Apple CINEMA TOOLS 4 User Manual

Cinema Tools 4

User Manual

Apple Inc.

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Preface 7 An Introduction to Cinema Tools

Editing Film Digitally

Why 24p Video?

Working with 24p Sources

Offline and Online Editing

About This Manual

Apple Websites

Part I Using Cinema Tools

Chapter 1 17 Before You Begin Your Project

Before You Shoot Your Film

Which Film to Use?

Transferring Film to Video

Telecines

Transfer Techniques That Are Not Recommended

How Much Should You Transfer?

Frame Rate Basics

Working with NTSC Video

Working with PAL Video

Working with 24p Video

Timecode Considerations

Sound Considerations

Choosing an Audio Recorder

Choosing an Audio Timecode Format

Mixing the Final Audio

Synchronizing the Audio with the Video

Working in Final Cut Pro

Setting the Editing Timebase for Sequences

Outputting to Videotape When Editing at 24 fps

Using Effects

Chapter 2 35 The Cinema Tools Workflow

Basic Workflow Steps

Creating the Cinema Tools Database

Capturing the Source Clips

Connecting the Clips to the Database

Preparing the Clips for Editing

Editing the Clips in Final Cut Pro

Generating Film Lists and Change Lists with Cinema Tools

Cinema Tools Workflow Examples

How Much Can Be Done from Final Cut Pro?

If You Used Scene-and-Take Transfers

If You Used Camera-Roll Transfers

Chapter 3 51 The Cinema Tools Interface

Cinema Tools Windows and Dialogs

Dialogs in Final Cut Pro and Cinema Tools

Chapter 4 67 Creating and Using a Cinema Tools Database

Deciding How You Should Create the Database

Capturing Before You Create the Database

If You Have a Telecine Log or ALE File

If You Do Not Have a Telecine Log or ALE File

Additional Uses for the Database

Creating and Configuring a New Database

Creating a New Database Using Cinema Tools

Creating a New Database Using Final Cut Pro

Settings in the New Database Dialog

Working with the Database

Opening an Existing Database

78 79

Finding and Opening Database Records

Backing Up, Copying, Renaming, and Locking Databases

Accessing Information About a Source Clip

Entering Information in the Database

Importing Database Information

Entering Database Information Manually

Using the Identify Feature to Enter and Calculate Database Information

10 0

Modifying Information in the Database

10 0

Deleting a Database Record

101

Choosing a Different Poster Frame for a Clip

10 2

Changing the Default Database Settings

10 2

Changing All Reel or Roll Identifiers

10 3

Verifying and Correcting Edge Code and Timecode Numbers

Contents

Chapter 5 105 Capturing Source Clips and Connecting Them to the Database

10 5

Preparing to Capture

10 6

Avoiding Dropped Frames

10 7

Setting Up Your Hardware to Capture Accurate Timecode

10 8

Considerations Before Capturing Audio

10 8

Generating a Batch Capture List from Cinema Tools

11 4

Considerations Before Capturing Clips Individually

11 4

Connecting Captured Source Clips to the Database

11 6

Using the Connect Clips Command to Connect Source Clips

117

Using the Detail View Window to Connect and Disconnect Source Clips

11 8

Using the Clip Window to Connect or Disconnect Source Clips

12 0

Fixing Broken Clip-to-Database Links

12 0

Reconnecting Individual Clips That Have Been Renamed or Moved

12 0

Locating Broken Links and Reconnecting Groups of Clips That Have Been Moved

Chapter 6 123 Preparing the Source Clips for Editing

12 3

Determining How to Prepare Source Clips for Editing

12 5

Using the Conform Feature

12 7

Reversing the Telecine Pull-Down

13 7

Making Adjustments to Audio Speed

13 8

Synchronizing Separately Captured Audio and Video

13 9

Dividing or Deleting Sections of Source Clips Before Editing

Chapter 7 143 Editing with Final Cut Pro

14 3

About Easy Setups and Setting the Editing Timebase

14 4

Working with 25 fps Video Conformed to 24 fps

14 6

Displaying Film Information in Final Cut Pro

151

Opening Final Cut Pro Clips in Cinema Tools Restrictions for Using Multiple Tracks

151 15 2

Using Effects, Filters, and Transitions

157

Tracking Duplicate Uses of Source Material

15 8

Ensuring Cut List Accuracy While Editing 3:2 Pull-Down or 24 & 1 Video

Chapter 8 159 Generating Film Lists and Change Lists

160

Choosing the List Format

161

Lists You Can Export

166

Exporting Film Lists Using Final Cut Pro

17 3

Creating Change Lists

Chapter 9 181 Export Considerations and Creating Audio EDLs

18 2

Considerations When Exporting to Videotape

18 2

Considerations When Exporting Audio

183

Exporting an Audio EDL

Contents

Chapter 10 189 Working with External EDLs, XML, and ALE Files

18 9

Creating EDL-Based and XML-Based Film Lists

19 4

Working with ALE Files

Part II Working with 24p Video

Chapter 11 199 Working with 24p Video and 24 fps EDLs

200

Considerations When Originating on Film

201

Editing 24p Video with Final Cut Pro

201

Using One Final Cut Pro System for Both 24p Offline and Online Editing

202

Using 24p Video with Final Cut Pro and Cinema Tools

203

Using Final Cut Pro as a 24p Online Editor

205

Using Final Cut Pro as a 24p Offline Editor

208

Adding and Removing Pull-Down in 24p Clips

209

Working with 2:3:3:2 Pull-Down

211

Removing 2:3:3:2 Pull-Down with Final Cut Pro

211

Removing 2:3:3:2 or 2:3:2:3 Pull-Down with Cinema Tools

215

Pull-Down Patterns You Can Apply to 23.98 fps Video

217

Adding Pull-Down to 23.98 fps Video

217

Using Audio EDLs for Dual System Sound

Part III Appendixes

Appendix A 221 Background Basics

221

Film Basics

226

Editing Film Using Traditional Methods

228

Editing Film Using Digital Methods

Appendix B 233 How Cinema Tools Creates Film Lists

235

About the Clip-Based Method

235

About the Timecode-Based Method

Appendix C 237 Solutions to Common Problems and Customer Support

237

Solutions to Common Problems

239 Contacting AppleCare Support

Glossary 241

Index 249

Contents

An Introduction to Cinema Tools

Cinema Tools with Final Cut Pro gives unprecedented power to film and 24p video editors.

In today’s post-production environment, it’s common for editors and filmmakers to find themselves faced with a confounding array of formats, frame rates, and workflows encompassing a single project. Projects are often shot, edited, and output using completely different formats at each step. For editors and filmmakers who specifically want to shoot and finish on film, Cinema Tools becomes an essential part of the post-production 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 frames per second (fps) video. For NTSC, this includes a Reverse Telecine feature that removes the extra frames added during the 3:2 pull-down process commonly used when transferring film to video or when downconverting 24p video.

Cinema Tools, in combination with Final Cut Pro, provides tools designed to make both editing film digitally and working with 24p video easier and more cost effective, providing functionality previously found only on high-end or very specialized editing systems.

The integration between Cinema Tools and Final Cut Pro makes it possible to perform the most common Cinema Tools tasks directly from Final Cut Pro—Cinema Tools performs the tasks automatically in the background.

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. If you are shooting with 35mm or 16mm film and want to edit digitally and finish on film, Cinema Tools allows you to edit video transfers from your film using Final Cut Pro and then generate an accurate cut list that can be used to finish the film.

Even if you do not intend to conform the original camera negative, Cinema Tools provides a variety of tools for capturing and processing your film’s video.

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.

8 Preface An Introduction to Cinema Tools

This is where Cinema Tools comes in. Cinema Tools tracks the relationship between the original camera negative and the video transfer. Once you have finished editing with Final Cut Pro, you can use Cinema Tools to generate a cut list based on the edits you made. Armed with this list, a negative cutter can transform the original camera negative into the final film.

Shoot film

Convert film

to video

Original camera negative

Edit in Final Cut Pro

with Cinema Tools

Conform

original camera

negative

Cut list

Create release

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 about how the video clips are being used and generates the cut list required to transform the original camera negative into the final edited movie.

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 post-production facility.

It’s important to understand that you use Final Cut Pro only to make the edit decisions—the final edited video output is not typically used, since the video it is edited from generally is compressed and includes burned-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 (HD) video standards and the desire for worldwide distribution have 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.

24p video provides all this. It uses the same 24 fps rate as film, making it possible to take advantage of existing conversion schemes to create NTSC and PAL versions of your project. It uses progressive scanning to create an output well suited to being projected on large screens and converted to film.

Additionally, 24p video makes it possible to produce high-quality 24 fps telecine transfers from film. These are very useful when you intend to broadcast the final product in multiple standards.

Working with 24p Sources

With the emergence of 24p HD video recorders, there is a growing need for Final Cut Pro to support several aspects of editing at 24 fps (in some cases, actually

23.98 fps). To this end, Final Cut Pro and Cinema Tools provide the following:

Â The import and export of 24 fps and 23.98 fps EDLs

Â The ability to convert NTSC 29.97 fps EDLs to 23.98 fps or 24 fps EDLs

Â A Reverse Telecine feature to undo the 3:2 pull-down used when 24 fps film or video

is converted to NTSC’s 29.97 fps

Â The ability to remove 2:3:3:2 or 2:3:2:3 pull-down from NTSC media files so you can

edit at 24 fps or 23.98 fps

Â The ability to output 23.98 fps video via FireWire at the NTSC standard of

29.97 fps video

Â 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. See “Frame Rate Basics” on page 22 for more information about working with the different frame rates.

10 Preface An Introduction to Cinema Tools

Offline and Online Editing

If you are working with a high-resolution 24p format, such as uncompressed HD video, you may need to make lower-resolution copies of your footage to maximize your computer’s disk space and processing power. In this case, there are four basic steps to the editing process:

Â Production (generating the master video): Transfer film to or natively shoot on

uncompressed 24p HD video.

Â Offline edit: Convert footage to NTSC or PAL video (which is generally

lower-resolution than 24p) and edit it.

Â Project interchange: Export a Final Cut Pro project or an EDL containing your final

edit decisions.

Â Online edit: Replace low-resolution footage and create a full-resolution master.

For more information see “Editing 24p Video with Final Cut Pro” on page 201.

24p master

source

NTSC or PAL video

Final Cut Pro with Cinema Tools

Capture

video

24p video

(offline edit)

Convert

to 24 fps

Edit

clips

Online edit

(24 fps)

24 fps EDL

Edited 24p

master

About This Manual

This manual documents not only all aspects of using the Cinema Tools application, but also all related functions within Final Cut Pro.

This manual is a fully hyperlinked PDF document enhanced with many features that make locating information quick and easy.

Â The access page provides quick access to various features, including the index and

the Cinema Tools website.

Â 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.

Â 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.

Â 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.

Â You can also use the search field to search the text for a specific word or phrase.

Preface An Introduction to Cinema Tools 11

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.

Â 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 221.

Â 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.

Â If you’re interested in the 24p aspects of using both Final Cut Pro and Cinema Tools,

see Part II, “Working with 24p Video” on page 197.

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.

Apple Websites

There are a variety of Apple websites that contain information to help you take full advantage of the power of Cinema Tools and your Apple system.

Cinema Tools Website

For general information and updates, as well as the latest news about Cinema Tools, go to:

Â http://www.apple.com/finalcutstudio/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:

Â 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:

Â http://www.apple.com/support/cinematools

12 Preface An Introduction to Cinema Tools

Other Apple Websites

Start at the Apple homepage to find the latest and greatest information about Apple products:

Â 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 about the types of media supported, a tour of the QuickTime interface, specifications, and more:

Â 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 high-speed hard disk drives. Visit this website for information about FireWire technology and available third-party FireWire products:

Â http://www.apple.com/firewire

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:

Â 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:

Â 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:

Â http://www.apple.com/store

Preface An Introduction to Cinema Tools 13

Part I: Using Cinema Tools

This section details 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 with Final Cut Pro

Chapter 8 Generating Film Lists and Change Lists

Chapter 9 Export Considerations and Creating Audio EDLs

Chapter 10 Working with External EDLs, XML, and ALE Files

1 Before You Begin Your Project

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 about many of the issues you will face:

Â Which film to use

Â Choices for transferring the film to video

Â Frame rate issues between the film, your video standard, and your editing timebase

Â Sound issues such as which recorder and timecode to use and how to synchronize

the sound with the video

Â Issues with Final Cut Pro such as selecting a sequence timebase and using effects

Note: Much of this information is very general in nature and is not intended to serve as a complete guide to filmmaking. The digital filmmaking industry changes rapidly, so what you read here is not necessarily the final word.

Before You Shoot Your Film

Before you begin your project, make sure to discuss it with all parties involved in the process:

Â Those providing equipment or supplies used during the production

Â Those involved in the actual production

Â The facility that will develop your film, create workprints, and create the release print

Â The video transfer facility

Â The editor using Cinema Tools and Final Cut Pro (if it is not you)

Â The negative cutter

Â The audio post-production facility

These are people who are experts in their fields. They can provide invaluable information that can make the difference between a smooth, successful project and one that seems constantly to run into obstacles.

Be Careful How You Save Money

There are a number of times throughout the film production process when you will get to choose between “doing it right” and “doing it well 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 post-production 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, 3-perf 35mm, and 16mm-20 film formats. See “Film Basics” on page 221 for details about 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 Part I Using Cinema Tools

Transferring Film to Video

In order to digitally edit your film, you need to transfer it to video so that it can be captured by the computer. There are a few ways to do this, but an overriding requirement is that there be a reliable way to match the film’s key numbers to the edited video’s timecode. This relationship allows Cinema Tools to accurately calculate specific key numbers based on each edit’s In and Out point timecode values.

You also need to make decisions regarding film and video frame rates used during the transfer. These affect the editing timebase and impact the accuracy of the cut list that Cinema Tools generates.

Telecines

By far the most common method of transferring film to video is to use a telecine. Telecines are devices that scan each film frame onto a charge-coupled device (CCD) to convert the film frames into video frames. 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.

Chapter 1 Before You Begin Your Project 19

But What If You Want a Clean Master?

If you plan to conform the original camera negative, the presence of burned-in timecode and key numbers on the video clips you edit in Final Cut Pro may not be a problem, especially if you are working with a highly compressed video format.

The burned-in numbers can be a problem, however, if you intend to use the edited video for screenings or for broadcast. As valuable as they are to the editor, the burned-in numbers can be distracting when watching an edited project. There are two common methods you can use to minimize this problem:

Â Letterbox the video during capture using a 2:35 aspect ratio so that there is

enough room below the video to show the numbers.

Â Flash the burn-in information on the first frame only. While not quite as useful as a

continuous burn-in, this does provide the editor with the ability to ensure that the relationship of the edge code to the timecode is correct.

In most cases, telecines produce a log file that can provide the basis for the Cinema Tools database. This allows you to automate capturing the video into the computer.

Increasingly, telecine facilities can also capture the video clips for you, providing the clips on a DVD disc or FireWire drive, along with the telecine log and videotapes.

Transfer Techniques That Are Not Recommended

There are a couple of transfer techniques that are worth mentioning just to point out why you should not use them.

Film Chains

You should avoid using a film chain if at all possible. Film chains are relatively old technology, as compared to telecines. A film chain is basically a film projector linked to a video camera. Film chains typically do not support features such as reading the key numbers or controlling video recorders, and they cannot create a positive video from a film negative. You must create a workprint to use a film chain.

Using a film chain is usually less expensive than using a telecine, although the cost of creating a workprint partly offsets the lower cost. The biggest challenge is being able to define the relationship between the film’s key 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.

20 Part I Using Cinema Tools

Recording a Projected Image with a Camcorder

Because of the greatly increased chances for error and the additional time you have to spend tracking key numbers, this method of transfer is strongly discouraged and should not be considered.

Projecting your film and recording the results using a video camcorder is a method that, 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.

How Much Should You Transfer?

Deciding how much of your film to transfer to video depends on a number of issues, the biggest one probably being cost. The amount of time the telecine operator spends on the transfer determines the cost. Whether it is more efficient to transfer entire rolls of film (a “camera-roll” transfer), including bad takes and scenes that won’t be used, or to spend time locating specific takes and transferring only the useful ones (a “scene-and-take” transfer) needs to be determined before starting.

Camera-Roll Transfers

Cinema Tools uses a database to track the relationship between the film key numbers and the video and audio timecode numbers. The database is designed to have a record for each camera take, but this is not required. If you transfer an entire roll of film continuously to videotape, Cinema Tools needs only one record to establish the relationship between the key numbers and the video timecode. All edits using any portion of that single large clip can be accurately matched to the original camera negative’s key numbers. A drawback to this transfer method is the large file sizes, especially if significant chunks of footage will not be used.

Chapter 1 Before You Begin Your Project 21

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, a single large clip can be broken into smaller ones, allowing you to delete the excess video. Even with multiple clips, it is possible for Cinema Tools to generate a complete cut list with only one database record. Another approach is to manually add additional records for each clip, allowing you to take advantage of the extensive database capabilities of Cinema Tools. See “Creating the Cinema Tools

Database” on page 36 for a detailed discussion of these choices.

Scene-and-Take Transfers

Scene-and-take transfers are a bit more expensive than camera-roll transfers, but they offer significant advantages:

Â Scene-and-take transfers make it easier to synchronize audio during the transfer.

Â Since the telecine log contains one record per take, it establishes a solid database

when imported into Cinema Tools.

Â 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) or

23.98 fps, although 25 fps is often used when the final project is to be delivered as PAL video. Video can have a 29.97 fps rate (NTSC), a 25 fps rate (PAL), or either a 24 fps or

23.98 fps rate (24p), depending on your video standard.

The frame rate of your video (whether you sync the audio during the telecine transfer or not) and the frame rate you want to edit at can determine what you need to do to prepare your clips for editing. You may find it useful to read “Determining How to Prepare

Source Clips for Editing” on page 123 before you make any decisions about frame rates.

22 Part I Using Cinema Tools

ABCD

AAB B B C C DDD

Field1Field2Field1Field

Field1Field

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 (because of its impact on audio synchronization, explained in “Synchronizing the Audio with the

Video” on page 31).

Another issue is how to distribute film’s 24 fps among NTSC video’s 29.97 fps. You have two options:

Â Perform a 3:2 pull-down

Â Run the film at 29.97 fps

Performing a 3:2 Pull-Down

The most common approach to distributing film’s 24 fps among NTSC video’s 29.97 fps is to perform a 3:2 pull-down (also known as a 2:3:2:3 pull-down). If you alternate recording two fields of one film frame and then three fields of the next, the 24 frames in 1 second of film end up filling the 30 frames in 1 second of video.

Note: The actual NTSC video frame rate is 29.97 fps. The film frame rate is modified to

23.98 fps in order to create the 3:2 pattern.

Before

(23.98 fps)

After

(29.97 fps)

3:2 Pull-Down

ABCDA DABCDABCDABCDABCD

AABBBCCDDDAABBBCCDDDAABB CCDDDAAB BBCCDDDABABBCCDDBD

ABABBCCDDD

One second

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.

Chapter 1 Before You Begin Your Project 23

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 to maintain synchronization. For this reason, if you edit 3:2 pull-down video, the Cinema Tools cut list is only accurate to within +/– 1 frame on each edit.

This accuracy issue is easily resolved by using the Reverse Telecine feature (or third-party hardware or software) to remove the extra fields and restore the film’s original 24 fps rate before you begin editing digitally, providing a one-to-one relationship between the video and film frames. Setting the Final Cut Pro editing timebase in the Sequence Preset Editor to 24 fps (or 23.98 fps—see “Synchronizing the Audio with the Video” on page 31) allows you to edit the video and generate a very accurate cut list. See “Determining How

to Prepare Source Clips for Editing” on page 123 for more information about 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 has all its fields contained within one 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 134 for more information.

Running the Film at 29.97 fps

Another NTSC video transfer option is to run the film at 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. Because of audio synchronization considerations, this method is not often used or recommended.

24 Part I Using Cinema Tools

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, or the 24 @ 25 pull-down 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.

One second

12345 89101112131415161718192021222324

22334455667788991010111112121313141415151616171718

18 19 20 21 22 23 24

19 20 21 22 23 24

First frame of next second

24 fps

25 fps

Note: Final Cut Pro includes an Easy Setup and sequence preset with “24 @ 25” in their names, as well as a timecode format named “24 @ 25.” These are all intended to be used with clips that originated as PAL 25 fps video but have been conformed to 24 fps video. See “Working with 25 fps Video Conformed to 24 fps” on page 144 for more information.

24 &1 Method

Adding two extra video fields per second (also known as the 24 @ 25 pull-down method in Final Cut Pro) has the advantage of maintaining the original film speed, at the expense of losing the one-to-one film-to-video frame relationship. This method records an extra video field every twelfth film frame.

One second

1 2 3 4 5 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1122334455667788991010111112

6 7

12 13 14 15 1 6 17 18 19 2 0 21 2 2 2 3

13 14 15 16 17 18 19 20 21 22 23 24

Repeated field Repeated field

24 fps

25 fps

Chapter 1 Before You Begin Your Project 25

Working with 24p Video

With its frame rate and progressive scanning, 24p video is well suited for use with telecine transfers. It uses the same frame rate as film, providing a one-to-one relationship between the film and video frames without 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 208 for more information.

Note: When used as part of an NTSC system, the 24p videotape recorder’s (VTR’s) frame rate is actually 23.976 fps (referred to as 23.98 fps) to be compatible with the NTSC

29.97 fps rate.

Timecode Considerations

There are several general issues related to timecode that you should be aware of. If you’re using NTSC video, you can also choose between two timecode formats.

General Timecode Tips

When using video or audio equipment that allows you to define the timecode setting, it is recommended that you set the “hours” part of the timecode to match the tape’s reel number. This makes it much easier to recognize which reel a clip originated from. It is also best to avoid “crossing midnight” on a tape. This happens when the timecode turns over from 23:59:59:29 to 00:00:00:00 while the tape is playing.

You have the option to use record run or free run timecode during the production:

Â 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.

Â Free run timecode: The timecode generator runs continuously. Your tape ends up

with a timecode break each time you start recording.

To avoid potential issues while capturing clips, it is strongly suggested that you use the record run method, which avoids noncontinuous timecode within a tape.

Whenever a tape has noncontinuous timecode (with jumps in the numbers between takes), make sure to allow enough time (handles) for the pre-roll and post-roll required during the capture process when logging your clips. See the Final Cut Pro documentation for additional information about timecode usage.

26 Part I Using Cinema Tools

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 actual frame rate of

29.97 fps is a little less than 30 fps, non-drop frame timecode ends up being slow (by 3 seconds and 18 frames per hour) when compared to actual elapsed time.

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, make sure to use the same for both the video and audio tapes.

Note: PAL timecode does not have this issue—it runs at a true 25 fps.

What Happens to the Timecode After Using Reverse Telecine?

The Reverse Telecine feature (used to change 29.97 fps video to 23.98 fps video) directly affects the timecode of the video frames. Because Cinema Tools must generate new

23.98 fps timecode for the frames (based on the original timecode), you may see a difference between the burned-in timecode numbers and the numbers shown in Final Cut Pro. Though the timecode discrepancies between the window burn and Final Cut Pro timecode may be confusing, Cinema Tools tracks the new timecode of the

23.98 fps video and is able to match it back to its original NTSC or PAL values, and thus back to the film’s key numbers.

Note: The Reverse Telecine feature is most often used to convert the NTSC video to

23.98 fps to match the audio timecode, but it can also convert the video to 24 fps.

Chapter 1 Before You Begin Your Project 27

This is what happens to the timecode: reverse telecine removes six frames per second, so the timecode numbers continue to match at the beginning of each second. This means that a clip that lasts for 38 seconds when played at its NTSC rate of 29.97 fps will still last for 38 seconds when played at the reverse-telecined rate of 23.98 fps.

Clip start

1:0

1:01

1:0

1:03

1:0

1:00 1:11

1:0

1:0 6

1:04

1:05 1:16

1:0 7

1:0

1:10

1:09

1:0

Reverse-telecined video frames (23.98 fps)

In the above illustration, the blue NTSC fields represent those that are removed during the reverse telecine process on a clip using traditional 3:2 pull-down. (See “Adding and

Removing Pull-Down in 24p Clips” on page 208 for information about 2:3:3:2 pull-down.)

The window burn NTSC timecode will be different from what Final Cut Pro shows for all frames except the first one of each second, regardless of the clip’s length.

What Happens to the Timecode After Using Conform?

There are three common situations you would use the Conform feature for:

Â Converting PAL 25 fps video to 24 fps: The timecode is not changed, which ensures

that an EDL exported after the clips are edited will accurately refer to the original PAL timecode. The drawback is that the timecode, at 25 fps, no longer accurately represents the true passage of time when played at 24 fps since each frame is displayed for a slightly longer time. See “Working with 25 fps Video Conformed to 24

fps” on page 144 for more information.

Â Conforming 29.97 fps video to 29.97 fps: The timecode is not changed. This process is

used to correct issues in a QuickTime file prior to using the Reverse Telecine feature. See Appendix C, “Solutions to Common Problems and Customer Support,” on page 237 for more information.

Â Converting NTSC 29.97 fps video to 23.98 fps: The timecode is altered, with a number

skipped every five frames. This conform situation is rarely used.

NTSC video frames (29.97 fps)

1:12

1:13

1:15

1:0

1:14

1:1

1:17

1:1

One secondDiscarded fields

1:181:08

1:19

1:1

1:20

1:1

1:21

1:1

1:2

1:1

1:23

1:2 5

1:24

1:26

1:201:2

1:1

1:2 7

1:221:2

1: 29

1:2 8

3 2:00 2:01 2:02

2:00 2:01 2:02

See “Using the Conform Feature” on page 125 for more information.

28 Part I Using Cinema Tools

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:

Â What type of audio recorder to use

Â What timecode format to use

Â How to mix the final audio

Â How to synchronize the audio with the video

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, make sure the recorder has timecode capability.

Choosing an Audio Timecode Format

Unlike video or film, which must be structured with a specific frame rate, audio is linear with no physical frame boundaries. Adding timecode to audio is simply a way to identify points in time, making it easier to match the audio to video or film frames.

During the shoot, you have the choice of which audio timecode standard to use (typically 30 fps, 29.97 fps, 25 fps, 24 fps, or 23.98 fps). You also have the choice, with 30 fps and

29.97 fps, of using drop frame or non-drop frame timecode. For NTSC transfers, it is highly recommended that you use non-drop frame timecode for both the video and audio (although Cinema Tools can work with either). See “About NTSC Timecode” on page 27 for more information about drop frame and non-drop frame timecode.

A consideration for the audio timecode setting is how the final audio will be mixed:

Â 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.

Â If the final mix is to be completed at an audio post-production facility: The timecode

needs to be compatible with the facility’s equipment.

Note: Make sure to consult with the facility and make this determination before the shoot begins.

In general, if you are syncing the audio during the telecine transfer, the timecode should match the video standard (29.97 fps for NTSC, 25 fps for PAL, or 24 fps for 24p). Check with your sound editor before you shoot to make sure the editor is comfortable with your choice.

Chapter 1 Before You Begin Your Project 29

Mixing the Final Audio

The way you mix the final audio depends on how complicated the soundtrack is (multiple tracks, sound effects, and overdubbing all add to its complexity) and your budget. You can either finish the audio with Final Cut Pro or have it finished at a post-production facility.

Finishing the Audio with Final Cut Pro

If you capture high-quality audio clips, you can finish the audio for your project with Final Cut Pro, which includes sophisticated 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 an audio post-production 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 Open Media Framework (OMF) file for use at an audio post-production facility. An exported OMF file contains not only the information about audio In and Out points, but also the audio itself. This means that, for example, any sound effects clips you may have added are included. When you use an OMF file, the recording quality must be as high as possible, as this is what the audience will hear. Make sure to use a good capture device and observe proper recording levels.

Exporting Audio EDLs

Another approach is to use lower-quality clips in Final Cut Pro and then export an audio Edit Decision List (EDL) for use at an audio post-production facility. There they can capture high-quality versions of the audio clips straight from the original production sound source and edit them based on the audio EDL. For this to work, the timecode and reel numbers of the original audio tapes must be kept track of and used to create the audio EDL.

Audio clips captured as part of video clips do not retain their original timecode and reel numbers, and the Final Cut Pro EDL cannot be used by an audio post-production facility. This is most common with clips created from scene-and-take transfers, where the audio is synchronized to the film and recorded onto the videotape, losing the original audio timecode. But because the telecine log from the transfer generally contains timecode and reel number information for both the video and audio, importing this log into the Cinema Tools database allows the database to track audio usage, and you can export an audio EDL from Cinema Tools once you finish editing.

See “Exporting an Audio EDL” on page 183 for details about the process.

30 Part I Using Cinema Tools

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