that there be a reliable way to match the film’s key numbers to the
edited video’s timecode. This relationship allows Cinema Tools to accurately calculate
specific key numbers based on each edit’s In and Out timecode values.
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. While
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
operational control as compared to film chains, described below. Another advantage is
that telecines can create video from the original camera negative—most other
methods require you to create a film positive (workprint) first. (While, from a budget
viewpoint, it may be a benefit not to create a workprint, they 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.
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.
Chapter 1 Before You Begin Your Project 19
Transfer Techniques That Are Not Recommended
There are a couple of transfer techniques that are worth mentioning just to point out
why you should not use them.
Film Chains
It is recommended that you avoid using a film chain if at all possible. Film chains are
relatively old technology, as compared to telecines. They are basically a film projector
linked to a video camera. They typically do not support features such as reading the
key numbers or controlling video recorders, and 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 numbers 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.
Recording a Projected Image With a Camcorder
Due to 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, while 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.
Since the video is not actually used for anything except determining edit points, its
quality 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.
20 Chapter 1 Before You Begin Your Project
How Much Should You Transfer?
Deciding how much of your film to transfer to video depends on a number of issues,
probably the biggest one being cost. The amount of time the telecine operator spends
on the transfer determines the cost. 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 “sceneand-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 timecodes. 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 only needs 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 there are significant
chunks of footage that are not going to be used.
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 audio 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
reels and timecode.
Once captured, it is possible to break a single large clip 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, allowing you to take advantage of
Cinema Tools’ extensive database capabilities. See “Create the Cinema Tools database”
on page 33 for a detailed discussion of these choices.
Chapter 1 Before You Begin Your Project 21
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.
 Since the telecine log contains one record per take, it establishes a solid database
when imported into Cinema Tools.
 With an established database, Cinema 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 shot almost exclusively at 24 frames per second (fps).
Video can have either a 29.97 fps rate (NTSC), a 25 fps rate (PAL), or a 24 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” on page 109 before you make any decisions about
frame rates.
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. NTSC video is often referred to as having a frame rate of 30, and while the
difference is not large, it cannot be ignored when transferring film to video (due to its
impact on audio synchronization, explained in “Synchronizing the Audio With the
Video” on page 30).
Another issue is how to distribute film’s 24 fps among NTSC video’s 30 fps. You have
two options:
 perform a 3:2 pull-down
 run the film at 30 fps
22 Chapter 1 Before You Begin Your Project
ABCD
AAB B BC C DDD
Field1Field2Field1Field
2
Field1Field
2
Field1Field
2
Field1Field
2
Performing a 3:2 Pull-Down
The most common approach to distributing film’s 24 fps among NTSC video’s 30 fps is
to perform a 3:2 pull-down (also known as a 2:3:2:3 pull-down). If you alternate
recording two fields of one film frame and then three fields of the next, the 24 frames
in one second of film end up filling the 30 frames in one second of video.
One second
Film frames
ABCDA DABCDABCDABCDABCD
AABBBCCDDDAABBBCCDDDAABB CCDDDAAB BBCCDDDABABBCCDDBD
BC
ABABBCCDDD
NTSC video frames (divided into fields)
As shown above, the 3:2 pattern (actually a 2:3:2:3 pattern since 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.
Note that there is not a one-to-one correspondence between film frames and video
frames after this pull-down occurs. The duration 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 t 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.
Chapter 1 Before You Begin Your Project 23
To work around the inaccuracies related to editing 3:2 video, Cinema Tools includes a
Reverse Telecine feature that can be used to remove the extra fields from the video,
returning it to its original 24 fps rate, and thus providing a one-to-one relationship
between the video and film frames. Setting Final Cut Pro’s editing timebase in the
Sequence Preset Editor to 24 fps (or 23.98 fps—see “Synchronizing the Audio With the
Video” on page 30) allows you to edit the video and generate a very accurate cut list.
See “Determining How to Prepare Source Clips for Editing” on page 109 for more
information on issues related to these options.
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, the A frame is the only one that is
complete within a video frame. The others (B, C, and D frames) all appear in two video
frames. Since 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 “About “A” Frames” on page 120 for more information.
Running the Film at 30 fps
Another NTSC video transfer option is to run the film at 30 fps (actually 29.97 fps). While
this leads to a one-to-one relationship between each video and film frame, the action
in the film is sped up by 25 percent. Due to audio synchronization considerations, this
method is not often used or recommended.
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&1 method).
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 sped 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.
24 Chapter 1 Before You Begin Your Project
24&1 Method
Adding two extra video fields per second (the 24&1 method) has the advantage of
maintaining the original film speed, at the expense of losing the one-to-one film-to-video
frame relationship. This method records an extra video field every twelfth film frame.
One second
Film frames
ABCDE HI JKLMNOPQRSTUVWX
AABBCCDDEEFFGGHH I I JJ K K LL MMNNOO PP QQRR SS TT UUVVWWXXLX
F G
PAL video frames (divided into fields)
Extra fields
Working With 24P Video
With its frame rate, high quality, and progressive scanning, the 24P video standard 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 requiring a frame
rate conversion.
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 as 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” on page 187 for more information.
Be aware that, 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)—the same rate the
telecine speed would be with a normal NTSC transfer.
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 strongly suggested to avoid “crossing midnight” on a tape. This happens when
the timecode turns over from 23:59:59:29 to 00:00:00:00 while playing.
Chapter 1 Before You Begin Your Project 25
You have the option to use record run or free run timecode during the production:
 With record run timecode, the timecode generator pauses each time you stop
recording. Your tape ends up with continuous timecode, since each time you start
recording it picks up from where it left off.
 With 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, and avoid noncontinuous timecode within a tape.
Whenever a tape has noncontinuous timecode (with jumps in the numbers between
takes), be 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 on 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. Since NTSC’s frame rate at 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.
To compensate for this, drop frame timecode skips ahead 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, be 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.
26 Chapter 1 Before You Begin Your Project
What Happens to the Timecode After Using Reverse Telecine or Conform?
The Reverse Telecine feature (changing 30 fps video to 24 fps video) and the Conform
feature (changing either 25 fps or 30 fps video to 24 fps) directly affect the timecode of
the video frames. Since Cinema Tools must generate new 24 fps timecode for the frames
(based on the original timecode), you may see a difference between the burned-in
timecode numbers and the numbers shown in Final Cut Pro. Though the timecode
discrepancies between the window burn and Final Cut Pro timecodes may be confusing,
Cinema Tools tracks the new timecode of the 24 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.
This is what happens to the timecode: reverse telecine removes six frames per second,
so the timecodes 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 30 fps will still last for
38 seconds when played at the reverse telecined rate of 24 fps.
Clip start
1:0
0
1:01
1:0
2
1:03
1
1:0
2
1:00 1:11
1:0
1:06
1:04
1:05 1:16
1:07
1:0
3
1:0
4
1:0
5
1:0
1:10
1:09
6
1:0
7
1:0
In the above illustration, the blue NTSC fields represent those that are removed during
the reverse telecine process. 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.
Using the Conform feature to change video rates causes more timecode changes, since
all the original frames are kept and you are actually changing the video’s speed. A clip
that plays for 38 seconds at its PAL rate of 25 fps will play for almost 40 seconds at the
conformed rate of 24 fps. After the first 24 frames, each frame that follows will have a
different timecode number as compared to the timecode of the 25 fps video.
NTSC video frames (30 fps)
1:12
1:13
1:15
1:14
1:1
1:1
1
0
1:1
1:0
9
8
1:181:08
1:17
1:19
1:20
2
1:1
3
1:1
4
1:1
5
Reverse telecined video frames (24 fps)
1:1
One secondDiscarded fields
1:2
1:21
1:23
6
1:1
7
1:1
8
1:1
9
1:26
1:201:2
1:25
1:24
2
1:27
1
1:221:2
1:29
1:28
3 2:00 2:01 2:02
2:00 2:01 2:02
Chapter 1 Before You Begin Your Project 27
Clip start
1:0
2
1:04
1:00 1:11
1:01
1:00 1:11
1:03
1:01 1:121:02 1:131:03 1:141:04 1:151:05 1:161:06 1:171:07 1:181:08
1:06
1:05 1:16
1:07
PAL video frames (25 fps)
1:10
1:09
1:09
1:10
Conformed video frames (24 fps)
In the above illustration, the burned-in (original) PAL timecode matches the conformed
timecode shown in Final Cut Pro for the first 24 frames, but then differs for all frames
after that, moving farther apart the longer the clip is.
As confusing as all this sounds, remember that in both cases Cinema Tools tracks the
new timecode of the 24 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.
Sound Considerations
Since the sound for a film is recorded separately on an audio recorder, there are a
number of issues that you must be aware of and plan for:
 what type of audio recorder to use
 what timecode to use
 how to mix the final audio
 how to synchronize the audio with the video
1:12
1:13
1:14
1:15
1:17
One second
1:181:08
1:19
1:20
1:19
1:22
1:21
1:20 1:21
1:23
1:22
2:00
1:24
1:23 2:00 2:01 2:02
2:01
Choosing an Audio Recorder
When choosing an audio recorder, you have several options: an analog tape recorder
(typically a Nagra), a digital tape recorder (DAT—Digital Audio Tape), or a digital disc
recorder. Whether analog or digital, be sure the recorder has timecode capability.
Choosing an Audio Timecode
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, or 24 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” on
page 26 for more information on drop frame and non-drop frame timecode.
28 Chapter 1 Before You Begin Your Project
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.
 If the final mix is to be completed at an audio postproduction facility, the timecode
needs to be compatible with their equipment.
Note: Be 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 for 24P).
Check with your sound editor before you shoot to make sure they are 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
postproduction 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 sound 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 a audio postproduction facility familiar with the issues of creating audio for
film might lead to disappointing results.
You can export the audio from Final Cut Pro as an OMF (Open Media Framework) file
for use at an audio postproduction 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, any sound effects clips you may have added are included. When you use
an OMF file, the recording quality must be as high in quality as possible, as this is what
the audience will hear. Be 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 postproduction facility. There they can
capture high-quality versions of the audio clips straight from the original production
sound source and edit them based on the audio EDL. For this to work, the timecode
and reel numbers of the original sound tapes must be kept track of and used to create
the audio EDL.
Chapter 1 Before You Begin Your Project 29
Audio clips captured as part of video clips do not retain their original timecode and
reel number, and the Final Cut Pro EDL cannot be used by an audio postproduction
facility. This is most common with clips created from scene-and-take transfers, where
the audio is synchronized to the film and recorded onto the videotape, losing the
original audio timecode. 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” on page 161 for details on the process.
Synchronizing the Audio With the Video
The production sound for a film is recorded separately on an audio recorder; this is
known as the double (or dual) system method. Synchronizing the sound 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.
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
audio recorder’s timecode. To sync the audio with the video, position the video at the
first frame where the slate is closed, then 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.
30 Chapter 1 Before You Begin Your Project
Since the film is often either slightly sped up or slowed down during the telecine
transfer, the audio must also have its speed changed. If the audio is being synced
during the transfer, the speed change is handled there. If the audio is being synced to
the videotape after the transfer, the speed change must happen then.
Synchronizing During the Telecine Transfer
During the shoot, you typically start the audio recorder a little before the camera rolls,
and stop it a little after the camera stops. Since 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 audio reel 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 reel number information. Importing the log
into Cinema Tools makes it possible to export an audio EDL so that an audio
postproduction facility can recapture the audio clips at 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). Since 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&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.
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, as mentioned in
“Synchronization Basics” on page 30. Once you synchronize two or more clips, you can
link them together as one clip, using Final Cut Pro’s merged clips feature. See
“Synchronizing Separately Captured Audio and Video” on page 123, and the
Final Cut Pro documentation, for more information.
Chapter 1 Before You Begin Your Project 31
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 or Conform features).
See the Final Cut Pro documentation for details on 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 insertion 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” on page 194 for
details. There are also third-party cards and applications that can perform a 3:2 pulldown on the video, allowing it to run at the NTSC 29.97 fps rate.
 If you’re working with PAL video, and 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).
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 and Transitions” on page 128 for
more information, including an outline of the basic workflow for including effects and
transitions in your digitally edited film.
32 Chapter 1 Before You Begin Your Project
2 The Cinema Tools Workflow
Cinema Tools fits easily into a film editing workflow.
The primary purpose of Cinema Tools is to create an accurate cut list based on edits
made in Final Cut Pro. There are a few critical steps that are necessary for this to
happen, but for the most part, the actual Cinema Tools workflow depends on the
equipment you use, your video standard, and how you like to work.
Basic Workflow Steps
The typical Cinema Tools workflow looks like this:
1 Create the Cinema Tools database.
2 Capture the source clips with Final Cut Pro.
3 Connect the clips to the database.
4 Prepare the clips for editing.
5 Edit the clips in Final Cut Pro.
6 Create cut lists and other lists with Cinema Tools.
2
Step 1: Create 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 sound) are established and tracked. While
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.
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, a record must have values
for the camera, daily, or lab roll, the edge code, and either have a clip connected to it or
have video reel and video timecode (In point and duration) values.
33
When you export the cut list after editing the video in Final Cut Pro, Cinema Tools looks
at each edit and tries to find the appropriate record in its database to determine the
corresponding key numbers or ink numbers (edge code). Cinema Tools first looks for a
record connected to the clip name used in the edit. If it is found, it then locates the clip
file, a note is added to the cut list, and Cinema Tools moves on to the next edit.
If no record is found using an edit’s clip name, or the clip 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 met, 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 records, “<missing >” 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), “<missing >” is placed in those fields and a note is added to the
missing elements list.
See Chapter 8, “Generating Film Lists and Change Lists,” on page 137 and Appendix B,
“How Cinema Tools Creates Film Lists,” on page 213 for details on this process and the
missing elements list.
A Detailed or Simple Database?
Cinema Tools’ design allows 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
 scene, shot, and take numbers with descriptions
 the film’s camera roll number, edge code, and related video timecode and reel number
 the audio timecode and reel number
 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 session and merge them all together once 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.
34 Chapter 2 The Cinema Tools Workflow
The telecine log from camera-roll transfers typically provides information for a single
record—the edge code and video timecode used at the start of the transfer. Assuming
continuous film key numbers and video timecode throughout the transfer, that single
record is sufficient for Cinema Tools to generate a cut list for that camera roll.
Importing Telecine Logs
You have a choice of importing the telecine log into Cinema Tools or using
Final Cut Pro. You can choose either method according to your workflow.
The telecine logs that are supported by Cinema Tools are: ALE, FTL, FLX, and ATN.
If you import the telecine log into Cinema Tools via Final Cut Pro, offline clips from the
telecine log are imported directly into Final Cut Pro.
To import a Cinema Tools telecine log via Final Cut Pro, do the following:
1 In Final Cut Pro, choose File > Import > Cinema Tools Telecine Log.
The “Cinema Tools Import a Telecine Log” dialog then opens. Within the dialog is a field
which displays the pathname of the database that will be used to import the log. You
can change that pathname by clicking either the New Database or the
Choose Database button.
2 Click the Choose Database button to select an existing database or click the
New Database button to create a new one.
If you click the New Database button, a second dialog launches to name and choose
film format options for the new database. If you click Choose Database, a second dialog
allows you to select an existing database.
You can import the telecine log with the “add a camera letter” feature, if applicable.
Just choose the appropriate letter from the pop up menu in the “Cinema Tools Import a
Telecine Log” dialog before you choose the log.
3 In the “Cinema Tools Import a Telecine Log” dialog, select the telecine log you want to
import, and then click Choose.
A list of off-line clips appears in Final Cut Pro, ready for batch capturing.
To import a telecine log using Cinema Tools, do the following:
1 If you are not working with an existing database, choose Database > New Database (or
type Shift + Command + N). Name the database in the dialog that appears.
2 Choose File > Import > Telecine Log (or type Command + L).
Cinema Tools imports the log, and then places the clip information into the database.
Note: If you are working from an existing database that is already open, skip the first step.
In Cinema Tools you can export a file that will create a list of offline clips for batch
capturing in Final Cut Pro. Export either a standard batch list or an XML Batch List. XML
contains additional information, such as film metadata, that is viewable in Final Cut Pro.
Chapter 2 The Cinema Tools Workflow 35
To export a list of offline clips for batch capturing in Final Cut Pro, do one of
the following:
m In Cinema Tools, choose File > Export > XML Batch List.
m An XML batch capture list is exported. Import the batch list into Final Cut Pro to create
offline clips for batch capturing.
m In Cinema Tools, choose File > Export > Batch Capture
m A standard batch capture list is exported. Import the batch list into Final Cut Pro to
create offline clips for batch capturing.
To import a standard or XML batch list into Final Cut Pro, do one of the
following:
m If you exported an XML batch list, choose File > Import > XML.
m Offline clips are imported into Final Cut Pro. These clips will correspond with the
database records.
m If you exported a standard batch list, choose File > Import > Batch List.
m Offline clips are imported into Final Cut Pro. These clips will also correspond with the
database records.
For more information about importing telecine logs and Final Cut Pro or Cinema Tools,
see the document, “New Features in Cinema Tools.”
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.
You need a record for every clip that has noncontinuous timecode or key numbers.
With scene-and-take transfers, each take requires its own record since film key numbers
are skipped when jumping from take to take during the transfer.
With camera-roll transfers, since the film roll and video recorder run continuously from
start to finish, you only require one record for the entire clip, even 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 they are part of a record.
To manually enter database records, you need to know the key number and video
timecode for a frame of the clip. This is easiest when the transfer has these values
burned in to the video.
See Chapter 4, “Creating and Using a Cinema Tools Database,” on page 61 for details on
creating and managing Cinema Tools databases.
36 Chapter 2 The Cinema Tools Workflow
Are the Window Burn Numbers Correct?
There are a variety of reasons why the window burn values might not be correct,
ranging from incorrectly entered values to faulty automatic detecting. You must verify
the accuracy of the window burn values. It is critical that these values be correct if
you are going to rely on them. The key number is usually verified by comparing the
displayed value with a documented value on a hole-punched or marked frame near
the head of the clip. Be 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.
Step 2: Capture the source clips
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.
If you used an analog VTR, such as a Sony Betacam, the video and audio must be
converted to digital format and compressed before they can be used. If you used a
digital VTR, such as a Sony Digital Betacam, the video and audio are already digital, but
must still be captured and compressed. In both cases, specialized hardware with the
appropriate connections is usually required.
If you used a DV system, the video (and audio, depending on the transfer type) is
already digital and compressed, and simply needs to be captured using FireWire.
Important: When using serial device control, be sure to calibrate its capture offset. See
the Final Cut Pro documentation for more information. Also see “Setting Up Your
Hardware to Capture Accurate Timecode” on page 97 for more information on
capturing your clips.
In either case, 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.
Chapter 2 The Cinema Tools Workflow 37
About Compression
Compression, in terms of digital video, is a means of squeezing the content into
smaller files so that they require less hard disk space and potentially less processor
power to display. The tradeoff is lower quality images.
It’s important to remember that the edited video that results from Final Cut Pro when
used with Cinema Tools is not typically going to be used for anything where high
quality would be expected. 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.
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 that 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 (hole-punched or
marked frame) with a known timecode.
For more information on device control, see the Final Cut Pro documentation.
38 Chapter 2 The Cinema Tools Workflow
Camera-Roll Transfers
Camera-roll transfers require you either to capture the entire tape or to manually
capture a clip for each take. As long as the tape uses continuous video timecode and
film key numbers, Cinema Tools only requires a single database record showing the
relationship between the two.
If Final Cut Pro has device control of your source deck, the best method for capturing the
desired takes is to use its 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 device control, you must manually capture either the desired takes or the
entire tape. For each take you capture manually, you may need to trim it 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 captured, you can use Final Cut Pro to create
subclips of the useful takes, then delete the unused material.
See Chapter 5, “Capturing Source Clips and Connecting Them to the Database,” on
page 95 for details on capturing clips.
Scene-and-Take Transfers
Scene-and-take transfers generally result in the Cinema Tools database having records
suitable for performing a batch capture. You can export a capture list from
Cinema Tools and import it into Final Cut Pro’s 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.
Step 3: Connect 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 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 its 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 Appendix B, “How
Cinema Tools Creates Film Lists,” on page 213 for more information on how
Cinema Tools generates a cut list. Also see “Connecting Captured Source Clips to the
Database” on page 102 for more information.
Chapter 2 The Cinema Tools Workflow 39
Step 4: Prepare the clips for editing (processing the clips)
Cinema Tools has two powerful features that can be used on your clips prior to editing
them: the Reverse Telecine feature and the Conform feature.
Reverse Telecine
The Reverse Telecine feature (for NTSC transfers only) provides a means of removing
the extra fields added during the 3:2 pull-down process of the telecine transfer. You
need to do this when you intend to edit the video at 24 fps. See “Frame Rate Basics” on
page 22 for information on what a 3:2 pull-down is and why you might want to reverse
it. See “Reversing the Telecine Pull-Down” on page 113 for details on its use.
Conform
The Conform feature is useful both to correct errors in video clips and to change the
frame rate (timebase) of a clip. Cinema Tools lets you select the frame rate you want to
conform a clip to.
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 a second (actually 1/29.97 of a
second) assigned to each frame. The PAL video rate is 1/25 of a second.
Occasionally when capturing video clips, the duration of some frames is set to slightly
different values. While the differences are not visible when playing the clip, they can
cause problems when Cinema Tools creates the cut list or if you use the Reverse Telecine
feature on it. In these cases, you would 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 30 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 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, making it play back at the original film
rate and stay in sync with the audio. See “Using the Conform Feature” on page 111 for
details on using the Conform feature.
Note: Be sure to use the Conform feature on a clip before editing it in Final Cut Pro.
Also be sure the editing timebase in Final Cut Pro’s Sequence Preset Editor is set at the
same rate you are conforming to.
See “Determining How to Prepare Source Clips for Editing” on page 109 for
more information.
40 Chapter 2 The Cinema Tools Workflow
Step 5: Edit the clips in Final Cut Pro
You edit the clips in Final Cut Pro much as you would any video project, but there are a
few important things to keep in mind. These considerations are described in Chapter 7,
“Editing,” on page 127.
Step 6: Generate film lists and change lists with Cinema To ols
Once you have edited your clips and are satisfied with your digitally edited project, you
are ready to use the Cinema Tools Film Lists dialog 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.
There are a number of other useful lists that can be generated at the same time. 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
 dupe 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
 pull list: A list to aid the lab in pulling the negative rolls they need
 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 the workprint, based on edits you have made to the sequence in Final Cut Pro. See
“When Are Change Lists Used?” on page 152 for a flow chart of the workprint and
change list process.
See Chapter 8, “Generating Film Lists and Change Lists,” on page 137 for more details
on all the film-related lists that are available.
Cinema Tools Workflow Examples
This section details several Cinema Tools database workflow scenarios. Keep in mind
that there are many variations to these, and you often do not have to follow the steps
exactly in order. It’s also possible to have a situation that uses parts of several
workflows. See “Basic Workflow Steps” on page 33 for details on specific steps.
The workflows are divided into two groups—those that use scene-and-take transfers
and those that use camera-roll transfers. These are further divided depending on
whether a telecine log is available and whether device control of your video player is
available during the capture process.
Chapter 2 The Cinema Tools Workflow 41
If You Used Scene-and-Take Transfers
Since scene-and-take transfers require a database record for each take (due to
noncontinuous key numbers), an important first decision is based on whether or not a
telecine log is available.
Workflow for a Scene-and-Take Transfer With a Telecine Log
Start a new
database
Import telecine log
into database
Device
control?
Yes
Generate batch capture
list with Cinema Tools
Import batch list into
Final Cut Pro Browser
and do a batch capture
Use the Cinema Tools
Connect Clips command
to connect clips to database
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.
Use Final Cut Pro
to manually capture
each clip
Trim clips to match
database records
Connect clips
to database
No
Key number
burned in?
Yes No
Use Final Cut Pro
to manually capture
each clip
Connect clips
to database
Use Identify feature
to determine and
enter key number
and timecode
for known frame
of each clip
42 Chapter 2 The Cinema Tools Workflow
Workflow for a Scene-and-Take Transfer Without a Telecine Log
Start a new
database
Add entry for each clip into
Cinema Tools database
Device
control?
Yes
Generate batch capture
list with Cinema Tools
Import batch list into
Final Cut Pro Browser
and do a batch capture
Use the Cinema Tools
Connect Clips command
to connect clips to database
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.
Use Final Cut Pro
to manually capture
each clip
Trim clips to match
database records
Connect clips
to database
No
Key number
burned in?
Yes No
Use Final Cut Pro
to manually capture
each clip
Connect clips
to database
Use Identify feature
to determine and
enter key number
and timecode
for known frame
of each clip
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 Appendix B, “How Cinema Tools Creates Film Lists,” on
page 213 for an explanation of the two available methods. It is strongly suggested that
you sync the audio to the video before you capture the clips.
Chapter 2 The Cinema Tools Workflow 43
Workflow for a Camera-Roll Transfer (Clip-Based Method)
Start a new
database
Telecine
log?
Yes
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)
Yes
Generate batch capture
list with Cinema Tools
Import batch list into
Final Cut Pro Browser
and do a batch capture
Use the Cinema Tools
Connect Clips command
to connect clips to database
No
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?
No
Key number
burned in?
Yes No
Use Final Cut Pro
to manually capture
each clip
Trim clips to match
database records
Connect clips
to database
Use Final Cut Pro
to manually capture
each clip
Connect clips
to database
Use Identify feature
to determine and
enter key number
and timecode
for known 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.
44 Chapter 2 The Cinema Tools Workflow
Workflow for a Camera-Roll Transfer (Timecode-Based Method)
Start a new
database
Telecine
log?
Yes
Import log into database
(should generate one
record per camera roll)
No
Enter at least one record,
defining key number and
timecode relationship
Use Final Cut Pro to
capture entire camera roll
as a single clip or to
capture desired takes
as separate clips
(Make sure the timecode
does not change from
the original)
Chapter 2 The Cinema Tools Workflow 45
3 The Cinema Tools Interface
3
Cinema Tools uses a variety of windows and dialogs to
access its powerful features.
There are a number of windows and dialogs in Cinema Tools. Some are generic, such as
file selection dialogs, while others are specialized with unique functions and settings.
Most of the windows and dialogs are opened from within Cinema Tools; three related
dialogs also open via Final Cut Pro.
Cinema Tools Windows and Dialogs
The following windows and dialogs open from within Cinema Tools.
New Database Dialog
You use the New Database dialog to set basic database settings whenever you create a
new Cinema Tools database. These settings apply to any new database records you create.
You can alter these settings in individual database records using the Detail View window.
To open the New Database dialog, do one of the following:
m Choose Database > New Database.
m Press Command-Shift-N.
Note: You cannot start a new database if one is currently open.
For information on choosing the default settings for your database, see “Settings in the
New Database Dialog” on page 67.
47
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:
m If necessary, drag the List View window to a different screen position.
m If necessary, click the Detail View window to bring it to the front, or press Command-2.
m Choose Window > Detail View.
48 Chapter 3 The Cinema Tools Interface
Clicking the following buttons opens additional windows and dialogs:
 Find: Click the Find button to open the Find dialog.
 Open Clip: The Open Clip button (as shown above) changes depending on whether a
clip is connected to the record. With a clip connected (as above), the button is
labeled Open Clip. Click Open Clip to open the Clip window, which displays the
connected clip.
 Connect Clip: If there is no clip connected to the database record, the Open Clip
button is labeled Connect Clip. Click the Connect Clip button to open a file selection
dialog. Once you locate and select the clip file, the Clip window opens to display it.
For more information on using the Detail View window, see “Entering Database
Information Manually” on page 73.
List View Window
The List View window displays a list of database records in the open database. The List
View and Detail View windows appear whenever you open a database.
To view the List View window, do one of the following:
m Drag the Detail View window to a different screen position.
m Click the List View window to bring it to the front, or press Command-1.
m Choose Window > List View.
The pop-up menu at the bottom of the window lets you choose the display mode,
selecting the type of information to view:
 Keycode: Displays information about the film, including key numbers and rolls.
 Video: Displays timecode and reel information about the video.
 Sound: Displays timecode and reel information about the sound.
 Ink Numbers: Displays information about the workprint, including ink numbers
and daily rolls.
Chapter 3 The Cinema Tools Interface 49
Display Mode Columns
The following columns appear in all display modes:
 Slate: A combination of the Scene and Take fields, separated by a hyphen
 Clip: The name of the clip connected to each database record
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
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
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
The following columns appears in the Ink Number display mode:
 Daily Roll: The value entered in the Daily Roll field
 Ink Number: The value entered in the Ink field
Sorting the Columns
By default, the columns are sorted by the Slate value, in ascending order. You can sort
the data based on any displayed column by clicking the column’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.
Locating records with missing items
Sorting the columns can make it easy to locate records with missing items. For example,
selecting the Cam Roll column 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.
Finding specific records
You can locate a record using a specific key number or timecode by sorting the
columns. For example, selecting the Keycode column 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.
50 Chapter 3 The Cinema Tools Interface
Selecting Records
To select a database record, do one of the following:
m Click any displayed record.
m Use the keyboard’s Up or Left Arrow key to select the record before the currently
selected one.
m Use the keyboard’s Down or Right Arrow key to select the record after the currently
selected one.
m Use the keyboard’s Home key to jump to the first database record.
m Use the keyboard’s End key to jump to the last database record.
Once you have selected a record, it stays selected as you change the display modes.
Changing the Displayed Data
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 a record in the List View window in the Detail View window, do one
of the following:
m Double-click the record.
m Select the record using the keyboard’s arrow keys, then press Return.
Find Dialog
You can select specific records to view in the List View window by creating a “found
set.” For example, you can create a list of all records relating to a certain scene. You do
this by using the Find dialog.
To open the Find dialog, do one of the following:
m Click Find in the Detail View window.
m Choose Database > Find.
m Press Command-F.
See “Finding and Opening Database Records” on page 91 for details on creating found
sets.
Chapter 3 The Cinema Tools Interface 51
Clip Window
You use the Clip window to play the selected clip, identify the timecode and key
number of a specific frame, view general information about the clip, and process it with
the Reverse Telecine and Conform features.
To open the Clip window, do one of the following:
m Click Open Clip in the Detail View window (if a clip is connected to the current record).
m Click Connect Clip in the Detail View window, then select a clip (if one has not already
been connected to the record).
m Choose File > Open Clip, locate a clip, then click Choose.
Note: 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. Check the
Window menu for keyboard shortcuts that make open Clip windows active.
Most of the buttons along the right side of the window open additional dialogs:
 Rev Telecine: Opens the Reverse Telecine dialog.
 Disconnect: The Disconnect button (as shown above) changes depending on whether
this clip is connected to the database. With a clip connected (as above), the button is
labeled Disconnect. Click Disconnect to disconnect the clip from the database.
 Enter in DB: If this clip is not connected to the database, the Disconnect button is
labeled Enter in DB. Click Enter in DB to open a dialog where you can select the
scene and take to connect the clip to.
52 Chapter 3 The Cinema Tools Interface
 Poster Frame: Assigns the currently displayed frame to the Detail View window’s
thumbnail display.
 Conform: Opens the Conform Clip dialog.
 Identify: Opens the Identify window.
 Clip Analysis: Opens the Clip Analysis dialog.
Reverse Telecine Dialog
You use the Reverse Telecine dialog to convert NTSC 3:2 pull-down video or 2:3:3:2
pul-down video to 24 frames per second (fps).
To open the Reverse Telecine dialog, do one of the following:
m Click Rev Telecine in the Clip window.
m Choose Clip > Reverse Telecine (available only when the Clip window is open).
See “Reversing the Telecine Pull-Down” on page 113 for details on using this function.
There is also a simplified form of the Reverse Telecine dialog that appears if the clip or
clips were captured from a DV camcorder that shoots 24P, such as the Panasonic
AG-DVX100 camcorder. These clips have the pull-down cadence (pattern) information
embedded in a way that Cinema Tools can read, so if it detects this cadence information,
the automated reverse telecine dialog appears. See “Removing 2:3:3:2 or 2:3:2:3 Pull-
Down With Cinema Tools” on page 190 for details.
Chapter 3 The Cinema Tools Interface 53
Conform Clip Dialog
You use the Conform Clip dialog to set the duration of each frame of the current clip to
a specified time. For example, choose 24.0 to set each frame’s duration to 1/24 of a
second. You do this to change the frame rate of a captured clip or to ensure a clip’s
frame rate is accurate and consistent throughout the clip.
To open the Conform Clip dialog, do one of the following:
m Click Conform in the Clip window.
m Choose Clip > Conform (available only when the Clip window is open).
See “Using the Conform Feature” on page 111 for details on using this function.
Identify Window
You use the Identify window to enter film and timecode information in the database or
to get information about the frame that is currently displayed in the Clip window.
To open the Identify window, do one of the following:
m Click Identify in the Clip window.
m Choose Clip > Identify (available only when the Clip window is open).
If the Identify window is open, but not active because it is behind other windows, you
can bring it forward by pressing Command-3.
54 Chapter 3 The Cinema Tools Interface
Some features of this window:
 It updates to show the information of each frame as you move through a clip.
 The prior position of the Identify window on the screen is retained when it is
reopened.
 When multiple Clip windows are opened, the Identity window reflects the frame
information of the active window, updating as each window becomes active.
See “Using the Identify Feature to Enter and Calculate Database Information” on
page 82 for details on using the Identify window.
Clip Analysis Dialog
The Clip Analysis dialog displays detailed information regarding the current clip. 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).
To open the Clip Analysis dialog, do one of the following:
m Click Clip Analysis in the Clip window.
m Choose Clip > Clip Analysis (available only when the Clip window is open).
Change Reel Dialog
The Change Reel dialog lets you make global changes to the video reel, sound roll,
camera roll, or lab roll settings in the database records. For example, you may find that
the number of leading zeros is different (001 versus 0001) between the video reel
numbers of Final Cut Pro and those you entered in the Cinema Tools database. This
dialog allows you to change all occurrences of a reel or roll number.
Chapter 3 The Cinema Tools Interface 55
To open the Change Reel dialog:
m Choose Database > Change Reel.
Database Properties Dialog
The Database Properties dialog displays a wide variety of information about the current
database, including its default settings and statistics about the records.
To open the Database Properties dialog, do one of the following:
m Choose Database > Database Properties.
m Press Command-I.
Dialogs in Final Cut Pro and Cinema Tools
The following list dialogs open from within Final Cut Pro and Cinema Tools.
Film Lists Dialog
You use the Film Lists dialog to define the type of information and lists to export, the most
important being the cut list. Typically you use this dialog once you have finished editing
the film’s clips; however you can use it anytime you want to get a status of the edit.
56 Chapter 3 The Cinema Tools Interface
To open the Film Lists dialog from within Final Cut Pro:
m In Final Cut Pro, choose File > Export > Cinema Tools Film Lists. (This command is
available only when the Final Cut Pro Timeline is active, or when a sequence is selected
in the Browser.)
To open the Film Lists dialog from within Cinema Tools:
m In Cinema Tools, choose File > Export > Film lists from 30 fps EDL. (The actual fps value
is based on the frame rate of the last database opened in Cinema Tools, and must
match the EDL’s frame rate.)
See Chapter 8, “Generating Film Lists and Change Lists,” on page 137 for details on this
dialog’s settings.
See Chapter 10, “Working With External EDLs and ALE Files,” on page 167 for details on
generating film lists from outside EDLs.
Change List Dialogs
You use the Change List dialog to make selections for exporting a list that describes the
difference between two different versions of a sequence edited in Final Cut Pro. You
can include a change pull list, which lists only the film that needs to be pulled in order
to make the changes.
Chapter 3 The Cinema Tools Interface 57
To open the Change List dialog from within Final Cut Pro:
m In Final Cut Pro, choose File > Export > Cinema Tools Change List. (This command is
available only when the Final Cut Pro Timeline is active, or when a sequence is selected
in the Browser.)
When you export a change list file from Final Cut Pro, you can also export a new cut list
(and all the other lists available in the Film Lists dialog) for the sequence. These other
lists provide information about the entire sequence, rather than just information about
the changes.
To open the Change List dialog from within Cinema Tools:
m In Cinema Tools, choose File > Export > Change List.
See “Creating Change Lists” on page 151 for details on Change List dialog settings.
58 Chapter 3 The Cinema Tools Interface
Export Audio EDL Dialog
Audio is often reedited at an audio postproduction facility, using high-quality capture
hardware and software and high-end processing tools. Depending on how you edit,
Final Cut Pro’s EDL output may not contain the reel number and timecode of the
original production sound tapes. This information is often contained in the telecine log
that you import into Cinema Tools, or it can be manually entered.
You generally open the Export Audio EDL dialog from within Final Cut Pro. You are also
able to open it from within Cinema Tools if necessary, although additional steps are
required, including the creation of a program file in the Film Lists dialog.
To open the Export Audio EDL dialog from within Final Cut Pro:
m In Final Cut Pro, choose File > Export > Cinema Tools Audio EDL. (This command is
available only when the Final Cut Pro Timeline is active, or when you have selected a
sequence in the Browser.)
To open the Export Audio EDL dialog from within Cinema Tools:
1 In Cinema Tools, choose File > Export > Audio EDL from Program DB.
2 In the dialog that appears, select the program file to use, then click Open. The Export
Audio EDL dialog appears.
See “Exporting an Audio EDL” on page 161 for details on exporting audio EDLs.
Chapter 3 The Cinema Tools Interface 59
4 Creating and Using
a Cinema Tools Database
4
At the heart of Cinema Tools is its database, providing
powerful organizational tools.
A Cinema Tools database is a database file you create in Cinema Tools, which 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, and sound rolls and
sound timecode
You create a database for each film project. This database is what makes it possible for you
to export film lists that tell the negative cutter how to cut your original camera negative.
Beyond creating film lists, you may want to use the database as an 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 timecodes; the sound rolls and
timecodes; and the source clips.
Depending on your situation, you may be able to simplify the database creation
process by building it from a telecine log or by creating just one database record per
camera roll.
61
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:
 If you used a scene-and-take transfer, you’ll have one database record for each take,
where each source clip is one take.
One
Take 1
One source clip
containing one take
 If you 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).
database
record
One
database
record
One source clip
containing one camera roll
 If you have broken down source clips into groups of takes, each database record is
associated with one source clip that contains several takes.
One
Take 1 Take 2Take 3
One source clip
containing multiple takes
database
record
62 Chapter 4 Creating and Using a Cinema Tools Database
Deciding How You Should Create the Database
The way you create the database depends on how you want to use it and whether or
not you have a telecine log or Avid Log Exchange (ALE) file.
If you haven’t done so yet, take a look at the “The Cinema Tools Workflow” on page 33.
Use these examples to guide you in determining the basic steps you need to take to
create your database and capture your clips. 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
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 manually add the key number and film roll information to
each database record. See “Importing Database Information From a Final Cut Pro
Batch Capture List” on page 71.
If You Have a Telecine Log or ALE 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
clip files you capture match your database information.
Chapter 4 Creating and Using a Cinema Tools Database 63
To build a database from an existing log:
1 Create a new empty database.
See “Creating a New Database” on page 66.
2 Generate the database records from the log.
See “Importing Database Information From a Telecine Log or ALE File” on page 70.
If You Do Not Have a Telecine Log or ALE File
Although it’s faster and more efficient to use a log, you can build a database without one.
To create a database without a log:
1 Start a new empty database.
See “Creating a New Database” on page 66.
2 Enter database records manually.
See “A Potential Database Shortcut for Camera-Roll Transfers” on page 65, and
“Entering Database Information Manually” on page 73.
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 Final Cut Pro Batch Capture
List” on page 71.
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 unthreaded 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.
64 Chapter 4 Creating and Using 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:
If the edge code number-to-timecode relationship is continuous on each camera 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 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 “Workflow for a Camera-Roll Transfer
(Timecode-Based Method)” on page 45 and “How Cinema Tools Creates Film Lists” on
page 213 for more information.
Important: There is an exception to the timecode-based method of locating database
records for film lists. If you conform your clips from 25 fps to 24 fps, the timecode in the
editing system is adjusted for the new frame rate, which means that Cinema Tools will
not be able use the timecode-based method of film list generation. You will therefore
need to create separate database records for each source clip and connect those clips
to their records. (Note that the timecode-based method can be used after clips are
reverse-telecined.)
Even if you have a continuous edge code number-to-timecode 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.
 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:
When the edge code number-to-timecode relationship is noncontinuous, you need to
create separate database records for each clip and connect those clips to their records.
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.
Chapter 4 Creating and Using a Cinema Tools Database 65
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 them into a master database by
importing all the databases into one database.
 Creating an audio Edit Decision List (EDL): If you plan to give an audio EDL to the
audio-finishing facility, make sure that the audio and video timecode information
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 into the database.
Creating a New Database
When you start a new 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 will use the settings in the telecine log.
To create a new database in Cinema Tools:
1 Open Cinema Tools, and click Cancel when the database selection dialog appears.
2 Choose Database > New Database.
Note: The New Database menu item is not available if there are any Cinema Tools
databases open. Close any open databases in order to access the New Database menu.
3 In the New Database dialog, choose default settings for your database. See “Settings in
the New Database Dialog” on page 67.
66 Chapter 4 Creating and Using a Cinema Tools Database
4 In the “Create a new database” dialog, choose a location and enter a filename for
the database.
An empty database is created and you are ready to enter information into it. To find out
how, see “Entering Information in the Database” on page 70.
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 Tools will use the settings in the telecine log.
If you need to change default settings you already made, see “Changing the Default
Project Settings” on page 87.
∏ 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 > 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.
Film Standard
Cinema Tools supports 4-perf 35mm format and 16mm-20 formats. (See Appendix A,
“Background Basics,” on page 201 for information on 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 and Using a Cinema Tools Database 67
To choose a default film standard:
m Choose the standard film type used for your project from the Film Standard
pop-up menu.
 35mm 4p: 35mm film, 4 perforations per frame
 16mm 20: 16mm film, 20 frames per key number
Video TC Rate
Cinema Tools supports four different video timecode rates. See Appendix A,
“Background Basics,” on page 201 for information on timecodes. The film lab that
transfers your film to video can tell you what kind of timecode is recorded on the
videotape.
To choose a default video timecode rate:
m Choose the Video TC Rate recorded on the videotapes for your project from the Video
Timecode pop-up menu.
 30 NDF: Non-drop frame NTSC timecode at 30 frames per second (fps)
 30 DF: Drop frame NTSC timecode at 30 fps
 25 FPS: PAL timecode at 25 fps
 24 FPS: Video timecode at 24 fps
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 rolls and sound timecode in the database is for
matching audio back to an audio Edit Decision List (EDL), as described in “Exporting an
Audio EDL” on page 161.
68 Chapter 4 Creating and Using a Cinema Tools Database
To choose a default sound timecode rate:
m Choose the type of timecode recorded on your production sound rolls from the
Sound TC Rate pop-up menu.
 30 NDF: Non-drop frame NTSC timecode at 30 frames per second (fps)
 30 DF: Drop frame NTSC timecode at 30 fps
 25 FPS: PAL timecode at 25 fps
 24 FPS: Timecode at 24 fps
TK Speed
The TK Speed (telecine film speed) refers to the frame rate of the film in the telecine
equipment during the transfer to video.
If you are working with NTSC video, you usually choose 24 fps as the TK Speed, though
the actual rate of the telecine speed is approximately 23.98 fps. The TK 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” on page 22 for a discussion
of the PAL frame rate choices.
If your film was transferred to video at a telecine speed of 24 fps, choose 24 fps as the TK
Speed. If your film was transferred to video at a telecine film speed of 25 fps, choose 25 fps.
To choose a default telecine film speed:
m Choose the speed at which the film was transferred from the TK Speed pop-up menu.
 24: 24 frames per second (fps) telecine film speed
 25: 25 fps telecine film speed
 30: 30 fps telecine film speed
Chapter 4 Creating and Using a Cinema Tools Database 69
Entering Information in the Database
As described in “Deciding How You Should Create the Database” on page 63, there are
two basic approaches to creating your project database:
 You can generate the database by importing a telecine log, ALE file, or Final Cut Pro
batch capture list.
 You can enter information manually.
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).
Important: Before you can enter information in the database, you need to have an
existing database. To create a new, empty database, see “Creating a New Database” on
page 66.
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 into 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 log files from TLC (Time Logic Controller software)
 FTL log files from Evertz
 ALE (Avid Log Exchange) files (not technically telecine logs, but contain similar
information for your database)
To import database information from a telecine log:
1 Choose File > Import > Telecine Log.
2 In the dialog that appears, select the telecine log or ALE file.
70 Chapter 4 Creating and Using a Cinema Tools Database
The data in the log is entered into the open database and each new record is displayed
in the List View window.
When Cinema Tools is finished creating the records from a telecine log, it tells you how
many events there were in the log and how many of those events were imported into
the database. Sometimes events in a telecine log refer to edits in which no film was
transferred. For those events, no record is created in the database.
Note: The source clips are not yet connected to database records. You still need to use
the Connect Clips command to connect them. For more information, see “Using the
Connect Clips Command to Connect Source Clips” on page 103.
Importing Database Information From a Final Cut Pro 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 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
Note: Creating database records from a Final Cut Pro batch capture list is not ideal
because you lose the advantages of using a telecine log or Avid Log Exchange (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 also “Advantages of Using a Telecine Log or ALE File” on page 63.
To import database information from a Final Cut Pro batch capture list:
1 Make sure that the Cinema Tools database is open.
2 In Cinema Tools, choose File > Import > Final Cut Pro Batch List.
3 In the dialog that appears, select the batch capture list you exported from Final Cut Pro.
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. For more information, see “Using the
Connect Clips Command to Connect Source Clips” on page 103.
Chapter 4 Creating and Using a Cinema Tools Database 71
4 In each database record, enter the edge code number information and film roll
identifier. (These items are required to create a cut list or change list.)
Note: Because a Final Cut Pro batch capture list includes everything in the Final Cut Pro
Browser, it may include clips or sequences that you don’t want. For this reason, you
should delete any database records you don’t need. See “Deleting a Database Record”
on page 85.
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 could 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 could 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, then import your
original database file into the new one.
To import one database file into another:
1 Open the database into which you want to import another database file by choosing
Database > Open Database, then selecting the database in the dialog.
2 Choose File > Import > Database.
3 In the dialog that appears, select the database you want to import.
72 Chapter 4 Creating and Using a Cinema Tools Database
Entering Database Information Manually
You can use the Detail View window to manually edit database records. Before you can
edit information in a database, you need to create database records.
Note: If a database record has already been created for a clip, you can also use the
Identify window to enter information. See “Using the Identify Feature to Enter and
Calculate Database Information” on page 82 for more information.
Understanding the Relationship Between Scenes, Shots, and Takes
To enter scene, take, and shot 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 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.
TAKE 1
SCENE 1
SHOT 1
SHOT 1A
SHOT 1B
TAKE 2
TAKE 4
TAKE 2
TAKE 3
TAKE 5
Chapter 4 Creating and Using a Cinema Tools Database 73
Creating a New Database Record
To create a new database record:
1 Do one of the following:
 Click New in the Detail View window.
 Choose Database > New Record.
2 In the New Record dialog, either enter identifiers for the Scene and Take or leave them
blank, then click New. See the sidebar below, “Using Scene, Shot, and Take Identifiers,”
for more information.
Note: You don’t have to enter anything in the Scene or 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. Use them if you want to keep track of shots in the database.
The Detail View window appears after you click New.
74 Chapter 4 Creating and Using a Cinema Tools Database
Using Scene, Shot, and Take Identifiers
An identifier can be any combination of numbers and letters (up to 15 characters).
 Take identifier: If the source clip associated with a database record contains more
than one take, you can think of the take identifier as a source clip identifier.
 Scene identifier: The identifier you enter in the Scene field actually identifies both
the scene and the shot 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 12B 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 enter 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 before the first number, and it 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
order of scenes. For example, between scene 1D and scene 2D you could add a scene
named A2D, so the new order would be scene 1D, scene A2D, scene 2D, scene 3D,
and so on.
Chapter 4 Creating and Using a Cinema Tools Database 75
Entering Information in a Database Record
To enter information in a database record:
1 Make sure the record is displayed in the Detail View window. (If necessary, double-click
the record in the List View window to open it in the Detail View window.)
For more information, see “Finding and Opening Database Records” on page 91.
2 Enter information and settings in the Detail View window.
“Settings in the Detail View Window,” next, describes all the settings, and specifies which
ones are required if you plan to use the database to generate cut list 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.
If you know the edge code number or timecode for another frame in a clip, the Identify
feature can help you determine the correct timecode or edge code number for the first
frame of a clip. See “Using the Identify Feature to Enter and Calculate
Database Information” on page 82.
3 Click Save. Until you save, data in the Detail View window is not entered in the database.
76 Chapter 4 Creating and Using a Cinema Tools Database
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.
Detail view settings required if you intend to generate a cut list or change 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 or change list generation (see “A Potential
Database Shortcut for Camera-Roll Transfers” on page 65).
To use the timecode-based method for cut list or change list generation, these
elements are also needed:
 video reel
 timecode and duration
Settings required if you intend to export an audio EDL:
 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, sound timecode, and sound timecode rate
(Sound TC Rate) entered.
Previous and Next
buttons
Field for source
clip notes
Field for telecine
session notes
Chapter 4 Creating and Using a Cinema Tools Database 77
The Detail View window contains the following fields and buttons:
 Find button: Click to display the Find dialog, which you use to locate and display a set
of database records in the List View window. These records are referred to as the
found set. See “Finding and Opening Database Records” on page 91 for details.
 Previous and Next buttons (arrows): Click these buttons to move forward or backward
through the database. As a shortcut, you can use the Left and Right Arrow keys on
your keyboard.
 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.
 (Scene) Page and To fields: Enter the starting and ending script pages associated
with the scene.
 (Shot) Description field: Enter a description of the shot.
 (Shot) Page and To fields: Enter the starting and ending script pages associated
with the shot.
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.
The descriptive information is
automatically added to all
other database records with
the same scene identifier
(8, in this example).
78 Chapter 4 Creating and Using a Cinema Tools Database
 Scene field: Use this field to enter or modify the identifier for the scene. See “Using
Scene, Shot, and Take Identifiers” on page 75 for more information.
 Take field: Enter a take identifier here. Takes are usually identified as numbers, but you
can enter whatever text you want to use to identify the take, up to 15 characters. If
there are multiple takes in the source clip, think of the take identifier as a clip identifier.
 Cam Roll field: (If you intend to create a cut list or change list, one of the roll fields 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 into 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, one of the 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: (If you intend to create a cut list or change list, one of the roll fields
must be completed.) If editing material from daily rolls, enter the identifier given to
the daily roll from which this source clip originated.
 Key field: (If you intend to create a cut list or change list, this field or the ink number
field is required.) The first field should contain the key prefix that is constant
throughout a roll of film. For example, for the key number KJ 291010 5867+07B, the
key prefix is KJ291010. You can enter up to eight characters (including spaces) in this
field. 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 291010
5867+07 B, 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 determine and enter the key
number (Key field) for the first frame of your clip. See “Using the Identify Window to
Enter Edge Code Numbers and Timecode Values in the Database” on page 83.
 Ink field: (If you intend to create a cut list or change list, this field or the key field is
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 at 4567 feet and 8 frames.
Chapter 4 Creating and Using a Cinema Tools Database 79
 Length field: This field is for the length of the clip, expressed as feet plus frame
offsets. The value for this field can come from a telecine log. If you know the length
of the clip from some other source, such as a production camera report, you can
enter that data here. You can also find the value for this field by using the Identify
feature. See “About Modifying Data in the Identify Window” on page 88.
Cinema Tools uses this field when it exports scene lists, where it may be useful to know
the length of a shot. If a clip starts at frame number 1234+05, and the last frame is
1250+10, the length would be 16+05. For a 16mm-20 clip, the length would be
equivalent to 8 feet and 5 frames, because there are two footage numbers per foot.
 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, the setting in this menu should already be correct and there
should be no need to change it. If you are creating the database manually, the setting in
this menu should reflect the telecine film speed setting you chose when you set your
project defaults. For more information, see “TK Speed” on page 69.
 Film Standard 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, the setting in this menu 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 a menu item marked rev. 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. For more information, see “Film Standard” on page 67.
 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.
80 Chapter 4 Creating and Using a Cinema Tools Database
 Video Timecode field: (Unless all the clips you will be editing are connected to the
database, this field is required if you intend to create a cut list or change list or audio
EDL.) Enter the timecode number of the video frame that represents the first frame of
the clip. 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 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 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
out the timecode location on the reel and which video reel contains the material.
 Video Duration field: (Unless all the clips you will be editing are connected to the
database, this field is required if you intend to create a cut list or change list or audio
EDL.) Enter the timecode 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. Since 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 selected 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 rate is
recorded on the videotape. See “Video TC Rate” on page 68 for more information.
 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 sound timecode for the clip. The sound timecode can be a standard different
from the video timecode.
 Sound TC Rate field: (Required if you intend to create an audio EDL.) Enter the type of
timecode rate used on your production sound rolls.
Chapter 4 Creating and Using a Cinema Tools Database 81
 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 change Open Clip to Disconnect Clip. Click Disconnect
Clip to disconnect the clip from the database record.
 Notes field: Enter any notes you want to include about the source clip.
 Telecine session notes: Enter any notes you want to include about the telecine session.
 New 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” on page 75 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.
Using the Identify Feature to Enter and Calculate Database Information
You can use the Identify window to determine the key number, ink number, or
timecode values for 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 are lacking window burn.
To use 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?” on page 64.
Keep in mind that in the Identify window, the Key, Ink, Video Timecode, and Audio
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. The Identify feature will, however, calculate and enter the firstframe values you see in the Detail View window.
82 Chapter 4 Creating and Using a Cinema Tools Database
Using the Identify Window to Enter Edge Code Numbers and Timecode Values in the Database
If you know the edge code (key number or ink number) and timecode value for any
frame in a clip, you can use the Identify feature to determine these values for the first
frame of the clip and that information is automatically entered in the database.
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.
To enter the edge code and timecode values in the database:
1 If it isn’t already open, open the clip in the Clip window in one of the following ways:
 Click Open Clip in the Detail View window of the clip’s database record.
 Choose File > Open Clip and use the dialog to select the clip.
2 Locate the marked frame in the clip playback window.
∏ Tip: Use the arrow keys on your keyboard to move forward and backward frame-by-frame.
3 When your marked frame is displayed in the window, click Identify.
Note: The Identify window updates to show the information of each frame as you move
through a clip, so you can also locate the marked frame after opening the window.
Chapter 4 Creating and Using a Cinema Tools Database 83
Enter the key number or
ink number for the
marked frame.
4 Enter the edge code and timecode values for the marked frame (the frame showing in
the Clip window) in the appropriate fields.
Note: You may be using ink numbers instead of key numbers, or vice versa. If so, you
can leave the field you aren’t using blank.
Enter the video
timecode for the
marked frame.
Note: If you decide you want to reset the values to what they were when you opened
the Identify window, click Revert.
5 Click Apply.
The clip’s database record is immediately updated with the values for the first frame
of the clip.
Calculating and Entering Clip Timecode Duration in the Database
The correct timecode duration of a clip is essential if you intend to generate a batch
capture list with Cinema Tools, or if you will be creating a cut list or change list by
matching back to the video reel and timecode (instead of matching back by using the
key numbers or ink numbers and clips). The value for this field can come from a
telecine log, and if you connect a clip to a database record that does yet contain the
timecode duration, Cinema Tools looks for this information in the clip file and
automatically enters it in the database record.
You can use the Identify feature to calculate a clip’s timecode duration (length in
timecode format) and this value is entered automatically in the database.
To calculate the timecode duration of a clip:
1 If it isn’t already open, open the clip in the Clip window in one of the following ways:
 Click Open Clip in the Detail View window of the clip’s database record.
 Choose File > Open Clip, then select the clip in the dialog.
2 Click the Identify button to open the Identify window.
3 Click Apply.
The clip’s timecode duration is entered or updated in the clip’s database record.
84 Chapter 4 Creating and Using a Cinema Tools Database
Modifying Information in the Database
You can modify any information in the database by editing settings in the Detail View
window and the Identify window. Some of the calculations you make using the Identify
feature update pre-existing information, modifying the database automatically. See
“Using the Identify Feature to Enter and Calculate Database Information” on page 82 for
more information.
Deleting a Database Record
Note: Be careful when you delete a database record, because there is no way to undo
this command.
To delete a database record:
1 Open the database record in the Detail View window, or select it in the List View window.
2 Choose Database > Delete Record, or press Command-Delete.
Note: When you delete a database record that is connected to a source clip, you don’t
actually delete the clip from your hard disk. You only delete the database record.
Choosing a Different Poster Frame for a Clip
By default, after a connected clip is opened in the Clip window, 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.
The default clip poster frame does not appear in the Detail View window until after
 the clip has been connected to a database record
 the clip has been opened in the Clip window
Chapter 4 Creating and Using a Cinema Tools Database 85
To choose a new poster frame for a clip:
1 If it isn’t already open, open the clip in the Clip window in one of the following ways:
 Click Open Clip in the Detail View window of the clip’s database record.
 Choose File > Open Clip, then select the clip in the dialog.
2 In the clip playback area, locate the frame you want to use as the poster frame.
∏ Tip: Use the arrow keys on your keyboard to move forward and backward frame-by-frame.
You can drag the slider to locate
and display the frame you want to
use as the clip poster frame.
3 Click Poster Frame when the window 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.
86 Chapter 4 Creating and Using a Cinema Tools Database
Changing the Default Project Settings
To change the default settings for a project:
m Create a new database with the default settings you want, then import your original
database into the new one. See “Importing an Existing Cinema Tools Database” on
page 72.
Changing All Reel or Roll Identifiers
There may be times when you want to change all occurrences of a reel or roll identifier
in a database. For example, you might need to change a reel identifier that is not EDLcompatible 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 an EDL.
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 Find Button in the Detail View window, then click Find All to make sure that all
of the database records are listed in the List View window.
2 Choose Database > Change Reel.
3 Make the following settings in the Change Reel dialog:
4 Choose the type of roll or reel.
5 In the From field, enter the identifier that you want to change. In the To field, enter the
new identifier.
6 Click OK.
Enter the old and
new identifiers.
Choose the type
of reel or roll.
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.
Chapter 4 Creating and Using a Cinema Tools Database 87
About Modifying Data in the Identify Window
You can use the Identify window for a clip only if a database record has been created
for that clip. The Identify window includes fields and pop-up menus for settings that
also appear in the Detail View window. You can modify these settings in the Identify
window, but keep the following important facts in mind:
 In the Identify window, the Key, Ink, Video Timecode, and Audio 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 values associated with the first
frame of the clip. Therefore, what you see or enter in the Identify window could be
different from what you see or enter in the Detail View window. See “Using the
Identify Feature to Enter and Calculate Database Information” on page 82.
 In the Identify window, the key numbers can only be tracked 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?”
on page 64.
If you changed the values in the window and want to go back to previous values, click
Revert instead of Apply. After you click Apply, the database record is updated, and
these changes are reflected in the Detail View window.
Verifying and Correcting Edge Code Numbers and Timecodes
Assuming you know the timecode, key number, or ink number values for another frame
in a clip–either by a marked frame or by window burn–you can use the Identify feature
to verify these values. Verification is important because your cut list or change list 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 only track edge code numbers 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?” on page 64. 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 in Cinema Tools
and the timecode Final Cut Pro.
88 Chapter 4 Creating and Using a Cinema Tools Database
To verify and correct the edge code and timecode entered for a clip:
1 If it isn’t already open, open the clip in the Clip window in one of the following ways:
 Click Open Clip in the Detail View window of the clip’s database record.
 Choose File > Open Clip, then select the clip in the dialog.
2 In the clip playback area, locate a frame near the beginning of the clip for which you know
the correct edge code number or timecode. This is easy if your video has window burn.
The correct timecode and edge
code number are burned in to
the frame.
3 Click Identify.
Chapter 4 Creating and Using a Cinema Tools Database 89
See if the key number
and/or ink number
matches the frame
in the Clip window.
4 Look at the Key, Ink, and Video Timecode fields in the Identify window to see if the
numbers match the window burn of the frame in the Clip window. (You may be using
ink numbers instead of key numbers, or vice versa. If so, you can leave the field you
aren’t using blank.)
See if the video timecode
matches the timecode
for the frame in the
Clip window.
5 If any of the Key, Ink, or 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
3 through 5.
 If the 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” on page 96. It
might also be because the clip doesn’t have a continuous edge code number-totimecode relationship, in which case the Identify feature cannot help you confirm the
edge code numbers and timecode because it works by a calculation based on a
continuous edge code number-to-timecode relationship.
 If the timecode is incorrect: There is a good chance that the timecode is wrong in
Final Cut Pro. Open the same frame in Final Cut Pro and see if the timecode is
correct. If it isn’t, be 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.
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 on calibrating the timecode signal in the Final Cut Pro documentation.
7 If you entered new numbers in the fields, click Apply. Otherwise, if the values were
already correct, close the window.
90 Chapter 4 Creating and Using a Cinema Tools Database
Working With the Database
To work with the database, you need to know about these basic tasks:
 opening an existing database
 finding and opening database records
 accessing information about a clip
Opening an Existing Database
To open an existing database:
m Choose Database > Open Database, then select the database in the dialog.
All the records in the open database are listed in the List View window.
Finding and Opening Database Records
You typically open database records from the List View window. The set of records
displayed in the List View window is often referred to as the found set, because you use
the Find command to specify which records are listed there.
To display a database record in the Detail View window:
m Double-click the record in the List View window.
To display specific records in the List View window:
m Use the Find dialog. See the section on using the Find command (below) for details.
To navigate through records within the Detail View window:
m Click the Previous and Next buttons or use the Left and Right Arrow keys on your keyboard.
Previous and
Next buttons
To find a key number:
m In the List View window, choose Keycode from the pop-up menu, then click the
Keycode column heading to sort by key number.
See “List View Window” on page 49 for more details.
Chapter 4 Creating and Using a Cinema Tools Database 91
To use the Find command to find records in the open database:
1 Open the Find dialog by doing one of the following:
 Click the Find button in the Detail View window.
 Choose Database > Find.
 Press Command-F.
2 Choose one of the following from the pop-up menu:
 Replace Existing: Found records replace the records displayed in the List View window.
 Add to Existing: Found records are added to the set in the List View window.
∏ Tip: The Add to Existing 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 Existing, enter 5 in the Scene field, then click Match. Then, choose
Add to Existing, enter 6 in the Scene field, and click Match. Only the records for scenes
5 and 6 appear in the List View window.
3 Do one of the following:
 To find all the records in the open database, leave the Scene and Take fields blank and
click Find All.
 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 Match button. (The
Take field is ignored unless you select the Exact checkbox.)
For example, if you enter 1 in the Scene field, then click Match, 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 scene 1A are found.
 To find the record for a specific scene and take, enter the scene and take identifiers in
the Scene and Take fields, select Exact, then click Match.
The found records appear in the List View window.
92 Chapter 4 Creating and Using a Cinema Tools Database
About Backing Up, Copying, Renaming, and Locking Databases
As is the case with all important data, it is wise to store backup copies of your
Cinema Tools database files and to lock the database files if you want to make sure
they are not modified or deleted. Do this by using any of the standard desktop
methods for copying and locking files. You can back up your files on your computer’s
hard disk or on separate removable media. 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 such links using the Reconnect command.
Accessing Information About a Source Clip
The Clip Analysis button in the Clip window gives you access to specific information
about a source clip.
The Clip Analysis dialog 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.
Chapter 4 Creating and Using a Cinema Tools Database 93
Information is also listed for each different 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 the data is self-contained or
referenced from another file. See “The Difference Between Self-Contained and
Referencing Clips” on page 126 for more information.
 For an audio track, you see the sample rate, sample size, whether it’s mono or stereo,
and whether the data is self-contained or referenced from another file.
94 Chapter 4 Creating and Using a Cinema Tools Database
5 Capturing Source Clips and
Connecting Them to the Database
5
Establishing the relationships between the source clips and
the Cinema Tools database is key to a successful project.
Once you have created the project database, it’s time to capture your source clips with
Final Cut Pro. (Source clips are the media files you start with when you begin editing.)
After capturing, you establish connections between the database records and the
source clips.
∏ Tip: Use the scenarios in “The Cinema Tools Workflow” on page 33 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
 how your hardware is set up for video capture
 considerations regarding the capture of audio
 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)
95
A Caution About Using OffineRT Media With Cinema Tools
When you capture media with the OfflineRT Easy Setup in Final Cut Pro, your
captured media is highly compressed, allowing you to capture more source clips to
your hard disk—approximately two hours of video per gigabyte (GB) of hard disk
space. However, 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 > 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, first 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.
96 Chapter 5 Capturing Source Clips and Connecting Them to the Database
Setting Up Your Hardware to Capture Accurate Timecode
Final Cut Pro’s ability to capture frame-accurate timecode for each clip is also
dependent upon the proper setup of your capture hardware. When using DV decks,
this is easy. In Final Cut Pro 3 and later, capturing video with a DV deck using FireWire
for both device control and video and audio input will result in 100 percent accurate
timecode. 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.
If You Are Capturing With a Serial Device Control Deck
Before you capture from a deck using serial device control, you need to take these
steps to ensure all-important timecode accuracy:
 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 5 Capturing Source Clips and Connecting Them to the Database 97
Calibrating the Timecode Offset
Even when your deck and video capture interface are genlocked together, if you are
going to use serial device control instead of FireWire device control to capture, it is still
essential to calibrate the capture offset (found in Final Cut Pro’s Device Control Preset
tab) prior to capture. To use serial device control, you need to make this setting once
per deck, per computer. For more information, see the section on 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:
 If you 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” on
page 109 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
after capturing. See “Making Adjustments to Audio Speed” on page 123.
 If you 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 audio 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.
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Generating a Batch Capture List From Cinema Tools
If you have a video deck with device control, such as a DV-format camera with FireWire
or a high-end video deck or camera, batch capture is the most convenient way to bring
media into your computer. With batch capture, you connect a video deck to your
computer and, based on a Cinema Tools–generated list of the source clips, Final Cut Pro
copies all of the source clips from the tape to your computer. In other words, when you
use batch capture, you do not need to use your video deck 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. 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.
Advantages of Using a Cinema Tools Batch Capture List
 Time savings: You can let Cinema Tools generate your batch capture list for you
instead of creating it manually yourself.
 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
because you can first batch capture your clips with Final Cut Pro and then generate a
database 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 Final Cut Pro Batch Capture List” on
page 71 for more information.
Chapter 5 Capturing Source Clips and Connecting Them to the Database 99
To generate a batch capture list from Cinema Tools and import it into
Final Cut Pro:
1 Make sure that the List View window displays the database records of the clips you
want to capture.
To display all of the records in the database, click Find All in the Find dialog. See
“Finding and Opening Database Records” on page 91 for details.
In the List View window,
display the database
records that you want to
connect clips to.
Important: The batch capture list will only include database records that have a video
reel, timecode start, and timecode duration. Also, any database records that are already
connected to a clip do not appear in the batch capture list.
2 Choose File > Export > Batch Capture.
3 In the Export dialog, choose what you want to capture, then click OK:
 Final Cut Pro Video: Choose this option to capture all video and audio contained in
the source clips. When you choose this option, the batch log includes the video reel
and video timecode entered in this 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 sound
timecode entered in this clip’s database record.
4 In the dialog that appears, select a location and enter a name for the batch capture list.
∏ 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.
5 In Final Cut Pro, choose File > Import > Batch List.
6 In the Final Cut Pro Batch List dialog, select the batch capture list you exported from
Cinema Tools, then click Open.
The clips appear in the Browser as offline clips, ready to be batch captured. See the
Final Cut Pro documentation for details on batch capturing
Important: If your video is non-drop frame timecode, make sure that Non-Drop Frame
is chosen from the Default Timecode pop-up menu in the Final Cut Pro Device Control
Presets tab before you begin capturing.
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