Cinema Tools 4
User Manual
K
Apple Inc.
Copyright © 2007 Apple Inc. All rights reserved.
Your rights to the software are governed by the
accompanying software license agreement. The owner
or authorized user of a valid copy of Final Cut Studio
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without the prior written consent of Apple may
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information in this manual is accurate. Apple is not
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Note: Because Apple frequently releases new versions
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different from what you see on your screen.
Apple Inc.
1 Infinite Loop
Cupertino, CA 95014–2084
408-996-1010
www.apple.com
Apple, the Apple logo, Final Cut, Final Cut Pro,
Final Cut Studio, FireWire, Mac, Mac OS, Monaco, and
QuickTime are trademarks of Apple Inc., registered in
the U.S. and other countries.
Cinema Tools, Finder, and OfflineRT are trademarks of
Apple Inc.
AppleCare and Apple Store are service marks of
Apple Inc., registered in the U.S. and other countries.
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.
Production stills from the film “Koffee House Mayhem”
provided courtesy of Jean-Paul Bonjour. “Koffee House
Mayhem” © 2004 Jean-Paul Bonjour. All rights reserved.
http://www.jbonjour.com
Production stills from the film “A Sus Ordenes”
provided courtesy of Eric Escobar. “A Sus Ordenes”
© 2004 Eric Escobar. All rights reserved.
http://www.kontentfilms.com
1
Contents
Preface 7 An Introduction to Cinema Tools
8
Editing Film Digitally
10
Why 24p Video?
10
Working with 24p Sources
11
Offline and Online Editing
11
About This Manual
12
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
23
Working with NTSC Video
25
Working with PAL Video
26
Working with 24p Video
26
Timecode Considerations
29
Sound Considerations
29
Choosing an Audio Recorder
29
Choosing an Audio Timecode Format
30
Mixing the Final Audio
31
Synchronizing the Audio with the Video
33
Working in Final Cut Pro
33
Setting the Editing Timebase for Sequences
33
Outputting to Videotape When Editing at 24 fps
33
Using Effects
3
Chapter 2 35 The Cinema Tools Workflow
35
Basic Workflow Steps
36
Creating the Cinema Tools Database
39
Capturing the Source Clips
41
Connecting the Clips to the Database
42
Preparing the Clips for Editing
43
Editing the Clips in Final Cut Pro
43
Generating Film Lists and Change Lists with Cinema Tools
44
Cinema Tools Workflow Examples
44
How Much Can Be Done from Final Cut Pro?
46
If You Used Scene-and-Take Transfers
47
If You Used Camera-Roll Transfers
Chapter 3 51 The Cinema Tools Interface
51
Cinema Tools Windows and Dialogs
62
Dialogs in Final Cut Pro and Cinema Tools
Chapter 4 67 Creating and Using a Cinema Tools Database
69
Deciding How You Should Create the Database
69
Capturing Before You Create the Database
69
If You Have a Telecine Log or ALE File
70
If You Do Not Have a Telecine Log or ALE File
72
Additional Uses for the Database
72
Creating and Configuring a New Database
72
Creating a New Database Using Cinema Tools
73
Creating a New Database Using Final Cut Pro
75
Settings in the New Database Dialog
78
Working with the Database
Opening an Existing Database
78
79
Finding and Opening Database Records
82
Backing Up, Copying, Renaming, and Locking Databases
82
Accessing Information About a Source Clip
83
Entering Information in the Database
83
Importing Database Information
88
Entering Database Information Manually
98
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
4
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
5
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
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 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.
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. 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
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 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:
 The import and export of 24 fps and 23.98 fps EDLs
 The ability to convert NTSC 29.97 fps EDLs to 23.98 fps or 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 29.97 fps
 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
 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. 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:
 Production (generating the master video): Transfer film to or natively shoot on
uncompressed 24p HD video.
 Offline edit: Convert footage to NTSC or PAL video (which is generally
lower-resolution than 24p) and edit it.
 Project interchange: Export a Final Cut Pro project or an EDL containing your final
edit decisions.
 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.
 The access page provides quick access to various features, including 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 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.
 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.
 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 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:
 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:
 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.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:
 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:
 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:
 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:
 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
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
I
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
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 about 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
the sound 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. 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:
 Those providing equipment or supplies used during the production
 Those involved in 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 post-production facility
17
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
I
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:
 Letterbox the video during capture using a 2:35 aspect ratio so that there is
enough room below the video to show the numbers.
 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
I
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:
 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) 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
2
Field1Field
2
Field1Field
2
Field1Field
2
I
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:
 Perform a 3:2 pull-down
 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
BC
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
I
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
1
1
22334455667788991010111112121313141415151616171718
67
18 19 20 21 22 23 24
19 20 21 22 23 24
First frame of next second
24 fps
1
25 fps
1
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
12
13 14 15 16 17 18 19 20 21 22 23 24
Repeated field Repeated field
24 fps
24
25 fps
24
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:
 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.
 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
I
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
2
1:0
1:01
0
1:0
1:03
1
1:0
2
1:00 1:11
1:0
1:0 6
1:04
1:05 1:16
1:0 7
1:0
3
1:0
4
1:0
5
1:0
1:10
1:09
6
1:0
7
1:0
8
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:
 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.
 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.
 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
1:1
1
0
9
1:1
1:17
2
1:1
3
1:1
One secondDiscarded fields
1:181:08
1:19
4
1:1
5
1:20
1:1
6
1:21
1:1
1:2
2
7
1:1
1:23
1:2 5
1:24
1:26
1:201:2
1:1
9
8
1:2 7
1
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
I
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 format to use
 How to mix the final audio
 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:
 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 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
I
Synchronizing the Audio with the Video
The production sound for a film is recorded separately on an audio recorder; this is known
as dual (or double) system recording. 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.
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.
Chapter 1 Before You Begin Your Project 31
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 post-production
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 31. Once you synchronize two or more clips, you can
link them together as one clip, using the Final Cut Pro merged clips feature. See
“Synchronizing Separately Captured Audio and Video” on page 138, and the
Final Cut Pro documentation, for more information.
32 Part I Using Cinema Tools
I
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 “About Easy Setups and Setting the Editing Timebase” on page 143 and the
Final Cut Pro documentation for details about 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 215 for
details. There are also third-party cards and applications that can perform a
3:2 pull-down on the video, allowing it to run at the NTSC 29.97 fps rate.
 If you’re working with PAL video: If 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, Filters, and Transitions” on
page 152 for more information, including an outline of the basic workflow for including
effects and transitions in your digitally edited film.
Chapter 1 Before You Begin Your Project 33
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 (each of these steps is discussed in
detail in the following sections):
Step 1: Create the Cinema Tools database
2
Step 2: Capture the source clips with Final Cut Pro
Step 3: Connect the clips to the database
Step 4: Prepare the clips for editing
Step 5: Edit the clips in Final Cut Pro
Step 6: Create cut lists and other lists with Cinema
35
Tools
Creating 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.
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 159 and Appendix B,
“How Cinema Tools Creates Film Lists,” on page 233 for details about this process and
the missing elements list.
36 Part I Using Cinema Tools
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A Detailed or Simple Database?
Cinema Tools is designed to allow 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.
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 using Cinema Tools or Final Cut Pro.
You can choose either method according to your workflow.
In both cases, you have the option of assigning a camera letter, which is appended to the
take entries, to the import. This is useful in those cases where multiple cameras were used
for each take. See “Assigning Camera Letters” on page 84 for more information.
See “Importing Database Information from a Telecine Log or ALE File” on page 83 for
more information about importing telecine logs.
Importing Telecine Logs Using Cinema Tools
To import a telecine log into Cinema Tools, you must first have a database open. The
database can be an existing one that you want to add new records to, or it can be a
new one with no records.
Once the records have been imported, you can export a batch capture list from
Cinema Tools that you can import into Final Cut Pro to automate the clip capture process.
Chapter 2 The Cinema Tools Workflow 37
Importing Telecine Logs Using Final Cut Pro
When you import a telecine log using Final Cut Pro, you choose whether to import it
into an existing Cinema Tools database or whether a new database should be created.
As records are added to the selected Cinema Tools database, each record also creates
an offline clip in the Final Cut Pro Browser so that clips can be batch captured. The
film-related information from the telecine log is automatically added to each clip. You
can show this information in a variety of ways while editing the clips in Final Cut Pro.
See “Displaying Film Information in Final Cut Pro” on page 146 for more information.
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.
Each record in a database must refer to a media file that has continuous timecode and
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 require only 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 the video reel and edit point
information is part of a record.
To manually enter database records, you need to know the key number and video
timecode number 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 67 for details
about creating and managing Cinema Tools databases.
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 detection. 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. Make 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.
38 Part I Using Cinema Tools
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Capturing 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, make 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 107 for more information about
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.
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.
Important: Do not use temporal compression codecs, such as MPEG-2. In addition to
being difficult to edit, these files cannot take advantage of the Reverse Telecine feature.
Chapter 2 The Cinema Tools Workflow 39
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 value.
For more information about device control, see the Final Cut Pro documentation.
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 requires only 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 the Final Cut Pro 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 the tape is captured, you can use Final Cut Pro to
create subclips of the useful takes, and then delete the unused material.
See Chapter 5, “Capturing Source Clips and Connecting Them to the Database,” on
page 105 for details about capturing clips.
40 Part I Using Cinema Tools
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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 the Final Cut Pro 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.
Finishing with High-Quality Video
When you intend to provide a high-quality video output when you have finished the
project, there are several issues you might need to consider.
When capturing video for the initial offline edit, you can capture with relatively high
compression and include burned-in timecode and key numbers. The compression
makes it easier for your computer to work with the video and requires less hard disk
space, allowing you to capture more video to use for making your edit decisions.
Once you have finished the offline edit, you can use Final Cut Pro to recapture just the
video actually used in the edits, using a high-quality codec and a version of the video
without burned-in timecode and key numbers.
See Chapter 11, “Working with 24p Video and 24 fps EDLs,” on page 199 for more
information about this process. Also see your Final Cut Pro documentation for more
information about offline and online editing workflows.
Connecting 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 to 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 the 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 233 for more information about how
Cinema Tools generates a cut list. Also see “Connecting Captured Source Clips to the
Database” on page 114 for more information.
Chapter 2 The Cinema Tools Workflow 41
Preparing the Clips for Editing
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 23.98 fps. See “Frame Rate Basics”
on page 22 for information about what a 3:2 pull-down is and why you might want to
reverse it. See “Reversing the Telecine Pull-Down” on page 127 for details about its use.
Note: The Reverse Telecine feature cannot be used with temporally compressed video
such as MPEG-2 format video.
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 when you use the Reverse
Telecine feature. 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 29.97 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 125 for details about using the Conform feature.
42 Part I Using Cinema Tools
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Note: Make sure to use the Conform feature on a clip before editing it in Final Cut Pro.
Also make sure the editing timebase in the Final Cut Pro Sequence Preset Editor is set
at the same rate you are conforming to.
See “Determining How to Prepare Source Clips for Editing” on page 123 for
more information.
Editing the Clips in Final Cut Pro
You edit the clips in Final Cut Pro much as you would for any video project, but there
are a few important things to keep in mind. These considerations are described in
Chapter 7, “Editing with Final Cut Pro,” on page 143.
Generating Film Lists and Change Lists with Cinema Tools
Once you have edited your clips and are satisfied with your digitally edited project, you
are ready 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
 Duplicate 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 174 for a flow chart of the workprint and
change list process.
See Chapter 8, “Generating Film Lists and Change Lists,” on page 159 for more details
about all the film-related lists that are available.
Chapter 2 The Cinema Tools Workflow 43
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 use parts of several workflows. See “Basic Workflow
Steps” on page 35 for details about specific steps.
The first section discusses the integration between Final Cut Pro and Cinema Tools.
This is followed by sections covering two groups of workflows—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.
How Much Can Be Done from Final Cut Pro?
Because of the high level of integration between Cinema Tools and Final Cut Pro, you
have several options for each workflow step. For example, do you import the telecine
log into Cinema Tools and export a batch capture list for Final Cut Pro, or do you
import the telecine log directly into Final Cut Pro? Your situation and preferred working
methods will often make this decision for you. Among the Cinema Tools–related
functions you can perform directly from Final Cut Pro are:
 Importing telecine log files
 Conforming 25 fps video to 24 fps
 Reversing the telecine (using the last settings in Cinema Tools)
 Opening a clip in the Cinema Tools Clip window
 Synchronizing a Cinema Tools database to a group of selected clips
44 Part I Using Cinema Tools
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Following is an illustration showing an ideal workflow that focuses on using
Final Cut Pro methods.
Steps Performed from
Final Cut Pro
Create a new
Final Cut Pro project
Import a log into the
Final Cut Pro project,
creating the offline clips
for capture
Batch capture clips
Process clips (if needed)
• Reverse telecine
• Conform (25 @ 24)
Synchronize captured clips
with Cinema Tools database
Edit clips
Export lists
How Cinema Tools
Is Involved
A new Cinema Tools
database is created
Cinema Tools
does the processing
The clips are connected to
the Cinema Tools database
Cinema Tools
creates the lists
In this example, you are able to focus on using Final Cut Pro, and Cinema Tools
performs tasks in the background as needed. You must use Cinema Tools manually if
you want to add information to the database beyond what the telecine log provided,
or if you have a unique issue with reverse telecine and need to configure its settings.
Chapter 2 The Cinema Tools Workflow 45
If You Used Scene-and-Take Transfers
Since scene-and-take transfers require a database record for each take (because of
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
Create a new
database
Import a telecine log
into the database
Device
control?
Yes
Generate a batch capture
list with Cinema Tools
Import the batch list into
the Final Cut Pro Browser
and 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 the database
No
Key number
burned in?
Yes No
Use Final Cut Pro
to manually capture
each clip
Connect clips
to the database and
use Identify feature
to determine and
enter key number
and timecode
for a known frame
of each clip
46 Part I Using Cinema Tools
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Workflow for a Scene-and-Take Transfer Without a Telecine Log
Create a new
database
Add an entry for each clip
to the database
Device
control?
Yes
Generate a batch capture
list with Cinema Tools
Import the batch list into
the Final Cut Pro Browser
and 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 the database
No
Key number
burned in?
Yes No
Use Final Cut Pro
to manually capture
each clip
Connect clips
to the database and
use Identify feature
to determine and
enter key number
and timecode
for a 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 233 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 47
Workflow for a Camera-Roll Transfer (Clip-Based Method)
Create 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 a batch capture
list with Cinema Tools
Import the batch list into
the Final Cut Pro Browser
and 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 the database
Use Final Cut Pro
to manually capture
each clip
Connect clips
to the database and
use Identify feature
to determine and
enter key number
and timecode
for a 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.
48 Part I Using Cinema Tools
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Workflow for a Camera-Roll Transfer (Timecode-Based Method)
Create a new
database
Telecine
log?
Yes
Import log into database
(should generate one
record per camera roll)
capture the entire camera
separate clips (the timecode
No
Enter at least one record,
defining key number and
timecode relationship
Use Final Cut Pro to
roll as a single clip or
capture desired takes as
must not change from
the original)
Chapter 2 The Cinema Tools Workflow 49
3 The Cinema Tools Interface
3
Cinema Tools uses a variety of windows and dialogs to access
its powerful features.
Some windows and dialogs 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.
Welcome Window
The first time you open Cinema Tools, a Welcome window appears.
After that, Cinema Tools opens the database that was open the last time you closed
Cinema Tools. If there was no database open when you closed Cinema Tools, the
Welcome window will appear again.
51
Select an option and click Continue.
 Create a New Database: Opens the New Database dialog so that you can configure a
new database.
 Open Existing Database: Opens a file-selection dialog so that you can select an
existing database to open.
 View Documentation: Opens the Cinema Tools User Manual in Preview.
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:
m Choose Database > New Database (or press Command-Shift-N).
Note: The current database closes if one is open.
For information about choosing the default settings for your database, see “Settings in
the New Database Dialog” on page 75.
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 Choose Window > Detail View (or press Command-2).
m If necessary, drag the List View window to a different screen position.
52 Part I Using Cinema Tools
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m If necessary, click the Detail View window to bring it to the front.
The button in the lower-right corner of the window can be labeled either Open Clip or
Connect Clip:
 Open Clip: With a clip connected (as shown above), the button is labeled Open Clip.
Click Open Clip to open the Clip window, which displays the connected clip.
 Connect Clip: If no clip is 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.
Additionally, placing the pointer over the thumbnail display shows a tooltip with the
clip’s location. This can be especially useful if the clip is missing because it lets you
know where Cinema Tools thinks the clip should be.
For more information about using the Detail View window, see “Entering Database
Information Manually” on page 88.
Chapter 3 The Cinema Tools Interface 53
List View Window
The List View window displays a list of database records in the open database. It might
show a complete list of all database records, or, if you use the Find feature, it might
show only those records that are found (the “found set”). 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 Choose Window > List View (or press Command-1).
m Drag the Detail View window to a different screen position.
m Click the List View window to bring it to the front.
The Show All and Find buttons allow you to quickly either show all of the records in the
open database (click Show All) or show a specific set of records by using the Find
dialog (click Find).
The pop-up menu at the top-left corner 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.
54 Part I Using Cinema Tools
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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 appear in the Ink Numbers display mode:
 Lab Roll: The value entered in the Lab Roll field
 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 number 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.
Chapter 3 The Cinema Tools Interface 55
Selecting Records
There are a variety of methods you can use to select records in a Cinema Tools database.
Note: You can select only one record at a time.
To select a database record, do one of the following:
m Click any displayed record.
m Double-click a record to have its clip open in the Clip window.
m Use the keyboard’s Up Arrow key to select the record before the currently selected one.
m Use the keyboard’s Down Arrow key to select the record after the currently selected one.
m Use the keyboard’s Page Up key to jump up one page of records in the list.
m Use the keyboard’s Page Down key to jump down one page of records in the list.
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 Click the record.
Note: Double-clicking a record also opens it in the Clip window.
m Select the record using the keyboard’s arrow keys.
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 Choose Database > Find (or press Command-F).
m Click Find in the List View window.
See “Finding and Opening Database Records” on page 79 for details about creating
found sets.
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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 Choose File > Open Clip (or press Command-O), locate a clip, then click Choose.
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).
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.
You can play the clip by clicking the Play button (the triangle to the left of the timeline)
or by pressing the Space bar.
Note: To play the clip using the Space bar, you must make sure that an Identify pane
text field is not currently selected—you can press the Tab key as needed or click the
Analysis button to deselect the text fields.
If the clip has audio, you can control the volume by clicking the speaker icon next to
the Play button and then dragging the volume slider. You can also drag the playhead
to scroll through the clip. You can click the left and right arrow buttons at the right end
of the timeline or press your keyboard’s Left and Right Arrow keys to step through the
clip one frame at a time.
Chapter 3 The Cinema Tools Interface 57
Most of the buttons along the bottom of the window open additional windows
or dialogs and are also available in the Clip menu:
 Set Poster Frame: Assigns the currently displayed frame to the Detail View window’s
thumbnail display.
 Disconnect Clip: The Disconnect Clip button changes depending on whether the
current clip is connected to the database. With a clip connected (as shown above),
the button is labeled Disconnect Clip. Click Disconnect Clip to disconnect the clip
from the database.
 Enter in Database: If the current clip is not connected to the database, the
Disconnect Clip button is labeled Enter in Database. Click Enter in Database to open
a dialog where you can connect the clip to an existing record or a new record by
entering scene and take values.
 Reverse Telecine: Opens the Reverse Telecine dialog.
 Conform: Opens the Conform Clip dialog.
 Previous Clip and Next Clip buttons (arrows): The left and right arrows in the lower-right
corner of the Clip window make it easy to switch to the previous or next record (as
currently sorted and displayed in the List View window) that has a clip assigned to it.
Note: These buttons are only active when the current clip is linked to a record in
the current database and that record is part of the List View window’s found set.
Additionally, one of these buttons will be dimmed when there isn’t a previous or
next clip.
The two buttons in the upper-right corner determine what information is shown on the
right side of the window.
 Identify: Shows the clip’s information from the Cinema Tools database it is
connected to. You can use the Identify pane to enter film and timecode information
in the database or to get information about the frame that is currently displayed in
the Clip window. Additionally, the settings update to show the information for each
frame as you move through a clip. See “Using the Identify Feature to Enter and
Calculate Database Information” on page 98 for more information about using the
Identify feature.
58 Part I Using Cinema Tools
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 Analysis: Shows the clip’s file information. 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).
Reverse Telecine Dialog
You use the Reverse Telecine dialog to convert NTSC 3:2 pull-down video or 2:3:3:2
pull-down video to 24 fps.
To open the Reverse Telecine dialog, do one of the following:
m Choose Clip > Reverse Telecine (available only when the Clip window is open).
m Click Reverse Telecine in the Clip window.
Chapter 3 The Cinema Tools Interface 59
See “Reversing the Telecine Pull-Down” on page 127 for details about 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 211 for details.
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 Choose Clip > Conform (available only when the Clip window is open).
m Click Conform in the Clip window.
Note: You must have read-and-write access for the clip’s file in order to use the
Conform feature.
Important: The Conform feature changes the source media file.
See “Using the Conform Feature” on page 125 for details about using this function.
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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.
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:
m Choose Database > Database Properties (or press Command-I).
Chapter 3 The Cinema Tools Interface 61
Dialogs in Final Cut Pro and Cinema Tools
The following dialogs open from within both Final Cut Pro and Cinema Tools.
Export Film Lists Dialog
You use the Export Film Lists dialog to export PDF-format film lists. You define the type
of information and lists to export, the most important being the cut list. You also define
the specific items you would like included in your exported film list. Typically you use
this dialog once you have finished editing the film’s clips; however, you can use it
anytime you want to check the status of the edit.
To open the Export 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 Export Film Lists dialog from within Cinema Tools:
1 In Cinema Tools, choose File > Export > Film Lists from EDL, or choose File > Export >
Film Lists from XML.
2 In the dialog that appears, locate the EDL or XML file on which to base the exported
film list, then click Choose.
See Chapter 8, “Generating Film Lists and Change Lists,” on page 159 for details about
this dialog’s settings.
See Chapter 10, “Working with External EDLs, XML, and ALE Files,” on page 189 for
details about generating film lists from outside EDLs.
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Export XML Film Lists Dialog
You use the Export XML Film Lists dialog to export XML-format film lists. You define the
type of information and lists to export, the most important being the cut list. Unlike
when exporting PDF-format film lists, all possible items are included in the exported
list—you do not need to choose the items to export. Typically you use this dialog once
you have finished editing the film’s clips; however, you can use it anytime you want to
check the status of the edit.
To open the Export XML Film Lists dialog from within Final Cut Pro:
m In Final Cut Pro, choose File > Export > Cinema Tools XML 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 Export XML Film Lists dialog from within Cinema Tools:
1 In Cinema Tools, choose File > Export > XML Film Lists from EDL, or choose File >
Export > XML Film Lists from XML.
2 In the dialog that appears, locate the EDL or XML file on which to base the exported
film list, then click Choose.
See Chapter 8, “Generating Film Lists and Change Lists,” on page 159 for details about
this dialog’s settings.
See Chapter 10, “Working with External EDLs, XML, and ALE Files,” on page 189 for
details about generating film lists from outside EDLs.
Chapter 3 The Cinema Tools Interface 63
Export Change List Dialog
You use the Export Change List dialog to make selections for exporting a list that
describes the difference between two 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.
Important: Exporting a change list requires you to have saved a Cinema Tools program
file from the previous version of the sequence. See “Creating Change Lists” on page 173
for more information.
To open the Export Change List dialog from within Final Cut Pro:
1 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.)
2 In the dialog that appears, locate the Cinema Tools program file for the previous
version of this sequence, then click Open.
The Export Change List dialog appears.
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 Export Film Lists dialog) for the sequence. These
other lists provide information about the entire sequence, rather than just information
about the changes.
Opening the Export Change List dialog from within Cinema Tools requires you to have
two Cinema Tools program files: one for the previous version of the sequence, and
another for the current version of the sequence.
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To open the Export Change List dialog from within Cinema Tools:
1 In Cinema Tools, choose File > Export > Change List.
2 In the dialog that appears, locate the Cinema Tools program file for the previous
version of this sequence, then click Open.
3 In the next dialog that appears, locate the Cinema Tools program file for the current
version of this sequence, then click Open.
The Export Change List dialog appears.
See “Creating Change Lists” on page 173 for details about Export Change List
dialog settings.
Export Audio EDL Dialog
Audio is often reedited at an audio post-production facility, using high-quality capture
hardware and software and high-end processing tools. Depending on how you edit,
the Final Cut Pro EDL output may not contain the reel number and timecode of the
original production audio 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 Export 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.)
Chapter 3 The Cinema Tools Interface 65
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 183 for details about exporting audio EDLs.
66 Part I Using Cinema Tools
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 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 timecode numbers; the sound rolls
and timecode numbers; and the source clips.
Depending on your situation, you may be able to simplify the database creation
process by building the database from a telecine log or by creating just one database
record per camera roll.
67
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 2 Take 3
One source clip
containing multiple takes
database
record
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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 Cinema Tools Workflow” on page 35. 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 86.
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
media files you capture match your database information.
Chapter 4 Creating and Using a Cinema Tools Database 69
To build a database from an existing log:
1 Create a new, empty database.
See “Creating and Configuring a New Database” on page 72.
2 Generate the database records from the log.
See “Importing Database Information from a Telecine Log or ALE File” on page 83.
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 Create a new, empty database.
See “Creating and Configuring a New Database” on page 72.
2 Enter database records manually.
See “A Potential Database Shortcut for Camera-Roll Transfers” on page 71, and “Entering
Database Information Manually” on page 88.
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 86.
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.
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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:
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 as 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 49 and “How Cinema Tools Creates Film Lists” on
page 233 for more information.
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:
You need to create separate database records for each clip and connect each clip to its
record. 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 71
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 post-production facility, make sure that the audio timecode, video timecode,
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 in the database.
Creating and Configuring a New Database
When you create a new Cinema Tools 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.
You can create a new database using Cinema Tools or Final Cut Pro.
Creating a New Database Using Cinema Tools
You can create a new database and set its default settings directly in Cinema Tools.
To create a new database:
1 Do one of the following:
 Open Cinema Tools and click Create a New Database in the Welcome window if
it appears.
 Choose Database > New Database (or press Command-Shift-N).
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 item.
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2 In the New Database dialog, choose default settings for your database and click OK. See
“Settings in the New Database Dialog” on page 75 for information about the settings.
3 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 in it. To find out
how, see “Entering Information in the Database” on page 83.
Creating a New Database Using Final Cut Pro
There are two methods you can use to create a Cinema Tools database while using
Final Cut Pro:
 Synchronizing a set of clips with a new database
 Importing a telecine log file into a new database
Synchronizing a Set of Selected Clips to Create a New Database
You can use the “Synchronize with Cinema Tools” command if you have one or more
clips in the Final Cut Pro Browser that you would like to add to a new Cinema Tools
database. This can be useful when you have manually captured a set of clips but have
no telecine log to go with them, or when you want to create a separate database for a
set of clips already in a database.
To create a new database using the “Synchronize with Cinema Tools” command:
1 In the Final Cut Pro Browser, select the clips that you want to add to a new
Cinema Tools database.
These can be clips that are already in a database or they can be new clips that are not
in a database.
Chapter 4 Creating and Using a Cinema Tools Database 73
2 Choose Tools > Synchronize with Cinema Tools.
A dialog appears that allows you to configure the synchronization process.
The Database field shows the currently selected database.
3 Select the “Add new records” checkbox.
This option must be selected when you are synchronizing with a new database.
4 Select the “Auto connect” checkbox if you want the database to automatically connect
the clips to any new records that are created in the database.
5 Click New Database to create a new Cinema Tools database.
6 In the dialog that appears, enter a name and location for the database, and configure
its default settings. See “Settings in the New Database Dialog” on page 75 for
information about these settings.
7 To close the dialog, click Save when finished.
8 Click OK.
A new Cinema Tools database is created and the selected clips, along with any
film-related information they might contain, are added to it.
See “Synchronizing Final Cut Pro Clips with Cinema Tools” on page 147 for more
information about the “Synchronize with Cinema Tools” command, including how to
use it to synchronize clips to an existing database.
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Importing a Telecine Log File to Create a New Database
When you import a telecine log file into Final Cut Pro, you can choose to import it
into a new or existing Cinema Tools database. See “Importing Telecine Logs Using
Final Cut Pro” on page 85 for more information.
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 sound 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,
sound 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
Database Settings” on page 102.
∏ 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
sound timecode rate.
Film Standard
Cinema Tools supports the 4-perf 35mm, 3-perf 35mm, and 16mm-20 formats. (See
Appendix A, “Background Basics,” on page 221 for information about 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 75
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
 35mm 3p: 35mm film, 3 perforations per frame
Video TC Rate
Cinema Tools supports four different video timecode rates. See Appendix A,
“Background Basics,” on page 221 for information about timecode rates. 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 type of timecode recorded on the videotapes for your project from the
Video TC Rate pop-up menu:
 30 NDF: Non-drop frame NTSC timecode at 29.97 fps
 30 DF: Drop frame NTSC timecode at 29.97 fps
 25 FPS: PAL timecode at 25 fps
 24 FPS: Video timecode at 24 fps or 23.98 fps
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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 183.
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 29.97 fps
 30 DF: Drop frame NTSC timecode at 29.97 fps
 25 FPS: PAL timecode at 25 fps
 24 FPS: Video timecode at 24 fps or 23.98 fps
Telecine Speed
Telecine Speed (shown as TK Speed in the Detail View window, the Clip window’s
Identify pane, and optionally in the Final Cut Pro Browser window) 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 telecine film speed,
though the actual telecine film speed is approximately 23.98 fps. The Telecine 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 film speed of 24 fps, choose 24 fps
as the telecine film speed. If your film was transferred to video at a telecine film
speed of 25 fps, choose 25 fps.
Chapter 4 Creating and Using a Cinema Tools Database 77
To choose a default telecine film speed:
m From the Telecine Speed pop-up menu, choose the speed at which the film was transferred:
 24: 24 fps or 23.98 fps telecine film speed
 25: 25 fps telecine film speed
 30: 29.97 fps telecine film speed
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
 Backing up, copying, renaming, and locking databases
 Accessing information about a clip
Opening an Existing Database
The first step in working with a database is to open it.
To open an existing database:
m Choose Database > Open Database (or press Command-Shift-O), then select the
database in the dialog.
All the records in the open database are listed in the List View window.
Note: The current database closes if one is already open.
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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 Select the record in the List View window.
To display specific records in the List View window:
m Use the Find dialog. See the section about using the Find command (below) for details.
To navigate through records within the Detail View window:
m Click the Previous Record and Next Record buttons.
Previous Record and
Next Record 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 54 for more details.
To use the Find command to find records in the open database:
1 Open the Find dialog by doing one of the following:
 Choose Database > Find (or press Command-F).
 Click the Find button in the List View window.
Chapter 4 Creating and Using a Cinema Tools Database 79
2 Choose one of the following from the Results pop-up menu:
 Replace Current Found Records: Found records replace the records displayed in the
List View window.
 Add to Current Found Records: Found records are added to the set in the
List View window.
∏ Tip: The Add to Current Found Records 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 Current Found Records, enter “5” in the Scene field,
then click Find Records. Then, choose Add to Current Found Records, enter “6” in the
Scene field, and click Find Records. 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 Show All Records.
 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 Find Records button.
(The Take field is ignored unless you select the “Show only exact matches” checkbox.)
For example, if you enter “1” in the Scene field and then click Find Records,
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 shot 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 “Show only exact matches,” then click Find Records.
The found records appear in the List View window.
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Scene, Shot, and Take Number Details
The way Cinema Tools interprets scene numbers can lead to unexpected results when
using the Find dialog.
Cinema Tools looks at a scene number as having up to four parts:
 Prefix: This is an optional set of one or more letters in front of the scene number,
usually used to indicate a new, unique scene added to the script. For example, the
“A” in scene A54C-3. Prefixes don’t always indicate unique scenes though—the
actual letters used in the prefix control how they affect using the Find dialog (as
described later).
 Scene number: This is the first set of numbers. Depending on the prefix, it might be
the entire scene number, although with some prefixes, the prefix becomes part of
the scene number (as described later).
 Suffix: This is a set of one or more letters after the scene number that indicates the
shot for the scene. For example, the “C” in scene A54C-3.
 Take number: This is the number after the suffix (shot indicator) that identifies a
specific take. Usually it is preceded by a hyphen (which you don’t enter in the Find
dialog). For example, the “3” in scene A54C-3.
The tricky part is determining whether the prefix indicates a unique scene or not.
Prefixes using letters from A to D are treated as referring to unique scenes. Prefixes
using letters from E to Z are treated as being modifiers to the scene number, but not
unique scenes.
For example, if you use the Find dialog to search for scene 54, it will find “54,” “G54”,
and “K54” (all are considered to be scene 54) but will not find “A54,” “B54,” “C54”, or
“D54” (which are all considered to be different scenes from scene 54).
Suffixes indicate shots that are part of the scene. If you search for scene 54, you will
find all shots for scene 54, such as “54A” and “54F,” but not “B54A,” since the prefix
makes this a different scene.
Take numbers are related to specific shots, which in turn are related to specific
scenes. If you search for scene “54,” you will find all shots and takes for that scene.
If you enter “54A” in the Find dialog’s Scene field, you will find only those records for
shot A of scene 54; you will not find records for scene 54B.
Entering a number in the Take field will find only shots using that take. For example,
entering “54A” in the Scene field and “3” in the Take field will find only record “54A-3.”
Entering “54” in the Scene field (with no shot specified) and “3” in the Take field will
find any records for scene 54 that have a take 3, such as “54A-3” and “54D-3.”
Chapter 4 Creating and Using a Cinema Tools Database 81
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 clips to the database using the Reconnect command.
Accessing Information About a Source Clip
The Analysis pane in the Clip window gives you access to specific information about a
source clip.
The Analysis pane 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.
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Information is also listed for each 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 it is a self-contained or
reference media file. See “The Difference Between Self-Contained and Reference
Media Files” on page 141 for more information.
 For audio tracks: You see the sample rate and the number of channels for up to
two tracks.
Entering Information in the Database
As described in “Deciding How You Should Create the Database” on page 69, 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 and Configuring a
New Database” on page 72.
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 in 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 (Film Log EDL Exchange, commonly known as FLEx) log files from TLC (Time
Logic Controller software)
 FTL (Film Transfer List) log files from Evertz
 ALE (Avid Log Exchange) files (not technically telecine logs, but contain similar
information for your database)
You can import telecine log files using either Cinema Tools or Final Cut Pro.
Chapter 4 Creating and Using a Cinema Tools Database 83
Assigning Camera Letters
Whether you import the telecine log file using Cinema Tools or Final Cut Pro, you have
the option of assigning a camera letter, from A through E, to all records that are
imported. The camera letter is appended to the take entry of each record.
This is useful in those cases where multiple cameras were used for each take, with the
letters making it easy to distinguish between the clips from different cameras.
Additionally, If you set up a multiclip in Final Cut Pro, the camera letters will be used
to create the different angles.
Importing Telecine Logs Using Cinema Tools
To import a telecine log into Cinema Tools, you must first have a database open. The
database can be an existing one to which you want to add new records, or it can be a
new one with no records.
To import a telecine log using Cinema Tools:
1 Do one of the following:
 Open an existing Cinema Tools database. See “Opening an Existing Database” on
page 78 for more information.
 Create a new Cinema Tools database. See “Creating and Configuring a New
Database” on page 72 for more information.
2 Import the telecine log file by choosing File > Import > Telecine Log (or pressing
Command-L).
3 In the dialog that appears, select the telecine log or ALE file.
4 To assign a camera letter to the imported records, select the “Append a camera letter”
checkbox and choose a camera letter from the pop-up menu.
5 Click Open.
The data in the log is entered in the open database and each new record is displayed in
the List View window.
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When Cinema Tools has 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.
Once the records have been imported, you can export a batch capture list from
Cinema Tools that you can import into Final Cut Pro to automate the clip capture
process. See “Generating a Batch Capture List from Cinema Tools” on page 108 for
more information.
Importing Telecine Logs Using Final Cut Pro
When you import a telecine log using Final Cut Pro, you choose whether you want to
import it into an existing Cinema Tools database or whether a new database should
be created.
When records are added to the selected Cinema Tools database, each record creates an
offline clip in the Final Cut Pro Browser so that the clips can be batch captured. Each of
these clips also has the film-related information contained in the log file added to it.
To import a telecine log using Final Cut Pro:
1
Create a new project or open an existing project.
This project will contain the offline clips created when the telecine log file is imported.
2
Select the project in the Browser.
3
Choose File > Import > Cinema Tools Telecine Log.
The Import a Cinema Tools Telecine Log dialog appears.
Choose a camera letter to
append to the imported
takes (if needed).
Lists the currently
selected database.
Select the telecine log
file to import.
Choose to either create
a new database or
import the file into an
existing database.
4
Use the top half of the dialog to select the telecine log file to import.
5
To assign a camera letter to the imported records, select the “Append a camera letter”
checkbox and choose a camera letter from the pop-up menu.
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6 Do one of the following:
 Click New Database to create a new Cinema Tools database to import the telecine log
file into. This opens a new dialog where you can enter a name and location for the
database, as well as configure its default settings. See “Settings in the New Database
Dialog” on page 75 for information about these settings. Click Save when finished.
 Click Choose Database to open a dialog where you can select an existing database to
import the telecine log file records into. Click Open when finished.
The selected database, whether new or previously existing, is listed in the Database
field of the Import a Cinema Tools Telecine Log dialog.
7 Click Open to import the selected telecine log file into the selected Cinema Tools database.
Once the records have been imported and the offline clips have been added to the
Browser, you can use Final Cut Pro to batch capture the clips. See the Final Cut Pro
documentation for information about batch capturing clips.
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 69.
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∏ Tip: In most cases, instead of exporting a Final Cut Pro batch capture list and importing
it into a Cinema Tools database, you would use the Final Cut Pro Synchronize with
Cinema Tools feature. See “Synchronizing Final Cut Pro Clips with Cinema Tools” on
page 147 for more information.
To import database information from a Final Cut Pro batch capture list:
1 Make sure that a 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.
4 Click Open to import the batch capture list.
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 116.
5 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 100.
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 can 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 can 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 and then import your
original database file into the new one.
Chapter 4 Creating and Using a Cinema Tools Database 87
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 (or pressing Command-Shift-O) and 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.
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 pane of the Clip window to enter information. See “Using the Identify Feature
to Enter and Calculate Database Information” on page 98 for more information.
Understanding the Relationship Between Scenes, Shots, and Takes
To enter scene, shot, and take 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 a 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.
Shot 1
Scene 1
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Shot 1A
Shot 1B
Take 1
Take 2
Take 4
Take 2
Take 3
Take 5
Slate 1-1
Slate 1-2
Slate 1-4
Slate 1A-2
Slate 1A-3
Slate 1B-5
I
Creating a New Database Record
You must create database records if you are manually entering database information.
To create a new database record:
1 Do one of the following:
 Choose Database > New Record (or press Command-N).
 Click New Record in the Detail View window.
2 In the dialog that appears, either enter identifiers for the scene and take or leave these
fields blank, then click OK. See the sidebar below, “Using Scene, Shot, and Take
Identifiers,” for more information.
Note: You don’t have to enter anything in the Scene and 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 or enter their values later. Also keep in mind that the scene and
take entries are used to create the clip names if you export a batch capture list. See
“Generating a Batch Capture List from Cinema Tools” on page 108 for more information.
The Detail View window appears after you click OK.
Chapter 4 Creating and Using a Cinema Tools Database 89
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 subclip identifier. If
the source clip associated with a database record contains just 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 (camera position) 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 B 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 topleft 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 (A through D) 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 series of scenes. For example, between scene 1 and scene 2 you could add
a scene named A2, so the new order would be scene 1, scene A2, scene 2, scene 3,
and so on. Adding other letters (E through Z) does not add a new scene. For example,
scene G2 is the same as scene 2. See “Scene, Shot, and Take Number Details” on
page 81 for more information.
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Entering Information in a Database Record
Once you have created a database record, you can enter the information about its clip.
To enter information in a database record:
1 Make sure the record is displayed in the Detail View window. (If necessary, 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 79.
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 lists 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 or timecode number 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 98.
3 Click Save.
Until you save, data in the Detail View window is not entered in the database. You can
choose Database > Revert Record (or press Command-R) to revert to the last saved
version of the record.
Chapter 4 Creating and Using a Cinema Tools Database 91
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.
Required Settings
The required settings depend on the type of list you will create and the method you
will use to create it.
These settings are 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 71).
To use the timecode-based method for cut list or change list generation, these
elements are also needed:
 Video reel
 Video timecode and duration
These settings are 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.
Detail View Window Settings
The Detail View window contains the following fields and buttons:
Previous Record and
Next Record buttons
Field for take
notes
Field for telecine
session notes
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Database Buttons and Fields
These buttons and fields apply to the entire database.
 Previous Record and Next Record buttons (arrows): Click these buttons to switch to the
previous or next record (as currently sorted and displayed in the List View window).
Note: One of these buttons will be dimmed when you are at the beginning or end of
the list and there isn’t a previous or next record.
As a shortcut, you can use the Left and Right Arrow keys on your keyboard. If you
have made changes to the current record, a dialog appears asking if you want to
save those changes.
 New Record 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 90 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.
 Telecine Session area: This area, in the middle-right part of the window, lists the name
of the telecine log file imported into the database (if applicable).
 Telecine Session Notes field: Enter any notes you want to include about the
telecine session.
Note: This field is available only if you have imported a telecine log file into the database.
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.
 Shot description field: Enter a description of the shot.
 Script Pages fields: Enter the starting and ending script pages associated with the
scene and the shot.
Chapter 4 Creating and Using a Cinema Tools Database 93
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. Similarly, any
descriptive data you enter for a shot will appear in existing database records with the
same shot identifier.
In the example below, all records for scene A54 will have the same descriptive text
(“Outside”) and page numbers (146 to 167). All takes for this shot (A54J) will have the
same descriptive text (“Left” in this example) and page numbers (148 to 155). Each
take for that shot will also have a unique Take Notes entry.
Film Settings
The following settings relate specifically to the film.
 Scene field: Use this field to enter or modify the identifier for the scene. See “Using
Scene, Shot, and Take Identifiers” on page 90 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 subclip 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 in 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.
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 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 fields: (If you intend to create a cut list or change list, these fields or the ink
number fields are required.) The first field should contain the key prefix that is
constant throughout a roll of film. For example, for the key number KJ 29 1010
5867+07, the key prefix is “KJ 29 1010,” which you enter as“KJ291010.” You can enter
up to eight characters (including spaces, although most often you will be skipping
the spaces, as in this example). 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 29 1010 5867+07, 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 fields) for the first frame of your clip.
See “Using the Identify Feature to Enter Edge Code and Timecode Numbers in the
Database” on page 98.
 Ink fields: (If you intend to create a cut list or change list, these fields or the key fields
are 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.
 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, this setting 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 telecine film speed setting you chose when you
set your project defaults. For more information, see “Telecine Speed” on page 77.
 Film Std 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, this setting 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.
Chapter 4 Creating and Using a Cinema Tools Database 95
For clips that are in reverse direction, you can specify a reverse direction for the film
standard by choosing either the 35.4p.rev (for 4-perf 35mm) or 16.20.rev (for 16mm-20)
item. 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 75.
For clips that use the 3-perf 35mm standard, you choose the perforation offset of the
key number. This offset (3-perf •1, 3-perf •2, or 3-perf •3) refers to the relationship of
the perforation marked with the symbol “•” and the film frame at that point. For more
information, see “3-Perf 35mm Offsets” on page 224.
Note: Reverse-direction 3-perf 35mm film is not supported.
Video Settings
The following settings relate specifically to the videotapes.
 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. “
 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 value 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 information 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
which video reel contains the material and the timecode location on the reel.
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 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 chose 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 is recorded on the videotape.
See “Video TC Rate” on page 76 for more information.
Sound Settings
The following settings relate specifically to the audiotapes.
 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 number 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 used on your production sound rolls.
Clip Button and Settings
The following apply specifically to the clip linked to this record.
 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.
 Take Notes field: Enter any notes you want to include about the source clip.
Chapter 4 Creating and Using a Cinema Tools Database 97
Using the Identify Feature to Enter and Calculate
Database Information
You can use the Clip window’s Identify feature to determine the key number, ink
number, or timecode values for clips in 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 lack 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 70.
Keep in mind that with the Identify feature, the Key, Ink, Video Timecode, and Sound
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
first-frame values you see in the Detail View window.
Using the Identify Feature to Enter Edge Code and Timecode Numbers in the Database
If you know the edge code (key number or ink number) and timecode values 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:
 Choose File > Open Clip (or press Command-O) and use the dialog to select the clip.
 Click Open Clip in the Detail View window of the clip’s database record.
2 Click Identify in the Clip window to display the settings for the current frame.
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3 Locate the marked frame in the clip playback area.
∏ Tip: Use the arrow keys on your keyboard to move forward and backward frame
by frame.
The Identify settings update to show the information for each frame as you move
through a clip, so you can locate 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 key
number or ink
number for the
marked frame.
Enter the video
timecode value
for the marked
frame.
Note: If you decide you want to reset the values to what they were when you opened
the clip in the window, click Revert.
5 When identifying a 3-perf 35mm clip, you must also choose the offset (3-perf •1,
3-perf •2, or 3-perf •3) from the Film Std pop-up menu.
Note: You should not need to change the Film Std setting if you are using any of the
other film formats.
6 Click Save.
The clip’s database record is immediately updated with the values for the first frame
of the clip. Additionally, the clip’s duration is calculated and entered.
Chapter 4 Creating and Using a Cinema Tools Database 99
About Modifying Data with the Identify Feature
You can use the Identify feature for a clip only if a database record has been created for
that clip. The Clip window’s Identify pane includes fields and pop-up menus for settings
that also appear in the Detail View window. You can modify these settings with the
Identify feature, but keep the following important facts in mind:
 The Identify pane’s Key, Ink, Video Timecode, and Sound 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.
Therefore, what you see or enter in the Identify pane of the Clip 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 98.
 The Identify feature can track the key numbers only 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 70.
If you changed the values in the window and want to go back to previous values, click
Revert instead of Save. After you click Save, the database record is updated, and these
changes are reflected in the Detail View window.
Modifying Information in the Database
You can modify any information in the database by editing settings in the Detail View
window and the Identify pane of the Clip window. Some of the calculations you make
using the Identify feature update preexisting information, modifying the database
automatically. See “Using the Identify Feature to Enter and Calculate
Database Information” on page 98 for more information.
Deleting a Database Record
You may find that you have records that you no longer need. You can delete them from
a database.
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 media file, you
don’t delete the file from your hard disk. You delete only the database record.
100 Part I Using Cinema Tools
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