Cinema Tools 4

User Manual

Copyright 2009 Apple Inc. All rights reserved. Your rights to the software are governed y the acco!panying software license agree!ent. "he owner or authori#ed user of a valid copy of $inal Cut %tudio software !ay reproduce this pu lication for the purpose of learning to use such software. &o part of this pu lication !ay e reproduced or trans!itted for co!!ercial purposes' such as selling copies of this pu lication or for providing paid for support services. "he Apple logo is a trade!ar( of Apple Inc.' registered in the U.%. and other countries. Use of the )(ey oard* Apple logo +%hift,-ption,./ for co!!ercial purposes without the prior written consent of Apple !ay constitute trade!ar( infringe!ent and unfair co!petition in violation of federal and state laws. 0very effort has een !ade to ensure that the infor!ation in this !anual is accurate. Apple is not responsi le for printing or clerical errors. Note: 1ecause Apple fre2uently releases new versions and updates to its syste! software' applications' and Internet sites' i!ages shown in this !anual !ay e slightly different fro! what you see on your screen.

Apple 3 Infinite 4oop Cupertino' CA 95036 607,998,3030 www.apple.co! Apple' the Apple logo' $inal Cut' $inal Cut 9ro' $inal Cut %tudio' $ire:ire' Mac' Mac -%' Monaco' and ;uic("i!e are trade!ar(s of Apple Inc.' registered in the U.%. and other countries. Cine!a "ools' $inder' and -ffline<" are trade!ar(s of Apple Inc. AppleCare is a service !ar( of Apple Inc.' registered in the U.%. and other countries. -ther co!pany and product na!es !entioned herein are trade!ar(s of their respective co!panies. Mention of third,party products is for infor!ational purposes only and constitutes neither an endorse!ent nor a reco!!endation. Apple assu!es no responsi ility with regard to the perfor!ance or use of these products. 9roduction stills fro! the fil! ).offee =ouse Mayhe!* provided courtesy of >ean,9aul 1on?our. ).offee =ouse Mayhe!* 2006 >ean,9aul 1on?our. All rights reserved. http@AAwww.?eanpaul on?our.co! 9roduction stills fro! the fil! )A %us -rdenes* provided courtesy of 0ric 0sco ar. )A %us -rdenes* 2006 0ric 0sco ar. All rights reserved. http@AAwww.(ontentfil!s.co!

Contents

Preface

7 7 8 8 9 9 12 1 1 14 1! 19 2" 21 2 2 24 24 2( 28 4 8 41 41 42 4! 49 (1 ( (

Welcome to Cinema Tools A out Cine!a "ools A out the Cine!a "ools Bocu!entation Additional <esources An Overview of Using Cinema Tools 0diting $il! Bigitally :hy 26p CideoD :or(ing with 26p %ources -ffline and -nline 0diting Creating the Cine!a "ools Bata ase Capturing the %ource Clips with $inal Cut 9ro 9reparing the Clips for 0diting Creating Cut 4ists and -ther 4ists with Cine!a "ools =ow Much Can 1e Bone fro! $inal Cut 9roD #efore $o% #egin $o%r &ilm Pro'ect An Introduction to $il! 9ro?ects 1efore You %hoot Your $il! :hich $il! to UseD "ransferring $il! to Cideo $ra!e <ate 1asics Audio Considerations :or(ing in $inal Cut 9ro Cinema Tools Wor)flows 1asic $il! :or(flow %teps $il! :or(flow 0Ea!ples 1asic Bigital Inter!ediate :or(flow %teps Bigital Inter!ediate :or(flow Using a "elecine :or(ing with <0BC-B0 Media Creating a Cinema Tools *ata+ase An Introduction to Cine!a "ools Bata ases

Chapter 1

Chapter 2

Chapter

Chapter 4

(4 Beciding =ow You %hould Create the Bata ase (8 Creating and Configuring a &ew Bata ase Chapter ( !( !( !! !! !7 7 74 7! 77 8" 8" 81 84 8( 8( 8! 91 9! 98 98 99 1"" 1"1 1"( 1"( 1"( 1"9 11( 12" 12 12 12 12( 127 1 9 1 9 141 Wor)ing with *ata+ases -pening an 0Eisting Bata ase Ciewing Bata ase 9roperties A out the Betail Ciew :indow %ettings in the Betail Ciew :indow A out the 4ist Ciew :indow %ettings in the 4ist Ciew :indow $inding and -pening Bata ase <ecords %ettings in the $ind Bialog 1ac(ing Up' Copying' <ena!ing' and 4oc(ing Bata ases A out the Clip :indow %ettings in the Clip :indow Accessing Infor!ation A out a %ource Clip ,ntering an- .o-if/ing *ata+ase 0nformation A out :or(ing with Bata ase Infor!ation I!porting Bata ase Infor!ation 0ntering Bata ase Infor!ation Manually Using the Identify $eature to Calculate Bata ase Infor!ation Beleting a Bata ase <ecord Choosing a Bifferent 9oster $ra!e for a Clip Changing the Befault Bata ase %ettings Changing All <eel or <oll Identifiers Cerifying and Correcting 0dge Code and "i!ecode &u! ers Capt%ring 1o%rce Clips an- Connecting Them to the *ata+ase A out %ource Clips and the Bata ase 9reparing to Capture Fenerating a 1atch Capture 4ist fro! Cine!a "ools Connecting %ource Clips to the Bata ase $iEing 1ro(en Clip,to,Bata ase 4in(s Preparing the 1o%rce Clips for ,-iting An Introduction to 9reparing %ource Clips for 0diting Beter!ining =ow to 9repare %ource Clips for 0diting Using the Confor! $eature <eversing the "elecine 9ull,Bown Ma(ing Ad?ust!ents to Audio %peed %ynchroni#ing %eparately Captured Audio and Cideo Bividing or Beleting %ections of %ource Clips 1efore 0diting

Chapter !

Chapter 7

Chapter 8

Contents

Chapter 9

14 14 144 14! 1(" 1(" 1(1 1(7 1(8 1(9 1(9 1!" 1!1 1!! 174 189 19 19 194 194 19(

,-iting with &inal C%t Pro A out 0asy %etups and %etting the 0diting "i!e ase :or(ing with 25 fps Cideo Confor!ed to 26 fps Bisplaying $il! Infor!ation in $inal Cut 9ro -pening $inal Cut 9ro Clips in Cine!a "ools <estrictions for Using Multiple "rac(s Using 0ffects' $ilters' and "ransitions "rac(ing Buplicate Uses of %ource Material 0nsuring Cut 4ist Accuracy with G@2 9ull,Bown or 26 H 3 Cideo 2enerating &ilm 3ists an- Change 3ists An Introduction to $il! 4ists and Change 4ists Choosing the 4ist $or!at 4ists You Can 0Eport 0Eporting $il! 4ists Using $inal Cut 9ro Creating Change 4ists :or(ing with I%4 %tyle %heets ,4port Consi-erations an- Creating A%-io ,*3s A out Co!!on Ite!s You Can 0Eport for Your 9ro?ect Considerations :hen 0Eporting to Cideotape Considerations :hen 0Eporting Audio 0Eporting an Audio 0B4

Chapter 1"

Chapter 11

Chapter 12

2"1 Wor)ing with ,4ternal ,*3s5 6.35 an- A3, &iles 2"1 Creating 0B4,1ased and IM4,1ased $il! 4ists 2"! :or(ing with A40 $iles 2"9 21" 211 217 227 229 229 2 4 2 ! 241 241 242 24 Wor)ing with 24p 7i-eo an- 24 fps ,*3s Considerations :hen -riginating on $il! 0diting 26p Cideo with $inal Cut 9ro Adding and <e!oving 9ull,Bown in 26p Clips Using Audio 0B4s for Bual %yste! %ound &ilm #ac)gro%n- #asics $il! 1asics 0diting $il! Using "raditional Methods 0diting $il! Using Bigital Methods 8ow Cinema Tools Creates &ilm 3ists $il! 4ist Creation -verview A out the Clip,1ased Method A out the "i!ecode,1ased Method

Chapter 1

Appen-i4 A

Appen-i4 #

Contents

Appen-i4 C

24( 24( 24( 247 249

1olving Pro+lems <esources for %olving 9ro le!s %olutions to Co!!on 9ro le!s Contacting AppleCare %upport

2lossar/

Contents

Cine!a "ools is a powerful data ase that trac(s $inal Cut 9ro edits for confor!ing fil!' digital inter!ediate' and 26p video pro?ects. "his preface covers the following@ J A out Cine!a "ools +p. K/ J A out the Cine!a "ools Bocu!entation +p. 7/ J Additional <esources +p. 7/

A out Cine!a "ools

In todayLs post,production environ!ent' itLs co!!on for editors and fil!!a(ers to find the!selves faced with a confounding array of for!ats' fra!e rates' and wor(flows enco!passing a single pro?ect. 9ro?ects are often shot' edited' and output using co!pletely different for!ats at each step. $or editors and fil!!a(ers who specifically want to shoot and finish on fil! or use a digital inter!ediate wor(flow' Cine!a "ools eco!es an essential part of the post,production process when editing with $inal Cut 9ro. $or eEa!ple' when wor(ing with fil! you need to e a le to trac( the relationship etween the original fil! fra!es and their video counterparts. Cine!a "ools includes a sophisticated data ase feature that trac(s this relationship regardless of the video standard you use' ensuring that the fil! can e confor!ed to !atch your $inal Cut 9ro edits. Cine!a "ools also provides the a ility to convert captured video clips to 26,fra!e,per,second +fps/ video. $or &"%C' this includes a <everse "elecine feature that re!oves the eEtra fra!es added during the G@2 pull,down process co!!only used when transferring fil! to video or when downconverting 26p video. Cine!a "ools' in co! ination with $inal Cut 9ro' provides tools designed to !a(e editing fil! digitally' using digital inter!ediate processes involving Color' and wor(ing with 26p video easier and !ore cost effective' providing functionality previously found only on high,end or very speciali#ed editing syste!s.

Preface
7

Welcome to Cinema Tools

"he integration etween Cine!a "ools and $inal Cut 9ro !a(es it possi le to perfor! the !ost co!!on Cine!a "ools tas(s directly fro! $inal Cut 9roMCine!a "ools perfor!s the tas(s auto!atically in the ac(ground.

A out the Cine!a "ools Bocu!entation

Cine!a "ools co!es with the Cinema Tools 4 User Manual +this docu!ent/' which provides detailed infor!ation a out the application. "his co!prehensive docu!ent descri es the Cine!a "ools interface' co!!ands' and !enus and gives step, y,step instructions for creating Cine!a "ools data ases and for acco!plishing specific tas(s. It is written for users of all levels of eEperience. "his !anual docu!ents not only all aspects of using the Cine!a "ools application' ut also all related functions within $inal Cut 9ro. Note: "his !anual is not intended to e a co!plete guide to the art of fil!!a(ing. Much of the fil!,specific infor!ation presented here is very general in nature and is supplied to provide a conteEt for the ter!inology used when descri ing Cine!a "ools functions.

Additional <esources
Along with the docu!entation that co!es with Cine!a "ools' there are a variety of other resources you can use to find out !ore a out Cine!a "ools. Cinema Tools We+site $or general infor!ation and updates' as well as the latest news on Cine!a "ools' go to@ J http@AAwww.apple.co!AfinalcutstudioAfinalcutp roAcine!atools.ht!l Apple 1ervice an- 1%pport We+sites $or software updates and answers to the !ost fre2uently as(ed 2uestions for all Apple products' go to the general Apple %upport we page. YouLll also have access to product specifications' reference docu!entation' and Apple and third,party product technical articles. J http@AAwww.apple.co!Asupport $or software updates' docu!entation' discussion foru!s' and answers to the !ost fre2uently as(ed 2uestions for Cine!a "ools' go to@ J http@AAwww.apple.co!AsupportAcine!atools $or discussion foru!s for all Apple products fro! around the world' where you can search for an answer' post your 2uestion' or answer other usersL 2uestions' go to@ J http@AAdiscussions.apple.co!

Preface

:elco!e to Cine!a "ools

An Overview of Using Cinema Tools

Cine!a "ools co! ined with $inal Cut 9ro gives unprecedented power to fil!' digital inter!ediate' and 26p video editors. "his chapter covers the following@ J 0diting $il! Bigitally +p. 9/ J :hy 26p CideoD +p. 32/ J :or(ing with 26p %ources +p. 3G/ J -ffline and -nline 0diting +p. 3G/ J Creating the Cine!a "ools Bata ase +p. 36/ J Capturing the %ource Clips with $inal Cut 9ro +p. 38/ J 9reparing the Clips for 0diting +p. 39/ J Creating Cut 4ists and -ther 4ists with Cine!a "ools +p. 20/ J =ow Much Can 1e Bone fro! $inal Cut 9roD +p. 23/

0diting $il! Bigitally

Co!puter technology is changing the fil!,creation process. Most feature,length fil!s are now edited digitally' using sophisticated and eEpensive nonlinear editors designed for that specific purpose. Until recently' this sort of tool has not een availa le to fil!!a(ers on a li!ited udget. Cine!a "ools provides $inal Cut 9ro with the functionality of syste!s costing !any ti!es !ore at a price that all fil!!a(ers can afford. If you are shooting with G5!! or 38!! fil! and want to edit digitally and finish on fil!' Cine!a "ools allows you to edit video transfers fro! your fil! using $inal Cut 9ro and then generate an accurate cut list that can e used to finish the fil!. 0ven if you do not intend to confor! the original ca!era negative' as in a digital inter!ediate wor(flow' Cine!a "ools provides a variety of tools for capturing and processing your fil!Ls video. %ee A out the Bigital Inter!ediate 9rocess for !ore infor!ation.

8ow *oes Cinema Tools 8elp $o% ,-it $o%r &ilm9

$or !any' fil! still provides the opti!u! !ediu! for capturing i!ages. And' if your goal is a theatrical release or a showing at a fil! festival' you !ay need to provide the final !ovie on fil!. Using $inal Cut 9ro with Cine!a "ools does not change the process of eEposing the fil! in the ca!era or pro?ecting the final !ovie in a theaterMitLs the part in etween that ta(es advantage of the advances in technology. 0diting fil! has traditionally involved the cutting and splicing together of a fil! wor(print' a process that is ti!e,consu!ing and tends to discourage eEperi!enting with alternative scene versions. "ransferring the fil! to video !a(es it possi le to use a nonlinear editor +&40/ to edit your pro?ect. "he fleEi le nature of an &40 !a(es it easy to put together each scene and gives you the a ility to try different edits. "he final edited video is generally not usedMthe edit decisions you !a(e are the real goal. "hey provide the infor!ation needed to cut and splice +confor!/ the original ca!era negative into the final !ovie. "he challenge is in !atching the ti!ecode of the video edits with the (ey nu! ers of the fil! negative so that a negative cutter can accurately create a fil!, ased version of the edit. "his is where Cine!a "ools co!es in. Cine!a "ools trac(s the relationship etween the original ca!era negative and the video transfer. -nce you have finished editing with $inal Cut 9ro' you can use Cine!a "ools to generate a cut list ased on the edits you !ade. Ar!ed with this list' a negative cutter can transfor! the original ca!era negative into the final fil!.
-riginal ca!era negative Confor! original ca!era negative Create release print

%hoot fil!

Convert fil! to video

0dit in $inal Cut 9ro with Cine!a "ools

Cut list

If your production process involves wor(print screenings and !odifications' you can also use Cine!a "ools to create change lists that descri e what needs to e done to a wor(print to !a(e it !atch the new version of the se2uence edited in $inal Cut 9ro. %ee 1asic $il! :or(flow %teps for !ore details a out this wor(flow.

What Cinema Tools *oes

Cine!a "ools trac(s all of the ele!ents that go into the !a(ing of the final fil!. It (nows the relationship etween the original ca!era negative' the transferred videotapes' and the captured video clips on the editing co!puter. It wor(s with $inal Cut 9ro to store infor!ation a out how the video clips are eing used and generates the cut list re2uired to transfor! the original ca!era negative into the final edited !ovie.

1"

Chapter 1 An -verview of Using Cine!a "ools

Cine!a "ools also chec(s for pro le!s that can arise while using $inal Cut 9ro' the !ost co!!on one eing duplicate uses of source !aterial@ using a shot +or a portion of it/ !ore than once. 1esides creating duplicate lists' you can use Cine!a "ools to generate other lists' such as one dealing with opticalsMthe place!ent of transitions' !otion effects +video at other than nor!al speed/' and titles. Cine!a "ools can also wor( with the production audio' trac(ing the relationship etween the audio used y $inal Cut 9ro and the original production audio sources. It is possi le to use the edited audio fro! $inal Cut 9ro when creating an 0dit Becision 4ist +0B4/ and process +or finish/ the audio at a speciali#ed audio post,production facility. ItLs i!portant to understand that you use $inal Cut 9ro only to !a(e the edit decisions Mthe final edited video output is not typically used' since the video it is edited fro! generally is co!pressed and includes urned,in ti!ecode +window urn/ and fil! infor!ation. It is the edit, ased cut list that you can generate with Cine!a "ools that is the goal.

A+o%t the *igital 0nterme-iate Process

As !ovies eco!e !ore sophisticated and the de!and for digitally generated special effects grows' the digital intermediate process' also (nown as DI' has eco!e increasingly i!portant to fil!!a(ers. "his process often starts with a high,2uality scan of the original fil!. "his scan results in eEtre!ely high,2uality video' often in the for! of digital picture eEchange +B9I/ i!age se2uences whose 2uality rivals or surpasses that of fil!. "his high,2uality video can then e edited' !anipulated' and color corrected digitally. "he ig difference etween this process and the telecine, ased fil! editing process descri ed previously is that the BI process does not actually confor! the original ca!era negativeMinstead' the final digital output is either printed to fil! or distri uted directly. "he ter! DI is also used to descri e the editing' digital !anipulation' and color correction processes used when the source of the video is a high,resolution ca!era syste! that does not use fil! at all' such as the <0B -&0 ca!era. "he video clips created !ost often during this process are referred to as 2K video image sequences. An i!age se2uence is actually a folder containing individual i!age files for each video fra!e. 1ecause of the large si#e of these video clips' they are not generally edited directly. Instead' lower,resolution versions of the files are created' usually ased on the Apple 9ro<es 622 codec' and then edited. -nce the edit is finished' the neEt step is to use Color to apply any needed color correction. "his color correction is applied to the original 2. !edia. "o acco!plish this' an 0dit Becision 4ist +0B4/ is eEported fro! $inal Cut 9ro. "his 0B4 is used to !atch the edits to the 2. !edia' allowing Color to confor! and color correct the 2. !edia.

Cine!a "ools data ases can e used in this process to !atch the 0B4 to the 2. !edia' lin(ing the reel na!es and ti!ecode of each edit to entries in a data ase created fro! a folder of 2. i!age se2uence clips. Using a Cine!a "ools data ase provides powerful tools to diagnose and resolve any issues that occur' such as non!atching reel na!es. %ee 1asic Bigital Inter!ediate :or(flow %teps and Bigital Inter!ediate :or(flow Using a "elecine for details a out this wor(flow.
Color %can fil! to video Confor! and color correct Create release print

%hoot fil!

B9I B9I i!age se2uences

-ffline video

0B4

$inal Cut 9ro with Cine!a "ools 0dit se2uence

:hy 26p CideoD

"he proliferation of high definition +=B/ video standards and the desire for worldwide roadcast distri ution have created a de!and for a video standard that can e easily converted to all other standards. Additionally' a standard that translates well to fil!' providing an easy' high,2uality !ethod of originating and editing on video and finishing on fil!' is needed. 26p video provides all this. It uses the sa!e 26 fps rate as fil!' !a(ing it possi le to ta(e advantage of eEisting conversion sche!es to create &"%C and 9A4 versions of your pro?ect. It uses progressive scanning to create an output well suited to eing pro?ected on large screens and converted to fil!. Additionally' 26p video !a(es it possi le to produce high,2uality 26 fps telecine transfers fro! fil!. "hese are very useful when you intend to roadcast the final product in !ultiple standards.

:or(ing with 26p %ources

:ith the e!ergence of 26p =B video recorders' there is a growing need for $inal Cut 9ro to support several aspects of editing at 26 fps +in so!e cases' actually 2G.97 fps/. "o this end' $inal Cut 9ro and Cine!a "ools provide the following@ J "he i!port and eEport of 26 fps and 2G.97 fps 0B4s J "he a ility to convert &"%C 29.9K fps 0B4s to 2G.97 fps or 26 fps 0B4s J A <everse "elecine feature to undo the G@2 pull,down used when 26 fps fil! or video is converted to &"%CLs 29.9K fps J "he a ility to re!ove 2@G@G@2 or 2@G@2@G pull,down fro! &"%C !edia files so you can edit at 26 fps or 2G.97 fps J "he a ility to output 2G.97 fps video via $ire:ire at the &"%C standard of 29.9K fps video J "he a ility to !atch the edits of videotape audio with the original production audio tapes and generate an audio 0B4 that can then e used to recapture and finish the audio if you intend to recapture it elsewhere for final processing %everal of the features !entioned a ove are included with $inal Cut 9ro and do not re2uire Cine!a "oolsN however' this !anual descri es all of these features ecause they relate to wor(ing with 26p' which is of specific interest to !any fil!!a(ers. %ee $ra!e <ate 1asics for !ore infor!ation a out wor(ing with the different fra!e rates.

-ffline and -nline 0diting

If you are wor(ing with a high,resolution 26p for!at' such as unco!pressed =B video' you !ay need to !a(e lower,resolution copies of your footage to !aEi!i#e your co!puterLs dis( space and processing power. In this case' there are four asic steps to the editing process@ J Production (generating the master video : "ransfer fil! to or natively shoot on unco!pressed 26p =B video. J !""line edit: Convert footage to &"%C or 9A4 video +which is generally lower, resolution than 26p/ and edit it. J Pro#ect interchange: 0Eport a $inal Cut 9ro pro?ect or an 0B4 containing your final edit decisions.

J !nline edit: <eplace low,resolution footage and create a full,resolution !aster.

26p !aster source 26p video -nline edit +26 fps/ 0dited 26p !aster

$inal Cut 9ro with Cine!a "ools +offline edit/ &"%C or 9A4 video Capture video Convert to 26 fps 0dit clips 26 fps 0B4

%ee 0diting 26p Cideo with $inal Cut 9ro for !ore infor!ation.

Creating the Cine!a "ools Bata ase

"here are a nu! er of issues to ta(e into account when you create your data ase.

8ow the *ata+ase Wor)s

"he data ase can contain one record or thousands of records' depending on how you decide to use Cine!a "ools. "hese records are !atched to the edits !ade in $inal Cut 9ro so that the cut list can e created. "o e valid in a fil! wor(flow' a record !ust have values for the ca!era' daily' or la roll' as well as the edge code +(ey nu! ers or in( nu! ers/. In addition' the record !ust either have a clip connected to it or have video reel and video ti!ecode +In point and duration/ values. :hen you eEport the cut list after editing the video in $inal Cut 9ro' Cine!a "ools loo(s at each edit and tries to find the appropriate record in its data ase to deter!ine the corresponding (ey nu! ers or in( nu! ers +edge code/. Cine!a "ools first loo(s for a record connected to the !edia file used in the edit. If a record is found' Cine!a "ools then locates the file' adds a note to the cut list' and !oves on to the neEt edit. If no record is found using an editLs !edia file' or the file is not located' Cine!a "ools loo(s at the video reel nu! er to see if any of its records have the sa!e nu! er +)003* is not the sa!e as )0003*/. If so' it then loo(s to see if the editLs In and -ut points fall within the range of one of the records. If this condition is also !et' the edit is added to the cut list' and Cine!a "ools !oves on to the neEt edit. If a record cannot e found that uses an editLs clip pathna!e or video reel nu! er with suita le ti!ecode entries' )O!issingP* appears in the cut list and a note is added to the !issing ele!ents list. If a record is found ut is inco!plete +!issing the (ey nu! er' for eEa!ple/' )O!issingP* is placed in those fields and a note is added to the !issing ele!ents list. %ee An Introduction to $il! 4ists and Change 4ists and =ow Cine!a "ools Creates $il! 4ists for details a out this process and the !issing ele!ents list.

A *etaile- or 1imple *ata+ase9

Cine!a "ools is designed to allow you to create a record for an entire ca!era roll' for each ta(e' or so!ewhere in etween' depending on how you li(e to wor(. 0ach record can contain@ J %cene' shot' and ta(e nu! ers with descriptions J "he fil!Ls ca!era roll nu! er' edge code' and related video ti!ecode and reel nu! er J "he sound roll and ti!ecode J A clip poster fra!e showing a representative fra!e fro! the clip J 1asic settings such as fil! and ti!ecode for!at "he records can e entered !anually or i!ported fro! a telecine log. You can !odify' delete' and add records to the data ase as re2uired' even if it is ased on the telecine log. You can also !erge data ases. $or eEa!ple' if you are wor(ing with dailies' you can create a new data ase for each session and !erge the! all together when the shoot is co!plete. "he telecine log fro! scene,and,ta(e transfers' where only specified fil! ta(es are transferred to video' can provide the asic infor!ation for the data ase. You can add additional records' co!!ents' and other infor!ation as needed. "he telecine log fro! ca!era,roll transfers typically provides infor!ation for a single recordMthe edge code and video ti!ecode used at the start of the transfer. Assu!ing continuous fil! (ey nu! ers and video ti!ecode throughout the transfer' that single record is sufficient for Cine!a "ools to generate a cut list for that ca!era roll.

0mporting Telecine 3ogs

You have a choice of i!porting the telecine log using Cine!a "ools or $inal Cut 9ro. You can choose either !ethod according to your wor(flow. In oth cases' you have the option of assigning a ca!era letter' which is appended to the ta(e entries' to the i!port. "his is useful in those cases where !ultiple ca!eras were used for each ta(e. %ee Assigning Ca!era 4etters for !ore infor!ation. %ee I!porting Bata ase Infor!ation fro! a "elecine 4og or A40 $ile for !ore infor!ation a out i!porting telecine logs. J Im$orting telecine logs using Cinema Tools: "o i!port a telecine log into Cine!a "ools' you !ust first have a data ase open. "he data ase can e an eEisting one that you want to add new records to' or it can e a new one with no records. -nce the records have een i!ported' you can eEport a atch capture list fro! Cine!a "ools that you can i!port into $inal Cut 9ro to auto!ate the clip capture process.

J Im$orting telecine logs using %inal Cut Pro: :hen you i!port a telecine log using $inal Cut 9ro' you choose whether to i!port it into an eEisting Cine!a "ools data ase or whether a new data ase should e created. As records are added to the selected Cine!a "ools data ase' each record also creates an offline clip in the $inal Cut 9ro 1rowser so that clips can e atch captured. "he fil!,related infor!ation fro! the telecine log is auto!atically added to each clip. You can show this infor!ation in a variety of ways while editing the clips in $inal Cut 9ro. %ee Bisplaying $il! Infor!ation in $inal Cut 9ro for !ore infor!ation.

.an%all/ ,ntering *ata+ase :ecor-s

"he !ost co!!on reason to !anually enter a record into the data ase is that there is no log availa le fro! the fil!,to,video transfer process. %o!e fil!,to,video transfer !ethods' such as fil! chains' do not provide logs. 0ach record in a data ase should represent a !edia file that has continuous ti!ecode and (ey nu! ers. :ith scene,and,ta(e transfers' each ta(e re2uires its own record ecause fil! (ey nu! ers are s(ipped when ?u!ping fro! ta(e to ta(e during the transfer. :ith ca!era,roll transfers' ecause the fil! roll and video recorder run continuously fro! start to finish' you re2uire only one record for the entire clip' even if you later rea( it into s!aller clips +that retain the original ti!ecode/ and delete the unused portions. "his is ecause Cine!a "ools can use an editLs video reel nu! er and edit points to calculate the appropriate (ey nu! ers' as long as the video reel and edit point infor!ation is part of a record. "o !anually enter data ase records' you need to (now the (ey nu! er and video ti!ecode nu! er for a fra!e of the clip. "his is easiest when the transfer has these values urned in to the video. %ee Creating a Cine!a "ools Bata ase for details a out creating and !anaging Cine!a "ools data ases.

Capturing the %ource Clips with $inal Cut 9ro

=ow you capture the source clips with $inal Cut 9ro depends in large part on the actual !edia used for the telecine transfer. J I" &ou have a telecine log "ile and the cli$s are $rovided using a ta$e'(ased s&stem: In this case' you start y i!porting the telecine log file into either Cine!a "ools or $inal Cut 9ro. If you i!port the telecine log file into Cine!a "ools' you then eEport a atch capture list for $inal Cut 9ro. If you i!port the telecine log file into $inal Cut 9ro' you can use the atch capture process to capture the clips.

Note: Capturing video clips fro! a tape, ased device !ay re2uire third,party hardware. :hen using serial device control' !a(e sure to cali rate its capture offset. %ee the $inal Cut 9ro docu!entation for !ore infor!ation. Also see %etting Up Your =ardware to Capture Accurate "i!ecode for !ore infor!ation a out capturing your clips. J I" &ou do not have a telecine log "ile and the cli$s are $rovided using a ta$e'(ased s&stem: In this case' you use the $inal Cut 9ro 4og and Capture window to !anually capture each clip. -nce the clips are captured' you can create a Cine!a "ools data ase ased on the! using the %ynchroni#e with Cine!a "ools co!!and. In so!e cases' third, party hardware is re2uired. J I" the cli$s are $rovided using a "ile'(ased s&stem) such as on a hard dis* or D+D',!M disc: In this case' !ost often you also have a telecine log file. You can i!port the telecine log file into $inal Cut 9ro' copy the files to your co!puter' and connect the! to your $inal Cut 9ro pro?ect. J I" &our cli$s are coming directl& "rom a digital acquisition source) such as camcorders using solid'state cards: In this case' you use the 4og and "ransfer window in $inal Cut 9ro to ingest the clips. You then use the %ynchroni#e with Cine!a "ools co!!and to create a Cine!a "ools data ase ased on the clips.

:ecompressing the Capt%re- &iles

<egardless of how you captured your video' you !ay decide to reco!press the files to !a(e the! s!aller and easier to wor( with. $or eEa!ple' ta(ing advantage of the correct codec !ay allow you to edit on an older porta le co!puter.

A+o%t Compression
Co!pression' in ter!s of digital video' is a !eans of s2uee#ing the content into s!aller files that re2uire less hard dis( space and potentially less processor power to display. "he tradeoff is lower,2uality i!ages. ItLs i!portant to re!e! er that the edited video that results fro! $inal Cut 9ro when used with Cine!a "ools is not typically going to e used in an environ!ent where high 2uality would e eEpected. "he !ost co!!on use of the edited video is to give the negative cutter a visual guide to go along with the cut list. "his !eans that the 2uality of the video only needs to e good enough to !a(e your edit decisions and read the window urn values. =owever' ecause your edit decisions are so!eti!es ased on su tle visual cues' itLs est not to get too carried away with eEcess co!pression. Im$ortant: Bo not use long,F-9 codecs' such as !ost M90F,2' IBCAM' =.286' or =BC codecs. In addition to eing difficult to edit' these files cannot ta(e advantage of the <everse "elecine feature.

Capt%ring Tactics
"here are several approaches to capturing your video and audio. Beter!ining which is right for you depends on a nu! er of factors' including whether you have device control of the source tape dec( and the transfer type used +ca!era,roll or scene,and, ta(e/. *evice Control A pri!ary consideration when deter!ining how to capture video and audio is whether $inal Cut 9ro supports device control for the dec( you use. Bevice control allows you to capture precisely the video and audio you want in a way that can e eEactly repeated' if necessary. You can even set up a ) atch capture* that auto!ates the process' freeing you to do other tas(s. Capturing without device control presents several challenges. Clips that are captured !anually do not have precise start and end ti!es. If you intend to !atch start and end ti!es fro! a telecine log' you !ust tri! the clips after capturing the!. Additionally' without device control' a clipLs ti!ecode does not !atch the ti!ecode on the tape. $inal Cut 9ro has a provision for changing a clipLs ti!ecode' ut in order for that ti!ecode to !atch the source tape' you !ust have a visual reference +a hole,punched or !ar(ed fra!e/ with a (nown ti!ecode value. $or !ore infor!ation a out device control' see the $inal Cut 9ro docu!entation. Camera;:oll Transfers Ca!era,roll transfers re2uire you either to capture the entire tape or to !anually capture a clip for each ta(e. As long as the tape uses continuous video ti!ecode and fil! (ey nu! ers' Cine!a "ools re2uires only a single data ase record showing the relationship etween the two. If $inal Cut 9ro has device control of your source dec(' the est !ethod for capturing the desired ta(es is to use the $inal Cut 9ro 4og and Capture window and enter the In and -ut points and reel nu! er for each. You can then use atch capture to finish the process. ItLs not necessary to create a data ase record for each clip' as long as you do not change the ti!ecode. :ithout device control' you !ust !anually capture either the individual ta(es you want or the entire tape. You !ay need to tri! a ta(e that you capture !anually' and you will also have to !anually set its ti!ecode to !atch the source tape. An advantage to capturing the entire tape is that you only have to set the clipLs ti!ecode once +assu!ing that the source tape had continuous ti!ecode/. "he draw ac( is the a!ount of dis( space re2uired' although once the tape is captured' you can use $inal Cut 9ro to create su clips of the useful ta(es and then delete the unused !aterial. %ee Capturing %ource Clips and Connecting "he! to the Bata ase for details a out capturing clips.

1cene;an-;Ta)e Transfers %cene,and,ta(e transfers generally result in records in the Cine!a "ools data ase that are suita le for perfor!ing a atch capture. You can eEport a capture list fro! Cine!a "ools and i!port it into the $inal Cut 9ro 1rowser. $inal Cut 9ro can then perfor! a atch capture +assu!ing it can control the source device/' creating clips as directed y the Cine!a "ools list. "hese clips can then e easily lin(ed to records in the Cine!a "ools data ase. &inishing with 8igh;<%alit/ 7i-eo If you intend to provide a high,2uality video output when you have finished the pro?ect' there are several issues you !ight need to consider. :hen capturing video for the initial offline edit' you can capture with relatively high co!pression and include urned,in ti!ecode and (ey nu! ers. "he co!pression !a(es it easier for your co!puter to wor( with the video and re2uires less hard dis( space' allowing you to capture !ore video to use for !a(ing your edit decisions. After you have finished the offline edit' you can use $inal Cut 9ro to recapture ?ust the video actually used in the edits' using a high,2uality codec and a version of the video without urned,in ti!ecode and (ey nu! ers. %ee :or(ing with 26p Cideo and 26 fps 0B4s for !ore infor!ation a out this process. Also see your $inal Cut 9ro docu!entation for !ore infor!ation a out offline and online editing wor(flows.

9reparing the Clips for 0diting

Cine!a "ools includes two features you can use to help prepare the captured clips for editing.

:everse Telecine
"he <everse "elecine feature +for &"%C transfers only/ provides a !eans of re!oving the eEtra fields added during the G@2 pull,down process of the telecine transfer. You need to do this when you intend to edit the video at 2G.97 fps. %ee $ra!e <ate 1asics for infor!ation a out what a G@2 pull,down is and why you !ight want to reverse it. %ee <eversing the "elecine 9ull,Bown for details a out using the <everse "elecine feature. Note: "he <everse "elecine feature cannot e used with te!porally co!pressed video such as M90F,2,for!at video.

Conform
"he Confor! feature is useful oth to correct errors in video clips and to change the fra!e rate +ti!e ase/ of a clip. Cine!a "ools lets you select the fra!e rate you want to confor! a clip to.

In order to understand the Confor! feature' you need to (now a it a out the nature of ;uic("i!e video files. 0ach video fra!e within a ;uic("i!e file has a duration setting that defines the length of ti!e that a particular fra!e is displayed +nor!al &"%C, or 9A4, ased ;uic("i!e video has the sa!e duration assigned to all fra!es/. $or eEa!ple' the &"%C video rate has a value of 3AG0 of a second +actually 3A29.9K of a second/ assigned to each fra!e. "he 9A4 video rate is 3A25 of a second. -ccasionally' captured video clips have so!e fra!es whose durations are set to slightly different values. Although the differences are not visi le when playing the clip' they can cause pro le!s when Cine!a "ools creates the cut list or when you use the <everse "elecine feature. In these cases' you can confor! the clip to its current fra!e rate. "here are also ti!es when you !ay want to change the fra!e rate of a clip. If you transferred 26 fps fil! to video y speeding it up +either to 29.9K fps for &"%C or to 25 fps for 9A4Min each case ensuring a one,to,one relationship etween the fil! and video fra!es/' the action during play ac( will e faster than in the original fil!' and the audio will need to have its play ac( speed ad?usted to co!pensate. You can use the Confor! feature to change the clipLs fra!e rate to 26 fps' !a(ing it play ac( at the original fil! rate and stay in sync with the audio. %ee Using the Confor! $eature for details. Note: Ma(e sure to use the Confor! feature on a clip (e"ore editing it in $inal Cut 9ro. Also !a(e sure the editing ti!e ase in the $inal Cut 9ro %e2uence 9reset 0ditor is set at the sa!e rate you are confor!ing to. %ee Beter!ining =ow to 9repare %ource Clips for 0diting for !ore infor!ation.

Creating Cut 4ists and -ther 4ists with Cine!a "ools

"here are a nu! er of other useful lists that can e generated at the sa!e ti!e as a cut list. -ne fil! list file can contain any of the following@ J Missing elements list: A list of any re2uired infor!ation that could not e found in the data ase J Du$licate list: A list of duplicate usages of the sa!e source !aterial J !$tical list: A list for the effects printer' descri ing any transitions and !otion effects J Pull list: A list to aid the la in pulling the re2uired negative rolls J -cene list: A list of all the scenes used in your progra! and the shots used in the opticals You can also eEport a change list' useful if your production process involves wor(print screenings and !odifications. "he change list assu!es a wor(print has een cut to the specifications of a cut list +or prior change list/ and it specifies further changes to !a(e to the wor(print' ased on edits you have !ade to the se2uence in $inal Cut 9ro. %ee :hen Are Change 4ists Used in a $il! :or(flowD for a flow chart of the wor(print and change list process.

%ee An Introduction to $il! 4ists and Change 4ists for !ore details a out all the fil!,related lists that are availa le.

=ow Much Can 1e Bone fro! $inal Cut 9roD

1ecause of the high level of integration etween Cine!a "ools and $inal Cut 9ro' you have several options for each stage in your pro?ectLs wor(flow. $or eEa!ple' should you i!port the telecine log into Cine!a "ools and eEport a atch capture list for $inal Cut 9ro' or should you i!port the telecine log directly into $inal Cut 9roD Your situation and preferred wor(ing !ethods will often !a(e this decision for you. A!ong the Cine!a "oolsQrelated functions you can perfor! directly fro! $inal Cut 9ro are@ J I!porting telecine log files J Confor!ing 25 fps video to 26 fps J <eversing the telecine pull,down +using the last settings in Cine!a "ools/ J -pening a clip in the Cine!a "ools Clip window J %ynchroni#ing a Cine!a "ools data ase to a group of selected clips J 0Eporting fil! lists and change lists

Chapter 1 An -verview of Using Cine!a "ools

21 21

$ollowing is a diagra! showing an ideal wor(flow that focuses on using $inal Cut 9ro !ethods.
%teps 9erfor!ed fro! $inal Cut 9ro Create a new $inal Cut 9ro pro?ect =ow Cine!a "ools Is Involved

I!port a log into the $inal Cut 9ro pro?ect' creating the offline clips for capture

A new Cine!a "ools data ase is created

1atch capture clips

9rocess clips +if needed/ J <everse telecine J Confor! +25 R 26/

Cine!a "ools does the processing

%ynchroni#e captured clips with Cine!a "ools data ase

"he clips are connected to the Cine!a "ools data ase

0dit clips

0Eport lists

Cine!a "ools creates the lists

In this wor(flow' you can focus on using $inal Cut 9ro' and Cine!a "ools perfor!s tas(s in the ac(ground as needed. You !ust use Cine!a "ools !anually if you want to add infor!ation to the data ase eyond what the telecine log provided' or if you have a uni2ue issue with reverse telecine and need to configure its settings.

22 22

Chapter 1 An -verview of Using Cine!a "ools

#efore $o% #egin $o%r &ilm Pro'ect

%tart planning your pro?ect early to ensure its success. "his chapter covers the following@ J An Introduction to $il! 9ro?ects +p. 2G/ J 1efore You %hoot Your $il! +p. 26/ J :hich $il! to UseD +p. 26/ J "ransferring $il! to Cideo +p. 25/ J $ra!e <ate 1asics +p. 27/ J Audio Considerations +p. G6/ J :or(ing in $inal Cut 9ro +p. G7/

An Introduction to $il! 9ro?ects

%uccessful fil! production re2uires thorough planning well efore eEposing the first fra!e. 1esides the nor!al preparations' additional issues !ust e considered when you intend to edit the fil! digitally. "hese issues !ay affect the fil! you use' how you record your sound' and other aspects of your production. "his chapter provides asic infor!ation a out !any of the issues you will face@ J :hich fil! to use J Choices for transferring the fil! to video J $ra!e rate issues etween the fil!' your video standard' and your editing ti!e ase J Audio issues such as which recorder and ti!ecode to use and how to synchroni#e the audio with the video J Issues with $inal Cut 9ro such as selecting a se2uence ti!e ase and using effects Note: Much of this infor!ation is very general in nature and is not intended to serve as a co!plete guide to fil!!a(ing. "he digital fil!!a(ing industry changes rapidly' so what you read here is not necessarily the final word.

1efore You %hoot Your $il!

1efore you egin your pro?ect' !a(e sure to discuss it with all parties involved in the process@ J "hose providing e2uip!ent or supplies used during the production J "hose involved in the actual production J "he facility that will develop your fil!' create wor(prints' and create the release print J "he video transfer facility J "he editor using Cine!a "ools and $inal Cut 9ro +if it is not you/ J "he negative cutter J "he audio post,production facility "hese are people who are eEperts in their fields. "hey can provide invalua le infor!ation that can !a(e the difference etween a s!ooth' successful pro?ect and one that see!s constantly to run into o stacles.

#e Caref%l 8ow $o% 1ave .one/

"here are a nu! er of ti!es throughout the fil! production process when you will get to choose etween )doing it right* and )doing it well enough.* -ften your udget or a lac( of ti!e drives the decision. Ma(e sure you thoroughly understand your wor(flow choices efore !a(ing decisions that could end up costing you !ore' oth in ti!e and !oney' in the long run. 9ro le!s ased on choices !ade early in the processMfor eEa!ple' deciding not to have a telecine log !adeMcould ta(e you y surprise later. =aving professional facilities handle the tas(s they speciali#e in' especially when you are new to the process' is highly reco!!ended. You !ay actually save !oney y spending a little for tas(s that you could do yourself' such as using an audio post,production facility. Also' do not underesti!ate the i!portance of using the cut list to confor! a wor(print efore confor!ing the negative. Although creating and editing a wor(print adds costs to the pro?ect' incorrectly confor!ing the original ca!era negative will cause irrepara le har! to your fil!.

:hich $il! to UseD

-ne of the first steps in any fil! production is choosing the fil! for!at to use. Cine!a "ools re2uire!ents !ust e ta(en into account when !a(ing this choice. Cine!a "ools supports 6,perf G5!!' G,perf G5!!' and 38!!,20 fil! for!ats. %ee $il! 1asics for details a out these for!ats.
24 Chapter 2 1efore You 1egin Your $il! 9ro?ect

Your udget will li(ely deter!ine which for!at you use. Although itLs generally est to use the sa!e fil! for!at throughout your production' Cine!a "ools does not re2uire it. 0ach data ase record has its own fil! for!at setting.

"ransferring $il! to Cideo

In order to digitally edit your fil!' you need to transfer it to video so that it can e captured y the co!puter. "here are a few ways to do this' ut an overriding re2uire!ent is that there e a relia le way to !atch the fil!Ls (ey nu! ers to the edited videoLs ti!ecode. "his relationship allows Cine!a "ools to accurately calculate specific (ey nu! ers ased on each editLs In and -ut point ti!ecode values. You also need to !a(e decisions regarding fil! and video fra!e rates used during the transfer. "hese affect the editing ti!e ase and i!pact the accuracy of the cut list that Cine!a "ools generates.

Telecines
1y far the !ost co!!on !ethod of transferring fil! to video is to use a telecine. "elecines are devices that scan each fil! fra!e onto a charge,coupled device +CCB/ to convert the fil! fra!es to video fra!es. Although a telecine provides an eEcellent picture' for the purposes of Cine!a "ools the !ore i!portant enefit is that it results in a loc(ed relationship etween the fil! and video' with no drifting etween the!. "elecines are typically gentler on the fil! and offer sophisticated color correction and operational control as co!pared to fil! chains' descri ed in "ransfer "echni2ues "hat Are &ot <eco!!ended. Another advantage is that telecines can create video fro! the original ca!era negativeM!ost other !ethods re2uire you to create a fil! positive +wor(print/ first. +Although fro! a udget viewpoint it !ay e a enefit not to create a wor(print' wor(prints are generally created anyway since they provide the est way to see the footage on a large screen and spot any issues that !ight i!pact which ta(es you use. 0ven !ore i!portantly' they allow you to test the cut list efore wor(ing on the negative./ In addition to providing a high,2uality transfer' !ost !odern telecines read the (ey nu! ers fro! the fil! and can access the video recorderLs ti!ecode generator' urning in these nu! ers on the video output. An additional enefit of the telecine transfer !ethod is its a ility to provide synchroni#ed audio along with the video output. It can control the audio source and urn in the audio ti!ecode along with the video ti!ecode and the (ey nu! ers.

Chapter 2 1efore You 1egin Your $il! 9ro?ect

2(

#%t What 0f $o% Want a Clean .aster9

If you plan to confor! the original ca!era negative' the presence of urned,in ti!ecode and (ey nu! ers on the video clips you edit in $inal Cut 9ro !ay not e a pro le!' especially if you are wor(ing with a highly co!pressed video for!at. "he urned,in nu! ers can e a pro le!' however' if you intend to use the edited video for screenings or for roadcast. As valua le as they are to the editor' the urned, in nu! ers can e distracting when watching an edited pro?ect. "here are two co!!on !ethods you can use to !ini!i#e this pro le!@ J 4etter oE the video during capture using a 2@G5 aspect ratio so that there is enough roo! elow the video to show the nu! ers. J $lash the urn,in infor!ation on the first fra!e only. Although not 2uite as useful as a continuous urn,in' this does provide the editor with the a ility to ensure that the relationship of the edge code to the ti!ecode is correct. In !ost cases' telecines produce a log file that can provide the asis for the Cine!a "ools data ase. "his allows you to auto!ate capturing the video into the co!puter. Increasingly' telecine facilities can also capture the video clips for you' providing the clips on a BCB disc or $ire:ire drive' along with the telecine log and videotapes.

Transfer Techni=%es That Are >ot :ecommen-e"here are a couple of transfer techni2ues that are worth !entioning ?ust to point out why you should not use the!. &ilm Chains You should avoid using a fil! chain if at all possi le. $il! chains are relatively old technology' as co!pared to telecines. A fil! chain is asically a fil! pro?ector lin(ed to a video ca!era. $il! chains typically do not support features such as reading the (ey nu! ers or controlling video recorders' and they cannot create a positive video fro! a fil! negative. You !ust create a wor(print to use a fil! chain. Using a fil! chain is usually less eEpensive than using a telecine' although the cost of creating a wor(print partly offsets the lower cost. "he iggest challenge is eing a le to define the relationship etween the fil!Ls (ey nu! ers and the video ti!ecode. "his is usually acco!plished with hole punches +or so!e other distinct fra!e !ar(er/ at (nown fil! fra!es. Im$ortant: -lder fil! chains !ay not synchroni#e the fil! pro?ector to the video recorder' potentially causing the fil!,to,video relationship to drift.

2!

Chapter 2 1efore You 1egin Your $il! 9ro?ect

:ecor-ing a Pro'ecte- 0mage with a Camcor-er 1ecause of the greatly increased chances for error and the additional ti!e you have to spend trac(ing (ey nu! ers' this !ethod of transfer is strongly discouraged and should not e considered. 9ro?ecting your fil! and recording the results using a video ca!corder is a !ethod that' although relatively ineEpensive' al!ost guarantees errors in the final negative cutting. "elecines and fil! chains are usually a le to synchroni#e the fil! and video devices' ensuring a consistent transfer at whatever fra!e rates you choose. "he pro?ectorLs and video ca!corderLs fra!e rates !ay e close to ideal ut will drift apart throughout the transfer' !a(ing it i!possi le to ensure a relia le relationship etween the fil!Ls (ey nu! ers and the video ti!ecode. You will have to spend eEtra ti!e going over the cut list to ensure the proper fil! fra!es are eing used. Additionally' there !ay e su stantial flic(er in the video output' !a(ing it difficult to see so!e fra!es and deter!ine which to edit on. 1ecause the video is not actually used for anything eEcept deter!ining edit points' its 2uality doesnLt !atter too !uch. As with fil! chains' you have to create a wor(print to pro?ect. 1eing a le to proof your cut list efore the original ca!era negative is wor(ed on is very i!portant with this type of transfer.

8ow .%ch 1ho%l- $o% Transfer9

Beciding how !uch of your fil! to transfer to video depends on a nu! er of issues' the iggest one pro a ly eing cost. "he a!ount of ti!e the telecine operator spends on the transfer deter!ines the cost. :hether it is !ore efficient to transfer entire rolls of fil! +a )ca!era,roll* transfer/' including ad ta(es and scenes that wonLt e used' or to spend ti!e locating specific ta(es and transferring only the useful ones +a )scene,and, ta(e* transfer/ needs to e deter!ined efore starting. Camera;:oll Transfers Cine!a "ools uses a data ase to trac( the relationship etween the fil! (ey nu! ers and the video and audio ti!ecode nu! ers. "he data ase is designed to have a record for each ca!era ta(e' ut this is not re2uired. If you transfer an entire roll of fil! continuously to videotape' Cine!a "ools needs only one record to esta lish the relationship etween the (ey nu! ers and the video ti!ecode. All edits using any portion of that single large clip can e accurately !atched to the original ca!era negativeLs (ey nu! ers. A draw ac( to this transfer !ethod is the large file si#es' especially if significant chun(s of footage will not e used.

Chapter 2 1efore You 1egin Your $il! 9ro?ect

27

Additionally' ecause of the way it is recorded' audio is difficult to synchroni#e at the telecine during a ca!era,roll transfer. Buring a production' the sound recorder typically starts recording efore fil! starts rolling and ends after fil!ing has stopped. You also will often shoot so!e fil! without sound +(nown as M!- shots/. "his !eans you cannot esta lish audio sync at the start of the fil! roll and eEpect it to e !aintained throughout the roll. Instead' each clip needs to e synced individually. "he Cine!a "ools data ase includes provisions for trac(ing the original production sound rolls and audio ti!ecode. -nce captured' a single large clip can e ro(en into s!aller ones' allowing you to delete the eEcess video. 0ven with !ultiple clips' it is possi le for Cine!a "ools to generate a co!plete cut list with only one data ase record. Another approach is to !anually add additional records for each clip' allowing you to ta(e advantage of the eEtensive data ase capa ilities of Cine!a "ools. %ee Creating the Cine!a "ools Bata ase for a detailed discussion of these choices. 1cene;an-;Ta)e Transfers %cene,and,ta(e transfers are a it !ore eEpensive than ca!era,roll transfers' ut they offer significant advantages@ J %cene,and,ta(e transfers !a(e it easier to synchroni#e audio during the transfer. J 1ecause the telecine log contains one record per ta(e' it esta lishes a solid data ase when i!ported into Cine!a "ools. J :ith an esta lished data ase' Cine!a "ools can eEport a atch capture list. :ith this list +and appropriate device control/' $inal Cut 9ro can capture and digiti#e the appropriate ta(es with !ini!u! effort on your part. Maintaining an accurate fil! log and using a ti!ecode slate can help speed the transfer process and reduce costs.

$ra!e <ate 1asics

:hen transferring fil! to video' you need to ta(e into account the differences in fil! and video fra!e rates. $il! is co!!only shot at 26 fra!es per second +fps/' although 25 fps is so!eti!es used when the final pro?ect is to e delivered as 9A4 video +as opposed to the !ore co!!on techni2ue of ?ust speeding up 26 fps fil! to 25 fps/. Cideo can have a 29.9K fps rate +&"%C/' a 25 fps rate +9A4/' or either a 26 fps or 2G.97 fps rate +26p/' depending on your video standard. "he fra!e rate of your video +whether you sync the audio during the telecine transfer or not/ and the fra!e rate you want to edit at can deter!ine what you need to do to prepare your clips for editing. You !ay find it useful to read Beter!ining =ow to 9repare %ource Clips for 0diting efore you !a(e any decisions a out fra!e rates.

28

Chapter 2 1efore You 1egin Your $il! 9ro?ect

Wor)ing with >T1C 7i-eo

"he original fra!e rate of &"%C video was eEactly G0 fps. :hen color was added' the rate had to e changed slightly' to the rate of 29.9K fps. "he field rate of &"%C video is 59.96 fields per second. &"%C video is often referred to as having a fra!e rate of G0 fps' and although the difference is not large' it cannot e ignored when transferring fil! to video + ecause of its i!pact on audio synchroni#ation' eEplained in %ynchroni#ing the Audio with the Cideo/. Another issue is how to distri ute fil!Ls 26 fps a!ong &"%C videoLs 29.9K fps. "he !ost co!!on approach to distri uting fil!Ls 26 fps a!ong &"%C videoLs 29.9K fps is to perfor! a G@2 pull,down +also (nown as a 2:.:2:. $ull'do/n/. If you alternate recording two fields of one fil! fra!e and then three fields of the neEt' the 26 fra!es in 3 second of fil! end up filling the G0 fra!es in 3 second of video. Note: "he actual &"%C video fra!e rate is 29.9K fps. "he fil! fra!e rate is !odified to 2G.97 fps in order to create the G@2 pattern.

A
A A #
$ield 3 $ield 2 $ield 3

#
#
$ield 2

C *
# C
$ield 2

C
$ield 3

* * *
$ield 2 $ield 3 $ield 2

$ield 3

G@2 9ull,Bown 1efore +2G.97 fps/

# C * A # C

* A # C

* A # C

* A # C * A #

C *

A A # # # C C * * * A A # # # C C * * * A A # # # C C * * * A A # # # C C * * * A A # # # C C * ** A A # # # C C * * *

After +29.9K fps/ -ne second

As shown a ove' the G@2 pattern +actually a 2@G@2@G pattern ecause fra!e A is recorded to two fields followed y fra!e 1 recorded to three fields/ repeats after four fil! fra!es. Cirtually all high,end co!!ercials' !ovies' and non,live television shows use this process prior to eing roadcast.

Chapter 2 1efore You 1egin Your $il! 9ro?ect

29

&ote that there is not a one,to,one correspondence etween fil! fra!es and video fra!es after this pull,down occurs. "he duration of a video fra!e is four,fifths the duration of a fil! fra!e. 1ecause of this discrepancy' if you tried to !atch a specific nu! er of whole video fra!es to so!e nu! er of whole fil! fra!es' the durations would seldo! !atch perfectly. In order to !aintain overall synchroni#ation' there is usually so!e fraction of a fil! fra!e that !ust e either added to or su tracted fro! the duration of the neEt edit. "his !eans that in the cut list' Cine!a "ools occasionally has to add or su tract a fil! fra!e fro! the end of a cut in order to !aintain synchroni#ation. $or this reason' if you edit G@2 pull,down video' the Cine!a "ools cut list is only accurate to within SAQ 3 fra!e on each edit. "his accuracy issue is easily resolved y using the <everse "elecine feature +or third, party hardware or software/ to re!ove the eEtra fields and restore the fil!Ls original 26 fps rate efore you egin editing digitally' providing a one,to,one relationship etween the video and fil! fra!es. %etting the $inal Cut 9ro editing ti!e ase in the %e2uence 9reset 0ditor to 26 fps +or 2G.97 fpsMsee %ynchroni#ing the Audio with the Cideo/ allows you to edit the video and generate a very accurate cut list. %ee Beter!ining =ow to 9repare %ource Clips for 0diting for !ore infor!ation a out issues related to these options.

What?s an A &rame9
You will see and hear references to )A* fra!es whenever you are involved with G@2 pull,down video. As the previous illustration shows' the A fra!e is the only one that has all its fields contained within one video fra!e. "he others +1' C' and B fra!es/ all appear in two video fra!es. 1ecause the A fra!e is the start of the video five,fra!e pattern' it is highly desira le to have one as the first fra!e in all video clips. ItLs co!!on practice to have A fra!es at non,drop fra!e ti!ecode nu! ers ending in )5* and )0.* %ee A out A $ra!es for !ore infor!ation.

Wor)ing with PA3 7i-eo

"he 9A4 video fra!e rate is eEactly 25 fps. "here are two !ethods used when transferring fil! to 9A4@ running the fil! at 25 fps +referred to as the 24 0 21 !ethod/' and adding two eEtra fields per second +si!ilar to &"%CLs G@2 pull,down' referred to as the 24 2 3 !ethod' or the 24 0 21 $ull'do/n !ethod/.

24 @ 2( .etho<unning the fil! at 25 fps sets up a one,to,one relationship etween the fil! and video fra!es. "he draw ac( is that the action in the fil! is sped up y 6 percent' and the audio will need an identical speed increase to !aintain synchroni#ation. "o ta(e advantage of the wide variety of 25 fps video e2uip!ent availa le' you can choose to edit with the action 6 percent faster. Another option is to use the Cine!a "ools Confor! feature to change the clipLs ti!e ase to 26 fps' correcting the speed. "he video can then e edited with $inal Cut 9ro as long as the se2uences using it have a 26 fps ti!e ase.
-ne second 3 2 G 6 5 8 K 7 9 30 33 32 3G 36 35 38 3K 37 39 20 23 22 2G 26 26 fps

3 2 G 6 5 8 K 7 9 30 33 32 3G 36 35 38 3K 37 39 20 23 22 2G 26 3 3 2 G 6 5 8 K 7 9 30 33 32 3G 36 35 38 3K 37 39 20 23 22 2G 26 3 $irst fra!e of neEt second

25 fps

Note: $inal Cut 9ro includes an 0asy %etup and se2uence preset with )26 R 25* in their na!es' as well as a ti!ecode for!at na!ed )26 R 25.* "hese are all intended to e used with clips that originated as 9A4 25 fps video ut have een confor!ed to 26 fps video. %ee :or(ing with 25 fps Cideo Confor!ed to 26 fps for !ore infor!ation. 24 A 1 .ethoAdding two eEtra video fields per second +also (nown as the 24 0 21 $ull'do/n !ethod in $inal Cut 9ro/ has the advantage of !aintaining the original fil! speed' at the eEpense of losing the one,to,one fil!,to,video fra!e relationship. "his !ethod records an eEtra video field every twelfth fil! fra!e.
-ne second 3 2 G 6 5 8 K 7 9 30 33 32 3G 36 35 38 3K 37 39 20 23 22 2G 26 26 fps

3 2 G 6 5 8 K 7 9 30 33 32 32 3G 36 35 38 3K 37 39 20 23 22 2G 26 25 fps 3 2 G 6 5 8 K 7 9 30 33 32 3G 36 35 38 3K 37 39 20 23 22 2G 26 26 <epeated field <epeated field

Wor)ing with 24p 7i-eo

:ith its fra!e rate and progressive scanning' 26p video is well suited for use with telecine transfers. It uses the sa!e fra!e rate as fil!' providing a one,to,one relationship etween the fil! and video fra!es without re2uiring a fra!e rate conversion.

Chapter 2 1efore You 1egin Your $il! 9ro?ect

1 1

Your $inal Cut 9ro syste! needs to e e2uipped with speciali#ed hardware to capture 26p video' either as co!pressed or unco!pressed clips. Alternatively' so!e BC ca!eras' such as the 9anasonic AF,BCI300 ca!corder' can shoot 26p video and use the 2@G@G@2 pull,down !ethod to record it to tape at 29.9K fps +the &"%C standard/. Using $inal Cut 9ro and Cine!a "ools' you can capture this video and re!ove the 2@G@G@2 pull,down so that you can edit it at 26 fps. %ee Adding and <e!oving 9ull,Bown in 26p Clips for !ore infor!ation. Note: :hen used as part of an &"%C syste!' the 26p videotape recorderLs +C"<Ls/ fra!e rate is actually 2G.9K8 fps +referred to as 2.456 "$s/ to e co!pati le with the &"%C 29.9K fps rate.

Timeco-e Consi-erations
"here are several general issues related to ti!ecode that you should e aware of. If youLre using &"%C video' you can also choose etween two ti!ecode for!ats. 2eneral Timeco-e Tips :hen using video or audio e2uip!ent that allows you to define the ti!ecode setting' it is reco!!ended that you set the )hours* part of the ti!ecode to !atch the tapeLs reel nu! er. "his !a(es it !uch easier to recogni#e which reel a clip originated fro!. It is also est to avoid )crossing !idnight* on a tape. "his happens when the ti!ecode turns over fro! 2G@59@59@29 to 00@00@00@00 while the tape is playing. You have the option to use record run or "ree run ti!ecode during the production@ J ,ecord run timecode: "he ti!ecode generator pauses each ti!e you stop recording. Your tape ends up with continuous ti!ecode' ecause each ti!e you start recording it pic(s up fro! where it left off. J %ree run timecode: "he ti!ecode generator runs continuously. Your tape ends up with a ti!ecode rea( each ti!e you start recording. "o avoid potential issues while capturing clips' it is strongly suggested that you use the record run !ethod' which avoids noncontinuous ti!ecode within a tape. :henever a tape has noncontinuous ti!ecode +with ?u!ps in the nu! ers etween ta(es/' !a(e sure to allow enough ti!e +handles/ for the pre,roll and post,roll re2uired during the capture process when logging your clips. %ee the $inal Cut 9ro docu!entation for additional infor!ation a out ti!ecode usage. A+o%t >T1C Timeco-e &or!al &"%C ti!ecode +referred to as non'dro$ "rame ti!ecode/ wor(s as you would eEpectMeach fra!e uses the neEt availa le nu! er. "here are G0 fra!es per second' 80 seconds per !inute' and 80 !inutes per hour. 1ecause &"%CLs actual fra!e rate of 29.9K fps is a little less than G0 fps' non,drop fra!e ti!ecode ends up eing slow + y G seconds and 37 fra!es per hour/ when co!pared to actual elapsed ti!e.

"o co!pensate for this' dro$ "rame ti!ecode s(ips ahead y two fra!es each !inute' eEcept those !inutes ending in )0.* +&ote that it is only the nu! ers that are s(ippedM not the actual video fra!es./ "his correction !a(es the ti!ecode accurate with respect to real ti!e ut adds confusion to the process of digital fil! editing. :ith non,drop fra!e ti!ecode' once you find an A fra!e' you (now that the fra!e at that fra!e nu! er and the one five away fro! it will always e A fra!es. $or eEa!ple' if you find an A fra!e at 3@2G@36@35' you (now that all fra!es ending in )5* and )0* will e A fra!es. :ith drop fra!e ti!ecode' you are not a le to easily esta lish this sort of relationship. Note: It is standard practice to have A fra!es at non,drop fra!e ti!ecode nu! ers ending in )5* and )0.* It is highly reco!!ended that you use non,drop fra!e ti!ecode for oth the video and audio in all fil! editing pro?ects' even though oth Cine!a "ools and $inal Cut 9ro are a le to use either type. :hichever you use' !a(e sure to use the sa!e for oth the video and audio tapes. Note: 9A4 ti!ecode does not have this issueMit runs at a true 25 fps. What 8appens to the Timeco-e After Using :everse Telecine9 "he <everse "elecine feature +used to change 29.9K fps video to 2G.97 fps video/ directly affects the ti!ecode of the video fra!es. 1ecause Cine!a "ools !ust generate new 2G.97 fps ti!ecode for the fra!es + ased on the original ti!ecode/' you !ay see a difference etween the urned,in ti!ecode nu! ers and the nu! ers shown in $inal Cut 9ro. "hough the ti!ecode discrepancies etween the window urn and $inal Cut 9ro ti!ecode !ay e confusing' Cine!a "ools trac(s the new ti!ecode of the 2G.97 fps video and is a le to !atch it ac( to its original &"%C or 9A4 values' and thus ac( to the fil!Ls (ey nu! ers. Note: "he <everse "elecine feature is !ost often used to convert the &"%C video to 2G.97 fps to !atch the audio ti!ecode' ut it can also convert the video to 26 fps. "his is what happens to the ti!ecode@ reverse telecine re!oves siE fra!es per second' so the ti!ecode nu! ers continue to !atch at the eginning of each second. "his !eans that a clip that lasts for G7 seconds when played at its &"%C rate of 29.9K fps will still last for G7 seconds when played at the reverse,telecined rate of 2G.97 fps.
Clip start &"%C video fra!es +29.9K fps/ Biscarded fields

3@00 3@03 3@023@0G3@06 3@053@083@0K3@07 3@09 3@30 3@33 3@32 3@3G 3@36 3@35 3@38 3@3K 3@37 3@39 3@20 3@233@223@2G3@263@25 3@283@2K3@273@29 2@00

3@00 3@03 3@02 3@0G 3@06 3@05 3@08 3@0K 3@07 3@09 3@30 3@33 3@32 3@3G 3@36 3@35 3@38 3@3K 3@37 3@39 3@20 3@23 3@22 3@2G 2@00

<everse,telecined video fra!es +2G.97 fps/

-ne second

In the a ove illustration' the lue &"%C fields represent fields that are re!oved during the reverse telecine process on a clip using traditional G@2 pull,down. +%ee Adding and <e!oving 9ull,Bown in 26p Clips for infor!ation a out 2@G@G@2 pull,down./ "he window urn &"%C ti!ecode will e different fro! what $inal Cut 9ro shows for all fra!es eEcept the first one of each second' regardless of the clipLs length. What 8appens to the Timeco-e After Using Conform9 "here are three co!!on situations you would use the Confor! feature for@ J Converting P78 21 "$s video to 24 "$s: "he ti!ecode is not changed' which ensures that an 0B4 eEported after the clips are edited will accurately refer to the original 9A4 ti!ecode. "he draw ac( is that the ti!ecode' at 25 fps' no longer accurately represents the true passage of ti!e when played at 26 fps ecause each fra!e is displayed for a slightly longer ti!e. %ee :or(ing with 25 fps Cideo Confor!ed to 26 fps for !ore infor!ation. J Con"orming 25459 "$s video to 25459 "$s: "he ti!ecode is not changed. "his process is used to correct issues in a ;uic("i!e file prior to using the <everse "elecine feature. %ee %olutions to Co!!on 9ro le!s for !ore infor!ation. J Converting NT-C 25459 "$s video to 2.456 "$s: "he ti!ecode is altered' with a nu! er s(ipped every five fra!es. "his confor! situation is rarely used. %ee Using the Confor! $eature for !ore infor!ation.

Audio Considerations
1ecause the audio for a fil! is recorded separately on a sound recorder' there are a nu! er of issues that you !ust e aware of and plan for@ J :hat t&$e o" sound recorder to use: $or !ore infor!ation' see Choosing a %ound <ecorder. J :hat timecode "ormat to use: $or !ore infor!ation' see Choosing an Audio "i!ecode $or!at. J ;o/ to mi< the "inal audio: $or !ore infor!ation' see MiEing the $inal Audio. J ;o/ to s&nchroni=e the audio /ith the video: $or !ore infor!ation' see %ynchroni#ing the Audio with the Cideo.

Choosing a 1o%n- :ecor-er

:hen choosing a sound recorder' you have several options@ an analog tape recorder +typically a &agra/' a Bigital Audio "ape +BA" / recorder' or a digital disc recorder. :hether analog or digital' !a(e sure the recorder has ti!ecode capa ility.

Choosing an A%-io Timeco-e &ormat

Unli(e video or fil!' which !ust e structured with a specific fra!e rate' audio is linear with no physical fra!e oundaries. Adding ti!ecode to audio is si!ply a way to identify points in ti!e' !a(ing it easier to !atch the audio to video or fil! fra!es. Buring the shoot' you have the choice of which audio ti!ecode standard to use +typically G0 fps' 29.9K fps' 25 fps' 26 fps' or 2G.97 fps/. You also have the choice' with G0 fps and 29.9K fps' of using drop fra!e or non,drop fra!e ti!ecode. $or &"%C transfers' it is highly reco!!ended that you use non,drop fra!e ti!ecode for oth the video and audio +although Cine!a "ools can wor( with either/. %ee A out &"%C "i!ecode for !ore infor!ation a out drop fra!e and non,drop fra!e ti!ecode. A consideration for the audio ti!ecode setting is how the final audio will e !iEed@ J I" the "inal mi< is to (e com$leted using %inal Cut Pro: "he setting needs to !atch the $inal Cut 9ro 0diting "i!e ase setting in the %e2uence 9reset 0ditor. J I" the "inal mi< is to (e com$leted at an audio $ost'$roduction "acilit&: "he ti!ecode needs to e co!pati le with the facilityLs e2uip!ent. Note: Ma(e sure to consult with the facility and !a(e this deter!ination efore the shoot egins. In general' if you are syncing the audio during the telecine transfer' the ti!ecode should !atch the video standard +29.9K fps for &"%C' 25 fps for 9A4' or 26 fps for 26p/. Chec( with your sound editor efore you shoot to !a(e sure the editor is co!forta le with your choice.

.i4ing the &inal A%-io

"he way you !iE the final audio depends on how co!plicated the soundtrac( is +!ultiple trac(s' sound effects' and overdu ing all add to its co!pleEity/ and your udget. You can either finish the audio with $inal Cut 9ro or have it finished at a post, production facility. &inishing the A%-io with &inal C%t Pro If you capture high,2uality audio clips' you can finish the audio for your pro?ect with $inal Cut 9ro' which includes sophisticated audio editing tools. .eep in !ind' however' that good audio is crucial to a good fil!' and a decision not to put your audio in the hands of an audio post,production facility fa!iliar with the issues of creating audio for fil! !ight lead to disappointing results.

You can eEport the audio fro! $inal Cut 9ro as an -pen Media $ra!ewor( +-M$/ file for use at an audio post,production facility. An eEported -M$ file contains not only the infor!ation a out audio In and -ut points' ut also the audio itself. "his !eans that' for eEa!ple' any sound effects clips you !ay have added are included. :hen you use an -M$ file' the recording 2uality !ust e as high as possi le' as this is what the audience will hear. Ma(e sure to use a good capture device and o serve proper recording levels. ,4porting A%-io ,*3s Another approach is to use lower,2uality clips in $inal Cut 9ro and then eEport an audio 0dit Becision 4ist +0B4/ for use at an audio post,production facility. "here they can capture high,2uality versions of the audio clips straight fro! the original production audio source and edit the! ased on the audio 0B4. $or this to wor(' the ti!ecode and roll nu! ers of the original sound rolls !ust e (ept trac( of and used to create the audio 0B4. Audio clips captured as part of video clips do not retain their original ti!ecode and roll nu! ers' and the $inal Cut 9ro 0B4 cannot e used y an audio post,production facility. "his is !ost co!!on with clips created fro! scene,and,ta(e transfers' where the audio is synchroni#ed to the fil! and recorded onto the videotape' losing the original audio ti!ecode. 1ut ecause the telecine log fro! the transfer generally contains ti!ecode and reel nu! er infor!ation for oth the video and audio' i!porting this log into the Cine!a "ools data ase allows the data ase to trac( audio usage' and you can eEport an audio 0B4 fro! Cine!a "ools once you finish editing. %ee 0Eporting an Audio 0B4 for details a out the process.

1/nchroniBing the A%-io with the 7i-eo

"he production audio for a fil! is recorded separately on a sound recorderN this is (nown as dual +or dou(le/ s&stem recording. %ynchroni#ing the audio with the fil! and video' ensuring good lip,sync' is a critical step in !a(ing a !ovie. =ow you synchroni#e depends on the e2uip!ent used and when syncing is done. "here are also considerations related to your video standard' how the telecine transfer was done' and the ti!ecode used that directly i!pact the process. "here are three ti!es when audio synchroni#ation is i!portant@ J Buring the telecine transfer J Buring editing J :hile creating the release print Bifferent strategies !ay e re2uired to !aintain sync at each of these ti!es. Ma(e sure you have planned accordingly.

1/nchroniBation #asics %ynchroni#ing the audio with the video i!age can e fairly easy as long as so!e care was ta(en during the shoot. "here are two aspects to synchroni#ing your audio@ esta lishing sync at a particular point in each clip' and playing the audio at the correct speed so that it stays in sync. :hile shooting' you !ust provide visi le and audi le cues to sync on. "he !ost co!!on !ethod is to use a clapper oard +also called a slate or stic*s/ at the eginning of each ta(e. 0ven etter' you can use a ti!ecode slate that displays the sound recorderLs ti!ecode. "o sync the audio with the video' position the video at the first fra!e where the slate is closed' then locate the sound +or ti!ecode/ of the related audio. &ote that production re2uire!ents occasionally re2uire the slate to occur at the end of the ta(e' generally with the slate held upside down. 1ecause the fil! is often either slightly sped up or slowed down during the telecine transfer' the audio !ust also have its speed changed. If the audio is eing synced during the transfer' the speed change is handled there. If the audio is eing synced to the videotape after the transfer' the speed change !ust happen then. 1/nchroniBing *%ring the Telecine Transfer Buring the shoot' you typically start the sound recorder a little efore the ca!era rolls and stop it a little after the ca!era stops. 1ecause you end up recording !ore audio than fil!' you cannot play the audio tape and the fil! through several ta(es and have the! stay in sync. If you want the telecine transfer to record synchroni#ed audio on the videotape' you !ust either use the scene,and,ta(e transfer !ethod' synchroni#ing each ta(e on its own' or create a synced sound roll efore perfor!ing a ca!era,roll transfer. A large enefit to synchroni#ing during the telecine transfer' aside fro! having videotapes with synchroni#ed audio ready to e captured' is that the telecine log usually includes the audio ti!ecode and sound roll nu! er infor!ation. I!porting the log into Cine!a "ools !a(es it possi le to eEport an audio 0B4 so that an audio post,production facility can recapture the audio clips at a higher 2uality later' if needed. J NT-C trans"ers: :hen transferring fil! to &"%C video' it is always necessary to run the fil! 0.3 percent slower than 26 fps +2G.9K8 fps' typically referred to as 2.456 "$s/ to co!pensate for &"%C videoLs actual fra!e rate of 29.9K fps +instead of an ideal G0 fps/. 1ecause the fil! has een slowed down' audio too !ust e slowed to !aintain sync. J P78 trans"ers: 9A4 transfers using the 26 R 25 !ethod +speeding up the fil! to 25 fps/ re2uire that the audio also e 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 fil! to video using the 26 H 3 !ethod +recording an eEtra video field every twelfth fil! fra!e/' you should run the audio at its nor!al speed regardless of where sync is esta lished. Use 25 fps ti!ecode for the audio in this case.

1/nchroniBing in &inal C%t Pro If you donLt synchroni#e your sound and picture onto tape via the telecine transfer' they are captured into $inal Cut 9ro as separate audio and video clips. You can then synchroni#e the! in $inal Cut 9ro' using the clapper oard shots. %ee %ynchroni#ation 1asics for !ore infor!ation. After you synchroni#e two or !ore clips' you can lin( the! together as one clip' using the $inal Cut 9ro !erged clips feature. %ee %ynchroni#ing %eparately Captured Audio and Cideo and the $inal Cut 9ro docu!entation for !ore infor!ation.

:or(ing in $inal Cut 9ro

Becisions you !a(e regarding the telecine transfer and how you wor( with audio affect how you use $inal Cut 9ro during the editing process.

1etting the ,-iting Time+ase for 1e=%ences

In $inal Cut 9ro' you !ust set the editing ti!e ase for se2uences to !atch the fra!e rate of the captured clips. Im$ortant: Bo not place clips into a se2uence if the clips and se2uence have different fra!e rates. If you do' the resulting fil! list is li(ely to e inaccurate. $or eEa!ple' if you want to edit at 26 fps' !a(e sure your clipsL fra!e rates are all set at 26 fps +either y using the <everse "elecine feature or the Confor! feature/. %ee A out 0asy %etups and %etting the 0diting "i!e ase and the $inal Cut 9ro docu!entation for details a out setting the editing ti!e ase for se2uences.

O%tp%tting to 7i-eotape When ,-iting at 24 fps

-ne of the enefits of editing at 26 fps is that you get a one,to,one relationship etween the fil! and video fra!es' allowing for very accurate cut lists. A draw ac( is that you need a 26p C"< to directly record video as 26 fpsMyou cannot easily record the video on standard &"%C or 9A4 video e2uip!ent. "his can e a pro le! if you want to record a videotape of the edited pro?ect' either to show others or to give the negative cutter a visual reference to use along with the cut list' ut there are solutions@ J I" &ou>re /or*ing /ith NT-C video: You can use the pull,down insertion feature in $inal Cut 9ro to apply a pull,down pattern to the video' thus outputting it at 29.9K fps. %ee 9ull,Bown 9atterns You Can Apply to 2G.97 fps Cideo for details. "here are also third,party cards and applications that can perfor! a G@2 pull,down on the video' allowing it to run at the &"%C 29.9K fps rate. J I" &ou>re /or*ing /ith P78 video: If you (now that you will want to record a videotape when finished' itLs easiest to edit at 25 fps +with the fil! having een sped up to !aintain the one,to,one relationship/.

Using ,ffects
$inal Cut 9ro provides eEtensive effects capa ilities' including co!!on fil! effects such as dissolves' wipes' speed changes' and teEt credits. .eep in !ind that the video output of $inal Cut 9ro is not intended to e transferred to fil!' and these effects !ust e created y a facility speciali#ing in opticals' or created digitally using high,resolution scans of footage to e co!posited. %ee Using 0ffects' $ilters' and "ransitions for !ore infor!ation' including an outline of the asic wor(flow for including effects and transitions in your digitally edited fil!.

Cinema Tools Wor)flows

"he pri!ary purpose of Cine!a "ools is to eEport fil! lists ased on edits !ade in $inal Cut 9ro. You can also use Cine!a "ools in wor(flows involving Color' B9I i!age se2uences' and <0BC-B0 !edia files. "here are a few critical steps that are necessary for these wor(flows' ut for the !ost part' the Cine!a "ools wor(flow you should follow depends on the e2uip!ent you use' your video standard' and how you li(e to wor(. "his chapter covers the following@ J 1asic $il! :or(flow %teps +p. 63/ J $il! :or(flow 0Ea!ples +p. 62/ J 1asic Bigital Inter!ediate :or(flow %teps +p. 68/ J Bigital Inter!ediate :or(flow Using a "elecine +p. 69/ J :or(ing with <0BC-B0 Media +p. 53/

1asic $il! :or(flow %teps

"his section details a Cine!a "ools data ase wor(flow for wor(ing with fil!. %ee $il! :or(flow 0Ea!ples for possi le scenarios. %ee =ow Much Can 1e Bone fro! $inal Cut 9roD for infor!ation a out which steps can e done directly in $inal Cut 9ro. "he typical Cine!a "ools fil! wor(flow is outlined elow. 1tage 1C Creating the Cinema Tools *ata+ase "he heart of Cine!a "ools is its data ase' where the relationships etween the ele!ents of your !ovie +the fil!' video' and audio/ are esta lished and trac(ed. Although there is no actual re2uire!ent that the data ase e created prior to editing' it can provide so!e useful tools to help with capturing clips and planning the edit. %ee Creating the Cine!a "ools Bata ase for !ore infor!ation. 1tage 2C Capt%ring the 1o%rce Clips with &inal C%t Pro You !ust capture the video and audio on your editing co!puter. =ow you do this depends in large part on the actual !edia used for the telecine transfer. %ee Capturing the %ource Clips with $inal Cut 9ro for !ore infor!ation.

41

1tage C Connecting the Clips to the *ata+ase -nce you have captured the source clips' you can connect the! to the Cine!a "ools data ase +also (nown as lin*ing the clips to the data ase/. Connecting a clip to the data ase gives Cine!a "ools the a ility to access a recordLs clip while creating the cut list' reducing the chance of ti!ecode entry pro le!s. :hen creating a cut list' Cine!a "ools starts y loo(ing at the clip pathna!e used in the edit and !atching it ac( to the data ase. 1eing a le to wor( with the clip file in this way reduces the chances of a ti!ecode error' which can cause inaccurate records in the cut list. "his is especially i!portant when editing at 26 fps. %ee =ow Cine!a "ools Creates $il! 4ists and Connecting %ource Clips to the Bata ase for !ore infor!ation. 1tage 4C Preparing the Clips for ,-iting Cine!a "ools has two powerful features that can e used on your clips prior to editing the!@ the <everse "elecine feature and the Confor! feature. %ee 9reparing the Clips for 0diting for !ore infor!ation. 1tage (C ,-iting the Clips in &inal C%t Pro You edit the clips in $inal Cut 9ro !uch as you would for any video pro?ect' ut there are a few i!portant things to (eep in !ind. %ee 0diting with $inal Cut 9ro for descriptions of these considerations. 1tage !C Creating C%t 3ists an- Other 3ists with Cinema Tools -nce you have edited your clips and are satisfied with your digitally edited pro?ect' you are ready to generate fil!,related lists that descri e how to cut the negative or wor(print. "he cut list provides a list of the edits and of titling infor!ation. %ee Creating Cut 4ists and -ther 4ists with Cine!a "ools for !ore infor!ation.

$il! :or(flow 0Ea!ples

"he following sections detail several Cine!a "ools data ase wor(flow scenarios. .eep in !ind that there are !any possi le variations of these wor(flows' and you often do not have to follow the steps eEactly in order. ItLs also possi le to use parts of several wor(flows. %ee 1asic $il! :or(flow %teps for details a out specific steps. $or a discussion of the integration etween $inal Cut 9ro and Cine!a "ools' see =ow Much Can 1e Bone fro! $inal Cut 9roD $ollowing are sections covering two groups of wor(flowsMthose that use scene,and, ta(e transfers +If You Used %cene,and,"a(e "ransfers/ and those that use ca!era,roll transfers +If You Used Ca!era,<oll "ransfers/. "hese wor(flows are further divided depending on whether a telecine log is availa le and whether you have device control of your video player during the capture process.

42 42

Chapter Cine!a "ools :or(flows

0f $o% Use- 1cene;an-;Ta)e Transfers

1ecause scene,and,ta(e transfers re2uire a data ase record for each ta(e + ecause of noncontinuous (ey nu! ers/' an i!portant first consideration is whether or not a telecine log is availa le. Wor)flow for a 1cene;an-;Ta)e Transfer with a Telecine 3og I!porting a telecine log auto!atically creates the data ase entries.
Create a new data ase

I!port a telecine log into the data ase

Yes

Bevice controlD

&o

Fenerate a atch capture list with Cine!a "ools

Yes

.ey nu! er urned inD

&o

I!port the atch list into the $inal Cut 9ro 1rowser and atch capture Use the Cine!a "ools Connect Clips co!!and to connect clips to data ase

Use $inal Cut 9ro to !anually capture each clip

Use $inal Cut 9ro to !anually capture each clip

"ri! clips to !atch data ase records

Connect clips to the data ase Indicates steps that use auto!ated processes.

Connect clips to the data ase and use Identify feature to deter!ine and enter (ey nu! er and ti!ecode for a (nown fra!e of each clip

"he lue oEes show the preferred wor(flow' which contains the !ost auto!ated steps and produces the !ost accurate cut list.

Wor)flow for a 1cene;an-;Ta)e Transfer Witho%t a Telecine 3og :ith no telecine log to i!port' you can do either of the following@ J Manuall& add entries to the data(ase "or each cli$: :ith this wor(flow +outlined in the following diagra!/' you eEport a atch capture list with Cine!a "ools. If you have device control and you already (now the In and -ut points of the clips' this !ethod can e efficient.

Chapter Cine!a "ools :or(flows

J Manuall& ca$ture the cli$s /ith %inal Cut Pro and use the -&nchroni=e /ith Cinema Tools command to create the Cinema Tools data(ase: "his wor(flow is !ost useful when you donLt (now the eEact In and -ut points for each clip or if you do not have device control. You can also create the Cine!a "ools data ase y dragging the folder containing the clips to the Cine!a "ools application icon. You can use the Identify feature of Cine!a "ools to deter!ine and enter the (ey nu! er infor!ation for each data ase record.
Create a new data ase

Add an entry for each clip to the data ase

Yes

Bevice controlD

&o

Fenerate a atch capture list with Cine!a "ools

Yes

.ey nu! er urned inD

&o

I!port the atch list into the $inal Cut 9ro 1rowser and atch capture Use the Cine!a "ools Connect Clips co!!and to connect clips to data ase

Use $inal Cut 9ro to !anually capture each clip

Use $inal Cut 9ro to !anually capture each clip

"ri! clips to !atch data ase records

Connect clips to the data ase Indicates steps that use auto!ated processes.

Connect clips to the data ase and use Identify feature to deter!ine and enter (ey nu! er and ti!ecode for a (nown fra!e of each clip

"he lue oEes show the preferred wor(flow' which contains the !ost auto!ated steps and produces the !ost accurate cut list.

0f $o% Use- Camera;:oll Transfers

"he pri!ary consideration when using ca!era,roll transfers is the fil! list generation !ethod you intend to use. %ee =ow Cine!a "ools Creates $il! 4ists for an eEplanation of the two availa le !ethods. Ma(e sure to sync the audio to the video efore you capture the clips.

Clip;#ase- Wor)flow for a Camera;:oll Transfer "he clip, ased !ethod is !ore relia le ecause there are fewer varia les.
Create a new data ase

Yes

"elecine logD

&o 0nter at least one record for each ca!era roll' defining (ey nu! er and ti!ecode relationship

I!port log into data ase +should generate one record per ca!era roll/

-ptional@ 0nter additional records' one for each clip +reco!!ended when you have device control/

-ptional@ 0nter additional records' one for each clip +reco!!ended when you have device control/

Yes

Bevice controlD

&o

Fenerate a atch capture list with Cine!a "ools

Yes

.ey nu! er urned inD

&o

I!port the atch list into the $inal Cut 9ro 1rowser and atch capture Use the Cine!a "ools Connect Clips co!!and to connect clips to data ase

Use $inal Cut 9ro to !anually capture each clip

Use $inal Cut 9ro to !anually capture each clip

"ri! clips to !atch data ase records

Connect clips to the data ase Indicates steps that use auto!ated processes.

Connect clips to the data ase and use Identify feature to deter!ine and enter (ey nu! er and ti!ecode for a (nown fra!e of each clip

"he lue oEes show the preferred wor(flow' which contains the !ost auto!ated steps and produces the !ost accurate cut list.

Timeco-e;#ase- Wor)flow for a Camera;:oll Transfer "he ti!ecode, ased !ethod !ust e used in certain situations' such as when generating a list fro! an eEternal 0B4 or when the clip files are offline.
Create a new data ase

Yes

"elecine logD

&o

I!port log into data ase +should generate one record per ca!era roll/

0nter at least one record' defining (ey nu! er and ti!ecode relationship

Use $inal Cut 9ro to capture the entire ca!era roll as a single clip or capture desired ta(es as separate clips +the ti!ecode !ust not change fro! the original/

1asic Bigital Inter!ediate :or(flow %teps

"he digital inter!ediate +BI/ process generally refers to any wor(flow that involves source video of 2. resolution or higher' whether fro! a high,2uality fil! scan or a digital ca!era' and that results in new output !edia eing generated for distri ution instead of relying on confor!ing the original ca!era negative. "he output can e high, resolution digital files or a fil! print !ade fro! the files. "he pri!ary goal of this wor(flow is to edit low,resolution versions of the source video clips in $inal Cut 9ro ut have Color e a le to color correct the original full,resolution source video clips and output the final !ovie. "his is acco!plished y eEporting an 0dit Becision 4ist +0B4/ fro! $inal Cut 9ro that Color uses to !atch to clip records in a Cine!a "ools data ase. "here are two co!!on approaches that you can ta(e in a BI wor(flow@ J -can all o" the "ilm: "his is the si!plest approach ut re2uires a lot of dis( storage space for the large video files that result. "his approach is detailed in this section.

J Use a telecine "or all o" the "ilm) and then scan onl& the cli$s that are used: "his approach is a it !ore co!plicated and uses a telecine to provide the offline video for $inal Cut 9ro to edit. "his approach is detailed in the Bigital Inter!ediate :or(flow Using a "elecine section. A typical scan, ased BI wor(flow is outlined elow.
Cine!a "ools Create data ase

IM4

0B4 Color

Create high,2uality fil! scan

B9I 2. B9I i!age se2uences

Confor! video

Color correct

$inal progra! output

-ffline ;uic("i!e conversion

Apple 9ro<es video clips $inal Cut 9ro -ffline edit

0B4

1tage 1C Creating Apple Pro:es &iles for &inal C%t Pro $inal Cut 9ro cannot wor( directly with the B9I i!age se2uences that are typically used in this wor(flow. You can use Color to create ;uic("i!e files +usually ased on an Apple 9ro<es codec/ fro! the B9I i!age se2uences. Using Color ensures that the ;uic("i!e files have the correct reel nu! er +the folder na!e that contains the actual B9I files/ and ti!ecode +as e! edded in the B9I files/.

You can create these downconverted files in Color y creating a new pro?ect with <ender $ile "ype set to ;uic("i!e and 0Eport Codec set to the codec you want to use. "hen si!ply edit all the shots you want to convert into the "i!eline' add the! to the <ender ;ueue' and clic( %tart <ender. %ee the Color docu!entation for !ore infor!ation. 1tage 2C Creating the Cinema Tools *ata+ase A Cine!a "ools data ase for a BI wor(flow is !uch si!pler than a data ase for a typical fil! wor(flow ecause there is often no fil! infor!ation to trac(. You can create the data ase y si!ply dragging the folder that contains the original !edia files to the Cine!a "ools application icon +it doesnLt !atter whether Cine!a "ools is already open or not/. A dialog appears as(ing if you want to create a new data ase. "he new data ase creates a record for each clip found in the folder and its su folders. Note: If you create a Cine!a "ools data ase y dragging a folder containing !any B9I files to the Cine!a "ools application icon' the process can ta(e a long ti!e and it !ight appear that Cine!a "ools is not responding. 1e sure to give Cine!a "ools plenty of ti!e to process the clips. -nce you have created the data ase' you can easily add new clips to it as they eco!e availa le y dragging the! to the 4ist Ciew window. 1tage C ,-iting the Clips in &inal C%t Pro You edit the downconverted video clips in $inal Cut 9ro !uch as you would for any video pro?ect' ut there are a few i!portant things to (eep in !ind. %ee 0diting with $inal Cut 9ro for descriptions of these considerations. 1tage 4C ,4porting an ,*3 &ile from &inal C%t Pro After you have co!pleted editing the downconverted video clips in $inal Cut 9ro' you eEport an 0B4. "his file contains a list of every edit' with the reel na!es of the source clips and their In and -ut point ti!ecode nu! ers. 1tage (C 0mporting the ,*3 into Color :hen you i!port an 0B4 into a Color pro?ect' you can choose the folder that contains the source clips the 0B4 refers to. You can choose the folder that contains the original B9I clips and have Color connect the 0B4 records to the clips' or you can choose the Cine!a "ools data ase you created fro! the clips. "he advantages of choosing the Cine!a "ools data ase are@ J You can easily correct any issues there !ight e etween the 0B4 and the actual clips. $or eEa!ple' if a reel na!e does not !atch' you can change the reel na!e in the Cine!a "ools data ase to !atch the na!e listed in the 0B4. J -nce you have created the Cine!a "ools data ase' choosing it when i!porting an 0B4 into Color can e faster than choosing the folder with the clips. Choosing the data ase eco!es especially useful if you end up i!porting the 0B4 into Color !ultiple ti!es as additional clips eco!e availa le.

If the 0B4 refers to clips on !ore than one volu!e' a Cine!a "ools data ase can connect to all of the clips. Color can auto!atically connect to the clips on only one volu!e' and you !ust !anually connect to the clips on the other volu!es.

1tage !C &inishing the Pro'ect in Color -nce you have i!ported the 0B4 into Color and !atched it to the source clips' the clips are confor!ed to !atch the edits' and you can proceed with the usual color correction process. Color is then used to render the final output video.

Bigital Inter!ediate :or(flow Using a "elecine

Using a telecine to create the offline video clips to edit with $inal Cut 9ro re2uires far less storage space than using a fil! scan for all of the fil! footage. After the edit is finished' you use Cine!a "ools to generate the pull list' which is used to create scans for only the video clips that are actually used in the progra!. "he draw ac(s of this !ethod are that the original ca!era negative !ust e processed twice and the clips fro! each process !ust use the sa!e reel na!es and ti!ecode.
-riginal ca!era negative Color Create fil! scan B9I B9I i!age se2uences Cine!a "ools Convert to video with a telecine Create data ase Confor! video Color correct

$inal progra! output

9ull list

"elecine log

-ffline video $inal Cut 9ro

$il! list

Capture

-ffline edit

0B4

1tage 1C Creating the Offline 7i-eo Clips Using a telecine' you create the offline video clips that $inal Cut 9ro uses to edit the progra!. You should try to create offline video clips with the sa!e fra!e rate as the B9I i!age se2uence clips you will create with the fil! scan when the offline edit is finished. You also need to !a(e sure the reel na!e and ti!ecode of the telecine clips will !atch those of the clips fro! the fil! scan. Note: Cine!a "ools and Color use the na!e of the folder containing the B9I i!age se2uence files as the reel na!e. You should also generate a telecine log file that Cine!a "ools can use to create a data ase for eEporting the pull list used y the fil! scanner. 1tage 2C Creating the Cinema Tools *ata+ase You create a Cine!a "ools data ase using the telecine log file. "his data ase is used to generate the pull list after you finish editing the progra!. 1tage C ,-iting the Clips in &inal C%t Pro You edit the offline video clips in $inal Cut 9ro !uch as you would for any video pro?ect' ut there are a few i!portant things to (eep in !ind. %ee 0diting with $inal Cut 9ro for descriptions of these considerations. 1tage 4C ,4porting the P%ll 3ist After you have finished editing the offline video clips' you can eEport a Cine!a "ools fil! list that includes the pull list used to scan the high,2uality video clips used in the progra!. 1tage (C Creating the 8igh;<%alit/ 7i-eo Clips "he pull list is used y a fil! scanner to create high,2uality video clips' usually B9I i!age se2uences' that are then used to finish the progra! in Color. It is critical that the reel na!es and ti!ecode of the scanned clips !atch what the telecine process provided for the offline video clips. 1tage !C ,4porting an ,*3 &ile from &inal C%t Pro After you have co!pleted editing the offline video clips in $inal Cut 9ro' you eEport an 0B4. "his file contains a list of every edit' with the reel na!es of the source clips and their In and -ut point ti!ecode nu! ers. 1tage 7C 0mporting the ,*3 into Color :hen you i!port an 0B4 into a Color pro?ect' you can choose the folder that contains the source clips the 0B4 refers to. You can choose the folder that contains the scanned B9I clips and have Color connect the 0B4 records to the clips' or you can choose a Cine!a "ools data ase you create fro! the clips.

"he advantages of choosing the Cine!a "ools data ase are@ J You can easily correct any issues there !ight e etween the 0B4 and the actual clips. $or eEa!ple' if a reel na!e does not !atch' you can change the reel na!e in the Cine!a "ools data ase to !atch the na!e listed in the 0B4. J -nce you have created the Cine!a "ools data ase' choosing it when i!porting an 0B4 into Color can e faster than choosing the folder with the clips. Choosing the data ase eco!es especially useful if you end up i!porting the 0B4 into Color !ultiple ti!es as additional clips eco!e availa le. J If the 0B4 refers to clips on !ore than one volu!e' a Cine!a "ools data ase can connect to all of the clips. Color can auto!atically connect to the clips on only one volu!e' and you !ust !anually connect to the clips on the other volu!es.

1tage 8C &inishing the Pro'ect in Color -nce you have i!ported the 0B4 into Color and !atched it to the source clips' the clips are confor!ed to !atch the edits' and you can proceed with the usual color correction process. Color is then used to render the final output video.

:or(ing with <0BC-B0 Media

:or(ing with !edia recorded using the <0B -&0 ca!era re2uires that your co!puter have <0B $inal Cut %tudio support software installed. %ee the <0B Bigital Cine!a Ca!era Co!pany we site at http@AAwww.red.co!Asupport for !ore infor!ation. 0ach <0BC-B0 !edia file is !ade up of several files inside a folder with an .<BC eEtension. $or eEa!ple' you can have a folder with the na!e =068TC003T3002C4.<BC that contains the following files@ J =068TC003T3002C4T003.<GB J =068TC003T3002C4T$.!ov J =068TC003T3002C4T=.!ov J =068TC003T3002C4TM.!ov J =068TC003T3002C4T9.!ov "he file with the .<GB eEtension is the actual !edia clipMthe other files in the folder with .!ov eEtensions are ;uic("i!e !ovies that are optionally created y the <0B -&0 ca!era' providing different resolutions of the !edia file. "o add a record that is connected to a <0BC-B0 clip to a Cine!a "ools data ase' you need to drag the .<BC folder that contains the !edia files or any of the .!ov files in the folder to the Cine!a "ools 4ist Ciew window. Alternatively' you can drag a folder that contains !ultiple .<BC folders +representing !ultiple <0BC-B0 clips/ to the Cine!a "ools application icon to create a new data ase ased on the clips.

Chapter Cine!a "ools :or(flows

(1 (1

:hen you play the clip in the Clip window' a .!ov file +usually the one with )TM* in its na!e/ is played. Im$ortant: "here has to e at least one .!ov file in the folder for Cine!a "ools to e a le to play the clip in the Clip window.

(2 (2

Chapter Cine!a "ools :or(flows

Creating a Cinema Tools *ata+ase

At the heart of Cine!a "ools is its data ase' providing powerful organi#ational tools. "his chapter covers the following@ J An Introduction to Cine!a "ools Bata ases +p. 5G/ J Beciding =ow You %hould Create the Bata ase +p. 56/ J Creating and Configuring a &ew Bata ase +p. 57/

An Introduction to Cine!a "ools Bata ases

A Cine!a "ools data ase contains records that@ J Bescri e your source clips J "rac( the relationship etween the fil! rolls and edge code +(ey nu! ers' in( nu! ers' or oth/ and the video reels and ti!ecode J Can also trac( other ele!ents such as scenes' shots' and ta(es' as well as sound rolls and audio ti!ecode You generally create a data ase for each fil! or video pro?ect. Alternatively' you can create data ases for sections of your pro?ect and later !erge the! all into one large data ase. :hen you wor( on fil! pro?ects' the data ase !a(es it possi le for you to eEport fil! lists that tell the negative cutter how to cut your original ca!era negative. :hen you wor( on pro?ects using a digital inter!ediate wor(flow' the data ase !a(es it easier to !anage your original full,resolution !edia. 1eyond creating fil! lists' you !ay want to use the data ase as an organi#ational tool. It can function si!ilarly to the code oo( traditionally used in the post,production of fil!' trac(ing i!portant ele!ents such as the scene' shot' and ta(eN the ca!era and la rollsN the edge code nu! ersN the video reels and ti!ecode nu! ersN the sound rolls and audio ti!ecode nu! ersN and the source clips.

Bepending on your situation' you !ay e a le to si!plify the data ase creation process y uilding the data ase fro! a telecine log or y creating ?ust one data ase record per ca!era roll.

Un-erstan-ing the #asic 1tr%ct%re of a Cinema Tools *ata+ase

A data ase is !ade up of records' and each record descri es one source clip. "here are three different types of source clips for which you !ight create a data ase record@ J I" &ou used a scene'and'ta*e trans"er: YouLll have one data ase record for each ta(e' where each source clip is one ta(e.

Ta)e 1

-ne data ase record

-ne source clip containing one ta(e

J I" &ou used a camera'roll telecine trans"er: YouLll have one data ase record per ca!era roll' where each source clip is one ca!era roll +typically containing several ta(es/.

-ne data ase record -ne source clip containing one ca!era roll

J I" &ou have (ro*en do/n source cli$s into grou$s o" ta*es: 0ach data ase record is associated with one source clip that contains several ta(es.

Ta)e 1

Ta)e 2

Ta)e

-ne data ase record

-ne source clip containing !ultiple ta(es

Beciding =ow You %hould Create the Bata ase

"he way you create the data ase depends on how you want to use it and whether or not you have a telecine log or Avid 4og 0Echange +A40/ file.

(4

Chapter 4 Creating a Cine!a "ools Bata ase

If you havenLt done so yet' ta(e a loo( at Cine!a "ools :or(flows for general infor!ation. Use these eEa!ples to guide you in deter!ining the asic steps you need to ta(e to create your data ase and capture your clips. "he steps you ta(e' and the order of those steps' differ depending on a nu! er of factors' !ost of which are su!!ari#ed in the wor(flow eEa!ples.

Capt%ring #efore $o% Create the *ata+ase

:hen using a traditional fil! wor(flow' it is possi le to capture your source clips efore creating your data ase' and to uild the Cine!a "ools data ase y i!porting a atch capture list created in $inal Cut 9ro. "his approach is not as easy as uilding a data ase fro! a telecine log or A40 file ecause you then need to !anually add the (ey nu! er and fil! roll infor!ation to each data ase record. %ee I!porting Bata ase Infor!ation fro! a 1atch Capture 4ist for !ore infor!ation. :hen using a digital inter!ediate wor(flow' you will need to capture' or !ore often transfer' your video files fro! their source !edia using the $inal Cut 9ro 4og and Capture or 4og and "ransfer window. You can then create the Cine!a "ools data ase y si!ply dragging the folder with the captured files to the Cine!a "ools application icon.

0f $o% 8ave a Telecine 3og or A3, &ile

A telecine log' so!eti!es referred to as a %8?< "ile' is a file created y the telecine technician during a telecine transfer. You can also use an Avid 4og 0Echange +A40/ file as you would use a telecine log. "he telecine log records the (ey nu! ers of the original ca!era negative and the ti!ecode of the video transfer' and trac(s the relationship etween the!.

A-vantages of Using a Telecine 3og or A3, &ile

Creating your data ase fro! a log is ideal ecause it provides these advantages@ J Time savings: You can create data ase records fro! a telecine log. You donLt have to !anually create and enter details in each record. You can then generate a atch capture list fro! the data ase' eEpediting the capture process. J 7ccurac& and com$leteness: Assu!ing the log you use is accurate' youLll instantly have an accurate data ase and you wonLt have to worry a out your own potential data entry errors. Using the data ase atch capture list also ensures that the source !edia files you capture !atch your data ase infor!ation. To +%il- a -ata+ase from an e4isting log 1 Create a new' e!pty data ase. %ee Creating and Configuring a &ew Bata ase for !ore infor!ation. 2 Fenerate the data ase records fro! the log.

%ee I!porting Bata ase Infor!ation fro! a "elecine 4og or A40 $ile for !ore infor!ation.

0f $o% *o >ot 8ave a Telecine 3og or A3, &ile

Although itLs faster and !ore efficient to use a log' you can uild a data ase without one. "his is the !ost co!!on approach with digital inter!ediate wor(flows. To create a -ata+ase witho%t a log 1 Create a new' e!pty data ase. %ee Creating and Configuring a &ew Bata ase for !ore infor!ation. 2 0nter data ase records !anually. %ee A 9otential Bata ase %hortcut for Ca!era,<oll "ransfers and 0ntering Bata ase Infor!ation Manually for !ore infor!ation. Note: Alternatively' you could capture your source clips efore creating your data ase and then uild the Cine!a "ools data ase y i!porting a atch capture list created in $inal Cut 9ro. %ee I!porting Bata ase Infor!ation fro! a 1atch Capture 4ist for !ore infor!ation.

0s $o%r ,-ge Co-e >%m+er;to;Timeco-e :elationship Contin%o%s or >oncontin%o%s9

"he edge code nu! er,to,ti!ecode relationship in a ca!era roll is continuous if the ca!era roll was transferred to video without stopping. "he edge code nu! er,to,ti!ecode relationship is noncontinuous if@ J You used a scene,and,ta(e telecine transfer' where the video recording was stopped and restarted in etween ta(es J "he fil! roll was !ade up of ta(es that were spliced together efore it was transferred to video Note: -ccasionally the edge code nu! er,to,ti!ecode relationship is ro(en if' during fil!ing' the ca!era crew opened up a ca!era to chec(' clean' or change parts of the ca!era +often called chec*ing the gate/. :hen the ca!era is opened for such purposes' the fil! is typically unthreaded and then rethreaded. :hen the fil! is rethreaded' it !ay e on a different perforation nu! er. "his !eans that at the telecine' the telecine technician needs to stop' refra!e' and !a(e an edit' thus rea(ing the edge code nu! er,to,ti!ecode relationship in the ca!era roll. "his should e evident in the telecine log.

A Potential *ata+ase 1hortc%t for Camera;:oll Transfers

If you used a ca!era,roll transfer and need to !anually create your data ase' you !ay e a le to save ti!e y creating one data ase record per ca!era roll' depending on whether or not the edge code nu! er,to,ti!ecode relationship is continuous for each ca!era,roll transfer. 0f the ,-ge Co-e >%m+er;to;Timeco-e :elationship 0s Contin%o%s on ,ach :oll You can create one data ase record per ca!era roll' and Cine!a "ools can use the ti!ecode, ased !ethod of locating data ase records in order to create fil! lists. In this case' each ca!era roll acts as one source clip. As long as you create an accurate data ase record for the ca!era roll' Cine!a "ools will e a le to accurately create fil! lists. =owever' if you also connect the source clips to the data ase records' you are providing eEtra insurance that the !atch, ac( will go s!oothly even if there is a ti!ecode error. %ee "i!ecode,1ased :or(flow for a Ca!era, <oll "ransfer and =ow Cine!a "ools Creates $il! 4ists for !ore infor!ation. 0ven if you have a continuous edge code nu! er,to,ti!ecode relationship' you !ay want to ta(e the ti!e to create data ase records for each source clip for your own organi#ational and trac(ing purposes. $or eEa!ple@ J A data ase can e used to cross,chec( which ta(e is on which sound roll and which la roll contains a negative you need. J You !ay want to have records for each clip so that you can add notes a out different clips. J Bata ase records provide a poster fra!e of each clip for 2uic( visual reference' and you can access and play the whole clip fro! the data ase. 0f the ,-ge Co-e >%m+er;to;Timeco-e :elationship 0s >oncontin%o%s on ,ach :oll You need to create separate data ase records for each clip and connect each clip to its record. 0ach data ase record !ust include the (ey nu! er or in( nu! er of the first fra!e of the associated source clip' so that Cine!a "ools can ade2uately trac( the edge code nu! er,to,ti!ecode relationships throughout your se2uence.

A--itional Uses for the *ata+ase

-ptionally' you !ay want to use the data ase for purposes eyond si!ply !atching video ac( to fil!' and this can affect how you create data ases@ J Individual data(ases "or dailies: If you have daily shoots that you want to process and trac( separately' you can create new individual data ases for each daily session. If you do create individual data ases for dailies' consider na!ing each data ase file y the date of the daily. 0ventually' you can !erge the data ases into a !aster data ase y i!porting all the data ases into one data ase.

J Creating an audio ?dit Decision 8ist (?D8 : If you plan to give an audio 0B4 to the audio post,production facility' !a(e sure that the audio ti!ecode' video ti!ecode' and sound roll infor!ation is entered in each data ase record. Creating the data ase y i!porting a telecine log is the easiest and !ost efficient way to !a(e sure that all the necessary infor!ation is entered in the data ase.

Creating and Configuring a &ew Bata ase

:hen you create a new Cine!a "ools data ase' you !a(e default selections for your pro?ect settings in the &ew Bata ase dialog. Note: :hen you i!port data fro! a telecine log' the fil! standard' video ti!ecode rate' audio ti!ecode rate' and telecine speed are typically included in the log and are auto!atically set in Cine!a "ools. Bata fro! the telecine log ta(es precedence over the defaults' so even if your default settings are different fro! the telecine log data' Cine!a "ools uses the settings in the telecine log. You can create a new data ase using Cine!a "ools or $inal Cut 9ro.

Creating a >ew *ata+ase Using Cinema Tools

You can create a new data ase and configure its default settings directly in Cine!a "ools. Note: If a data ase is already open when you create a new one' the currently open data ase is closed. To create a new -ata+ase 1 Bo one of the following@ J -pen Cine!a "ools and clic( Create a &ew Bata ase in the :elco!e dialog' if it appears. "he :elco!e dialog generally appears only the first ti!e you open Cine!a "ools.

After that' Cine!a "ools opens the data ase that was open the last ti!e you closed Cine!a "ools. If there was no data ase open when you closed Cine!a "ools' the :elco!e dialog appears again. J Choose Bata ase P &ew Bata ase +or press Co!!and,%hift,&/.

J Brag one or !ore folders with clips fro! a $inder window to the Cine!a "ools application icon. Note: If you drag a !iEture of selected clips and folders to the application icon' a dialog appears advising you not to !iE the two types of ite!s. Bragging selected clips to the application icon does not create a new data ase' ut opens the clips in the Clip window instead. 2 In the &ew Bata ase dialog' choose default settings for your data ase and clic( -.. %ee %ettings in the &ew Bata ase Bialog for infor!ation a out the settings.

Note: "he settings in this dialog can e left at their default values when you are creating a data ase fro! video clips and do not intend to trac( any fil!,related infor!ation in the data ase records. In the )Create a new data ase* dialog' choose a location and enter a filena!e for the data ase. An e!pty data ase is created' and you are ready to enter infor!ation in it. %ee A out :or(ing with Bata ase Infor!ation for !ore infor!ation. Im$ortant: If you created the data ase y dragging a folder that contains !any clips' especially if they are B9I i!age se2uences' it can ta(e Cine!a "ools a significant a!ount of ti!e to process and add all of the clips to the new data ase. Cine!a "ools !ay appear to have stopped responding during this ti!e. 1e sure to allow plenty of ti!e for Cine!a "ools to finish processing the folder of clips.

Creating a >ew *ata+ase Using &inal C%t Pro

"here are two !ethods you can use to create a Cine!a "ools data ase while using $inal Cut 9ro@ J %ynchroni#e a set of clips with a new data ase. J I!port a telecine log file into a new data ase. 1/nchroniBing a 1et of 1electe- Clips to Create a >ew *ata+ase You can use the %ynchroni#e with Cine!a "ools co!!and if you have one or !ore clips in the $inal Cut 9ro 1rowser that you would li(e to add to a new Cine!a "ools data ase. "his can e useful when you have !anually captured a set of clips ut have no telecine log to go with the!' or when you want to create a separate data ase for a set of clips already in a data ase.

To create a new -ata+ase %sing the 1/nchroniBe with Cinema Tools comman1 In the $inal Cut 9ro 1rowser' select the clips that you want to add to a new Cine!a "ools data ase. "hese can e clips that are already in a data ase' or they can e new clips that are not in a data ase. 2 Choose "ools P %ynchroni#e with Cine!a "ools. A dialog appears that allows you to configure the synchroni#ation process.

"he Bata ase field shows the currently selected data ase. %elect the )Add new records* chec( oE. "his option !ust e selected when you are synchroni#ing with a new data ase. 4 %elect the )Auto connect* chec( oE if you want the data ase to auto!atically connect the clips to any new records that are created in the data ase. ( Clic( &ew Bata ase to create a new Cine!a "ools data ase. ! In the dialog that appears' enter a na!e and location for the data ase' and configure its default settings. %ee %ettings in the &ew Bata ase Bialog for infor!ation a out these settings.

7 "o close the dialog' clic( %ave when finished. 8 Clic( -.. A new Cine!a "ools data ase is created' and the selected clips' along with any fil!, related infor!ation they !ight contain' are added to it.

%ee %ynchroni#ing $inal Cut 9ro Clips with Cine!a "ools for !ore infor!ation a out the %ynchroni#e with Cine!a "ools co!!and' including how to use it to synchroni#e clips to an eEisting data ase. 0mporting a Telecine 3og &ile to Create a >ew *ata+ase :hen you i!port a telecine log file into $inal Cut 9ro' you can choose to i!port it into a new or eEisting Cine!a "ools data ase. %ee I!porting "elecine 4ogs Using $inal Cut 9ro for !ore infor!ation.

1ettings in the >ew *ata+ase *ialog

:hen you !a(e choices in the &ew Bata ase dialog' (eep the following points in !ind@ J Choosing a default setting does not loc( you into using that setting in the data ase records. Befault settings are applied auto!atically to new data ase records' ut you can change the fil! standard' video ti!ecode rate' and audio ti!ecode rate for each clip individually in the Betail Ciew window. J :hen you i!port data fro! a telecine log' the fil! standard' video ti!ecode rate' audio ti!ecode rate' and telecine speed are typically included in the log and are auto!atically set in Cine!a "ools. Bata fro! the telecine log ta(es precedence over the defaults' so even if your default settings are different fro! the telecine log data' Cine!a "ools uses the settings in the telecine log. J "he settings in this dialog can e left at their default values when you are creating a data ase fro! video clips and do not intend to trac( any fil!,related infor!ation in the data ase records' such as in a typical BI wor(flow. If you need to change default settings you already !ade' see Changing the Befault Bata ase %ettings for infor!ation. Ti$: If you are co! ining eEisting data ases or want to chec( infor!ation such as default settings' filena!es' and !odification dates for an eEisting data ase' choose Bata ase P Bata ase 9roperties. "he Bata ase 9roperties dialog displays the full pathna!e and si#e of the data ase file' as well as the creation and !odification dates. You can see the default pro?ect settings for the fil! standard' video ti!ecode rate' and audio ti!ecode rate. "he &ew Bata ase dialog contains the following settings@ J %ilm -tandard: Cine!a "ools supports the 6,perf G5!!' G,perf G5!!' and 38!!, 20 for!ats. +%ee $il! 1ac(ground 1asics for infor!ation a out these standards./ &or!ally you use the sa!e fil! stoc( throughout a fil!' so the fil! standard doesnLt change. =owever' if you need to' you can set the fil! standard for each shot individually in the Betail Ciew window. $or eEa!ple' if you have so!e clips that are reverse ut !ost are nor!al' you can specify the reverse fil! standard in the Betail Ciew window for those clips.
Chapter 4 Creating a Cine!a "ools Bata ase !1 !1

Choose the standard fil! type used for your pro?ect fro! the $il! %tandard pop,up !enu@ J .1mm 4$: G5!! fil!' 6 perforations per fra!e J 3@mm 2A: 38!! fil!' 20 fra!es per (ey nu! er J .1mm .$: G5!! fil!' G perforations per fra!e

J +ideo TC ,ate: Cine!a "ools supports four different video ti!ecode rates. %ee $il! 1ac(ground 1asics for infor!ation a out ti!ecode rates. "he fil! la that transfers your fil! to video can tell you what (ind of ti!ecode is recorded on the videotape. Choose the type of ti!ecode recorded on the videotapes for your pro?ect fro! the Cideo "C <ate pop,up !enu@ J .A ND%: &on,drop fra!e &"%C ti!ecode at 29.9K fps J .A D%: Brop fra!e &"%C ti!ecode at 29.9K fps J 21 %P-: 9A4 ti!ecode at 25 fps J 24 %P-: Cideo ti!ecode at 26 fps or 2G.97 fps

J -ound TC ,ate: Usually' ti!ecode is recorded along with the soundtrac(s on the production sound rolls. "hat ti!ecode can e used to locate the audio that goes with any particular clip' and !any syste!s can use that ti!ecode to synchroni#e the audio with the video. "he pri!ary purpose for entering the sound roll and audio ti!ecode infor!ation in the data ase is for !atching audio ac( to an audio 0dit Becision 4ist +0B4/. %ee 0Eporting an Audio 0B4 for !ore infor!ation. Choose the type of ti!ecode recorded on your production sound rolls fro! the %ound "C <ate pop,up !enu@ J .A ND%: &on,drop fra!e &"%C ti!ecode at 29.9K fps J .A D%: Brop fra!e &"%C ti!ecode at 29.9K fps J 21 %P-: 9A4 ti!ecode at 25 fps

!2 !2

Chapter 4 Creating a Cine!a "ools Bata ase

J 24 %P-: Cideo ti!ecode at 26 fps or 2G.97 fps

J Telecine -$eed: "elecine speed +shown as ". %peed in the Betail Ciew window' the Clip windowLs Identify pane' and optionally in the $inal Cut 9ro 1rowser window/ refers to the fra!e rate of the fil! in the telecine e2uip!ent during the transfer to video. $ro! the "elecine %peed pop,up !enu' you choose the speed at which the fil! was transferred@ J 24: 26 fps or 2G.97 fps telecine fil! speed J 21: 25 fps telecine fil! speed J .A: 29.9K fps telecine fil! speed

If you are wor(ing with &"%C video' you usually choose 26 fps as the telecine fil! speed' though the actual telecine fil! speed is approEi!ately 2G.97 fps. "he "elecine %peed pop,up !enu also allows you to choose a setting of G0 fps ecause it is possi le to transfer fil! to &"%C video with the fil! running at a speed of G0 fps +actually 29.9K fps/. If you are wor(ing with 9A4 video' see $ra!e <ate 1asics for a discussion of the 9A4 fra!e rate choices. If your fil! was transferred to video at a telecine fil! speed of 26 fps' choose 26 fps as the telecine fil! speed. If your fil! was transferred to video at a telecine fil! speed of 25 fps' choose 25 fps.

Chapter 4 Creating a Cine!a "ools Bata ase

! !

Wor)ing with *ata+ases

"o wor( with the data ase' you need to (now how to open it' find specific records' and access infor!ation a out a recordLs clip. "his chapter also details using the 4ist Ciew' Betail Ciew' and Clip windows. "his chapter covers the following@ J -pening an 0Eisting Bata ase +p. 85/ J Ciewing Bata ase 9roperties +p. 88/ J A out the Betail Ciew :indow +p. 88/ J %ettings in the Betail Ciew :indow +p. 8K/ J A out the 4ist Ciew :indow +p. KG/ J %ettings in the 4ist Ciew :indow +p. K6/ J $inding and -pening Bata ase <ecords +p. K8/ J %ettings in the $ind Bialog +p. KK/ J 1ac(ing Up' Copying' <ena!ing' and 4oc(ing Bata ases +p. 70/ J A out the Clip :indow +p. 70/ J %ettings in the Clip :indow +p. 73/ J Accessing Infor!ation A out a %ource Clip +p. 76/

-pening an 0Eisting Bata ase

"he first step in wor(ing with a data ase is to open it. To open an e4isting -ata+ase Bo one of the following@

U U

Choose Bata ase P -pen Bata ase +or press Co!!and,%hift,-/' then select the data ase in the dialog. Brag a data ase file fro! a $inder window to the Cine!a "ools application icon.

!(

All the records in the open data ase are listed in the 4ist Ciew window' and the Betail Ciew window shows the first recordLs details. %ee A out the Betail Ciew :indow and A out the 4ist Ciew :indow for details a out using these two windows. Note: "he current data ase closes if one is already open.

Ciewing Bata ase 9roperties

You can use the Bata ase 9roperties dialog to see a wide variety of infor!ation a out the current data ase' including its default settings and statistics a out the records.

To open the *ata+ase Properties -ialog Choose Bata ase P Bata ase 9roperties +or press Co!!and,I/.

A out the Betail Ciew :indow

You use the Betail Ciew window to view' enter' and change infor!ation in a data ase record. :hen you open an eEisting data ase' the Betail Ciew window displays the first record. "he specific nu! ers in the Betail Ciew window +reels' rolls' and (ey and in( nu! ers/ all descri e values for the first fra!e of the source clip associated with the data ase record. "he Betail Ciew window appears along with the 4ist Ciew window whenever you open a data ase. To view the *etail 7iew win-ow Bo one of the following@

U U

Choose :indow P Betail Ciew +or press Co!!and,2/. If necessary' drag the 4ist Ciew window to a different screen position.

!!

Chapter ( :or(ing with Bata ases

If necessary' clic( the Betail Ciew window to ring it to the front.

%ee %ettings in the Betail Ciew :indow for !ore infor!ation a out the Betail Ciew window.

%ettings in the Betail Ciew :indow

"he Betail Ciew window includes a nu! er of fields and uttons for creating a data ase record. -nly a few of these settings are re2uired for the purpose of using the data ase to create a cut list or change list. "he re2uired settings depend on the type of list you will create and the !ethod you will use to create it. "hese settings are re2uired if you intend to generate a cut list or change list for a fil!, ased pro?ect@ J 4a ' ca!era' or daily roll J .ey nu! er or in( nu! er Additionally' each source clip !ust e connected to a record' unless you can use the ti!ecode, ased !ethod for cut list or change list generation +see A 9otential Bata ase %hortcut for Ca!era,<oll "ransfers/. "o use the ti!ecode, ased !ethod for cut list or change list generation' these ele!ents are also needed@ J Cideo reel J Cideo ti!ecode and duration "hese settings are re2uired if you intend to eEport an audio 0B4@ J 0ach source clip !ust e connected to a record' or each record !ust have the video reel and video ti!ecode and duration entered. J 0ach record !ust have the sound roll' audio ti!ecode' and audio ti!ecode rate +%ound "C <ate/ entered.

Chapter ( :or(ing with Bata ases

!7 !7

"he Betail Ciew window contains the following fields and uttons@
9revious <ecord and &eEt <ecord uttons

$ield for ta(e notes

$ield for telecine session notes

*ata+ase &iel-s an- #%ttons "hese fields and uttons apply to the entire data ase. J Previous ,ecord and Ne<t ,ecord (uttons (arro/s : Clic( these uttons to switch to the previous or neEt record +as currently sorted and displayed in the 4ist Ciew window/. Note: -ne of these uttons is di!!ed when you are at the eginning or end of the list and there isnLt a previous or neEt record. As a shortcut' you can use the 4eft Arrow and <ight Arrow (eys on your (ey oard. If you have !ade changes to the current record' a dialog appears as(ing if you want to save those changes. J Ne/ ,ecord (utton: Clic( to create a new data ase record. In the dialog that appears' enter the scene and ta(e identifiers for the new data ase record. %ee Using %cene' %hot' and "a(e Identifiers for !ore infor!ation. J -ave (utton: Clic( when you have added or !odified data in the current data ase record. Your added or !odified infor!ation is not recorded unless you clic( %ave. J Telecine -ession area: "his area' in the !iddle,right part of the window' lists the na!e of the telecine log file i!ported into the data ase +if applica le/. J Telecine -ession Notes "ield: 0nter any notes you want to include a out the telecine session. Note: "his field is availa le only if you have i!ported a telecine log file into the data ase. 1cene an- 1hot *escription &iel-s You only need to enter this data once per scene. -nce you enter it' it is added to all eEisting and new records for the sa!e scene. J -cene descri$tion "ield: 0nter a description of the scene.

!8

Chapter ( :or(ing with Bata ases

J -hot descri$tion "ield: 0nter a description of the shot. J -cri$t Pages "ields: 0nter the starting and ending script pages associated with the scene and the shot. &ilm 1ettings "he following settings relate specifically to the fil!. In general' you can ignore these settings if your pro?ect does not involve fil! or you are not intending to finish the pro?ect y confor!ing the original ca!era negative. J -cene "ield: Use this field to enter or !odify the identifier for the scene. %ee Using %cene' %hot' and "a(e Identifiers for !ore infor!ation. J Ta*e "ield: 0nter a ta(e identifier here. "a(es are usually identified as nu! ers' ut you can enter whatever teEt you want to use to identify the ta(e' up to 35 characters. If there are !ultiple ta(es in the source clip' thin( of the ta(e identifier as a su clip identifier. J Cam ,oll "ield: +If you intend to create a cut list or change list for a fil!, ased pro?ect' one of the fil! roll fields !ust e co!pleted./ If editing !aterial fro! ca!era rolls' enter the ca!era roll identifier given to the roll of fil! y the ca!era assistant during production. "he ca!era roll identifier should e the sa!e as that which appears on the slate for the ta(e. Note: In !any cases the ca!era roll and the la roll are the sa!e thing and can e given the sa!e identifier. You can choose to enter data in either one or oth of these fields. You should' however' e consistent. :hen creating a cut list or change list' Cine!a "ools gives you the choice of showing the ca!era roll' la roll' or daily roll. :hichever one you choose' it !ust e present in every data ase record' or Cine!a "ools will report an error when you eEport a fil! list. J 8a( ,oll "ield: +If you intend to create a cut list or change list for a fil!, ased pro?ect' one of the fil! roll fields !ust e co!pleted./ If editing !aterial fro! la rolls' enter the identifier given to the la roll y the la oratory that processed the fil!. -r' enter an identifier for a roll created fro! select ta(es' for printing. +%o!eti!es such a roll is referred to as the 7 negative./ In !any cases the la roll and the ca!era roll are the sa!e thing and can e given the sa!e identifierMsee the note a ove. J Dail& ,oll "ield: +If you intend to create a cut list or change list for a fil!, ased pro?ect' one of the fil! roll fields !ust e co!pleted./ If editing !aterial fro! daily rolls' enter the identifier given to the daily roll fro! which this source clip originated.

Chapter ( :or(ing with Bata ases

!9 !9

J Ke& "ields: +If you intend to create a cut list or change list for a fil!, ased pro?ect' these fields or the in( nu! er fields are re2uired./ "he first field should contain the (ey prefiE that is constant throughout a roll of fil!. $or eEa!ple' for the (ey nu! er .> 29 3030 578KS0K' the (ey prefiE is ).> 29 3030'* which you enter as ).>293030.* You can enter up to eight characters +including spaces' although !ost often you will e s(ipping the spaces' as in this eEa!ple/. In the second field' enter the second part of the (ey nu! erMthe fra!e nu! erMfor the first fra!e of the clip. $or eEa!ple' for the (ey nu! er .> 29 3030 578KS0K' the fra!e nu! er is )578KS0K.* "he fra!e nu! er identifies each foot or half foot within the reel' plus the fra!e count nu! er. If you (now the (ey nu! er for another part of the clip' the Identify feature can deter!ine and enter the (ey nu! er +.ey fields/ for the first fra!e of your clip. %ee Calculating 0dge Code and "i!ecode &u! ers for !ore infor!ation. J In* "ields: +If you intend to create a cut list or change list for a fil!, ased pro?ect' these fields or the .ey fields are re2uired./ In the first field enter the prefiE nu! er' and in the second field enter the fra!e nu! er. $or eEa!ple' in the in( nu! er 32G 658KS07' the prefiE is )32G* and the fra!e nu! er is )658KS07'* indicating that the fra!e occurs at 658K feet and 7 fra!es. J TK -$eed $o$'u$ menu: "his pop,up !enu gives you the option of individually specifying the telecine transfer fil! speed for each data ase record. If the data ase record was created fro! a telecine log' this setting should already e correct and there should e no need to change it. If you are creating the data ase !anually' the setting in this pop,up !enu should reflect the telecine fil! speed setting you chose when you set your pro?ect defaults. %ee %ettings in the &ew Bata ase Bialog for !ore infor!ation. J %ilm -td $o$'u$ menu: "his pop,up !enu gives you the option of individually specifying the fil! standard for each data ase record. If the data ase record was created fro! a telecine log' this setting should already e correct and there should e no need to change it. If you are creating the data ase !anually' the setting in this pop,up !enu should reflect the setting you chose in the &ew Bata ase dialog. $or clips that are in reverse direction' you can specify a reverse direction for the fil! standard y choosing either the G5.6p.rev +for 6,perf G5!!/ or 38.20.rev +for 38!!, 20/ ite!. <everse,direction fil! is fil! that has (ey nu! ers going in a descending rather than an ascending order. YouLll see this when' for eEa!ple' fil! has een shot in reverse' or when a fil! roll was loaded into the ca!era )tails out'* so that the (ey nu! ers are in reverse order. %ee %ettings in the &ew Bata ase Bialog for !ore infor!ation. $or clips that use the G,perf G5!! standard' you choose the perforation offset of the (ey nu! er. "his offset +G,perfJ3' G,perfJ2' or G,perfJG/ refers to the relationship of the perforation !ar(ed with the sy! ol )J* and the fil! fra!e at that point. %ee G,9erf G5!! -ffsets for !ore infor!ation. Note: <everse,direction G,perf G5!! fil! is not supported.
7" Chapter ( :or(ing with Bata ases

7i-eo 1ettings "he following settings relate specifically to the video clips. J +ideo ,eel "ield: +Unless all the clips you will e editing are connected to the data ase' this field is re2uired if you intend to create a cut list or change list or audio 0B4./ 0nter the identifier of the video reel that contains this ta(e. "his field is essential for creating an accurate cut list or change list. :hen you connect a clip to a data ase record that does not yet contain the reel identifier' Cine!a "ools loo(s for this infor!ation in the clip file and auto!atically enters it in the data ase record. Ma(e sure you enter the eEact' correct identifier here' so that the data ase record can e properly !atched to the shot after you digitally edit your progra!. $or eEa!ple' )003* is not the sa!e as )0003.* Im$ortant: :hen connecting B9I i!age se2uences to a data ase' Cine!a "ools uses the na!e of the folder containing the B9I i!age se2uence files as the video reel na!e. "his folder na!e should not e changed during a BI pro?ect. J +ideo Timecode "ield: +Unless all the clips you will e editing are connected to the data ase' this field is re2uired if you intend to create a cut list or change list or audio 0B4./ 0nter the ti!ecode nu! er of the video fra!e that represents the first fra!e of the clip. "he relationship etween the (ey nu! ers and the ti!ecode is esta lished when the fil! is transferred to video' and this infor!ation is usually entered auto!atically when you create the data ase fro! a telecine log. :hen you connect a clip to a data ase record that does not yet contain the clip ti!ecode' Cine!a "ools loo(s for this infor!ation in the clip file and auto!atically enters it in the data ase record. You can also deter!ine the ti!ecode value for this field y loo(ing at the first fra!e of the clip' provided that oth the (ey nu! er and the ti!ecode are urned in to the video. Ti$: If you enter the video reel and ti!ecode infor!ation in the Betail Ciew window' you can use the data ase to locate source !aterial on the videotape while you are editing. $or eEa!ple' if you are editing a clip and there is so!ething in the clip that you are unsure a out ecause you canLt see it clearly' you !ay want to view it on the videotape ecause the video is of higher 2uality. You can chec( the clipLs data ase record to find which video reel contains the !aterial and the ti!ecode location on the reel.

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71 71

J +ideo Duration "ield: +Unless all the clips you will e editing are connected to the data ase' this field is re2uired if you intend to create a cut list or change list or audio 0B4./ 0nter the ti!ecode duration of the source clip. "he value for this field can co!e fro! a telecine log. If you connect a clip to a data ase record that does not yet contain the clip ti!ecode duration' Cine!a "ools loo(s for this infor!ation in the clip file and auto!atically enters it in the data ase record. 1ecause duration is eEpressed as hours' !inutes' seconds' and fra!es' you !ight find it !ore infor!ative than the length of the fil! eEpressed as feet and fra!es. "he ti!ecode duration is significant if you intend to perfor! a atch capture' or if you will e creating a cut list or change list y !atching the edited progra! ac( to the video reel and ti!ecode. J +ideo TC ,ate $o$'u$ menu: "his pop,up !enu displays the default video ti!ecode rate that you chose when you created the data ase' or the for!at that was indicated y the telecine log you i!ported to create the data ase. "he la that transfers your fil! to video can tell you which (ind of video ti!ecode is recorded on the videotape. %ee %ettings in the &ew Bata ase Bialog for !ore infor!ation. 1o%n- 1ettings "he following settings relate specifically to the audio clips. J -ound ,oll "ield: +<e2uired if you intend to create an audio 0B4./ 0nter the sound roll na!e. J -ound Timecode "ield: +<e2uired if you intend to create an audio 0B4./ 0nter the starting audio ti!ecode nu! er for the clip. "he audio ti!ecode standard can e different fro! the video ti!ecode standard. J -ound TC ,ate "ield: +<e2uired if you intend to create an audio 0B4./ 0nter the type of ti!ecode used on your production sound rolls. Clip #%tton an- 1ettings "he following apply specifically to the clip lin(ed to this record. J Ta*e Notes "ield: 0nter any notes you want to include a out the source clip. J Cli$ thum(nail: "he thu! nail display shows the poster fra!e of the connected clip. Additionally' placing the pointer over the thu! nail display shows a tooltip with the clipLs location. "his can e especially useful if the clip is !issing ecause it lets you (now where Cine!a "ools thin(s the clip should e.

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%ee Choosing a Bifferent 9oster $ra!e for a Clip for !ore infor!ation a out the poster fra!e. J Connect Cli$B!$en Cli$ (utton: If a clip has not een connected to the data ase record' this utton is la eled Connect Clip. If a clip has already een connected' the utton is la eled -pen Clip. J Clic( Connect Clip to select a source clip to connect to this record. :hen you select a clip' it is connected to the data ase record' and the first fra!e of the clip appears in the oE elow the Connect ClipA-pen Clip utton. J Clic( -pen 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. J 9ress the Co!!and (ey to change -pen Clip to Bisconnect Clip. Clic( Bisconnect Clip to disconnect the clip fro! the data ase record.

A out the 4ist Ciew :indow

"he 4ist Ciew window displays a list of data ase records in the open data ase. It !ight show a co!plete list of all data ase records' or' if you use the $ind feature' it !ight show only those records that are found +the )found set*/. "he 4ist Ciew and Betail Ciew windows appear whenever you open a data ase. To view the 3ist 7iew win-ow Bo one of the following@

U U U

Choose :indow P 4ist Ciew +or press Co!!and,3/. Brag the Betail Ciew window to a different screen position. Clic( the 4ist Ciew window to ring it to the front.

Chapter ( :or(ing with Bata ases

7 7

"he %how All and $ind uttons allow you 2uic(ly either to show all of the records in the open data ase +clic( %how All/ or to show a specific set of records y using the $ind dialog +clic( $ind/. %ee $inding and -pening Bata ase <ecords for infor!ation a out using the $ind utton. "he pop,up !enu at the top,left corner of the window lets you choose the display !ode' deter!ining the type of infor!ation that appears. %ee %ettings in the 4ist Ciew :indow for details a out the different display !odes and how to use the colu!ns to select records to wor( with. 1y default' the colu!ns in the 4ist Ciew window are sorted y the %late value' in ascending order. You can sort the data ased on any displayed colu!n y clic(ing the colu!nLs na!e. "he na!e 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. Clic( the colu!nLs na!e to change the sort direction. %orting the colu!ns can !a(e it easy to locate records with !issing ite!s. $or eEa!ple' clic(ing the Ca! <oll colu!n na!e groups together all records without an entry in that field and places the! at the top or otto! of the list' depending on the arrowLs direction. You can also locate a record using a specific (ey nu! er or ti!ecode nu! er y sorting the colu!ns. $or eEa!ple' clic(ing the .eycode colu!n na!e puts the records in order ased on their (ey nu! ers. You can then scroll through the list and locate a record using a specific fil! fra!e.

%ettings in the 4ist Ciew :indow

"he 4ist Ciew window shows a set of colu!ns ased on the display !ode you choose in the pop,up !enu at the top,left corner of the window.

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Chapter ( :or(ing with Bata ases

3ist 7iew Win-ow Controls "he following controls along the top of the 4ist Ciew window deter!ine the colu!ns that appear and allow you to choose the records that are shown. J Dis$la& mode $o$'u$ menu: Use this pop,up !enu to configure the 4ist Ciew window to show the colu!ns !ost useful to you. J Ke&code: Bisplays infor!ation a out the fil!' including (ey nu! ers and rolls. J +ideo: Bisplays video ti!ecode and reel infor!ation. J -ound: Bisplays audio ti!ecode and sound roll infor!ation. J In* Num(ers: Bisplays infor!ation a out the wor(print' including in( nu! ers and daily rolls. J -ho/ 7ll: Clic( this utton to show all of the records in the current data ase. J %ind: Clic( this utton to open the $ind dialog. You can use the $ind dialog to choose which records appear in the 4ist Ciew window. %ee %ettings in the $ind Bialog for !ore infor!ation.

3ist 7iew Win-ow Col%mns "he following colu!ns can appear in the 4ist Ciew window' depending on the the display !ode you choose. J Columns that a$$ear in all dis$la& modes: "he following colu!ns appear in all display !odes@ J -late: A co! ination of the %cene and "a(e fields' separated y a hyphen J Cli$: "he na!e of the clip connected to each data ase record J Ke&code dis$la& mode columns: "he following colu!ns appear in the .eycode display !ode@ J 8a( ,oll: "he value entered in the 4a <oll field +in the Betail Ciew window/ J Cam ,oll: "he value entered in the Ca! <oll field J Ke&code: "he value entered in the .ey field J +ideo dis$la& mode columns: "he following colu!ns appear in the Cideo display !ode@ J ,eel: "he value entered in the Cideo <eel field J Timecode: "he value entered in the Cideo "i!ecode field J -ound dis$la& mode columns: "he following colu!ns appear in the %ound display !ode@ J ,oll: "he value entered in the %ound <oll field J Timecode: "he value entered in the %ound "i!ecode field J In* Num(ers dis$la& mode columns: "he following colu!ns appear in the In( &u! ers display !ode@ J 8a( ,oll: "he value entered in the 4a <oll field

Chapter ( :or(ing with Bata ases

7( 7(

J Dail& ,oll: "he value entered in the Baily <oll field J In* Num(er: "he value entered in the In( field

$inding and -pening Bata ase <ecords

You typically open data ase records in the Betail Ciew window y selecting the record in the 4ist Ciew window. "he set of records displayed in the 4ist Ciew window is often referred to as the "ound set' ecause you use the $ind co!!and to specify which records are listed there. Note: You can select only one record at a ti!e. To select a -ata+ase recor- in the 3ist 7iew win-ow Bo one of the following@

U U U U U U

Clic( any displayed record. Bou le,clic( a record to have its clip open in the Clip window. Use the (ey oardLs Up Arrow (ey to select the record efore the currently selected one. Use the (ey oardLs Bown Arrow (ey to select the record after the currently selected one. Use the (ey oardLs 9age Up (ey to ?u!p up one page of records in the list. Use the (ey oardLs 9age Bown (ey to ?u!p down one page of records in the list. -nce you have selected a record' it stays selected as you change the display !ode. Im$ortant: You cannot change the settings in any of the records in the 4ist Ciew window. Use the Betail Ciew window to !a(e changes.

To -ispla/ specific recor-s in the 3ist 7iew win-ow Use the $ind dialog. %ee the instructions for using the $ind co!!and + elow/ for details.

To navigate thro%gh recor-s within the *etail 7iew win-ow Clic( the 9revious <ecord and &eEt <ecord uttons.
9revious <ecord and &eEt <ecord uttons

7! 7!

Chapter ( :or(ing with Bata ases

To fin- a )e/ n%m+er In the 4ist Ciew window' choose .eycode fro! the pop,up !enu' then clic( the .eycode colu!n heading to sort y (ey nu! er. %ee A out the 4ist Ciew :indow for !ore details.

To %se the &in- comman- to fin- recor-s in the open -ata+ase 1 -pen the $ind dialog y doing one of the following@ J Choose Bata ase P $ind +or press Co!!and,$/. J Clic( the $ind utton in the 4ist Ciew window.

2 Configure the settings and clic( $ind <ecords. %ee %ettings in the $ind Bialog for !ore infor!ation. Alternatively' you can clic( %how All <ecords if you want to see all of the data ase records.

%ettings in the $ind Bialog

"he settings in the $ind dialog !a(e it easy to find specific records ased on their %cene and "a(e values.

"he $ind dialog contains the following settings@ J -cene and Ta*e: "he values you enter in the %cene and "a(e fields depend on what you want to do@ J To "ind all the records in the o$en data(ase: 4eave the %cene and "a(e fields lan( and clic( %how All <ecords.

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77 77

J To "ind all the records "or a $articular scene or shot: 0nter the identifier for that scene or shot in the %cene field' leave the "a(e field lan(' then clic( the $ind <ecords utton. + "he "a(e field is disa led unless you select the )%how only eEact !atches* chec( oE./ $or eEa!ple' if you enter )3* in the %cene field and then clic( $ind <ecords' Cine!a "ools finds all records associated with scene 3' including the shots 3' 3A' 31' 3C' and so on. If you enter )3A* in the %cene field' only the records for shot 3A are found. J To "ind the record "or a s$eci"ic scene and ta*e: %elect )%how only eEact !atches'* enter the scene and ta(e identifiers in the %cene and "a(e fields' then clic( $ind <ecords. %ee %cene' %hot' and "a(e &u! er Betails for !ore infor!ation. J ,esults: Choose one of the following fro! the <esults pop,up !enu@ J ,e$lace Current %ound ,ecords: $ound records replace the records displayed in the 4ist Ciew window. J 7dd to Current %ound ,ecords: $ound records are added to the set in the 4ist Ciew window. "he Add to Current $ound <ecords option is useful when you want to find records for !ore than one scene' ut not for all scenes. $or eEa!ple' to see only the records for scenes 5 and 8' choose <eplace Current $ound <ecords' enter )5* in the %cene field' then clic( $ind <ecords. "hen' choose Add to Current $ound <ecords' enter )8* in the %cene field' and clic( $ind <ecords. -nly the records for scenes 5 and 8 appear in the 4ist Ciew window. J -ho/ onl& e<act matches: %elect this chec( oE to find a specific record that !atches the %cene and "a(e field entries.

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Chapter ( :or(ing with Bata ases

1cene5 1hot5 *etails

an-

Ta)e

>%m+er

"he way Cine!a "ools interprets scene nu! ers can lead to uneEpected results when using the $ind dialog. Cine!a "ools loo(s at a scene nu! er as having up to four parts@ J Pre"i<: "his is an optional set of one or !ore letters in front of the scene nu! er' usually used to indicate a new' uni2ue scene added to the script. $or eEa!ple' the )A* in scene A56C,G. 9refiEes donLt always indicate uni2ue scenes' howeverMthe actual letters used in the prefiE control how they affect using the $ind dialog. 9refiEes using the letters A' 1' C' and B are treated as indicating uni2ue scenes. 9refiEes using any of the other letters are not treated as indicating uni2ue scenes. J -cene num(er: "his is the first set of nu! ers. Bepending on the prefiE' it !ight e the entire scene nu! er' although with so!e prefiEes +A'1' C' or B/' the prefiE eco!es part of the scene nu! er. $or eEa!ple' in the A56C,G eEa!ple the scene is )A56.* In the eEa!ple 056C,G' the scene is )56.* J -u""i<: "his is a set of one or !ore letters after the scene nu! er' indicating the shot for the scene. $or eEa!ple' the )C* in scene A56C,G. J Ta*e num(er: "his is the nu! er after the suffiE +shot indicator/ that identifies a specific ta(e. Usually it is preceded y a hyphen +which you donLt enter in the $ind dialog/. $or eEa!ple' the )G* in scene A56C,G. "he tric(y part is deter!ining whether the prefiE indicates a uni2ue scene or not. 9refiEes using letters fro! A to B are treated as referring to uni2ue scenes. 9refiEes using letters fro! 0 to V are treated as eing !odifiers to the scene nu! er' ut not uni2ue scenes. $or eEa!ple' if you use the $ind dialog to search for scene 56' it will find 56' F56' and .56 +all are considered to e scene 56/ ut will not find A56' 156' C56' or B56 +which are all considered to e different scenes fro! scene 56/. %uffiEes indicate shots that are part of the scene. If you search for scene 56' you will find all shots for scene 56' such as 56A and 56$' ut not 156A' ecause the prefiE !a(es this a different scene. "a(e nu! ers are related to specific shots' which in turn are related to specific scenes. If you search for scene 56' you will find all shots and ta(es for that scene. If you enter )56A* in the $ind dialogLs %cene field' you will find only those records for shot A of scene 56N you will not find records for scene 561. 0ntering a nu! er in the "a(e field will find only shots using that ta(e. $or eEa!ple' entering )56A* in the %cene field and )G* in the "a(e field will find only record 56A,G. 0ntering )56* in the %cene field +with no shot specified/ and )G* in the
Chapter ( :or(ing with Bata ases 79 79

"a(e field will find any records for scene 56 that have a ta(e G' such as 56A,G and 56B,G.

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Chapter ( :or(ing with Bata ases

1ac(ing Up' Copying' <ena!ing' and 4oc(ing Bata ases

As is the case with all i!portant data' it is wise to store ac(up copies of your Cine!a "ools data ase files and to loc( the data ase files if you want to !a(e sure they are not !odified or deleted. Bo this y using any of the standard des(top !ethods for copying and loc(ing files. You can ac( up your files on your co!puterLs hard dis( or on separate re!ova le !edia. If you are going to loc( a data ase file' !a(e sure that the data ase is closed efore you loc( it. You can also use any standard des(top !ethod to rena!e a data ase file. Changing a data ase filena!e +as opposed to a source clip filena!e/ does not affect the content of the data ase or any of the data ase functions. Im$ortant: Changing a source clip filena!e + y editing it in the $inder/ is not reco!!ended ecause it rea(s the lin( etween the source clip and the data ase. =owever' you can reconnect clips to the data ase using the <econnect co!!and.

A out the Clip :indow

You use the Clip window to play the selected clip' identify the ti!ecode and (ey nu! er of a specific fra!e' view general infor!ation a out the clip' and process it with the <everse "elecine and Confor! features. To open the Clip win-ow Bo one of the following@

U U U U

Choose $ile P -pen Clip +or press Co!!and,-/' locate a clip' then clic( Choose. Clic( -pen Clip in the Betail Ciew window +if a clip is connected to the current record/. Clic( Connect Clip in the Betail Ciew window' then select a clip +if one has not already een connected to the record/. Brag one or !ore +up to 20 total/ clips fro! a $inder window to the Cine!a "ools application icon. A Clip window opens for each clip. Note: If you drag a folder containing clips to the Cine!a "ools icon' a new data ase is created. %ee Creating a &ew Bata ase Using Cine!a "ools for !ore infor!ation.

Chapter ( :or(ing with Bata ases

81 81

You can have !ultiple Clip windows open at one ti!e. "hey are dyna!ically added to and re!oved fro! the :indow !enu as you open and close the!.

%ee %ettings in the Clip :indow for infor!ation a out the uttons and settings in the Clip window.

%ettings in the Clip :indow

You can play the clip y clic(ing the 9lay utton +the triangle to the left of the ti!eline/ or y pressing the %pace ar. "o play the clip using the %pace ar' you !ust !a(e sure that an Identify pane teEt field is not currently selectedMyou can press the "a (ey as needed or clic( the Analysis utton to deselect the teEt fields. Im$ortant: Bepending on your co!puter' high,resolution video' such as 2. !edia' !ay not play ac( s!oothly.

Chapter ( :or(ing with Bata ases

81 81

If the clip has audio' you can control the volu!e y clic(ing the spea(er icon neEt to the 9lay utton and then dragging the volu!e slider. You can also drag the playhead to scroll through the clip. You can clic( the left arrow and right arrow uttons at the right side of the ti!eline or press your (ey oardLs 4eft Arrow and <ight Arrow (eys to step through the clip one fra!e at a ti!e.

Most of the uttons along the otto! of the window open additional windows or dialogs and are also availa le as co!!ands in the Clip !enu. "he two uttons in the upper,right corner deter!ine what infor!ation is shown on the right side of the window. #%ttons Along the #ottom of the Win-ow J -et Poster %rame: Assigns the currently displayed fra!e to the Betail Ciew windowLs thu! nail display. J Disconnect Cli$: "he Bisconnect Clip utton changes depending on whether the current clip is connected to the data ase. :ith a clip connected +as shown a ove/' the utton is la eled Bisconnect Clip. Clic( Bisconnect Clip to disconnect the clip fro! the data ase. ?nter in Data(ase: If the current clip is not connected to the data ase' the Bisconnect Clip utton is la eled 0nter in Bata ase. Clic( 0nter in Bata ase to open a dialog where you can connect the clip to an eEisting record or a new record y entering scene and ta(e values.

J ,everse Telecine: -pens the <everse "elecine dialog. J Con"orm: -pens the Confor! Clip dialog. J Previous Cli$ and Ne<t Cli$ (uttons (arro/s : "he left and right arrows in the lower, right corner of the Clip window !a(e it easy to switch to the previous or neEt record +as currently sorted and displayed in the 4ist Ciew window/ that has a clip assigned to it. Note: "hese uttons are active only when the current clip is lin(ed to a record in the current data ase and that record is part of the 4ist Ciew windowLs found set. Additionally' one of these uttons is di!!ed if there isnLt a previous or neEt clip.
82 Chapter ( :or(ing with Bata ases

#%ttons in the Upper;:ight Corner J Identi"&: Clic( to show the Identify pane' which displays the clipLs infor!ation fro! the Cine!a "ools data ase it is connected to. You can use the Identify pane to enter fil! and ti!ecode infor!ation in the data ase or to get infor!ation a out the fra!e that is currently displayed in the Clip window. Additionally' the settings update to show the infor!ation for each fra!e as you !ove through a clip. %ee Using the Identify $eature to Calculate Bata ase Infor!ation for !ore infor!ation a out using the Identify feature. J 7nal&sis: Clic( to show the Analysis pane' which displays the clipLs file infor!ation. "his infor!ation includes oth file specifics +na!e and si#e' where it is located' and when it was created/ and content specifics +duration' fra!e rate' fra!e si#e' and co!pression type used/.

Chapter ( :or(ing with Bata ases

8 8

Accessing Infor!ation A out a %ource Clip

"he Analysis pane of the Clip window gives you access to specific infor!ation a out a source clip.
Clic( the Analysis utton to display the Analysis pane.

"he Analysis pane displays the full path +location/ and na!e of the file' along with its si#e and dates of creation and !odification. You can also see the duration of the !ovie contained in the clip. Infor!ation is also listed for each trac( in a clip@ J %or video trac*s: You see the fra!e si#e and fra!e rate' the co!pressor used and the co!pression 2uality' the average data rate' and whether it is a self,contained or reference !edia file. %ee "he Bifference 1etween %elf,Contained and <eference Media $iles for !ore infor!ation. J %or audio trac*s: You see the sa!ple rate and the nu! er of channels for up to two trac(s.

84

Chapter ( :or(ing with Bata ases

,ntering an- .o-if/ing *ata+ase 0nformation

-nce you have created and configured your Cine!a "ools data ase' you are ready to start entering infor!ation. "his chapter covers the following@ J A out :or(ing with Bata ase Infor!ation +p. 75/ J I!porting Bata ase Infor!ation +p. 78/ J 0ntering Bata ase Infor!ation Manually +p. 93/ J Using the Identify $eature to Calculate Bata ase Infor!ation +p. 98/ J Beleting a Bata ase <ecord +p. 97/ J Choosing a Bifferent 9oster $ra!e for a Clip +p. 97/ J Changing the Befault Bata ase %ettings +p. 99/ J Changing All <eel or <oll Identifiers +p. 300/ J Cerifying and Correcting 0dge Code and "i!ecode &u! ers +p. 303/

A out :or(ing with Bata ase Infor!ation

As descri ed in Beciding =ow You %hould Create the Bata ase' there are two asic approaches to creating your pro?ect data ase@ J You can generate the data ase y i!porting a telecine log' A40 file' or $inal Cut 9ro atch capture list. J You can enter infor!ation !anually or y dragging a folder of clips to the Cine!a "ools application icon. %ee I!porting Bata ase Infor!ation for infor!ation a out the different !ethods you can use to i!port infor!ation into your data ase.

8(

0ven if you do generate a data ase with a telecine log' you !ay want to !a(e !odifications and additions to the data ase records at a later ti!e. You can do this y using the Betail Ciew window or the Clip window. +In the Clip window' you can only !odify eEisting data ase records./ %ee 0ntering Bata ase Infor!ation Manually for !ore infor!ation. Also see Using the Identify $eature to Calculate Bata ase Infor!ation for details a out how to deter!ine various types of data ase infor!ation. You can !odify any infor!ation in the data ase y editing settings in the Betail Ciew window and the Identify pane of the Clip window. %o!e of the calculations you !a(e using the Identify feature update preeEisting infor!ation' !odifying the data ase auto!atically. %ee the following for !ore infor!ation@ J Beleting a Bata ase <ecord J Choosing a Bifferent 9oster $ra!e for a Clip J Changing the Befault Bata ase %ettings J Changing All <eel or <oll Identifiers Also see Cerifying and Correcting 0dge Code and "i!ecode &u! ers for details a out how to ensure that you have correct values in your data ase. Im$ortant: 1efore you can enter infor!ation in the data ase' you need to have an eEisting data ase. %ee Creating and Configuring a &ew Bata ase for details a out creating a new' e!pty data ase.

I!porting Bata ase Infor!ation

You can create a data ase y i!porting infor!ation fro! a telecine log or A40 file' a $inal Cut 9ro atch capture list' or an eEisting Cine!a "ools data ase.

0mporting *ata+ase 0nformation from a Telecine 3og or A3, &ile

You can enter infor!ation in the data ase y i!porting the telecine log fro! the fil!,to,video transfer. Cine!a "ools currently supports the following telecine logs@ J A"& log files fro! Aaton J $4I +$il! 4og 0B4 0Echange' co!!only (nown as %8?</ log files fro! "4C + "i!e 4ogic Controller software/ J $il! "ransfer 4ist +$"4/ log files fro! 0vert# J Avid 4og 0Echange +A40/ files +not technically telecine logs' ut contain si!ilar infor!ation for your data ase/

8!

Chapter ! 0ntering and Modifying Bata ase Infor!ation

You can i!port telecine log files using either Cine!a "ools or $inal Cut 9ro. %ee I!porting "elecine 4ogs Using Cine!a "ools and I!porting "elecine 4ogs Using $inal Cut 9ro for !ore infor!ation.

Assigning Camera 3etters

:hether you i!port the telecine log file using Cine!a "ools or $inal Cut 9ro' you have the option of having Cine!a "ools dyna!ically assign a ca!era letter to all records that are i!ported. "he ca!era letter uses the first letter of the ca!era roll value and is appended to the ta(e entry of each record. "his is useful in those cases where !ultiple ca!eras were used for each ta(e' with the letters !a(ing it easy to distinguish etween the clips fro! different ca!eras. Additionally' if you set up a !ulticlip in $inal Cut 9ro' the ca!era letters are used to create the different angles.

0mporting Telecine 3ogs Using Cinema Tools

"o i!port a telecine log into Cine!a "ools' you !ust first have a data ase open. "he data ase can e an eEisting one to which you want to add new records' or it can e a new one with no records. To import a telecine log %sing Cinema Tools 1 Bo one of the following@ J -pen an eEisting Cine!a "ools data ase. %ee -pening an 0Eisting Bata ase for !ore infor!ation. J Create a new Cine!a "ools data ase. %ee Creating and Configuring a &ew Bata ase for !ore infor!ation. 2 I!port the telecine log file y choosing $ile P I!port P "elecine 4og +or pressing Co!!and,4/. In the dialog that appears' select the telecine log or A40 file.

Chapter ! 0ntering and Modifying Bata ase Infor!ation

87

4 "o assign a ca!era letter to the i!ported records' select the )Append a ca!era letter* chec( oE +the ca!era letter is dyna!ically deter!ined y the first letter of the ca!era roll value' if present' and is appended to the "a(e entry of each record/. ( Clic( -pen. "he data in the log is entered in the open data ase' and each new record is displayed in the 4ist Ciew window. :hen Cine!a "ools has finished creating the records fro! a telecine log' it tells you how !any events there were in the log and how !any of those events were i!ported into the data ase. %o!eti!es events in a telecine log refer to edits in which no fil! was transferred. $or those events' no record is created in the data ase. After the records have een i!ported' you can eEport a atch capture list fro! Cine!a "ools that you can i!port into $inal Cut 9ro to auto!ate the clip capture process. %ee Fenerating a 1atch Capture 4ist fro! Cine!a "ools for !ore infor!ation.

0mporting Telecine 3ogs Using &inal C%t Pro

:hen you i!port a telecine log using $inal Cut 9ro' you choose whether you want to i!port it into an eEisting Cine!a "ools data ase or whether a new data ase should e created. :hen records are added to the selected Cine!a "ools data ase' each record creates an offline clip in the $inal Cut 9ro 1rowser so that the clips can e atch captured. 0ach of these clips also has the fil!,related infor!ation contained in the log file added to it. To import a telecine log %sing &inal C%t Pro 1 Create a new pro?ect or open an eEisting pro?ect. "his pro?ect will contain the offline clips created when the telecine log file is i!ported. 2 %elect the pro?ect in the 1rowser. Choose $ile P I!port P Cine!a "ools "elecine 4og.

88

Chapter ! 0ntering and Modifying Bata ase Infor!ation

"he I!port a Cine!a "ools "elecine 4og dialog appears.

%elect the telecine log file to i!port.

Choose to either create a new data ase or i!port the file into an eEisting data ase. Choose a ca!era letter to append to the i!ported ta(es +if needed/. 4ists the currently selected data ase.

4 Use the top half of the dialog to select the telecine log file to i!port. ( "o assign a ca!era letter to the i!ported records' select the )Append a ca!era letter* chec( oE +the ca!era letter is dyna!ically deter!ined y the first letter of the ca!era roll value' if present' and is appended to the "a(e entry of each record/. ! Bo one of the following@ J To create a ne/ Cinema Tools data(ase to im$ort the telecine log "ile into: Clic( &ew Bata ase. "his opens a new dialog where you can enter a na!e and location for the data ase' as well as configure its default settings. %ee %ettings in the &ew Bata ase Bialog for infor!ation a out these settings. Clic( %ave when finished.

J To o$en a dialog /here &ou can select an e<isting data(ase to im$ort the telecine log "ile records into: Clic( Choose Bata ase. Clic( -pen when finished. "he selected data ase' whether new or previously eEisting' is listed in the Bata ase field of the I!port a Cine!a "ools "elecine 4og dialog.

Chapter ! 0ntering and Modifying Bata ase Infor!ation

89

7 Clic( -pen to i!port the selected telecine log file into the selected Cine!a "ools data ase. After the records have een i!ported and the offline clips have een added to the 1rowser' you can use $inal Cut 9ro to atch capture the clips. %ee the $inal Cut 9ro docu!entation for infor!ation a out atch capturing clips.

0mporting *ata+ase 0nformation from a #atch Capt%re 3ist

You !ay want to create data ase records y i!porting a $inal Cut 9ro atch capture list if@ J You donLt have a telecine log or Avid 4og 0Echange +A40/ file J You have already atch captured the clips you want into $inal Cut 9ro and you want data ase records to e created for those source clips instead of the ta(es listed in your telecine log Creating data ase records fro! a $inal Cut 9ro atch capture list is not ideal ecause you lose the advantages of using a telecine log or A40 file to uild your data ase. $or eEa!ple' a $inal Cut 9ro atch capture list does not contain the (ey nu! er and ca!era or la roll infor!ation that would e i!ported fro! a telecine log. %ee Advantages of Using a "elecine 4og or A40 $ile for !ore infor!ation. Ti$: In !ost cases' instead of eEporting a $inal Cut 9ro atch capture list and i!porting it into a Cine!a "ools data ase' you should use the $inal Cut 9ro %ynchroni#e with Cine!a "ools feature. %ee %ynchroni#ing $inal Cut 9ro Clips with Cine!a "ools for !ore infor!ation. To import -ata+ase information from a &inal C%t Pro +atch capt%re list 1 Ma(e sure that a Cine!a "ools data ase is open. 2 In Cine!a "ools' choose $ile P I!port P $inal Cut 9ro 1atch 4ist. In the dialog that appears' select the atch capture list you eEported fro! $inal Cut 9ro. 4 Clic( -pen to i!port the atch capture list. "he data in the atch capture list is used to create data ase records. Note: "he source clips are not yet connected to data ase records. You still need to use the Connect Clips co!!and to connect the!. %ee Using the Connect Clips Co!!and for !ore infor!ation. ( In each data ase record' enter the edge code nu! er infor!ation and fil! roll identifier. + "hese ite!s are re2uired to create a cut list or change list./ Note: 1ecause a $inal Cut 9ro atch capture list includes everything in the $inal Cut 9ro 1rowser' it !ay include clips or se2uences that you donLt want. $or this reason' you should delete any data ase records you donLt need. %ee Beleting a Bata ase <ecord for !ore infor!ation.

0mporting an ,4isting Cinema Tools *ata+ase

-ne Cine!a "ools data ase can e i!ported into another Cine!a "ools data ase. "here are a few reasons why you !ight want to do this@ J You !ay want to create separate data ases for organi#ation and archiving purposes and then ring the! all together in a !aster data ase. $or eEa!ple' you !ight want to create separate data ases for your dailies. If you want to !anage your dailies y creating a date,na!ed data ase for each of the dailies' you can i!port the telecine log for that daily session' eEport a atch capture list' capture the clips' and use the Cine!a "ools Connect Clips co!!and to connect all the clips to that date, na!ed data ase file. "hen' you can i!port that data ase file into a !aster data ase that contains all of the daily data ases. J You !ay need to correct a data ase that has incorrect pro?ect defaults. "o do this' you create a new' e!pty data ase with the correct defaults and then i!port your original data ase file into the new one. To import one -ata+ase file into another 1 -pen the data ase into which you want to i!port another data ase file y choosing Bata ase P -pen Bata ase +or pressing Co!!and,%hift,-/ and then selecting the data ase in the dialog. 2 Choose $ile P I!port P Bata ase. In the dialog that appears' select the data ase you want to i!port.

0ntering Bata ase Infor!ation Manually

You can use the Betail Ciew window to !anually edit data ase records. 1efore you can edit infor!ation in a data ase' you need to create data ase records. Note: If a data ase record has already een created for a clip' you can also use the Identify pane of the Clip window to enter infor!ation. %ee Using the Identify $eature to Calculate Bata ase Infor!ation for details.

Chapter ! 0ntering and Modifying Bata ase Infor!ation

91

Un-erstan-ing the :elationship #etween 1cenes5 1hots5 an- Ta)es

"o enter scene' shot' and ta(e infor!ation in the data ase' you first need to (now how scenes' shots' and ta(es are understood y the data ase. A !otion picture production is co!posed of a series of scenes' and each scene is typically co!posed of a nu! er of shots or angles. A shot is a continuous fil! recording that does not have any cuts. In shooting the fil!' there !ay e a nu! er of ta(es for each shot' so a ta(e is a version of a shot. "here can e !any shots for each scene. "he diagra! elow shows an eEa!ple of the relationship etween scenes' shots' and ta(es as they !ight eEist in a Cine!a "ools data ase.
"a(e 3 %late 3,3

%hot 3

"a(e 2

%late 3,2

"a(e 6

%late 3,6

%cene 3

%hot 3A

"a(e 2

%late 3A,2

"a(e G

%late 3A,G

%hot 31

"a(e 5

%late 31,5

Creating a >ew *ata+ase :ecorYou !ust create data ase records if you are !anually entering data ase infor!ation. To create a new5 empt/ -ata+ase recor1 Bo one of the following@ J Choose Bata ase P &ew <ecord +or press Co!!and,&/. J Clic( &ew <ecord in the Betail Ciew window. 2 In the dialog that appears' either enter identifiers for the scene and ta(e or leave these fields lan(' then clic( -.. %ee Using %cene' %hot' and "a(e Identifiers for !ore infor!ation.

92 92

Chapter ! 0ntering and Modifying Bata ase Infor!ation

Note: You donLt have to enter anything in the %cene and "a(e fields in order to use Cine!a "ools to !atch your digital edits ac( to your original ca!era negative. You can leave these fields lan( or enter their values later. Also (eep in !ind that the scene and ta(e entries are used to create the clip na!es if you eEport a atch capture list. %ee Fenerating a 1atch Capture 4ist fro! Cine!a "ools for !ore infor!ation. "he Betail Ciew window appears after you clic( -.. To create new -ata+ase recor-s with connecte- clips Bo one of the following@

U U U

Choose $ile P I!port P $iles' choose one or !ore !edia files to i!port in the dialog that appears' then clic( -pen. Choose $ile P I!port P $olders' choose one or !ore folders that contain !edia files you want to create data ase records fro!' then clic( -pen. Brag one or !ore !edia files or folders fro! a $inder window to the Cine!a "ools 4ist Ciew window. Note: You cannot drag a !iE of !edia files and folders to the 4ist Ciew window. A dialog appears that tells how !any new records were created. 0ach record includes the video reel' video ti!ecode' clip duration' and ti!ecode rate settings fro! its connected clip. Note: &ew records are not created for any clips that are already connected to other records in this data ase.

Using 1cene5 1hot5 an- Ta)e 0-entifiers

An identifier can e any co! ination of nu! ers and letters +up to 35 characters/. J Ta*e identi"ier: If the source clip associated with a data ase record contains !ore than one ta(e' you can thin( of the ta(e identifier as a source su clip identifier. If the source clip associated with a data ase record contains ?ust one ta(e' you can thin( of the ta(e identifier as a source clip identifier. J -cene identi"ier: "he identifier you enter in the %cene field actually identifies oth the scene and the shot +ca!era position/ for the clip. $or the %cene identifier' !ost people enter the nu! er or letter co! ination that appears in the %cene field on the slate. "he typical !ethod for identifying scenes and shots is to use a nu! er for the scene and add a letter to specify the shot in the scene. %o when a slate says )%cene 321'* it is referring to shot 1 in scene 32. You see this reflected in the Betail Ciew windowN the first nu! er you enter in the %cene field appears neEt to the word )%cene* in the Betail Ciew window. &eEt to the word )%hot'* oth the nu! er and the letter appear. $or eEa!ple' if you enter )3B* in the %cene field' you see the following at the top,left corner of the Betail Ciew window@ J )3* neEt to the word )%cene* J )3B* neEt to the word )%hot* Ti$: In the %cene field' you can enter a letter +A through B/ efore the first nu! er' and the letter will e part of the scene identifier. Adding a letter to the eginning of a scene identifier is a useful na!ing sche!e when you need to add a scene in the !iddle of an eEisting series of scenes. $or eEa!ple' etween scene 3 and scene 2 you could add a scene na!ed A2' so the new order would e scene 3' scene A2' scene 2' scene G' and so on. Adding other letters +0 through V/ does not add a new scene. $or eEa!ple' scene F2 is the sa!e as scene 2. %ee %cene' %hot' and "a(e &u! er Betails for !ore infor!ation.

A+o%t the *escriptive 1cene an- 1hot *ata

All the shots for a scene are related to that scene' and all the source clips for a shot are related to that shot. 1ecause the data ase re!e! ers these relationships' you only need to enter the descriptive data for each scene and shot once. :hen you enter or change the descriptive data for a scene' that sa!e data appears for all the other shots associated with that scene' oth in eEisting data ase records and any records you create later that have the sa!e scene identifier. %i!ilarly' any descriptive data you enter for a shot appears in eEisting data ase records with the sa!e shot identifier.

In the eEa!ple elow' all records for scene A56 will have the sa!e descriptive teEt +)-utside*/ and page nu! ers +368 to 38K/. All ta(es for this shot +A56>/ will have the sa!e descriptive teEt +)4eft* in this eEa!ple/ and page nu! ers +367 to 355/. 0ach ta(e for that shot will also have a uni2ue "a(e &otes entry.

,ntering 0nformation in a *ata+ase :ecor-nce you have created a data ase record' you can enter the infor!ation a out its clip. To enter information in a -ata+ase recor1 Ma(e sure the record is displayed in the Betail Ciew window. +If necessary' clic( the record in the 4ist Ciew window to open it in the Betail Ciew window./

%ee $inding and -pening Bata ase <ecords for !ore infor!ation. 2 0nter infor!ation and settings in the Betail Ciew window. %ettings in the Betail Ciew :indow descri es all the settings and specifies which ones are re2uired if you plan to use the data ase to generate cut lists or change lists. You can press the "a (ey to navigate fro! one field or setting to another. Ti$: :hen you connect a clip to a data ase record and the record does not yet contain the clip ti!ecode' reel' and ti!ecode duration' Cine!a "ools loo(s for this infor!ation in the clip file and auto!atically enters it in the data ase record.

If you (now the edge code or ti!ecode nu! er for another fra!e in a clip' the Identify feature can help you deter!ine the correct ti!ecode or edge code nu! er for the first fra!e of a clip. %ee Using the Identify $eature to Calculate Bata ase Infor!ation for details. Clic( %ave. Until you save' data in the Betail Ciew window is not entered in the data ase. You can choose Bata ase P <evert <ecord +or press Co!!and,</ to revert to the last saved version of the record.

Using the Identify $eature to Calculate Bata ase Infor!ation

You can use the Clip windowLs Identify feature to deter!ine the (ey nu! er' in( nu! er' or ti!ecode values for clips in the data ase. "he data ase re2uires these values for the first fra!e of the clip' ut you !ight not have the! if you arenLt creating data ase records fro! a telecine log or if your clips lac( window urn. &ote the following re2uire!ents for using the Identify feature to deter!ine or verify edge code or ti!ecode values@ J You need to (now a (ey nu! er' in( nu! er' or ti!ecode value for at least one fra!e in the clip. J "he clip needs to have a data ase record. J "he (ey nu! er,to,ti!ecode relationship !ust e continuous. %ee Is Your 0dge Code &u! er,to,"i!ecode <elationship Continuous or &oncontinuousD for !ore infor!ation. .eep in !ind that with the Identify feature' the .ey' In(' Cideo "i!ecode' and %ound "i!ecode fields should always reflect the values of the "rame currentl& dis$la&ed in the Cli$ /indo/) whereas in the Betail Ciew window these fields are associated with the first fra!e of the clip. "he Identify feature will' however' calculate and enter the first,fra!e values you see in the Betail Ciew window.

Calc%lating ,-ge Co-e an- Timeco-e >%m+ers

If you (now the edge code +(ey nu! er or in( nu! er/ and ti!ecode values for any fra!e in a clip' you can use the Identify feature to deter!ine these values for the first fra!e of the clip' and that infor!ation is auto!atically entered in the data ase. "his feature is especially useful if you are wor(ing with video that does not have window urn' ecause without window urn you have to trac( the ti!ecode and edge code y physically !ar(ing one fra!e in each clip. If the fra!e that is !ar(ed is not the very first fra!e of the clip' the Identify feature can calculate what the values are for the first fra!e' and those values are auto!atically entered in the data ase.

To enter the e-ge co-e an- timeco-e val%es in the -ata+ase 1 If it isnLt already open' open the clip in the Clip window in one of the following ways@ J Choose $ile P -pen Clip +or press Co!!and,-/ and use the dialog to select the clip. J Clic( -pen Clip in the Betail Ciew window of the clipLs data ase record. 2 Clic( Identify in the Clip window to display the settings for the current fra!e. 4ocate the !ar(ed fra!e in the clip play ac( area. Ti$: Use the arrow (eys on your (ey oard to !ove forward and ac(ward fra!e y fra!e. "he Identify settings update to show the infor!ation for each fra!e as you !ove through a clip' so you can locate the !ar(ed fra!e. 4 0nter the edge code and ti!ecode values for the !ar(ed fra!e +the fra!e showing in the Clip window/ in the appropriate fields. Note: You !ay e using in( nu! ers instead of (ey nu! ers' or vice versa. If so' you can leave the field you arenLt using lan(.

0nter the (ey nu! er or in( nu! er for the !ar(ed fra!e. 0nter the video ti!ecode value for the !ar(ed fra!e.

Note: If you decide you want to reset the values to what they were when you opened the clip in the window' clic( <evert. ( :hen identifying a G,perf G5!! clip' you !ust also choose the offset +G,perfJ3' G, perfJ2' or G,perfJG/ fro! the $il! %td pop,up !enu. Note: You should not need to change the $il! %td setting if you are using any of the other fil! for!ats. ! Clic( %ave. "he clipLs data ase record is i!!ediately updated with the values for the first fra!e of the clip. Additionally' the clipLs duration is calculated and entered.

A+o%t .o-if/ing *ata with the 0-entif/ &eat%re

You can use the Identify feature for a clip only if a data ase record has een created for that clip. "he Clip windowLs Identify pane includes fields and pop,up !enus for settings that also appear in the Betail Ciew window. You can !odify these settings with the Identify feature' ut (eep the following i!portant facts in !ind@ J "he Identify paneLs .ey' In(' Cideo "i!ecode' and %ound "i!ecode fields should always reflect the values of the "rame currentl& dis$la&ed in the Cli$ /indo/) whereas in the Betail Ciew window these fields are associated with the first fra!e of the clip. "herefore' what you see or enter in the Identify pane of the Clip window could e different fro! what you see or enter in the Betail Ciew window. %ee Using the Identify $eature to Calculate Bata ase Infor!ation for details. J "he Identify feature can trac( the (ey nu! ers only if the (ey nu! er,to, ti!ecode relationship is continuous' as it is with !ost ca!era,roll transfers. %ee Is Your 0dge Code &u! er,to,"i!ecode <elationship Continuous or &oncontinuousD for !ore infor!ation. If you changed the values in the window and want to go ac( to previous values' clic( <evert instead of %ave. After you clic( %ave' the data ase record is updated' and these changes are reflected in the Betail Ciew window.

Beleting a Bata ase <ecord

You !ay find that you have records that you no longer need. You can delete the! fro! a data ase. Note: 1e careful when you delete a data ase record' ecause there is no way to undo this co!!and. To -elete a -ata+ase recor1 -pen the data ase record in the Betail Ciew window' or select it in the 4ist Ciew window. 2 Choose Bata ase P Belete <ecord +or press Co!!and,Belete/. Note: :hen you delete a data ase record that is connected to a source !edia file' you donLt delete the file fro! your hard dis(. You delete only the data ase record.

Choosing a Bifferent 9oster $ra!e for a Clip

1y default' when you connect a clip to a data ase record' a s!all picture of the first fra!e of the clip appears in the Betail Ciew window. "his picture is called the $oster "rame4 You can choose to display a different fra!e of the clip if the first fra!e of the clip is hard to recogni#e' as with lac( fra!es.

"he default clip poster fra!e does not appear in the Betail Ciew window until after@ J "he clip has een connected to a data ase record J "he clip has een opened in the Clip window To choose a new poster frame for a clip 1 If it isnLt already open' open the clip in the Clip window in one of the following ways@ J Choose $ile P -pen Clip +or press Co!!and,-/ and use the dialog to select the clip. J Clic( -pen Clip in the Betail Ciew window of the clipLs data ase record. 2 In the clip play ac( area' locate the fra!e you want to use as the poster fra!e. Ti$: Use the arrow (eys on your (ey oard to !ove forward and ac(ward fra!e y fra!e.

Clic( the %et 9oster $ra!e utton to have the current fra!e appear as the thu! nail i!age in the Betail Ciew window.

You can drag the playhead to locate and display the fra!e you want to use as the clip poster fra!e.

Clic( %et 9oster $ra!e when the clip play ac( area displays the fra!e you want to use. "he new poster fra!e appears in the Betail Ciew window of the clip. Note: <egardless of the poster fra!e you set' the Clip window always opens to the first fra!e of the clip.

Changing the Befault Bata ase %ettings

Although you cannot directly change a data aseLs default settings' you can get the sa!e effect y creating a new data ase with the proper settings and i!porting the original data ase into it.

To change the -efa%lt settings for a -ata+ase Create a new data ase with the default settings you want' then i!port your original data ase into the new one. %ee I!porting an 0Eisting Cine!a "ools Bata ase for !ore infor!ation.

Changing All <eel or <oll Identifiers

"here !ay e ti!es when you want to change all occurrences of a reel or roll identifier in a data ase. $or eEa!ple' you !ight need to change a reel identifier that is not 0B4,co!pati le to one that is 0B4,co!pati le. -r' you !ight need to change the reel or roll identifier in a data ase to !atch identifiers that are actually used in an 0B4 or to correct situations where reel identifiers are not eEact !atches' such as )0003* and )003.* Note: If you will e eEporting a atch capture list fro! the data ase' itLs est to !a(e the reel or roll identifier changes efore eEporting the list. To change all instances of a reel or roll name in a -ata+ase 1 Clic( the %how All utton in the 4ist Ciew window to !a(e sure that all of the data ase records are listed in the 4ist Ciew window. 2 Choose Bata ase P Change <eel. Ma(e the following settings in the Change <eel dialog@ J Choose the type of roll or reel. J In the $ro! field' enter the identifier that you want to change. J In the "o field' enter the new identifier. 4 Clic( -..
Choose the type of reel or roll.

0nter the old and new identifiers.

After you clic( -.' all records displayed in the 4ist Ciew window are searched' and each ti!e the roll or reel identifier that you want to change is found' it is replaced y the new identifier.

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Chapter ! 0ntering and Modifying Bata ase Infor!ation

Cerifying and Correcting 0dge Code and "i!ecode &u! ers

Assu!ing you (now the ti!ecode' (ey nu! er' or in( nu! er values for a fra!e in a clipMeither y a !ar(ed fra!e or y window urnMyou can use the Identify feature to verify these values for the clip. Cerification is i!portant ecause your cut list or change list is only as accurate as these values. Cerifying values with the Identify feature is especially useful when@ J You find a discrepancy etween the ti!ecode and in( nu! ers or (ey nu! ers in the window urn and those values in the Cine!a "ools data ase or in $inal Cut 9ro J You entered the values !anually and need to dou le,chec( your data entry wor( Im$ortant: "he Identify feature can trac( edge code nu! ers only if the edge code nu! er,to,ti!ecode relationship is continuous' as it is with !ost ca!era,roll transfers. %ee Is Your 0dge Code &u! er,to,"i!ecode <elationship Continuous or &oncontinuousD for !ore infor!ation. If the edge code nu! er,to,ti!ecode relationship is noncontinuous' you can verify and correct the edge code nu! er and ti!ecode values for the source clips y visually chec(ing these values against the window urn and' if necessary' !anually updating the edge code nu! er and ti!ecode values in Cine!a "ools and the ti!ecode values in $inal Cut 9ro. To verif/ an- correct the e-ge co-e an- timeco-e val%es entere- for a clip 1 If it isnLt already open' open the clip in the Clip window in one of the following ways@ J Choose $ile P -pen Clip +or press Co!!and,-/ and use the dialog to select the clip. J Clic( -pen Clip in the Betail Ciew window of the clipLs data ase record.

Chapter ! 0ntering and Modifying Bata ase Infor!ation

1"1 1"1

2 In the clip play ac( area' locate a fra!e near the eginning of the clip for which you (now the correct edge code nu! er or ti!ecode value. "his is easy if your video has window urn.
Clic( Identify to show the current fra!eLs settings.

1urned,in ti!ecode value

1urned,in edge code value

If necessary' clic( Identify to show the recordLs settings. 4 4oo( at the .ey' In(' and Cideo "i!ecode fields in the Identify pane to see if the nu! ers !atch the window urn of the fra!e in the Clip window. +You !ay e using in( nu! ers instead of (ey nu! ers' or vice versa. If so' you can leave the field you arenLt using lan(./

( If any of the .ey' In(' or Cideo "i!ecode fields are incorrect' enter the correct nu! ers in the fields. ! In the clip play ac( area' locate a fra!e near the end of the clip and repeat steps 6 and 5. J I" the edge code num(er and timecode values are correct at the (eginning o" the cli$) (ut not at the end o" the cli$: $ra!es !ay have een dropped during capture' in which case you should recapture the clip. %ee Avoiding Bropped $ra!es for !ore infor!ation. It !ight also e ecause the clip doesnLt have a continuous edge code nu! er,to,ti!ecode relationship' in which case the Identify feature cannot help you confir! the edge code nu! er and ti!ecode values ecause it wor(s y a calculation ased on a continuous edge code nu! er,to,ti!ecode relationship. J I" the timecode value is incorrect: "here is a good chance that the ti!ecode is wrong in $inal Cut 9ro. -pen the sa!e fra!e in $inal Cut 9ro and see if the ti!ecode value is correct. If it isnLt' !a(e sure to correct the ti!ecode in $inal Cut 9ro. You can do this y using the Modify "i!ecode dialog. %ee the $inal Cut 9ro docu!entation for !ore infor!ation a out how to !odify the ti!ecode.

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Chapter ! 0ntering and Modifying Bata ase Infor!ation

If you used serial device control' the ti!ecode !is!atch !ay have happened ecause you didnLt set the appropriate ti!ecode offset in $inal Cut 9ro for the specific dec( you used. You need to !a(e this setting once per dec(' per co!puter. $or !ore infor!ation' see the section a out cali rating the ti!ecode signal in the $inal Cut 9ro docu!entation. 7 If you entered new nu! ers in the fields' clic( %ave. -therwise' if the values were already correct' close the window.

Capt%ring 1o%rce Clips anConnecting Them to the *ata+ase

0sta lishing the relationships etween the source clips and the Cine!a "ools data ase is (ey to a successful pro?ect. "his chapter covers the following@ J A out %ource Clips and the Bata ase +p. 305/ J 9reparing to Capture +p. 305/ J Fenerating a 1atch Capture 4ist fro! Cine!a "ools +p. 309/ J Connecting %ource Clips to the Bata ase +p. 335/ J $iEing 1ro(en Clip,to,Bata ase 4in(s +p. 320/

A out %ource Clips and the Bata ase

-nce you have created the pro?ect data ase' itLs ti!e to capture your source clips with $inal Cut 9ro. +%ource clips are the !edia files you start with when you egin editing./ After capturing' you esta lish connections etween the data ase records and the source clips. Ti$: Use the scenarios in Cine!a "ools :or(flows to guide you in deter!ining the asic steps you need to ta(e to capture your source clips and connect the! to the data ase. "he steps you need to ta(e' and the order of those steps' differ depending on factors that are su!!ari#ed in the wor(flow eEa!ples. $or eEa!ple' in so!e situations it is not necessary to connect the clips to the data ase.

9reparing to Capture
Betailed infor!ation a out capturing clips is provided in the $inal Cut 9ro docu!entation. 1efore you capture' you need to pay attention to a few factors that can affect your pro?ect@ J Avoiding dropped fra!es during the capture process J =ow your hardware is set up for video capture J Considerations regarding the capture of audio

1"(

J =ow to prepare for atch capturing +if you have a video dec( with device control/ J Considerations for capturing source clips individually +if you do not have device control/

A Ca%tion A+o%t Using Offine:T .e-ia with Cinema Tools

:hen you capture !edia with the -ffline<" 0asy %etup in $inal Cut 9ro' your captured !edia is highly co!pressed' allowing you to capture !ore source clips to your hard dis(MapproEi!ately 2 hours of video per giga yte +F1/ of hard dis( space. =owever' it can e very difficult' if not i!possi le' to read the (ey nu! er and ti!ecode infor!ation in the window urn after capturing with -ffline<" co!pression. You typically need to see the window urn in order to verify and correct the (ey nu! er and ti!ecode values and to use the Cine!a "ools <everse "elecine feature. $or this reason' -ffline<" !ay not e ideal for Cine!a "ools users. $or !ore infor!ation a out -ffline<"' see the $inal Cut 9ro docu!entation.

Avoi-ing *roppe- &rames

If co!puter perfor!ance is i!peded or if your scratch dis( is not fast enough' fra!es !ay e dropped during the capture process' !eaning one or !ore individual fra!es are not captured at all. :hen a fra!e is dropped during capture' the fra!e efore it is repeated. As a result' a fra!e you see while editing !ay not e the fra!e you see when the fil! is cut. Bropped fra!es can cause ti!ecode errors' which can result in an incorrect cut list and interfere with the reverse telecine process. You can prevent this pro le! in $inal Cut 9ro y setting the progra! to stop capturing and to notify you when a fra!e is dropped. To set &inal C%t Pro to stop capt%ring when frames are -roppe1 In $inal Cut 9ro' choose $inal Cut 9ro P User 9references. 2 In the Feneral ta ' !a(e sure )A ort capture on dropped fra!es* is selected. :hen this option is selected' a !essage appears when fra!es are dropped during capture and the capture is stopped. If dropped fra!es occur' first !a(e sure that other progra!s are not open' so that perfor!ance is not slowed. "hen' recapture the source clip. If you atte!pt to use the <everse "elecine feature for a source clip that contains dropped fra!es' a warning appears.

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Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

1etting Up $o%r 8ar-ware to Capt%re Acc%rate Timeco-e

"he a ility of $inal Cut 9ro to capture fra!e,accurate ti!ecode for each clip is also dependent upon the proper setup of your capture hardware. :hen using BC dec(s' this is easy. In $inal Cut 9ro G and later' capturing video with a BC dec( using $ire:ire for oth device control and video and audio input results in 300 percent accurate ti!ecode. If you are instead capturing fro! a dec( using serial device controlMfor eEa!ple' a Bigital 1etaca! or 1eta %9 dec(Mthere are a couple of i!portant steps you need to ta(e during setup to ensure ti!ecode accuracy.

What 0s *evice Control9

Bevice control !a(es it possi le for $inal Cut 9ro to control your video ca!era or video dec(. If your video ca!era or dec( uses a protocol supported y $inal Cut 9ro' $inal Cut 9ro can eEchange ti!ecode and device control data with the ca!era or dec(. If you have device control' you can cue and capture several source clips at once +called (atch ca$turing/. If you do not have device control' you need to capture source clips individually. %ee the $inal Cut 9ro docu!entation for supported device control protocols. 1efore you capture fro! a dec( using serial device control' you need to ta(e these steps to ensure all,i!portant ti!ecode accuracy@ J Fenloc( your dec( with your video capture interface. J Cali rate the ti!ecode offset. 2enloc)ing the *ec) an- 7i-eo Capt%re 0nterface In addition to connecting the serial device control ca le fro! your dec( to your co!puter +using a reco!!ended serial interface adapter/ and connecting the necessary video and audio connectors' you !ust also !a(e sure that your dec( is genloc(ed with your video capture interface. Cenloc*ing refers to loc(ing two video devices together using a lac( urst generator. If your dec( and video capture device support genloc( +also called e<ternal s&nc/' connect the! to a co!!on signal generator +usually a lac( urst generator' which outputs a continuous lac( video signal/. "his is done using the genloc( connectors found on your video dec( and video capture interface +these !ay also e la eled re"erence video/. Fenloc(ing your dec( with your video capture interface synchroni#es these devices' ensuring ti!ecode accuracy. Im$ortant: If you are capturing fro! a dec( using serial device control and your video capture interface cannot e genloc(ed with the dec(' the accuracy of the ti!ecode captured with your clips cannot e guaranteed.

Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

1"7 1"7

Cali+rating the Timeco-e Offset 0ven when your dec( and video capture interface are genloc(ed together' if you are going to use serial device control instead of $ire:ire device control to capture' it is still essential to cali rate the capture offset +found in the $inal Cut 9ro Bevice Control 9resets ta / prior to capture. "o use serial device control' you need to !a(e this setting once per dec(' per co!puter. $or !ore infor!ation' see the section a out cali rating the ti!ecode signal in the $inal Cut 9ro docu!entation.

Consi-erations #efore Capt%ring A%-io

1efore you capture your audio with $inal Cut 9ro' you need to ta(e into account the following@ J I" &ou have an audio dec* that can ad#ust the audio s$eed to s&nc to &our editing "rame rate /hen necessar&: Use the audio dec( to do this efore you capture the audio into your co!puter. %ee Beter!ining =ow to 9repare %ource Clips for 0diting to find out how you !ight need to ad?ust your audio speed. Note: If you donLt have an audio dec(' there are other ways you can ad?ust the audio speed after capturing. %ee Ma(ing Ad?ust!ents to Audio %peed for !ore infor!ation. J I" &ou /ill (e editing at 24 "$s (the same "rame rate at /hich the "ilm /as recorded : Capture the audio at the speed at which it was recorded. J De"ore ca$turing an audio cli$ that &ou $lan to s&nc to a video cli$: Ma(e sure your device,controlla le audio dec( is genloc(ed to a video capture interface installed in your co!puter. +%ee the $inal Cut 9ro docu!entation for !ore infor!ation a out genloc(ing your audio dec( to a video capture interface./ Also' in $inal Cut 9ro' select the )%ync audio capture to video source if present* option in the Feneral ta of the User 9references window.

Consi-erations #efore Capt%ring Clips 0n-ivi-%all/

Clips can also e captured individually with $inal Cut 9ro' without using device control. +%ee the $inal Cut 9ro docu!entation for details a out capturing clips individually./ :hen you capture your clips' re!e! er these points@ J If you donLt use device control' $inal Cut 9ro cannot receive the correct ti!ecode for the clips during capture. "his !eans you need to correct the ti!ecode for each and every source clip in $inal Cut 9ro. "o do this' open each clip in the Ciewer and note the ti!ecode value that appears in the window urn of the first fra!e of the clip. "hen choose Modify P "i!ecode and enter the value fro! the window urn in the %ource field' selecting the Brop $ra!e chec( oE if appropriate. $inally' !a(e sure to update the (ey nu! er infor!ation for the clip in the Cine!a "ools data ase y using the Identify feature. %ee Cerifying and Correcting 0dge Code and "i!ecode &u! ers for !ore infor!ation.

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Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

J You donLt want to drop any fra!es while capturing ecause that can result in an incorrect cut list and will interfere with the reverse telecine process. J If your video has non,drop fra!e ti!ecode' !a(e sure that &on,Brop $ra!e is chosen fro! the Befault "i!ecode pop,up !enu in the $inal Cut 9ro Bevice Control 9resets ta . A 2uic( way to do this is to choose BC,&B$ in the 0asy %etup dialog in $inal Cut 9ro. +<efer to the $inal Cut 9ro docu!entation for !ore details a out using 0asy %etups./ J "he na!ing of the source clips is i!portant ecause you will need to connect clips to data ase records. "o !a(e the connection process as s!ooth as possi le' use an easy na!ing sche!e with the scene and ta(e identifiers. $or eEa!ple' the clip for scene GG' ta(e 3 could e na!ed )GG,3.* =yphens are fine in a clip na!e' ut do not use a slash +A/ or colon +@/.

Fenerating a 1atch Capture 4ist fro! Cine!a "ools

If you have a video dec( or ca!era with device control' such as a BC,for!at ca!era with $ire:ire or a high,end video dec( or ca!era' atch capturing is the !ost convenient way to ring !edia into your co!puter. :ith atch capture' you connect a video dec( or ca!era to your co!puter and' ased on a Cine!a "oolsQgenerated list of the source clips' $inal Cut 9ro copies all of the source clips fro! the tape to your co!puter. In other words' when you use atch capture' you do not need to use your video dec( or ca!era to !anually locate each source clip efore you capture it with $inal Cut 9ro. "o set up a atch capture' you specify the clips you want to capture +after your Cine!a "ools data ase has een created/ and Cine!a "ools generates a list ased on the infor!ation in the data ase. After you i!port this atch capture list into $inal Cut 9ro' those source clips appear in the 1rowser as offline clips' !eaning they are logged and ready to e atch captured. :hen your source !edia is on !ultiple tapes' you can still use atch capture. :hen you egin the atch capture' you see a list of all the video reels needed. :hen all the clips fro! one reel are captured' you are pro!pted to select another reel.

Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

1"9 1"9

A-vantages of Using a Cinema Tools #atch Capt%re 3ist

Using a Cine!a "ools atch capture list provides several enefits@ J Time savings: You can let Cine!a "ools generate your atch capture list for you instead of creating it !anually yourself. J 7ccurac&: "he atch capture list captures source clips that !atch your data ase records. J Convenient source cli$ "ilenaming: :hen you atch capture fro! a data ase atch capture list' your source clip files are na!ed with a na!ing sche!e ased on the scene and ta(e identifiers. $or eEa!ple' scene 30' ta(e 3 would e given the filena!e )30,3.* J 7utomatic lin*ing (et/een source cli$s and the data(ase: :ith the Connect Clips co!!and' you can auto!atically lin( your captured source clips to the appropriate data ase records. Note: You do not have to create a atch capture list fro! a Cine!a "ools data ase. An alternative is to first atch capture your clips with $inal Cut 9ro and then generate a data ase fro! your $inal Cut 9ro atch capture list. =owever' this is not ideal ecause you lose so!e of the advantages of uilding your data ase fro! a telecine log or Avid 4og 0Echange +A40/ file. Most i!portantly' the (ey nu! er and ca!era roll infor!ation is not added to each data ase record' so you have to enter that infor!ation !anually. %ee I!porting Bata ase Infor!ation fro! a 1atch Capture 4ist for !ore infor!ation.

A+o%t 1tan-ar- an- 6.3 #atch Capt%re 3ist *ifferences

You have the option with Cine!a "ools of creating either a standard or IM4, ased atch capture list. In oth cases' you can choose whether to include all records in the found set or ?ust those records that have valid video reel' ti!ecode start' and ti!ecode duration values and are not already connected to a clip. J -tandard (atch ca$ture lists: "hese are plain teEt files that contain reel' clip na!e + ased on the shot and ta(e fields/' co!!ent' and ti!ecode infor!ation. You choose whether to output a video or audio list. J EM8 (atch ca$ture lists: "hese lists contain the sa!e infor!ation as the standard lists' including oth the audio and video infor!ation' plus all of the fil! infor!ation such as edge code values' fil! type' and telecine speed. "his additional infor!ation is added to each clipLs entry in the $inal Cut 9ro 1rowser' where it can e displayed. Ti$: :hen set to include all records in the current found set' eEported IM4 atch capture lists can actually e thought of as an IM4 representation of the data ase for those records. Your facility !ay find additional uses for these lists eyond capturing clips.

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Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

8ow Cinema Tools >ames #atch;Capt%re- Clips

If you capture clips with a atch capture list' and if there is oth a scene and a ta(e identifier in the data ase record' Cine!a "ools creates a clip na!e using the scene and ta(e identifiers' separated y a hyphen. $or eEa!ple' the clip for scene 30' ta(e 3 would e na!ed )30,3.* If there are no scene and ta(e identifiers' Cine!a "ools creates a clip na!e ased on the video reel and ti!ecode. $or eEa!ple' a clip fro! reel 003 that egins at ti!ecode value 03@G5@G0@35 would e na!ed )003,03.G5.G0.35.* :hen na!ing the clips' Cine!a "ools !a(es sure that none of the clips have the sa!e na!e. $or eEa!ple' clips fro! different ca!eras !ay have had the sa!e scene and ta(e identifiers. :hen this happens' the clip na!es are distinguished y adding the roll or reel identifiers to clips after the first one. $or eEa!ple' the clips for scene 6' ta(e 6 in roll 3A and roll 31 would e na!ed )6,6* and )6,61'* respectively. If there were no roll or reel identifiers found' those clips would e na!ed )6,6* and )6,6T3.* Note: 1efore eEporting a atch capture list fro! Cine!a "ools' itLs est to sort y %late in the 4ist Ciew window to see if any clips have the sa!e %late colu!n descriptions. If any clips have eEactly the sa!e infor!ation in the %late colu!n' !odify the %cene or "a(e fields in those data ase records so that they are not the sa!e. "his helps ensure that none of the clips in the atch capture list have the sa!e na!e. Im$ortant: In order to !a(e the clip,connecting process as auto!ated as possi le' do not change the filena!es that Cine!a "ools creates for the source clips when they are captured.

Using 1tan-ar- #atch Capt%re 3ists

0Eporting standard atch capture lists and i!porting the! into $inal Cut 9ro is a straightforward process. To e4port a stan-ar- +atch capt%re list from Cinema Tools 1 Ma(e sure that the 4ist Ciew window displays the data ase records of the clips you want to capture.

Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

11 11

"o display all of the records in the data ase' clic( %how All in the 4ist Ciew window.

In the 4ist Ciew window' display the data ase records for which you want to capture clips.

Im$ortant: "he atch capture list will include only data ase records that have video reel' ti!ecode start' and ti!ecode duration values. Also' any data ase records that are already connected to a clip do not appear in the atch capture list. 2 Choose $ile P 0Eport P 1atch Capture.

In the 0Eport 1atch Capture dialog' choose what you want to capture' then clic( -.@ J %inal Cut Pro +ideo: Choose this option to capture all video and audio contained in the source clips. :hen you choose this option' the atch log includes the video reel and video ti!ecode infor!ation entered in each clipLs data ase record. J %inal Cut Pro 7udio: Choose this option to capture only the audio fro! the source clips. :hen you choose this option' the atch log includes the sound roll and audio ti!ecode infor!ation entered in each clipLs data ase record. 4 In the dialog that appears' select a location and enter a na!e for the atch capture list.

( Bo one of the following@ J To include all records in the (atch "ile: Clic( )0Eport all records in the current found set.*
112 112 Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

To include onl& those records that have video reel) timecode start) and timecode duration values and are not alread& connected to a cli$: Clic( )0Eport only eligi le records in the current found set.*

! Clic( %ave. A plain teEt atch capture list is created and saved to the designated location. Ti$: You can edit the atch capture list in a teEt editor. =owever' !a(e sure that you do not delete or overwrite the "a characters that separate the fields in each line. You can delete lines for clips you donLt want to capture. To import a stan-ar- Cinema Tools +atch capt%re list into &inal C%t Pro 1 0ither open an eEisting pro?ect or create a new pro?ect in $inal Cut 9ro. 2 In $inal Cut 9ro' choose $ile P I!port P 1atch 4ist at Wcurrent "$sX' where )current fps* is the se2uence preset fra!e rate. You can change the se2uence preset fra!e rate y choosing AudioACideo %ettings fro! the $inal Cut 9ro !enu. In the dialog that appears' select the atch capture list you eEported fro! Cine!a "ools' then clic( Choose. "he clips appear in the 1rowser as offline clips' ready to e atch captured. %ee the $inal Cut 9ro docu!entation for details a out atch capturing. Im$ortant: If your video has non,drop fra!e ti!ecode' !a(e sure that &on,Brop $ra!e is chosen fro! the Befault "i!ecode pop,up !enu of the preset you choose in the $inal Cut 9ro Bevice Control 9resets ta +located in the AudioACideo %ettings window/ efore you egin capturing.

Using 6.3 #atch Capt%re 3ists

0Eporting IM4 atch capture lists fro! Cine!a "ools and i!porting the! into $inal Cut 9ro is si!ilar to the process used for standard atch capture lists. To e4port an 6.3 +atch capt%re list from Cinema Tools 1 Ma(e sure that the 4ist Ciew window displays the data ase records of the clips you want to capture. "o display all of the records in the data ase' clic( %how All in the 4ist Ciew window. 2 Choose $ile P 0Eport P IM4 1atch 4ist.

Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

11 1

In the dialog that appears' select a location and enter a na!e for the atch capture list. 4 Bo one of the following@ J To include all records in the EM8 "ile: Clic( )0Eport all records in the current found set.* J To include onl& those records that have video reel) timecode start) and timecode duration values and are not alread& connected to a cli$: Clic( )0Eport only eligi le records in the current found set.*

( Clic( %ave. An IM4 atch capture list is created and saved to the designated location. To import an 6.3 Cinema Tools +atch capt%re list into &inal C%t Pro 1 In $inal Cut 9ro' choose $ile P I!port P IM4. 2 In the dialog that appears' select the IM4 atch capture list you eEported fro! Cine!a "ools' then clic( Choose. "he I!port IM4 dialog appears.

Choose the pro?ect to add the atch list clips to using the Bestination pop,up !enu. You can also create a new pro?ect using this pop,up !enu. 4 Choose the default se2uence preset to use fro! the Befault pop,up !enu. ( :hen i!porting IM4 files eEported fro! Cine!a "ools' you can leave all of the chec( oEes unselected. ! Clic( -. to i!port the IM4 file. "he clips appear in the 1rowser as offline clips' ready to e atch captured. %ee the $inal Cut 9ro docu!entation for details a out atch capturing. Additionally' you can see the fil! details' such as (eycode infor!ation and telecine fil! speed + ". speed/' in the 1rowser. %ee %howing $il!,<elated Infor!ation in the 1rowser for infor!ation a out adding fil! colu!ns to the 1rowser.
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Connecting %ource Clips to the Bata ase

1ecause source clips and data ase records can e created y different !eans at different ti!es' you !ay need to esta lish the lin( etween a source clip and its record after they oth eEist. "his process is called connecting a cli$ to a record. =ow you connect clips to the data ase depends on how you captured your clips. J I" &ou created &our data(ase (& dragging a "older o" cli$s to the Cinema Tools a$$lication icon: All of the records were auto!atically connected to the clips. You can use the Connect Clips co!!and to connect the records to a different set of clips later if necessary' or to reconnect the source clips if they are !oved to a different dis(. J I" &ou ca$tured &our source cli$s (& using a (atch ca$ture list: Use the Connect Clips co!!and to auto!atically connect all your source clips to the data ase. %ee Using the Connect Clips Co!!and for !ore infor!ation. J I" &ou did not ca$ture &our source cli$s (& using a (atch ca$ture list: You need to individually connect source clips to data ase records y using either the Betail Ciew window or the Clip window. "hese two !ethods are e2ually easy and accessi le' so the one you choose !ay depend on which window happens to e open. "he Clip window is !ost convenient if youLre interested in selecting a new poster fra!e for each clip as you go' or if you want to use the Confor! or <everse "elecine feature on each clip i!!ediately after you connect it to the data ase. .eep in !ind these asic rules for connecting clips@ J 0ach data ase record can have a !aEi!u! of one clip connected to it' and each clip can e connected to a !aEi!u! of one data ase record in the sa!e data ase. In other words' you canLt have two clips connected to one data ase record' and you canLt have one clip connected to two different records in the sa!e data ase. +=owever' a clip can e connected to records in !ultiple data ases. $or eEa!ple' you could have a clip connected to a record in a !aster data ase and to a record in a second' s!aller data ase that represents an edited se2uence./ %ee %ynchroni#ing a %et of %elected Clips to Create a &ew Bata ase for !ore infor!ation. Also' a data ase record does not have to have a clip connected to it. J You can connect source clips to data ase records any ti!e etween the ti!e you capture the clips and the ti!e you eEport lists. J If you are wor(ing with ca!era,roll transfer video that has a continuous (ey nu! er,to,ti!ecode relationship' you can use the ti!ecode, ased !ethod of fil! list generation so you donLt have to connect your source clips to data ase records. %ee A 9otential Bata ase %hortcut for Ca!era,<oll "ransfers and =ow Cine!a "ools Creates $il! 4ists for !ore infor!ation.

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Avoi- .oving or :enaming $o%r 1o%rce Clips in the &in-er

-nce a source clip is connected to the data ase' that lin( !ust e intact when you generate any fil! lists. If the lin( is ro(en' the lists will e inco!plete. A clip,to, data ase lin( is ro(en if@ J "he source clip filena!e is changed J "he source clip file is !oved or deleted %ee $iEing 1ro(en Clip,to,Bata ase 4in(s for infor!ation a out fiEing ro(en lin(s.

Using the Connect Clips CommanYou can use the Connect Clips co!!and to connect source clips to the data ase in a variety of situations@ J I" &ou ca$tured cli$s using a (atch ca$ture list: "he Connect Clips co!!and can connect your captured source clip files to the appropriate data ase records. "his process re2uires that the reel na!e and the ti!ecode of the captured clips !atch those of the data ase entries.

J I" &ou moved &our connected cli$s to a ne/ location: -nce you have clips connected to your data ase' !oving the clips to a different folder or dis( causes the clips to e disconnected. You can use the Connect Clips co!!and to reconnect the records to the relocated clips. J I" &ou renamed one or more o" &our cli$s: -nce you have clips connected to your data ase' rena!ing the clips causes the! to e disconnected. As long as the clips still have the sa!e reel nu! er and ti!ecode infor!ation' you can use the Connect Clips co!!and to reconnect the records to the rena!ed clips. I" some cli$s have (een u$dated and $ut in a di""erent "older: If you have created different versions of so!e connected clips +for eEa!ple' versions that have een color corrected or recaptured using a different codec/ and have put the new clips in a separate folder' you can use the Connect Clips co!!and to connect records to those new clips.

Im$ortant: <ecords connected to B9I i!age se2uence clips use the folder na!e that contains the i!age se2uence files as the reel na!e' and the na!e of the first i!age as the clip na!e. If you change the na!e of the folder that contains the i!age se2uence files' you have effectively changed the clipLs reel na!e' and you cannot use Connect Clips to reconnect to the B9I i!age se2uence clip. "he Connect Clips co!!and uses a recordLs video reel and ti!ecode values when trying to connect records in the found set to clips in the selected folder +and its su folders/. You also need to (eep the following in !ind when using the Connect Clips co!!and@ J -nly records with video reel and ti!ecode entries can e connected to a clip.

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Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

J If a record in the found set !atches a clip in the selected folder' the record is connected to that clip' even if the record already had a connected clip. "his is useful when you have !oved a set of clips to a new location and want to reconnect the! to their records. J Any records that do not !atch clips in the selected folder are not !odifiedMif a record is already connected to a clip in a different folder' it re!ains connected to that clip if no !atching clip is found in the selected folder. To %se the Connect Clips comman- to connect clips to the -ata+ase 1 Ma(e sure that the 4ist Ciew window displays the records to which you want to connect clips. "o display all of the records in the data ase' clic( %how All in the 4ist Ciew window.

In the 4ist Ciew window' display the data ase records to which you want to connect clips.

2 Choose Bata ase P Connect Clips. In the dialog that appears' navigate to the folder where the clips are located. All clips in the folder and its su folders are availa le for Cine!a "ools to connect to. 4 Clic( -pen. $or every data ase record' Cine!a "ools loo(s in the selected folder and its su folders for a clip with a !atching video reel and ti!ecode value. 0ach ti!e Cine!a "ools finds a !atching clip' it connects the clip to the correct data ase record. Additionally' poster fra!es are auto!atically created for each record that gets a clip connected.

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Connecting Clips Using the *etail 7iew Win-ow

In the Betail Ciew window' you can tell whether a data ase record is connected to a clip y loo(ing at the utton elow the clip poster fra!e.

"he -pen Clip utton replaces the Connect Clip utton if a clip is already connected to the record.

If the utton is la eled -pen Clip' the current data ase record has a clip connected to it. If the utton is la eled Connect Clip' there is no clip connected to the data ase record. To %se the *etail 7iew win-ow to connect a clip to a -ata+ase recor1 -pen the data ase record in the Betail Ciew window. %ee $inding and -pening Bata ase <ecords for details. 2 Clic( the Connect Clip utton. Note: If the utton is la eled -pen Clip' the data ase record already has a clip connected to it. If you want to connect a different clip to the record' you need to disconnect the current clip first. In the dialog that appears' select a clip to connect to the current data ase record. :hen you select the clip' three things happen@ J "he clip is connected to the data ase. J A poster fra!e of the first fra!e of the clip appears in the Betail Ciew window' and a ove the poster fra!e you see the na!e of the clip.
"he na!e of the clip appears a ove the clip poster fra!e.

Ti$: Additionally' placing the pointer over the thu! nail display shows a tooltip with the clipLs location. "his can e especially useful if the clip is !issing ecause it lets you (now where Cine!a "ools thin(s the clip should e. J A Clip window opens for the clip. If you want a different fra!e to represent the clip in the data ase' go to that fra!e' then clic( the %et 9oster $ra!e utton. %ee Choosing a Bifferent 9oster $ra!e for a Clip and %ettings in the Clip :indow for !ore infor!ation.
118 118 Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

Note: If you donLt want the Clip window to open after you connect a clip' press the Co!!and (ey when you clic( the Connect Clip utton. To %se the *etail 7iew win-ow to -isconnect a capt%re- clip 1 -pen the data ase record in the Betail Ciew window and press the Co!!and (ey. "he -pen Clip utton changes to Bisconnect Clip. 2 Clic( Bisconnect Clip. Note: Clic(ing this utton rea(s the lin( etween the source clip and the record so that they are no longer connected. It does not delete the clip fro! your hard dis(.

Connecting Clips Using the Clip Win-ow

:hen a clip has not een connected to a data ase record' the Clip window contains a utton la eled 0nter in Bata ase. If a clip is already connected' the utton is la eled Bisconnect Clip. "he 0nter in Bata ase utton offers you a way to connect a source clip to an eEisting data ase record or create a new data ase record and connect the clip to it. To %se the Clip win-ow to connect a so%rce clip to the -ata+ase 1 Choose $ile P -pen Clip to open the clip in the Clip window' then select the clip in the dialog. 2 Clic( the 0nter in Bata ase utton.

"his utton changes to Bisconnect Clip when the clip is connected to a data ase.

0nter a scene and ta(e identifier for the source clip in the dialog that appears.

Im$ortant: "eEt entries are case sensitive. Additionally' do not enter the hyphen that separates the ta(e nu! er fro! the sceneAshot value. %ee Using %cene' %hot' and "a(e Identifiers for !ore infor!ation.

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4 Bo one of the following@ J Clic( -. to connect this clip to the eEisting record in the data ase that corresponds to the scene and ta(e you entered in the dialog. If no record eEists for that scene and ta(e' a new record is created. J Clic( &ew <ecord to create a new record' even if there already is an eEisting record that corresponds to the scene and ta(e you entered. In either case' the source clip in the Clip window is connected to the record' so the relationship is esta lished in the data ase. A source clip can e connected to a record in !ore than one data ase' ut within one data ase it can only e connected or related to one record. If the source clip is !oved or rena!ed' the relationship should e re, created. To %se the Clip win-ow to -isconnect a capt%re- clip 1 -pen the clip in the Clip window. 2 Clic( Bisconnect Clip. Note: Clic(ing this utton rea(s the lin( etween the source clip and the record so that they are no longer connected. It does not delete the clip fro! your hard dis(.

$iEing 1ro(en Clip,to,Bata ase 4in(s

:hen a source clip that has een connected to the data ase is rena!ed or !oved' the lin( etween the clip and the data ase rea(s and the clip needs to e reconnected. $or individual clips' clic(ing the -pen Clip utton in the Betail Ciew window opens a dialog that lets you reconnect the clip to the data ase record. If a group +folder/ of source clips has een !oved' you can use the Connect Clips co!!and in the Bata ase !enu to update any ro(en lin(s to clips that are in the folder you select.

:econnecting 0n-ivi-%al Clips

You can easily reconnect a single clip whose lin( to the data ase has een ro(en ecause the clip was rena!ed or !oved. To reconnect a so%rce clip that has +een rename- or move1 -pen the data ase record in the Betail Ciew window. %ee $inding and -pening Bata ase <ecords for details. 2 Clic( -pen Clip. In the dialog that appears' clic( <econnect' then select the clip. "he clip is connected to the data ase record.

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Chapter 7 Capturing %ource Clips and Connecting "he! to the Bata ase

3ocating #ro)en 3in)s an- :econnecting 2ro%ps of Clips

$or clips that have een !oved or rena!ed' the Connect Clips co!!and in the Bata ase !enu !a(es it easy to locate and fiE the ro(en lin(s for several clips in one folder. "his co!!and updates any ro(en lin(s to clips that are in the selected folder and its su folders. Note: :hen a dis( volu!e containing clips is un!ounted' Cine!a "ools cannot find the clips until the volu!e is !ounted again. You donLt need to use the Connect Clips co!!and to fiE this (ind of te!porarily ro(en lin(. "o reesta lish such connections' si!ply !ount the dis( volu!e that contains the !issing clips. To locate an- fi4 lin)s that are +ro)en +eca%se so%rce clips have +een move1 Ma(e sure that the 4ist Ciew window displays the set of records that you want to search for ro(en lin(s. "o display all of the records in the data ase' clic( %how All in the 4ist Ciew window. 2 Choose Bata ase P Connect Clips. In the dialog that appears' navigate to the folder where the clips are located. All clips in the folder and its su folders are availa le for Cine!a "ools to connect to. 4 Clic( -pen. ( In the dialog' select the correct clip for the current record and clic( -pen. $or every data ase record' Cine!a "ools loo(s in the selected folder and its su folders for a clip with a !atching video reel and ti!ecode value. 0ach ti!e Cine!a "ools finds a !atching clip' it connects the clip to the correct data ase record. Additionally' poster fra!es are auto!atically created for each record that gets a clip connected.

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Preparing the 1o%rce Clips for ,-iting

%pending so!e ti!e with your source clips efore you start editing can !a(e the editing eEperience s!oother. "his chapter covers the following@ J An Introduction to 9reparing %ource Clips for 0diting +p. 32G/ J Beter!ining =ow to 9repare %ource Clips for 0diting +p. 32G/ J Using the Confor! $eature +p. 325/ J <eversing the "elecine 9ull,Bown +p. 32K/ J Ma(ing Ad?ust!ents to Audio %peed +p. 3G9/ J %ynchroni#ing %eparately Captured Audio and Cideo +p. 3G9/ J Bividing or Beleting %ections of %ource Clips 1efore 0diting +p. 363/

An Introduction to 9reparing %ource Clips for 0diting

After the Cine!a "ools data ase has een created and your source clips have een captured' there are a few (ey steps to ta(e efore you egin editing. %ee Beter!ining =ow to 9repare %ource Clips for 0diting for infor!ation a out these processes. If your audio and video were captured separately' see %ynchroni#ing %eparately Captured Audio and Cideo for !ore infor!ation. Also' in the interest of efficient use of dis( space' you !ay want to eli!inate so!e of the content you captured efore you egin editing. %ee Bividing or Beleting %ections of %ource Clips 1efore 0diting for infor!ation.

Beter!ining =ow to 9repare %ource Clips for 0diting

"he steps you need to ta(e to prepare your clips for editing depend on the telecine speed' whether you have &"%C or 9A4 video' and which fra!e rate you plan to use for editing. Your !ain goals are to@ J %et the video fra!e rate to !atch the fra!e rate at which you want to edit

12

J Maintain or restore audioAvideo sync Note: %ee :or(ing with 26p Cideo and 26 fps 0B4s for infor!ation a out wor(ing with 26p video.

Choosing an ,-iting &rame :ate

In general' itLs a good idea to edit at the fra!e rate at which the picture was originally fil!ed and recorded. $or eEa!ple' if you fil!' record' and edit at 26 fps' the audio' the video' and the original sound and picture are at the sa!e rate. :hen you edit at the sa!e speed at which you fil!ed and recorded' you can digiti#e directly fro! the original sound recordings ecause the picture and sound are in sync. &o ad?ust!ents need to e !ade for synchroni#ation purposes. "here is an eEception to this reco!!endation@ in an &"%C environ!ent' where you need to use &"%C e2uip!ent and output to &"%C tapes' you !ay prefer to edit at 2G.97 fps ecause then you can ta(e advantage of the <eal,"i!e 0ffects pull,down feature in $inal Cut 9ro that lets you output your 2G.97 fps video to an eEternal $ire:ire device as 29.9K fps video. You can choose fro! three different pull,down patterns +2@G@2@G' 2@G@G@2' and 2@2@2@6/. "hese pull,down patterns are not availa le with 26 fps video. Note: Additionally' $inal Cut 9ro includes two pull,down options for 26 fps 9A4 video that allow you to output the 26 fps video to an eEternal $ire:ire device as 25 fps video. %ee Adding 9ull,Bown to 2G.97 fps Cideo for !ore infor!ation a out adding a pull, down using $inal Cut 9ro. %ee the $inal Cut 9ro docu!entation for !ore infor!ation a out using the <eal,"i!e 0ffects pull,down feature. .eep in !ind that if you record at 26 fps and then convert to 2G.97 fps' your video is running at a speed slightly slower than that of the original recording. 1ecause it is slower' it is called $ulled do/n4 :hen video is pulled down' the digiti#ed audio also needs to e pulled down' either y slightly slowing down the play ac( of the original audio source while digiti#ing +for eEa!ple' in the telecine transfer process/' or y ad?usting the speed of the clip to 99.9 percent after capturing.

Wa/s $o% Can Prepare the 1o%rce Clips

"here are a few different ways to ad?ust your source clips to the fra!e rate at which you want to edit@ J Use s$eciali=ed hard/are to ca$ture at &our chosen "rame rate: If you have the right e2uip!ent' you can use it to convert the fra!e rate in real ti!e while the clips are captured and ad?ust the audio speed to !atch. :hen you do this' the clips are already in sync and do not re2uire the Cine!a "ools <everse "elecine or Confor! feature for fra!e rate conversion.

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Chapter 8 9reparing the %ource Clips for 0diting

J Use the ,everse Telecine "eature: If your clips have the &"%C standard fra!e rate of 29.9K fps' you can use the <everse "elecine feature to reverse the G@2 pull,down that was used to convert the clips to 29.9K fps' thus re!oving the eEtra fields created y the pull,down and converting the clips to 2G.97 fps or 26 fps. :hen clips contain oth audio and video' the <everse "elecine feature also ad?usts the audio speed so that the audio and video re!ain in sync after the fra!e rate is changed. J Use the Con"orm "eature: If your clips have the 9A4 standard fra!e rate of 25 fps' you can use the Confor! feature to convert the! to the fra!e rate at which you want to edit. :hen clips contain oth audio and video' the Confor! feature also ad?usts the audio speed so that the audio and video re!ain in sync after the fra!e rate is changed. Note: If the audio is separate and not contained in the source clips' you also need to sync audio and video clips and !erge the! together as one clip in $inal Cut 9ro. %ee %ynchroni#ing %eparately Captured Audio and Cideo for !ore infor!ation.

Using the Confor! $eature

Con"orming a clip to a fra!e rate !eans that each fra!e in the clip is given an e2ual duration in seconds ased on a fra!e rate you specify. $or eEa!ple' if you confor! a clip with G80 fra!es to 26 fra!es per second' each fra!e eco!es 3A26 of a second' and the total duration of the clip is G80A26 seconds' or 35.0 seconds. Use the Confor! feature to change the fra!e rate of a clip to the fra!e rate at which you want to edit. If the clip contains audio and video' the Confor! feature also ad?usts the audio rate so that the audio and video re!ain in sync. <efer to :ays You Can 9repare the %ource Clips for help in deciding whether or not you should use the Confor! feature. Im$ortant: Confor!ing !odifies the actual source !edia file. You !ust have read,and, write access to the !edia file for the Confor! feature to e availa le. Additionally' you cannot use the Undo co!!and to restore the file to its original fra!e rateN however' you can use the Confor! feature a second ti!e to return the file to its original fra!e rate if necessary.

Conforming One Clip at a Time

You can individually confor! each clip. To conform a clip in Cinema Tools 1 Choose $ile P -pen Clip' then select the clip in the dialog. 2 In the Clip window' clic( the Confor! utton.

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In the Confor! Clip dialog' choose a new fra!e rate fro! the )Confor! to* pop,up !enu' then clic( Confor!.

You can also confor! 25 fps clips to 26 fps fro! within $inal Cut 9ro. To conform a clip in &inal C%t Pro 1 %elect one or !ore clips in the 1rowser to confor! fro! 25 fps to 26 fps. 2 Choose "ools P Confor! 25 to 26. "he clips are confor!ed to 26 fps. Note: If any of the selected clips are not 25 fps' a warning appears stating that one or !ore clips will not e processed.

#atch Conforming 1everal Clips at a Time

As an alternative to confor!ing the fra!e rate of each clip individually' you can use the 1atch Confor! feature to confor! the fra!e rates of all the clips in a selected folder. To +atch conform in Cinema Tools 1 Ma(e sure all the clips you want to confor! are in the sa!e folder. 2 Choose $ile P 1atch Confor!. In the dialog that appears' select any clip file in the folder that contains the clips you want to confor!' then clic( Choose. Note: You only need to select one clip file. All the clips in the folder will e confor!ed. 4 In the 1atch Confor! dialog' choose a fra!e rate fro! the )Confor! to* pop,up !enu' then clic( Confor!.

After the atch confor! process is co!pleted' the following occur@ J "he clips are confor!ed to the chosen fra!e rate and placed in a Cine!a "oolsQ created su folder na!ed )Confor!ed W"rame rateX'* where )fra!e rate* is the new fra!e rate for the clips. A folder !ight e na!ed Confor!ed 26.0' for eEa!ple.

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Chapter 8 9reparing the %ource Clips for 0diting

J If Cine!a "ools is una le to co!plete the confor! process for a clip' that clip is !oved into a Cine!a "oolsQcreated su folder na!ed %(ipped. +A clip is not processed if it doesnLt contain a video trac(' if the fra!e rate is not supported' or if no codec is found for the video trac(./ J A teEt file na!ed )confor!.log* appears at the top level of the folder. "his log gives the date and ti!e that the process started and ended' for each clip. If any pro le!s were encountered' such as running out of dis( space or !e!ory' an error !essage descri ing the pro le! also appears in the log.

<eversing the "elecine 9ull,Bown

:hen you use a telecine to transfer your 26 fps or 2G.97 fps fil! to 29.9K fps &"%C video' the typical way the fil!Ls fra!es are distri uted into the &"%C fra!es is y the G@2 pull,down !ethod. "he G@2 pull,down !ethod' descri ed in :or(ing with &"%C Cideo' inserts eEtra fields of video. "he reverse telecine process re!oves the eEtra fields +as shown in the illustration elow/' changing the fra!e rate of the video to the original fil! fra!e rate. In other words' the reverse telecine process reverses the .:2 $ull'do/n4 <eversing +or re!oving/ the G@2 pull,down provides a one,to,one relationship etween the video and fil! fra!es so that your cut lists are accurate.

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Note: "he <everse "elecine feature cannot e used with te!porally co!pressed video' such as M90F,2,for!at video.
G@2 9ull,Bown <e!oval -ne second 1efore +29.9K fps/
A A # # # C C * * * A A # # # C C * * * A A # # # C C * * * A A # # # C C * * * A A # # # C C * ** A A # # # C C * * *

# C * A # C

* A # C

* A # C

* A # C * A # C *

After +2G.97 fps/

A A # # #
$ield 3 $ield 2 $ield 3 $ield $ield 2 3

C C * * *
$ield 2 $ield 3 $ield 2 $ield 3 $ield 2

C *

Im$ortant: If your source clips originated fro! a special type of BC ca!corder that shoots 26p' such as the 9anasonic AF,BCI300 ca!corder' a si!pler for! of the <everse "elecine dialog appears. %ee <e!oving 2@G@G@2 or 2@G@2@G 9ull,Bown with Cine!a "ools for instructions for reversing the pull,down for clips that originated fro! a 26p,capa le BC ca!era.

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Tips for Using :everse Telecine

$ollowing are so!e tips for using reverse telecine@ J <everse telecine wor(s est if the captured video does not have any dropped fra!es. If you atte!pt to use the <everse "elecine feature on a clip that has dropped fra!es' a warning appears. %ee Avoiding Bropped $ra!es for !ore infor!ation. J If you have to reverse the pull,down for several clips' you !ight want to use the 1atch <everse "elecine feature instead' ecause it allows several clips to e processed at once. %ee Using 1atch <everse "elecine for !ore infor!ation. J <eversing the G@2 pull,down with software is a ti!e,consu!ing processN youLll need to allow waiting ti!e while your co!puter does its wor(. =ardware reverse telecine' perfor!ed y a third,party capture card while the video is captured into your co!puter' is a speedier option.

*etermining the &iel- Capt%re 0nformation

You need to enter field capture infor!ation in the <everse "elecine dialog. "ypically' all of your clips are generated with the sa!e hardware and settings' so you only need to loo( at a few fra!es of one clip to deter!ine the field capture !ode. A clip can e captured as one field or oth fields' with field 3 or field 2 do!inance. 4oo( at the (ey nu! er and ti!ecode window urn on the video fra!es to deter!ine the fra!e se2uence and verify whether the video has one or two fields. "he (ey nu! er window urn usually includes the A' 1' C' and B fra!e type indicators. +Also' the ti!ecode often has the nu! er )3* at the end to indicate field 3' and )2* to indicate field 2./ In the Clip window' use the arrow (eys on your (ey oard to step through a few fra!es of a clip and o serve the se2uence of fil! fra!e nu! ers. <efer to the ta le elow to find out your field infor!ation.
0f the repeating frame se=%ence is AA' 11' 1C' CB' BB or A3A2' 1312' 1GC3' C2B3' B2BG A1' 11' CC' BB' BA' or A213' 121G' C3C2' B3B2' BGA3 Then /o%r vi-eo contains 1oth fields' with field 3 do!inance 1oth fields' with field 2 do!inance 0n the :everse Telecine -ialog5 select as capt%re mo-e $ield 3 , $ield 2 $ield 2 , $ield 3

A' 1' 1' C' B or A3' 13' 1G' C2' B3 -ne field' with field 3 do!inance $ield 3 -nly A' 1' C' B' B or A2' 12' C3' B3' BG -ne field' with field 2 do!inance $ield 2 -nly

What 0s &iel- *ominance9

"he field do!inance of a captured clip is deter!ined y the telecine hardware and is usually not configura le y the user. Cideo fra!es are co!posed of two fieldsN one field consists of all the even lines of the video' and the other field consists of all the odd lines. At the telecine' the two fields are scanned at different ti!es' which !eans that the fil! fra!e can advance etween the ti!e that the first field is scanned and the ti!e that the second field is scanned. J :hen onl& one "ield is ca$tured: $ield 3 do!inance !eans that only field 3 is captured' and field 2 do!inance !eans that only field 2 is captured. J :hen (oth "ields are ca$tured: $ield 3 do!inance !eans that each captured fra!e is digiti#ed fro! two video fields' ut field 3 occurs earlier. Note: :ith field 3 do!inance' the two video fields digiti#ed into each captured fra!e should have the sa!e ti!ecode address' ecause %M9"0 ti!ecode is specified as eginning on field 3. $ield 2 do!inance' when oth fields are captured' !eans that field 2 occurs earlier and that the captured fra!e contains video fields with two different ti!ecode values.

A+o%t A &rames
If your video has window urn' the easiest way to locate an )A* fra!e is to loo( at the (ey nu! er in the video fra!e' which typically has a letter after it indicating the fra!e type. "his letter is called the "rame t&$e indicator4 A fra!es include any fra!e with a fra!e type indicator that egins with )A'* including an AA +also (nown as 7372/' A1 +also (nown as 72D3/' A3' or A2 fra!e. :hen you view the video a fra!e at a ti!e' the fra!e type indicator for an A fra!e shows an )A* and the fra!e nu! er is solid +not flic(ering etween two fra!es/.

"he fra!e type indicator in the window urn tells you this is an A fra!e.

If you are using non,drop fra!e ti!ecode and your source clips have not yet een edited' there is a relia le five,fra!e pattern where an A fra!e occurs every five fra!es. Usually' any ti!ecode nu! er ending in )0* or )5* is an A fra!e +for eEa!ple' 3@2G@36@30 and 3@2G@36@35/. Buring atch reverse telecine' if a clip starts on a ti!ecode nu! er that is not evenly divisi le y five +that is' ti!ecode nu! ers ending in )5* or )0*/' Cine!a "ools tri!s fra!es fro! the eginning of the clip so that the clip starts on the neEt fra!e with a ti!ecode nu! er that ends in )0* or )5.* "his is done to !a(e sure that all source clips start on an A fra!e. Clips that are tri!!ed are noted in the atch reverse telecine log file' which is na!ed )reverse.log.* :hen (ey nu! ers are not urned in to the video' finding an A fra!e is !uch !ore difficult. If there is a lot of !otion in the video' you !ight e a le to distinguish one of the original fil! fra!es fro! the neEt in the video. In that case' loo( for a video fra!e !ade up of two fields fro! the sa!e original fil! fra!e' which has different fil! fra!es efore and after it. %uch a fra!e would e an A fra!e.

Using :everse Telecine on a 1ingle 1o%rce Clip in Cinema Tools

Use single,clip reverse telecine to perfor! reverse telecine on one clip. You can also perfor! reverse telecine on clips using $inal Cut 9ro. %ee Using <everse "elecine on %ource Clips in $inal Cut 9ro for !ore infor!ation. In !ost cases' you need window urn to use the <everse "elecine feature ecause you need to eEa!ine the (ey nu! ers or ti!ecode in the clip itself to !a(e reverse telecine settings. =owever' if your source clips originated fro! a certain type of ca!corder that shoots 26p' such as the 9anasonic AF,BCI300 ca!corder' you do not need window urn in order to reverse the pull,down. %ee <e!oving 2@G@G@2 or 2@G@2@G 9ull,Bown with Cine!a "ools for specific infor!ation. Note: $or reverse telecine to function properly' a !edia file cannot e in use y any other application. Also' a clip cannot e open in the $inder' nor can it e write, protected. If you perfor! reverse telecine on clips that are open in another application' an alert !essage appears warning you that the file is usy. To %se the single;clip :everse Telecine feat%re on a clip in Cinema Tools 1 Choose $ile P -pen Clip' then select the clip in the dialog. 2 In the Clip window' position the playhead so that a still fra!e with clearly reada le window urn is displayed. You need to see the window urn in order to identify the fra!e type for the <everse "elecine dialog. -ften the first fra!e will do' ut any fra!e in the clip can e displayed. +<everse telecine will e applied to the entire clip' regardless of which fra!e is displayed./ In the Clip window' clic( <everse "elecine.
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4 In the dialog that appears' select the capture !ode that indicates the correct field capture for the clip@ J %ield 3 !nl&: %elect this option if the video contains only field 3. J %ield 2 !nl&: %elect this option if the video contains only field 2. J %ield 3 ' %ield 2: %elect this option if the video contains oth fields' and field 3 is the do!inant field +the first field to appear/. J %ield 2 ' %ield 3: %elect this option if the video contains oth fields' and field 2 is the do!inant field. %ee Beter!ining the $ield Capture Infor!ation for details. Note: If Cine!a "ools finds pull,down infor!ation e! edded in the source clips' a si!pler version of this dialog appears. %ee <e!oving 2@G@G@2 or 2@G@2@G 9ull,Bown with Cine!a "ools for !ore infor!ation. ( In the $ields area' use the pop,up !enu to choose the style of fra!e types to show +%tyle 3 shows letters only' and %tyle 2 shows letters with field nu! ers/' then select the fra!e type that !atches the type of fra!e currently displayed in the Clip window.

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Your fra!e type choices vary depending on the field capture !ode you selected.

If you want to see the choices as letters and nu! ers +for eEa!ple' A2' 12' C3' and so on/' choose %tyle 2 fro! the pop,up !enu.

%elect the fra!e type that corresponds to the fra!e showing in the Clip window.

Bifferent choices are availa le depending on which capture !ode is selected.

! %elect )&ew +s!aller/* or )%a!e +faster/* to specify the (ind of file you want the <everse "elecine feature to create@ J Ne/ (smaller : "his option creates a new clip file that does not contain the eEtra fra!es introduced y the G@2 pull,down. "he new file is a out 20 percent s!aller' ut this !ethod is slower. <egardless of whether the original file was reference or self, contained' this !ethod creates a self,contained file. %ee "he Bifference 1etween %elf, Contained and <eference Media $iles for !ore infor!ation. J -ame ("aster : "his option !odifies the current clip file so that the eEtra fra!es are not visi le to the editing syste!' ut the data is not re!oved fro! the file. "his process is faster ut does not reduce the si#e of the file. "he resulting file is self,contained if it was originally self,contained' or reference if it was originally reference.

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Note: "his )%a!e +faster/* !ethod is availa le only when the clip has een captured or reco!pressed to have only one field per fra!e. "his is ecause reversing the G@2 pull,down for a clip with two fields per fra!e re2uires deinterlacing two different fra!es' re!oving one field fro! each of those two fra!es' and then !a(ing a new fra!e out of the other two fields. :hen new fra!es are eing created' a new !ovie file !ust e created. Ti$: If you choose the )&ew +s!aller/* !ethod' the original file is no longer needed' ut it is not auto!atically deleted. A dialog suggests na!ing the new file the sa!e na!e as the original' with the eEtension .rev added. "o delete the original file y replacing it with the new one' re!ove the .rev eEtension in the dialog so that the new file has the sa!e na!e as the original. .eep in !ind' though' that if you delete the original file' you cannot use reverse telecine a second ti!e if you want to try a different setting. 7 $ro! the )Confor! to* pop,up !enu' choose the fra!e rate that allows you to !aintain or restore audioAvideo sync@ J 2.456: "his fra!e rate is useful if you want to later use the $inal Cut 9ro pull,down feature that lets you output 2G.97 fps video as 29.9K fps video. +%ee 9ull,Bown 9atterns You Can Apply to 2G.97 fps Cideo for !ore infor!ation./ J 244A: You !ay want to confor! and edit the clips at this rate if you plan to include the! in a pro?ect that contains other clips that are eEactly 26 fps. Note: If the audio and video are contained in the sa!e clip' and you choose 26.0 fro! this pop,up !enu' the <everse "elecine feature increases the audio speed y a very s!all percentage so that it is in sync with 26 fps instead of 2G.97 fps.

Choose a fra!e rate. 4eave this chec( oE selected.

8 4eave the %tandard UpperA4ower chec( oE selected. "he %tandard UpperA4ower chec( oE should e selected unless you find that the reverse telecine process does not produce the correct results. It is only relevant when oth video fields are capturedN it has no effect if only one field was captured. %ee Chec(ing Your <everse "elecine <esults for !ore infor!ation. 9 Clic( -. to start the reverse telecine process. If you selected the )&ew +s!aller/* file option' you are as(ed to give the new reversed clip a na!e and location. If the original clip was connected to a data ase record' the new reversed clip replaces its connection to the record +regardless of whether or not the new clip overwrites the old clip/.

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Note: -ccasionally there are clips with individual fra!e durations that are longer than they should e. "his situation can cause the <everse "elecine feature to report one or !ore dropped fra!es' when in fact there arenLt any. If you see this !essage' try using the Confor! feature to confor! the clip to 29.9K fps efore starting the reverse telecine process again. "he Confor! feature ensures that all the fra!es are the sa!e length. %ee Using the Confor! $eature for !ore infor!ation. As long as you created a new file + y default' with the eEtension .rev/ and did not delete the original file' you can perfor! reverse telecine a second ti!e if necessary +for eEa!ple' to try a different field setting/. To prepare to %se the single;clip :everse Telecine feat%re a secon- time 1 Bisconnect the current reversed file fro! its data ase record. 2 Connect the original file to the data ase record. <ena!e or !ove the current reversed file if you want to (eep it fro! eing overwritten. &ow you can perfor! the steps for using the single,clip <everse "elecine feature on a clip in Cine!a "ools as descri ed previously in this section.

Chec)ing $o%r :everse Telecine :es%lts

After a telecine G@2 pull,down transfer' the upper field is typically field 3 and the lower field is field 2' eEcept when using BC. &or!ally' when the %tandard UpperA4ower chec( oE is selected' Cine!a "ools deter!ines what needs to e done and the clips are processed correctly. =owever' on rare occasions' video is captured or processed in such a way that field orders are switched' and this can result in flawed reverse telecine results. "o chec( your results' loo( at the fra!es of a clip that has een processed y reverse telecine. As you loo( at each fra!e in the clip' you should see the se2uence of A' 1' C' and B fra!es repeat and each letter should e clearly legi le. You should not see any interfield flic(er. "he fil! fra!e nu! ers should increase se2uentially' and those digits should also e clearly legi le. If not' try using the reverse telecine process again' ut without selecting the %tandard UpperA4ower chec( oE.

Using :everse Telecine on 1o%rce Clips in &inal C%t Pro

$inal Cut 9ro includes a !enu co!!and that allows you to perfor! reverse telecine on the clips selected in the 1rowser.

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It is i!portant to understand that' although $inal Cut 9ro initiates the reverse telecine process' it is Cine!a "ools that actually perfor!s the tas(. Additionally' you are not presented with the sa!e choices as when using reverse telecine directly in Cine!a "oolsMthe settings that are used for the reverse telecine process using $inal Cut 9ro are the last settings that were used in Cine!a "ools. "herefore' you should always perfor! reverse telecine on a clip directly in Cine!a "ools to verify the proper settings efore processing clips using $inal Cut 9ro. Im$ortant: 9erfor!ing reverse telecine using $inal Cut 9ro !odifies the original !edia fileMyou do not have the option of creating a new !edia file as you do when using Cine!a "ools. You !ust have read,and,write privileges for the !edia files. To %se &inal C%t Pro to perform reverse telecine on so%rce clips 1 In the $inal Cut 9ro 1rowser' select the clips you want to process. Note: -nly files using a fra!e rate of 29.9K fps will e processed. 2 Choose "ools P Cine!a "ools <everse "elecine. Cine!a "ools opens and perfor!s the reverse telecine' displaying a dialog that shows the tas(Ls progress.

Using #atch :everse Telecine

If you need to reverse the telecine G@2 pull,down of several clips' you can use the 1atch <everse "elecine co!!and to process several clips at once. Note: If your source clips originated fro! a certain type of BC ca!corder that shoots 26p' such as the 9anasonic AF,BCI300 ca!corder' see <e!oving 2@G@G@2 or 2@G@2@G 9ull, Bown with Cine!a "ools for !ore infor!ation. Preparing to Use #atch :everse Telecine "here are a couple of things you should do efore using atch reverse telecine@ J 1efore you start a atch reverse telecine process' use the single,clip reverse telecine process on one of your clips and chec( the results to !a(e sure the settings you plan to use wor( correctly. %ee Using <everse "elecine on a %ingle %ource Clip in Cine!a "ools for instructions. J If you are wor(ing with video that contains two fields' !a(e sure that all your clips have the sa!e field do!inance. %ee Beter!ining the $ield Capture Infor!ation for !ore infor!ation. %o!e digiti#ing hardware !ay switch unpredicta ly etween field 3 and field 2 do!inance. If you find that so!e of your clips have one and so!e have the other' you can separate your clips into two field do!inance atches and atch process the! separately. Using #atch :everse Telecine for .%ltiple 1o%rce Clips 1efore you use atch reverse telecine to process !ultiple source clips' !a(e sure to read 9reparing to Use 1atch <everse "elecine.

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Chapter 8 9reparing the %ource Clips for 0diting

To %se +atch reverse telecine 1 9lace all the clips that you want to process in one folder. 2 Choose $ile P 1atch <everse "elecine. In the dialog that appears' select any source clip file in the folder that contains the source clips' then clic( Choose. 4 In the 1atch <everse "elecine dialog that appears' select the capture !ode that indicates the correct field capture for the clip@ J %ield 3 !nl&: %elect this option if the video contains only field 3. J %ield 2 !nl&: %elect this option if the video contains only field 2. J %3 ' %2: %elect this option if the video contains oth fields' and field 3 is the do!inant field +the first field to appear/. J %2 ' %3: %elect this option if the video contains oth fields' and field 2 is the do!inant field.

%elect the field capture infor!ation for this clip.

%ee Beter!ining the $ield Capture Infor!ation for details. Note: If Cine!a "ools finds pull,down infor!ation e! edded in the source clips' a si!pler version of this dialog appears. %ee <e!oving 2@G@G@2 or 2@G@2@G 9ull,Bown with Cine!a "ools for !ore infor!ation. ( $ro! the )Confor! to* pop,up !enu' choose the fra!e rate that allows you to !aintain or restore audioAvideo sync@ J 2.456: "his fra!e rate is useful if you want to later use the $inal Cut 9ro pull,down feature that lets you output 2G.97 fps video as 29.9K fps video. +%ee 9ull,Bown 9atterns You Can Apply to 2G.97 fps Cideo for !ore infor!ation./ J 244A: You !ay want to confor! and edit the clips at this rate if you plan to include the! in a pro?ect that contains other clips that are eEactly 26 fps. Note: If the audio and video are contained in the sa!e clip' and you choose 26.0 fro! this pop,up !enu' the <everse "elecine feature increases the audio speed y a very s!all percentage so that it is in sync with 26 fps instead of 2G.97 fps. ! 4eave the %tandard UpperA4ower chec( oE selected.

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"he %tandard UpperA4ower chec( oE should e selected unless you find that the atch reverse telecine process does not produce the correct results. %ee Chec(ing Your <everse "elecine <esults for !ore infor!ation. 7 "o save the original clips in a separate folder' leave the .eep -riginals chec( oE selected. If you donLt want to save the original clips' deselect it. +:hen you deselect the chec( oE' the original clips are deleted as each new clip is created./ Im$ortant: You cannot undo a reverse telecine operation. If you do not save the original clips and later find out that one of the settings was incorrect' you will need to recapture the clips to correct the setting and perfor! reverse telecine on the clips a second ti!e. 8 Clic( -. to start the atch reverse telecine process. After the process is co!plete' the following occur@ J $or each clip in the folder' a new clip with the sa!e na!e is created and placed in a Cine!a "oolsQcreated su folder na!ed <eversed. J If you selected .eep -riginals' the original files are placed in a Cine!a "oolsQcreated su folder na!ed -riginals. J If Cine!a "ools is una le to co!plete the reverse telecine process for a clip' that clip is !oved into a Cine!a "oolsQcreated su folder na!ed %(ipped. A clip is not processed if it doesnLt contain a video trac(' if the fra!e rate is not supported' or if no codec is found for the video trac(. J A teEt file appears at the top level of the folder you started with' na!ed )reverse.log.* "his log gives the date and ti!e that the process started and ended' as well as a start ti!e for each clip. If any pro le!s were encountered' such as running out of dis( space or !e!ory' an error !essage descri ing the pro le! also appears in the log. Additionally' you will need to use the <econnect co!!and to connect the newly created reverse,telecined clips to their records. %ee $iEing 1ro(en Clip,to,Bata ase 4in(s for !ore infor!ation. Using #atch :everse Telecine a 1econTime If' after perfor!ing the atch reverse telecine' you decide you need to change a setting and redo the atch reverse telecine' perfor! the following steps. To prepare to %se +atch reverse telecine a secon- time 1 Move the clips fro! the -riginals folder to their original folder. Note: If you did not select .eep -riginals' you !ust recapture the original clips. 2 If you would li(e to (eep the current reverse telecine versions of the clips while creating the new versions' you need to !ove the! fro! the <eversed folder to another folder or rena!e the <eversed folder +for eEa!ple' to <eversed 3/.
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You can leave the current files where they are if you would li(e the! to e overwritten. %i!ilarly' you need to !ove or rena!e the )reverse.log* file if you would li(e to save it.

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4 $ollow the steps in Using 1atch <everse "elecine for Multiple %ource Clips to perfor! the atch reverse telecine. Note: If you connected the original reverse,telecined clips to the data ase records using the <econnect co!!and' the new reverse,telecined clips should auto!atically e connected to the data ase.

Ma(ing Ad?ust!ents to Audio %peed

If you need to !a(e audio speed ad?ust!ents in order to reesta lish synchroni#ation with the video' there are various ways you can do this. Note: "he reverse telecine and confor! processes auto!atically ad?ust the audio speed in a clip to !atch changes !ade to the video fra!e rate of the sa!e clip. J You can ad?ust the speed with the $inal Cut 9ro %peed co!!and. $irst' unlin( the audio and video clips. %elect the audio clip in the "i!eline' then choose Modify P %peed and enter a new speed percentage. $or eEa!ple' to slow down an audio clip y 0.3 percent' enter )99.9.* <elin( the audio and video clips when you have finished !odifying the speed of the audio clip. J %o!e sound recorders and audio play ac( e2uip!ent can have their play ac( speed ad?usted to sync with the video. :hen using such e2uip!ent' you can capture the audio with the correct speed for synchroni#ation. J You can use speciali#ed e2uip!ent' such as that availa le fro! Aaton' designed to control and ad?ust the audio for proper sync with any video rate. You use this e2uip!ent efore capturing the audio into your co!puter. J If you donLt need the audio speed ad?usted for editing' ut you do need it ad?usted for the finished pro?ect' you can have the audio finished at an audio post,production facility that can ad?ust the speed.

%ynchroni#ing %eparately Captured Audio and Cideo

If your sound and picture were not synchroni#ed onto videotape' ut were instead captured separately' you can synchroni#e the! in $inal Cut 9ro. In $inal Cut 9ro' a feature called merged cli$s lets you lin( one or !ore source !edia files together so that they eco!e one clip. $irst you synchroni#e the!' and then you !erge the! into one clip.

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Chapter 8 9reparing the %ource Clips for 0diting

"he clapper oards +also called slates/ in your shots provide the audi le and visi le cues on which to sync your audio and video clips. "here are a couple of different techni2ues you can use to synchroni#e clips efore !erging the!' depending on how you shot your footage. J I" &our video and audio cli$s do not s$an e<actl& the same timecode values) and &ou slated all &our shots at the (eginning /ith a cla$$er (oard: You can use In points to line up all the clips you want to !erge. :hen you do this' the eginning of the resulting !erged clip corresponds to the In point you used' and all the clips line up at that point. "he end of this !erged clip corresponds to the end of the clip with the latest ti!ecode value.
Cideo Audio Audio

Merged clip

J I" &our video and audio cli$s do not s$an e<actl& the same timecode values) and &ou have one or more shots that &ou tail'slated at the end: You can use -ut points to line up all the clips you want to !erge. :hen you do this' the end of the resulting !erged clip corresponds to the -ut point you used' and all clips line up at that point. "he eginning of this !erged clip corresponds to the eginning of the clip with the earliest ti!ecode value.
Cideo Audio Audio

Merged clip

$or details a out how to synchroni#e and !erge clips in $inal Cut 9ro' see the section in the $inal Cut 9ro docu!entation that descri es wor(ing with !erged clips.

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Bividing or Beleting %ections of %ource Clips 1efore 0diting

1efore you edit your !edia in $inal Cut 9ro' you have the option of further dividing or eli!inating parts of source clips. If you used a atch capture list and device control for capturing' you !ay have captured your source clip files eEactly as you want the!. -n the other hand' you !ay feel that the captured source clips need to e ro(en down into individual ta(es' or you !ay want to eli!inate so!e of the content you captured efore you egin editing in order to !a(e efficient use of availa le dis( space.

1trategies for #rea)ing *own 1o%rce Clips #efore ,-iting

1efore you egin' if the edge code nu! er,to,ti!ecode relationship is not continuous throughout the ca!era roll fro! which a source clip ca!e' e aware that there are a couple of i!portant things you need to do after you rea( down source clips@ J Create a new data ase record for the new source clip that is created when you rea( down a clip' and !a(e sure the new source clip is connected to the data ase record. J Update the clipLs data ase record so that the edge code nu! er infor!ation is correct for the clipLs new first fra!e. + "his is necessary only if you delete !aterial fro! the eginning of a clip./ Note: %ee Is Your 0dge Code &u! er,to,"i!ecode <elationship Continuous or &oncontinuousD for !ore infor!ation. "here are a variety of ways to rea( down source clips efore editing@ J An easy way to rea( source clip files into s!aller source clips is to use $inal Cut 9ro. $irst' !a(e one or !ore su clips fro! the clip in the 1rowser. You can then use the Media Manager to delete any part of the clip that you did not select as a su clip. %ee the section a out creating and wor(ing with su clips in the $inal Cut 9ro docu!entation for !ore infor!ation. J Another way to select and save portions of a clip is to use ;uic("i!e 9ro. If you use ;uic("i!e 9ro for this purpose' !a(e sure to choose )Ma(e !ovie self,contained* in the )%ave as* dialog. %ee "he Bifference 1etween %elf,Contained and <eference Media $iles for !ore infor!ation. J If you are using hole,punched or otherwise !ar(ed fra!es +rather than window urn/ to identify the (ey nu! ers for each of your source clips' !a(e sure you do not tri! off any of the !ar(ed fra!es. J If the telecine transfer involved the G@2 pull,down !ethod' itLs a good idea to start each source clip on an A fra!e. After the G@2 pull,down' A fra!es are the only fil! fra!es that are not divided into two video fra!es. 1ecause of this and ecause the A fra!e is the start of the video five,fra!e pattern' it is prefera le to have one as the first fra!e in all video clips. %ee A out A $ra!es for !ore infor!ation.

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The *ifference #etween 1elf;Containe- an- :eference .e-ia &iles

"here are two asic video and audio file types that you need to e aware of' especially if you are rea(ing a large !edia file into s!aller ones using ;uic("i!e 9ro. 1ecause video files tend to e large' the type of !edia file you create can have a large i!pact on your hard dis( space. J -el"'contained media "iles: A self,contained !edia file is co!pleteN you can delete the original file and its duplicate will still play on its own. $or that reason' self, contained !edia files are typically large files. ItLs a good idea to save your !edia as self,contained if you intend not to use large portions of the original' and then you can delete the original once you have saved the its you want. J ,e"erence media "iles: A reference !edia file is a file with dependencies on the original !edia file. <eference files do not contain any actual !edia contentMthey contain only pointers to a specific part of the original !edia file. "he files for these clips are s!all. If you delete' !ove' or rena!e the original !edia file' any files that refer to it will no longer play' ecause they cannot locate the original. -ne way to tell if a !edia file is self,contained or reference is to open it in the Cine!a "ools Clip window and clic( the Analysis utton. "he Analysis pane displays this infor!ation. Another way to tell is to loo( at its file si#eM!edia files with dependencies have s!all +20 (ilo yte or so/ file si#es' whereas self,contained !edia files' even short ones' can have file si#es up to hundreds of !ega ytes or !ore.

*eleting a 1o%rce Clip &ile

"o eli!inate an unwanted source clip file efore you start editing' drag the clip to the "rash. "hen' if there is a record for that clip in the Cine!a "ools data ase' delete that data ase record. <efer to Beleting a Bata ase <ecord for !ore infor!ation.

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Chapter 8 9reparing the %ource Clips for 0diting

,-iting with &inal C%t Pro

-nce your source clips have een captured and prepared' you can edit the! in $inal Cut 9ro. =owever' there are a nu! er of issues to consider efore you egin editing !aterial that originated on fil!. "his chapter covers the following@ J A out 0asy %etups and %etting the 0diting "i!e ase +p. 36G/ J :or(ing with 25 fps Cideo Confor!ed to 26 fps +p. 366/ J Bisplaying $il! Infor!ation in $inal Cut 9ro +p. 368/ J -pening $inal Cut 9ro Clips in Cine!a "ools +p. 350/ J <estrictions for Using Multiple "rac(s +p. 350/ J Using 0ffects' $ilters' and "ransitions +p. 353/ J "rac(ing Buplicate Uses of %ource Material +p. 35K/ J 0nsuring Cut 4ist Accuracy with G@2 9ull,Bown or 26 H 3 Cideo +p. 357/

A out 0asy %etups and %etting the 0diting "i!e ase

Cine!a "ools installs 0asy %etups that were created to !a(e setting up $inal Cut 9ro convenient for Cine!a "ools users. :hen you select an 0asy %etup in $inal Cut 9ro' your se2uence presets' capture presets' device control presets' and eEternal video presets are all set for you so that you donLt have to select the! individually. Cine!a "ools users !ay want to ta(e advantage of these 0asy %etups@ J 2.456"$s "rom D+ P78: Choose this 0asy %etup to capture 9A4 video and to set the editing ti!e ase to 2G.97 fps. "his option assu!es you will confor! the captured video to 2G.97 fps. J 24"$s "rom D+ P78: Choose this option to capture 9A4 video and to set the editing ti!e ase to 26 fps. "his option assu!es you will confor! the captured video to 26 fps. J 2.456"$s "rom D+ NT-C: Choose this option to capture &"%C video +in the non,drop fra!e ti!ecode for!at/ and to set the editing ti!e ase to 2G.97 fps. "his option assu!es you will reverse telecine the captured video to 2G.97 fps.

14

J 24"$s "rom D+ NT-C: Choose this option to capture &"%C video +in the non,drop fra!e ti!ecode for!at/ and to set the editing ti!e ase to 26 fps. "his option assu!es you will reverse telecine the captured video to 26 fps. J D+ NT-C ND%: Choose this option to capture &"%C video +in the non,drop fra!e ti!ecode for!at/ and to set the editing ti!e ase to 29.9K fps. "his option assu!es you will not perfor! reverse telecine on the captured video. J D+ P78 24 0 21: Choose this option to capture 9A4 video and set the editing ti!e ase to 26 fps' ut use 25 fps ti!ecode. "his option assu!es you will confor! the 25 fps video to 26 fps. <efer to the $inal Cut 9ro docu!entation for details a out accessing and wor(ing with 0asy %etups. Im$ortant: If you donLt use an 0asy %etup' you still need to set the editing ti!e ase' efore you egin editing' to the fra!e rate of your source clips. "his ensures that new se2uences you create in $inal Cut 9ro are set for the fra!e rate at which you want to edit. %ee the $inal Cut 9ro docu!entation for details a out setting the editing ti!e ase in the %e2uence 9reset 0ditor. All 0asy %etups designed specifically for Cine!a "ools users' eEcept for )BC 9A4 26 R 25'* have the na!e Cinema Tools in the title. $or eEa!ple' )Cine!a "ools , 2G.97fps fro! BC &"%C.* 1y default' the 0asy %etups for Cine!a "ools users do not appear in the pop,up !enu in the Choose %etup dialog. "o see all the 0asy %etups in the pop,up !enu' including the ones for Cine!a "ools' select the %how All chec( oE in the dialog. -r' to add specific 0asy %etups to the pop,up !enu' you can add an asteris( +Y/ to the end of the 0asy %etup filena!e. $or eEa!ple' you would edit the )Cine!a "ools , 2G.97fps fro! BC &"%C* filena!e to loo( li(e this@ )Cine!a "ools , 2G.97fps fro! BC &"%CY.* "he 0asy %etup files are found in the following location@ A4i raryAApplication %upportA$inal Cut 9ro %yste! %upportACusto! %ettingsA.

:or(ing with 25 fps Cideo Confor!ed to 26 fps

"he !ost co!!only used !ethod for transferring 26 fps fil! to 9A4 video is the 26 R 25 !ethod +descri ed in 26 R 25 Method/. 1ecause this !ethod re2uires the fil! to play 6 percent faster' you !ight have audio sync issuesMat the least the onscreen action will e sped up.

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"o help with the audio sync issues' you can use the Confor! feature to slow the video ac( down to its original 26 fps rate. 1ecause the confor! process does not alter the 25 fps ti!ecode created during the fil! transfer' you have the option of retaining that ti!ecode for!at while you edit in a 26 fps editing ti!e ase. "his can e useful for those situations where your negative cutter prefers to receive a 25 fps 0B4 instead of a fil! cut list for fil! !atch, ac(. %ee Using the Confor! $eature for !ore infor!ation a out confor!ing video.

A+o%t the Timeco-e

:hen you confor! 25 fps video to 26 fps' the clipLs ti!ecode rate is defined as 26 R 25. Note: 1ecause the ti!e ase and play ac( are ased on 26 fps' the 25 fps ti!ecode no longer accurately represents the true passage of ti!e. $or eEa!ple' G7 seconds of video will actually ta(e 60 seconds to play. You can see the ti!ecode rate for a clip in the Ite! 9roperties window. To verif/ a clip?s timeco-e rate 1 In the 1rowser' select the clip to e verified. 2 Bo one of the following to open the Ite! 9roperties window@ J Choose 0dit P Ite! 9roperties P 4ogging Info. J Control,clic( the clip' then choose Ite! 9roperties P 4ogging Info fro! the shortcut !enu. Clips that have een confor!ed fro! 25 fps to 26 fps display )26 R 25* in the "C <ate row.

A+o%t the 1e=%ence Presets

"here are two se2uence presets designed for 26 fps 9A4 video@ J D+ P78 46 *;= ' 24 0 21: "his preset uses a 26 fps editing ti!e ase and 25 fps ti!ecode for oth the source and record In and -ut points' retaining the original source 25 fps ti!ecode. "he BC 9A4 26 R 25 0asy %etup uses this se2uence preset. :hen you eEport an 0B4' it will e ased on 25 fps ti!ecode values. "his should e used when you intend to eEport a 25 fps 0B4 and not a cut list. J D+ P78 46 *;= ' 24: "his preset uses a 26 fps editing ti!e ase and 26 fps ti!ecode for oth the source and record In and -ut points' replacing the original source 25 fps ti!ecode. "his should e used when you intend to eEport a cut list.

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Bisplaying $il! Infor!ation in $inal Cut 9ro

You can display a variety of fil!,related infor!ation while editing the fil!Ls clips in $inal Cut 9ro. "here are four areas you can control@ J Item Pro$erties /indo/: "he $il! ta of the Ite! 9roperties window lists the fil!, related infor!ation for a clip. %ee %howing $il!,<elated Infor!ation in Ite! 9roperties for details. J Dro/ser: You can add colu!ns that show fil!,related infor!ation such as (ey nu! ers and telecine fil! speed + ". %peed/. "his infor!ation also appears in the Ite! 9roperties window. %ee %howing $il!,<elated Infor!ation in the 1rowser for details.

J +ie/er and Canvas: You can choose to include the (eycode and in( nu! ers with the ti!ecode values in the overlay. %ee %howing $il!,<elated -verlays in the Ciewer and Canvas for !ore infor!ation. J Timeline) +ie/er) and Canvas: You can choose to show the fra!e count in a )feet and fra!es* !ode. %ee %howing $il!,1ased $ra!e Counts for !ore infor!ation. "o show fil!,related infor!ation in $inal Cut 9ro' you !ust first i!port the infor!ation fro! Cine!a "ools. "here are three ways to do this@ J :hen you i!port an IM4 atch capture list eEported fro! Cine!a "ools' the fil!, related infor!ation is also i!ported. %ee Using IM4 1atch Capture 4ists for !ore infor!ation. J Use $inal Cut 9ro to i!port a telecine log file. "his adds any fil!,related infor!ation contained in the log file to the offline clips. %ee I!porting "elecine 4ogs Using $inal Cut 9ro for !ore infor!ation. J Use the %ynchroni#e with Cine!a "ools co!!and' descri ed in the neEt section' %ynchroni#ing $inal Cut 9ro Clips with Cine!a "ools. Im$ortant: You do not need to i!port or show fil!,related infor!ation in $inal Cut 9ro to eEport fil! lists.

1/nchroniBing &inal C%t Pro Clips with Cinema Tools

You cannot !anually update a clipLs fil! infor!ation in $inal Cut 9roMthe infor!ation !ust e i!ported fro! a Cine!a "ools data ase. $inal Cut 9ro includes the a ility to synchroni#e one or !ore selected clips with a Cine!a "ools data ase. "his is especially useful when you have i!ported a telecine log and captured the clips@ synchroni#ing the clips with their data ase auto!atically connects the clips to their records. You can also create a new data ase' which adds the infor!ation for each clip to its record. Ti$: Creating a new data ase fro! a group of clips that are already part of another data ase allows you to create speciali#ed data ases fro! $inal Cut 9ro. All of the fil!,related infor!ation that the clips already contain is auto!atically added to their records in the new data ase.
14! 14!1 Chapter 9 0diting with $inal Cut 9ro

To s/nchroniBe &inal C%t Pro clips with a Cinema Tools -ata+ase 1 In the $inal Cut 9ro 1rowser' select the clips that you want to synchroni#e with a Cine!a "ools data ase. "hese can e clips that are already in the data ase and need their infor!ation updated' or they can e clips that are not in the data ase. In that case' a new record is added to the data ase for each clip' with any applica le infor!ation added to each record. 2 Choose "ools P %ynchroni#e with Cine!a "ools. A dialog appears that allows you to configure the synchroni#ation process.

"he Bata ase field shows the currently selected data ase. %elect the )Add new records* chec( oE if you want the data ase to auto!atically have new records added for selected clips that are not already in the data ase. "his option !ust e selected when you are synchroni#ing with a new data ase. 4 %elect the )Auto connect* chec( oE if you want the data ase to auto!atically connect the clips to any new records that are created in the data ase. ( Bo one of the following@ J I" the data(ase sho/n in the Data(ase "ield is the correct one: Clic( -.. + "he Bata ase field is updated if you use the &ew Bata ase or Choose Bata ase utton./ J To create a ne/ Cinema Tools data(ase: Clic( &ew Bata ase. "his opens a dialog that allows you to enter a na!e and location for the data ase' as well as configure its default settings. %ee %ettings in the &ew Bata ase Bialog for infor!ation a out these settings. Clic( %ave when finished.

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J To choose an e<isting data(ase: Clic( Choose Bata ase. "his opens a dialog that allows you to select an eEisting data ase to synchroni#e with. Clic( -pen when finished. ! If you used either the &ew Bata ase or Choose Bata ase utton' clic( -.. "he selected clips are synchroni#ed with the selected data ase.

1howing &ilm;:elate- 0nformation in 0tem Properties

"he $il! ta of the Ite! 9roperties window contains the fil!,related infor!ation for each clip. To see film;relate- information in the 0tem Properties win-ow 1 %elect the clip in the 1rowser. 2 Bo one of the following@ J Choose 0dit P Ite! 9roperties P $il!. J Control,clic( the clip' then choose Ite! 9roperties P $il! fro! the shortcut !enu. J 9ress Co!!and,9 to open the Ite! 9roperties window' then clic( the $il! ta . Note: Co!!ents added to a record in Cine!a "ools or a record in a telecine log file appear in the "a(e &ote row.

1howing &ilm;:elate- 0nformation in the #rowser

You can add colu!ns to the 1rowser to show the specific fil!,related infor!ation you re2uire.

To a-- col%mns to the #rowser Control,clic( the heading for the colu!n efore which you want to insert the new colu!n' then choose the colu!n to add fro! the shortcut !enu. %ee the $inal Cut 9ro docu!entation for !ore infor!ation a out arranging colu!ns in the 1rowser. Note: Co!!ents added to a record in Cine!a "ools or a record in a telecine log file appear in the "a(e &ote colu!n.

1howing &ilm;:elate- Overla/s in the 7iewer an- Canvas

You can configure the Ciewer and Canvas overlays to show a clipLs (eycode and in( nu! ers in addition to the ti!ecode. To show film;relate- overla/s in the 7iewer an- Canvas 1 Clic( in the Ciewer or Canvas to !a(e it active. 2 Choose Ciew P %how -verlays +or press -ption,Control,: /.

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"o configure the overlay' choose Ciew P "i!ecode -verlays to see a list of ite!s you can display. Clic( an ite! to either display or hide it. +Chec(!ar(s appear neEt to ite!s that are shown./

1howing &ilm;#ase- &rame Co%nts

You can set a pro?ectLs ti!ecode display for!at to a $eetS$ra!e !ode' giving fil! editors a !ore fa!iliar way to ?udge pro?ect length. "his setting affects the ti!e display along the top of the "i!eline' as well as the ti!ecode fields along the top of the Ciewer and Canvas. To set a pro'ect to -ispla/ the &eetD&rame mo-e 1 %elect the pro?ectLs ta in the 1rowser. 2 Choose 0dit P 9ro?ect 9roperties. "he 9ro?ect 9roperties window appears.

Choose $eetS$ra!e fro! the "i!e Bisplay pop,up !enu. 4 Choose the fil! standard fro! the Befault $il! %tandard pop,up !enu. "he fil! standard defines how !any fra!es are in a foot. Im$ortant: "o ensure that correct fil! lists are eEported' !a(e sure to choose the fil! standard set in the Cine!a "ools data ase. %ee the $inal Cut 9ro docu!entation for !ore infor!ation a out the 9ro?ect 9roperties window. You can also individually control the ti!ecode display of the "i!eline' Ciewer' and Canvas.

To change the timeco-e -ispla/ of the Timeline5 7iewer5 or Canvas Control,clic( a ti!ecode field in the window whose ti!ecode display you want to change' then choose the !ode fro! the shortcut !enu.

Chapter 9 0diting with $inal Cut 9ro

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$or the Ciewer and Canvas' this affects oth ti!ecode fields along their tops' and in the case of the Ciewer' the ti!ecode fields of its ta s. $or the "i!eline' this affects the ti!ecode shown along the top of the window and in the Current "i!ecode field. "he ti!ecode displays in the "ransition 0ditor and "ri! 0dit windows are also affected. Im$ortant: "he feet and fra!e values that are shown are not the sa!e as (eycode or in( nu! ers. "he feet and fra!e values always start at 0000S00 at the eginning of the se2uence or clip. :hen using the $eetS$ra!e ti!ecode display !ode' you can enter values in the sa!e places you can enter ti!ecode values. $or eEa!ple' you can enter a value in the Current "i!ecode field of the Ciewer to position its playhead. "o ensure the nu! er you enter is correctly interpreted y $inal Cut 9ro' !a(e sure to use one of the following characters to separate the feet and fra!e values@ plus sign +S/' a!persand +H/' period +./' or co!!a +'/.

-pening $inal Cut 9ro Clips in Cine!a "ools

You cannot directly change any ite!s in a Cine!a "ools data ase while in $inal Cut 9ro. =owever' you can open a clip in Cine!a "ools fro! $inal Cut 9ro to !a(e changes to that clipLs data ase record. -nce you have done this' you need to synchroni#e that clip so that the changes appear in $inal Cut 9ro. To open a clip in Cinema Tools from &inal C%t Pro 1 %elect a clip or a group of clips in the 1rowser. 2 Choose Ciew P -pen in Cine!a "ools. "he clip opens in a Cine!a "ools Clip window. If you selected !ultiple clips' each opens in its own Clip window. Any changes you !a(e' such as to a ca!era roll nu! er' are added to the clipLs data ase record. After you have finished !a(ing the changes' you can synchroni#e the clips in $inal Cut 9ro with the !odified Cine!a "ools data ase. %ee %ynchroni#ing $inal Cut 9ro Clips with Cine!a "ools for !ore infor!ation.

<estrictions for Using Multiple "rac(s

$inal Cut 9ro allows you to edit in !ultiple video trac(s and !ultiple audio trac(s. Although there are advantages to using nu!erous trac(s' there are so!e restrictions to (eep in !ind when you are using $inal Cut 9ro with Cine!a "ools@ J :hen you eEport your fil! lists' you specify the video trac( to ase the list on. If you have included titles and superi!posed i!ages on a second video trac(' you !ust eEport a second fil! list to include that infor!ation.

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Chapter 9 0diting with $inal Cut 9ro

J If you are going to eEport an audio 0dit Becision 4ist +0B4/' you need to li!it the audio to the first eight trac(s in the $inal Cut 9ro "i!eline. %ee 0Eporting an Audio 0B4 for !ore infor!ation.

Using 0ffects' $ilters' and "ransitions

$inal Cut 9ro and other $inal Cut %tudio applications provide eEtensive effects capa ilities for video' including co!!on fil! effects such as dissolves' wipes' !otion effects' titles' color correction' and co!positing. If your final output uses standard roadcast %B or =B resolutions' these effects can often e included directly in the final output. =owever' if your output is going to e higher,resolution video for digital pro?ection +such as a 2. B9I i!age se2uence/' if the output will e converted to fil! using a digital fil! printer' or if you intend to confor! the original ca!era negative' these effects will generally e used only to preview the final effect' which will e created at a visual effects facility. 0ffects and transitions are usually created for digitally edited fil! in the following ways + ecause of the changing and diverse nature of the industry' your actual eEperience !ay vary/@ J Dasic transitions) titles) and motion e""ects "or DI /or*"lo/s: "hese effects are typically re,created y a digital visual effects facility. "he facility uses a Cine!a "oolsQ generated fil! list to either pull the already scanned B9I i!age se2uences for the re2uired video or have high,2uality scans of the original fil! !ade' providing final, resolution video clips to wor( with. %ee %pecial Considerations for 0ffects in a BI :or(flow for !ore infor!ation. J Dasic transitions) titles) and motion e""ects "or "ilm /or*"lo/s: "hese effects are typically re,created y a facility speciali#ing in optical or contact printing' which uses the instructions given in a Cine!a "oolsQgenerated fil! list. Certain types of transitions can e created through contact printing +so!eti!es called 7BD roll $rinting/' where the e!ulsion sides of the original ca!era negative and the print stoc( are in contact as the original fil! is pro?ected onto the print stoc(. "ransitions' titles' and !otion effects can e !ade through optical printing' where effects are created via a process of !anipulating and pro?ecting the original ca!era negative onto print stoc( through the lens on an optical printer. "his process is often called creating o$ticals4 %ee Contact 9rinting vs. -ptical 9rinting for !ore infor!ation a out factors to consider when choosing whether to use optical printing or contact printing. J Com$le< e""ects that involve com$ositing "or all /or*"lo/s: 0ffects such as chro!a, (eying' ani!ation' and repositioning can e re,created digitally at high resolution at a digital visual effects facility. If you are using a BI wor(flow that uses low, andwidth versions of the progra!Ls clips' draft versions of the effects are !ade and edited into the progra!' replacing the te!porary placeholder effects +if present/. "he original high,resolution effects are used during the finishing process.
Chapter 9 0diting with $inal Cut 9ro 1(1 1(11

If you are using a traditional fil! wor(flow' the effects !ust e output ac( to fil! using a digital fil! recorder. "his is so!eti!es called the "ilm'digital'"ilm !ethod. $irst' the original ca!era negative is scanned digitallyN then the scanned digital copy is i!ported into a digital fil! wor(station' and your special effects are created there efore eing recorded ac( to fil!. "here are digital effects la s that offer this service' using your fil! list as a guide in deter!ining the location and duration of !otion effects and of superi!posed co!positing effects such as lue,screen effects. Although the fil!,digital,fil! !ethod can produce wonderful effects' e aware that it can e !ore eEpensive than optical printing. J ?""ects involving "ilters and color correction: Bigital fil! restoration and artifact re!oval are other types of digital !anipulation that co!!only occur with the fil!, digital,fil! !ethod. "his (ind of digital !anipulation is trac(ed y the filter effects list' which is part of the optical list. In a BI wor(flow' you can use Color to perfor! !any of these types of digital !anipulation. Color is capa le of outputting B9I i!age se2uences' which can e used to print ac( to fil!. In a fil! wor(flow' any color correction or filterli(e effects in your finished fil! are created y a specialist at a fil!,printing facility or via the fil!, digital,fil! !ethod. You can wor( directly with a color specialist +often (nown as a color timer/ to include color correction in your fil!.

1pecial Consi-erations for ,ffects in a *0 Wor)flow

"here are a wide variety of approaches to wor(ing with effects when you are using a BI wor(flow. "here are also an increasing nu! er of third,party applications availa le that speciali#e in the various aspects of the process' such as trac(ing effect revisions. $ollowing is a list of issues that you need to pro?ect@ J e aware of while wor(ing on your

If you have not already created high,2uality fil! scans of the parts of the video involved in the effect' you !ust do that first. You can use the optical list section of a fil! list to identify the fil! rolls and fra!es that need to e pulled and scanned. "here are !any !ethods you can use to generate that fil! listMfor eEa!ple' you can place all effects in their own trac( and specify that trac( when eEporting the fil! list.

J "he digital visual effects facility generally provides the final effects using your final output video for!at and resolution. Ma(e sure to retain all original !etadata such as (ey nu! ers and ti!ecode so the effects can e trac(ed ac( to the original fil! fra!es. -therwise you !ust !anually verify that the correct fra!es were used to create the effects' which can e ti!e,consu!ing. J You need to create te!porary versions of the effects to use in your offline edit of the progra!. In so!e cases' the visual effects facility !ay provide these. If so' !a(e sure the facility (nows which codec to use and your se2uence settings so that the clips will not have to e reencoded or rendered. "hese te!porary versions of the effects clips also need to have the sa!e ti!ecode as the original video clips.

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J "he effects clips are often not trac(ed y the Cine!a "ools data ase.

0ncl%-ing Titles5 1%pers5 an- Transitions in a &ilm Wor)flow

"he following wor(flow shows you how effects' supers +superi!posed i!ages or fra!es/' and transitions !ight e added to a fil! that is edited in $inal Cut 9ro. "his is a very asic wor(flow' containing steps for including oth opticals and contact,printed effects in your fil!' though you !ay have only one or the other. Im$ortant: :ith the fast,changing' diverse nature of the industry' your est wor(flow option !ay e different fro! the wor(flow descri ed here. Ma(e sure you consult your la for the !ost accurate instructions and options for your uni2ue situation. 1tage 1C Confirming 1%pport an- >ee-s with the 3a+ Bepending on your udget' efore you edit you should chec( with the la +the optical house or other facility that will print your effects/ to find out what it can offer. -ften the la has standard effects for you to choose fro!Mcusto! effects !ay cost su stantially !ore or not e availa le at all. "he la can also educate you a out eEactly what you need to provide. 1tage 2C Creating ,ffects an- Transitions in &inal C%t Pro ItLs helpful to eEperi!ent with styles and durations in $inal Cut 9ro. "hat way youLll e confident in co!!unicating what you need to your la . 1ecause you can eEport a separate cut list for each video trac(' you can add titles and superi!posed i!ages to !ultiple video trac(sMfor eEa!ple' as alternative versionsM and choose which to include in the eEported fil! list. 1tage C ,4porting a &ilm 3ist :hen youLve finished editing your progra!' eEport a fil! list. %ee An Introduction to $il! 4ists and Change 4ists for !ore infor!ation. "he fil! list can contain a nu! er of different types of lists. "he optical list includes descriptions of transition' filter' and !otion effects. You will also need to eEport a fil! list for each video trac( that contains titles or superi!posed i!ages. If you are going to have all of your transitions contact printed instead of having opticals created' choose )All are cuts* fro! the "ransitions pop,up !enu. %ee Bividing "ransitions 1etween a Contact and -ptical 9rinter for related infor!ation.

Chapter 9 0diting with $inal Cut 9ro

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1tage 4C EOptical PrintingF 2iving the &ilm 3ist an- An/ Appropriate &ootage to the 3a+ If you are having effects and transitions created as opticals' your la uses the specifications and descriptions in your fil! list as a guide for creating the opticals. "he la needs relevant fil! footage fro! which to create the opticals. "he optical la !ay want you to provide interpositives' or the la !ay print the interpositives. "he la !ay also re2uest a videotape of your !ovie to use as a reference. If youLve !ade a wor(print' you can provide it to the la as a reference' or you can give the la a color copy +)dupe*/ of the parts of the wor(print that contain the opticals. Biscuss the options with your la . %ee A out Interpositives for !ore infor!ation a out wor(ing with interpositives. 1tage (C EOptical PrintingF A--ing the Opticals to $o%r Pro'ect "ransfer the opticals using a telecine' add the! to the data ase' capture the! into your se2uence' and eEport a cut list. If you are having opticals created for your fil!' this step is ideal ecause it provides a cut list that !ost accurately docu!ents the opticals' and ecause it allows you to preview the opticals in your se2uence and see if you li(e the way they wor(. Alternatively' if you have a wor(print' the negative cutter !ay e a le to use it as a guide for cutting the opticals into your fil! so that you donLt need to transfer the! to video and create a new cut list. Ma(e sure to chec( with your negative cutter to find out what is re2uired. 1tage !C EOptical PrintingF 2iving the Optical >egative to the >egative C%tter Assu!ing you have screened the opticals and are happy with the!' give the optical negative' along with the original ca!era negative and your entire fil! list' to the negative cutter. :ith the fil! list +and the wor(print if there is one/ as a guide' the negative cutter cuts and splices the effects into your fil!. 1tage 7C EContact PrintingF 2iving the &ilm 3ist to the Contact Printer :hen the confor!ed negative is ready to e printed y the contact printer' !a(e sure the contact printer is given a fil! list that includes infor!ation a out your titles and supers and any transitions you want printed into the fil!. Note: "he negative cutter !a(es a list of printer cues' including transition needs' and this list is given to the printer with the cut original ca!era negative.

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Chapter 9 0diting with $inal Cut 9ro

A+o%t 0nterpositives
1ecause the original footage is negative' the whole fil! !ust e printed fro! negative i!ages in order to result in a nor!al' positive fil! i!age. "his !eans you want your opticals to e negative when they are spliced into your original ca!era negative. "he optical la typically uses a low,contrast fil! print +of the relevant parts of the original ca!era negative/ called an inter$ositive as the raw source footage fro! which to asse! le the opticals. After the opticals are asse! led fro! the interpositive' they are printed as optical negatives that can e spliced into the original ca!era negative. Usually' efore the final interpositive is created' one or !ore trial prints are !ade with the guidance of a color specialist to find the proper co! ination of eEposure and color alance. Note: In so!e cases' when opticals need a very sta le i!age +as with i!ages ehind teEt/' a registration inter$ositive is re2uired. <egistration interpositive printing !ini!i#es unwanted lateral fil! !otion in the optical printer gate. "he optical la will tell you when a registration interpositive is needed.

Contact Printing vsG Optical Printing

Choosing etween contact printing and optical printing depends on several factors. "he good news is you can have so!e effects created one way and others another way. =ere are factors you !ay want to weigh@ J -aving original "ootage: Contact printing re2uires the original ca!era negative to e cut and spliced. -ptical printing essentially results in a new negative eing !ade' so the original footage can e used again elsewhere. J Previe/ing: If your transitions are printed on a contact printer' you donLt have the option of seeing the finished transitions efore the negative is cut' ut if they are printed optically' you do. After they are printed' transitions and !otion effects !ay not appear eEactly as they did within your digital editing syste!. If you want to (now eEactly how a transition is going to appear in the finished fil!' have it !ade optically efore finali#ing the cut. "hen' transfer the optical to video. You can edit the transferred optical into your digital progra! to see how it will loo(. J Cost: If you have standard,length transitions and there are a lot of the!' it will pro a ly cost less to have the! printed on a contact printer. Although optical printing has the advantage of resulting in a new negative eing !ade that you can edit into your digital progra! to see how it loo(s and include in your cut list' the opticalLs negative !ust first e transferred to video at an additional cost. ItLs a good idea to co!pare 2uotes for having your transitions printed in different ways.

Chapter 9 0diting with $inal Cut 9ro

1(( 1((1

J 8ength: Contact printing re2uires that the length of the transition e one of a set of standard lengths' whereas optical printing does not. Cine!a "ools identifies the set of standard lengths for 26 fps or 2G.97 fps !edia as 38' 26' G2' 67' 86' and 98 fra!es in duration. Cine!a "ools identifies the set of standard lengths for 29.9K fps !edia as 20' G0' 60' 80' 70' and 320 fra!es in duration. +Ma(e sure to chec( with your contact printer a out the standard lengths re2uired for different fra!e rates./ Comparing <%otes "o get 2uotes to co!pare costs of contact and optical printing' you need to eEport two versions of the fil! list. To e4port -ifferent film lists to give to the printers for =%otes 1 In the 0Eport $il! 4ists dialog' choose )All are cuts* fro! the "ransitions pop,up !enu to eEport a fil! list for a contact printing 2uote. Note: %ee An Introduction to $il! 4ists and Change 4ists for details a out the 0Eport $il! 4ists dialog.

2 After eEporting that list' choose )All are opticals* fro! the "ransitions pop,up !enu to eEport a fil! list for an optical printing 2uote.

*ivi-ing Transitions #etween a Contact an- Optical Printer You can have standard,length transitions created y a contact printer and the rest of the transitions created as opticals. You do this y eEporting a fil! list in which standard,length transitions are listed as cuts for printing on a contact printer' and nonstandard,length transitions are listed as opticals.
1(! 1(!1 Chapter 9 0diting with $inal Cut 9ro

To e4port a film list s%pporting +oth contact an- optical printing In the 0Eport $il! 4ists dialog' choose )%td are cuts* fro! the "ransitions pop,up !enu.

%ee 0Eporting $il! 4ists Using $inal Cut 9ro for !ore infor!ation a out generating a fil! list.

"rac(ing Buplicate Uses of %ource Material

Cine!a "ools !a(es it possi le to trac( !ultiple uses of the sa!e source !aterial in your edited se2uence. "here are two asic reasons to do this@ J I" &ou /ant to use the same source material more than once in &our $ro#ect: You can eEport a duplicate +)dupe*/ list and give it to your la as a part of a duplicate negative order. J I" &ou don>t /ant to s$end the mone& required to create a du$licate negative: You need to e careful not to edit in a way that uses the sa!e source !aterial !ore than once ecause there is only one original ca!era negative. :hen editing digitally' itLs so easy to use the sa!e !aterial twice that you !ay not even reali#e that youLve done it' ut Cine!a "ools lets you chec( for duplicate usages on a regular asis. In deter!ining whether or not any fra!es have een used !ore than once' Cine!a "ools assu!es that' ecause of typical A and 1 roll fil! splicing +also called chec*er(oarding/' at least one,half of a fra!e will e lost at oth the In point and the -ut point of each cut of fil!. In Cine!a "ools' these fra!es are called cut handles. %o!e negative cutters !ay want to use !ore than a half,fra!e on each side of a cut. In the 0Eport $il! 4ists dialog' you can specify up to five and one,half fra!es of cut handles. If you inadvertently include' in a se2uence' fra!es that are needed as cut handles' Cine!a "ools reports the! as duplicate usages in the duplicate list and the dou le usage warnings. ItLs i!portant to chec( for duplicate usages efore you loc( the picture and prepare to have the original ca!era negative cut. %ee Buplicate 4ist and Bou le Usage :arnings to find out how to eEport a duplicate list and include duplicate usage infor!ation in a fil! list.

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If you are editing your pro?ect as !ultiple se2uences +for eEa!ple' one se2uence for each reel/' itLs est to place all the se2uences together efore eEporting a duplicate list. "his way Cine!a "ools can find duplicate usages across the entire feature. An easy approach is to place all the se2uences into a nested se2uence efore generating a duplicate list. =owever' when you intend to eEport a fil! list' do not nest part of one se2uence into another se2uence. -nly whole,se2uence nesting is supported when you eEport a Cine!a "ools list. %ee the $inal Cut 9ro docu!entation for infor!ation a out creating a nested se2uence.

0nsuring Cut 4ist Accuracy with G@2 9ull,Bown or 26 H 3 Cideo

:ith G@2 pull,down &"%C video or 26 H 3 9A4 video +also (nown as 24 0 21 $ull'do/n video in $inal Cut 9ro/' a fil! fra!e that is !atched ac( fro! your edits !ay turn out to e the one efore or the one after your original edit point. +%ee $ra!e <ate 1asics for an eEplanation./ :ith G@2 pull,down &"%C video' you can avoid such !atch, ac( inaccuracies y using the Cine!a "ools <everse "elecine feature or third,party reverse telecine hardware to reverse the G@2 telecine pull,down efore you egin editing. If you did not reverse the G@2 pull,down in &"%C video +or if you are wor(ing with 26 H 3 9A4 video/' you can still avoid cut list inaccuracies through careful editing. Your goal for each clip is to !a(e sure that the fra!e showing the slate' or the last fra!e of the previous shot' doesnLt end up in the final fil!@ J :hen setting edit points for a clip' e careful not to place the In point at the first good fra!e in the clip' or the -ut point at the last fra!e. In other words' set the In point at least one fra!e after your shot starts and the -ut point at least one fra!e efore the last fra!e in the shot. J If you !ust edit on the first or last fra!e of a shot' !a(e a note of the (ey nu! er fro! the window urn' and review the cut list later to confir! that the (ey nu! er is the sa!e in the cut list. J Avoid putting In or -ut points at fra!es with two fields that ca!e fro! two different fra!es of the fil!. $or eEa!ple' donLt place an edit at a 1C or CB fra!e.

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Chapter 9 0diting with $inal Cut 9ro

2enerating &ilm 3ists an- Change 3ists

1"

Cine!a "ools can create a variety of lists fro! your edited pro?ect. "his chapter covers the following@ J An Introduction to $il! 4ists and Change 4ists +p. 359/ J Choosing the 4ist $or!at +p. 380/ J 4ists You Can 0Eport +p. 383/ J 0Eporting $il! 4ists Using $inal Cut 9ro +p. 388/ J Creating Change 4ists +p. 3K6/ J :or(ing with I%4 %tyle %heets +p. 379/

An Introduction to $il! 4ists and Change 4ists

:hen youLve finished editing and are ready either to have the original ca!era negative cut or to confor! a wor(print' itLs ti!e to eEport a fil! list. Using the infor!ation in the data ase' Cine!a "ools translates the edits !ade in $inal Cut 9ro into infor!ation a negative cutter can use as a guide. "his infor!ation is provided in the for! of a cut list. A nu! er of other lists that are useful for fil! can e eEported with the cut list. All of these lists' including the cut list' are called "ilm lists4 -ne fil! list file can contain several related lists' including any of the following@ J Cut list: A list of edits and titling infor!ation +also (nown as an assem(le list/ J Missing elements list: A list of any re2uired infor!ation that could not e found in the data ase J Du$licate list: A list of duplicate usages of the sa!e source !aterial J !$tical list: A list for the effects printer' descri ing any transition' filter' and !otion effects J Pull list: A list to aid the la in pulling the re2uired negative rolls J -cene list: A list of all the scenes used in your progra! and the shots used in the opticals

1(9

You can generate another type of list' called a change list' after an initial cut list has een created or when you want to co!pare two IM4 versions of a $inal Cut 9ro se2uence. In a fil! wor(flow' the change list assu!es a wor(print has een cut to the specifications of a cut list +or prior change list/ and specifies further changes to !a(e to the wor(print' ased on edits you have !ade to the se2uence in $inal Cut 9ro. %ee Creating Change 4ists for !ore infor!ation.

Choosing the 4ist $or!at

Cine!a "ools provides three for!at options for eEporting your lists@ J PD% "ile: A for!at for easy viewing that contains only the infor!ation that you specify J EM8 "ile: A for!at for use with other software that contains all of the fil! infor!ation fro! the se2uence J -t&le sheetF(ased "ile: A for!at controlled y a style sheet that you choose. You can use the style sheets provided y Cine!a "ools' including a plain teEt style sheet. %ee 0Eporting $il! 4ists Using $inal Cut 9ro for infor!ation a out creating fil! lists using $inal Cut 9ro and Creating 0B4,1ased and IM4,1ased $il! 4ists for infor!ation a out creating fil! lists using Cine!a "ools.

A+o%t P*&;&ormat &ilm 3ists

0Eporting a 9B$,for!at fil! list creates a file that can e opened in 9review or any other 9B$ viewer. You can choose which ite!s to include in the list and even set their order. Ti$: Although you cannot directly edit the teEt in a 9B$ file when viewing it with 9review' you can use the 9review annotation tool to add co!!ents. %ee 9review =elp for !ore infor!ation.

A+o%t 6.3;&ormat &ilm 3ists

0Eporting an IM4,for!at fil! list creates a file that contains all fil!,related infor!ation fro! the $inal Cut 9ro se2uence. Im$ortant: IM4,for!at fil! lists are not related to the other IM4 files you can eEport fro! $inal Cut 9ro. Unli(e 9B$,for!at fil! list files' which are intended to e printed and read' IM4,for!at fil! list files are for!atted so that other applications can relia ly eEtract specific data fro! the fil! list. "he IM4 for!at is intended to e used to eEchange infor!ation etween software applications. "he purpose of IM4,for!at fil! lists is to provide all of the fil! infor!ation a out a $inal Cut 9ro se2uence in a for!at that the user can incorporate into other custo! software eing used in the fil! wor(flow. Note: You can open an IM4,for!at fil! list in a teEt editor' such as "eEt0dit' to see the structure and infor!ation it contains.
1!" 1!" Chapter 1" Fenerating $il! 4ists and Change 4ists

%ee IM4 $il! 4ist 1asics for !ore infor!ation a out the contents of IM4 fil! lists.

A+o%t 1t/le 1heetH#ase- &ilm 3ists

Cine!a "ools includes support for custo! fil! lists. "hese fil! lists are ased on 0Etensi le %tylesheet 4anguage "ransfor!ations +I%4" / files' or' as they are referred to in Cine!a "ools' st&le sheets. Cine!a "ools includes style sheets and support for custo! style sheets that you create. I%4", ased style sheets are co!!only used to eEtract infor!ation fro! IM4 files. :hen you eEport a style sheetQ ased fil! list' Cine!a "ools first eEports an IM4,for!at fil! list and then processes that IM4 output with the selected style sheet' resulting in eEactly the output ite!s and layout the style sheet specifies. "he Cine!a "oolsQsupplied style sheet files are located in A4i raryAApplication %upportA$inal Cut %tudioACine!a "oolsA and all have an .Esl file eEtension. :hen you choose Add %tyle %heet fro! the %tyle %heet pop,up !enu in the 0Eport $il! 4ists dialog to i!port a custo! style sheet' the style sheet is copied to AUsersAusernameA4i raryAApplication %upportA$inal Cut %tudioACine!a "oolsA. Note: You can also !anually copy your custo! style sheets to either of these folders to have the! appear in the %tyle %heet pop,up !enu without having to use Add %tyle %heet first. %ee :or(ing with I%4 %tyle %heets for infor!ation a out custo!i#ing style sheets to etter !atch your wor(flow.

4ists You Can 0Eport

You can eEport a nu! er of useful lists y using the 0Eport $il! 4ists dialog. :hen you eEport a fil! list' one fil! list file is generated' and that file contains all the lists you selected in the dialog. Any lists that you did not specifically select are not included in the eEported fil! list file. Note: All of the lists you choose to include in the fil! list are ased on the video trac( you choose in the "rac( pop,up !enu. You can select a different trac( and eEport a second list if needed. $or eEa!ple' if your se2uence contains titles +including any )supers*Msuperi!posed i!ages or fra!es/ on video trac( 2' you can eEport a second fil! list that includes the edit infor!ation for the!. "his !a(es it possi le for you to configure alternative title trac(s and eEport fil! lists for each version.

C%t 3ist
"he first list you can select to eEport is the cut list. "he cut list you eEport fro! $inal Cut 9ro is the list that contains the instructions for cutting the original ca!era negative or wor(print to !atch the digitally edited progra!. Cut lists are also (nown as assem(le lists.

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.issing ,lements 3ist

"he !issing ele!ents list lists all of the clips in a se2uence for which a corresponding data ase record either was not found or did not contain all of the necessary infor!ation. It is i!portant that you eEport and eEa!ine a !issing ele!ents list to !a(e sure that there are no ele!ents !issing efore the negative cutter egins confor!ing the negative. $or each clip listed in the !issing ele!ents list' the ele!ent that is !issing is specified. "he shot nu! er where that clip appears in the cut list is called out on a separate line. If any of the following are !issing' they are listed in the !issing ele!ents list@ J 4a ' ca!era' or daily roll J .ey nu! er or in( nu! er Additionally' each source clip !ust e connected to a record' unless you can use the ti!ecode, ased !ethod for cut list generation +see A 9otential Bata ase %hortcut for Ca!era,<oll "ransfers/. "o use the ti!ecode, ased !ethod for cut list generation' each record !ust also include these ele!ents@ J Cideo reel J "i!ecode and duration

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Chapter 1" Fenerating $il! 4ists and Change 4ists

:esolving .issing ,lements

,esolving a missing element !eans finding the corresponding data ase record' if it eEists' and filling in the !issing infor!ation' or creating a new data ase record if none eEists. "o locate the data ase record' there are two asic approaches. 0f the >ame of the Clip 0s in the .issing ,lements 3ist You can use the clip na!e to loo( for the clip in the 4ist Ciew window. In the 4ist Ciew window' clic( Clip to sort the records y clip na!e. -r' if the clip na!e includes its scene identifier' you can use the $ind co!!and to search for the clip y the scene identifier. If no data ase record is found for the clip' create one and connect the clip to it. Use the Identify feature in the Clip window to enter the re2uired infor!ation. 0f the 7i-eo :eel an- Timeco-e Appear in the .issing ,lements 3ist You can use the video reel and ti!ecode infor!ation to loo( for an eEisting data ase record for the clip. In the 4ist Ciew window' choose Cideo fro! the pop,up !enu at the top of the window. Clic( <eel or "i!ecode to sort the records y the video reel or ti!ecode. 4oo( for the !issing video reel or ti!ecode value +or a si!ilar ti!ecode value/. .eep in !ind that the ti!ecode value given in the !issing ele!ents list is not li(ely to !atch the data ase record eEactly ecause the ti!ecode value in the data ase corresponds to the first fra!e of the clip. You (now itLs a !atch if the ti!ecode value in the !issing ele!ents list occurs efore the end of the ti!ecode duration specified in the data ase record. Note: <e!e! er that the video reel na!e !ust appear eEactly as it appears in the !issing ele!ents list. $or eEa!ple' reel )003* does not !atch reel )0003.* J I" &ou "ind the timecode value) (ut the video reel name doesn>t match the one listed in the missing elements list: Update the reel na!e in the data ase record or change it in $inal Cut 9ro. J I" the reel name matches one or more records in the data(ase) (ut the missing elements list tells &ou that the data(ase record is missing: "he ti!ecode is incorrect. "he est way to resolve this is to create a new data ase record and connect the source clip to it. "hen you can use the Identify feature to deter!ine and enter the edge code and ti!ecode infor!ation for the clip. If you create a new data ase record' delete the incorrect record that the new record replaces. Alternatively' you can update the Cideo "i!ecode or the Cideo Buration field in the data ase record' ut then you also have to update the .ey and In( fields.

Chapter 1" Fenerating $il! 4ists and Change 4ists

1! 1! 1

*%plicate 3ist an- *o%+le Usage Warnings

:hen editing digitally' itLs easy to include a clip or part of a clip !ore than once in the edited progra!. :hen this happens' you either have to create a duplicate negative or reedit the progra! to re!ove the duplicate usages' ecause the footage eEists only once on the original ca!era negative. 1ut first you have to (now where the duplicate usages are' and that is the purpose of the duplicate list and dou le usage warnings. *%plicate 3ist "he duplicate list is what you give to your la if you want the la to pull specific shots fro! your negative rolls and !a(e duplicate negatives for you. It docu!ents every shot for which there is one or !ore duplicate usages. Note: Content that is part of an optical is not counted as a duplicate usage. =owever' placing a dissolve transition etween two clips that have no other source footage availa le etween the! +such as two clips that were originally one clip/ results in a duplicate usage. *o%+le Usage Warnings If you choose :arn fro! the Buplicates pop,up !enu in the 0Eport $il! 4ists dialog' a warning !essage appears where duplicate usages occur in the cut list. "he !essage tells you eEactly which fra!es have een used !ore than once and eEactly where in your editing pro?ect they are used. All of these !essages also appear in a dou le usage warning list.

Optical 3ist
"he optical list serves as a !aster list for transition' filter' and !otion effects. If there is a series of connected transition and !otion effects' the optical list co! ines the! and descri es the! as a single optical. You give the optical list to the optical house to outline how the effects shots are to e asse! led. Note: "itles' which are another (ind of optical' use a second video trac( and are not part of the optical list. You can eEport a separate cut list for the trac( that contains the titles. %ee Using 0ffects' $ilters' and "ransitions for !ore infor!ation. An optical list actually consists of up to four separate lists@ J !$tical list: "his list contains an entry for each cut list event that uses an optical effect. 1ased on the type of optical effect' each entry lin(s to one of the three effects lists +descri ed neEt/ that are also included with the optical list. "hese effects lists include the actual details of the optical effect. J Transition e""ects list: "his list contains an entry for each optical list entry that contains a transition effect' such as a cross dissolve or wipe. %ee "ransition 0ffects 4ist for !ore infor!ation.

J %ilter e""ects list: "his list contains an entry for each optical list entry that contains a
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filter effect' such as a lur or color correction. %ee $ilter 0ffects 4ist for !ore infor!ation.

Chapter 1" Fenerating $il! 4ists and Change 4ists

1!( 1!(1

J Motion e""ects list: "his list contains an entry for each optical list entry that contains a !otion effect' such as a ti!e re!apping speed change. %ee Motion 0ffects 4ist for !ore infor!ation. 8ow the 3ist ,ntries Are 3in)eIf an optical list entry contains !ultiple types of effects' such as a transition' a filter' and a !otion effect' the optical list entry only lin(s to one of the effects lists. J I" the o$tical list entr& includes a transition e""ect: "he optical list entry lin(s to an entry in the transition effects list. If the optical list entry also includes a filter effect' the transition effects list entry lin(s to a filter effects list entry' which lin(s to a !otion effects list entry if a !otion effect is also included. J I" the o$tical list entr& contains onl& a "ilter and a motion e""ect: "he entry lin(s to a filter effects list entry' which lin(s to a !otion effects list entry. J I" the o$tical list entr& contains onl& a motion e""ect: "he entry lin(s directly to a !otion effects list entry. 0ach entry in the effects lists includes the original optical list entry nu! er and the original cut list event nu! er the entry applies to' !a(ing it easy to relate the different lists to each other. Transition ,ffects 3ist "he transition effects list contains infor!ation a out the fades' dissolves' and other transitions fro! your edited progra!. "ransitions can e treated as cuts or as opticals' ased on what you choose fro! the "ransitions pop,up !enu in the 0Eport $il! 4ists dialog. If you choose to treat all transitions as cuts' the transition effects list is e!pty' and the transitions are listed as cuts in the cut list. &ilter ,ffects 3ist "he filter effects list contains infor!ation' including the actual filter na!e and its category' related to any filter effects applied to the se2uence. .otion ,ffects 3ist If a shot has a speed other than the nor!al forward speed of 26 fps' an entry is !ade in the !otion effects list' and the optical list refers to the !otion effects list for that shot. A digital editing syste! can assign al!ost any ar itrary speed to a clip to create a !otion effect digitally' ut neither videotape nor fil! can perfectly reproduce every speed that the digital editing syste! can assign. "herefore' e aware that the optical negative that is !ade is not necessarily going to loo( eEactly the way the !otion effect loo(ed in the editing syste!.

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Chapter 1" Fenerating $il! 4ists and Change 4ists

Im$ortant: 1ecause of the fra!e rate changes involved in !otion effects' (ey nu! ers that are reported in the !otion effects list are not guaranteed to e accurate. If you have a window urn of the (ey nu! ers' you should chec( to !a(e sure that the (ey nu! ers in the !otion effects list are accurate and correct the! when necessary.

P%ll 3ist
"he pull list is the sa!e as the cut list' eEcept that the shots appear in the order in which they can e found on the negative rolls. "he la can refer to the pull list when going through your negative rolls to find the shots that will e cut into the fil!. 0ach ite! in the pull list displays the shot nu! er fro! the cut list.

1cene 3ist
"he scene list lists all of the shots that are used in the cut list' with each shot listed only once. You can use the scene list to order prints of the shots in your progra! so that you can confor! a wor(print efore the negative is cut.

Optical 1cene 3ist

If you select )-ptical list* and )%cene list* in the 0Eport $il! 4ists dialog' an optical scene list is generated along with the scene list. "he optical scene list is a list of all the shots used in all the opticals and !otion effects' with each shot listed only once. "he la can use this list to pull the footage needed to !a(e the opticals.

0Eporting $il! 4ists Using $inal Cut 9ro

In !ost situations you will use $inal Cut 9ro to eEport any of the lists descri ed in the previous sections. As long as you have an 0B4 or IM4 file ased on a $inal Cut 9ro se2uence' you can also eEport fil! lists directly fro! Cine!a "ools. %ee Creating 0B4, 1ased and IM4,1ased $il! 4ists for !ore infor!ation. In either case' one fil! list file is generated' and that file contains all the lists you selected in the eEport dialog.

,4porting the &ilm 3ists

0Eporting fil! list files wor(s si!ilarly for 9B$,for!at' IM4,for!at' and style sheetQ ased fil! lists. To e4port a film list file 1 In the $inal Cut 9ro 1rowser or "i!eline' select the se2uence for which you want to create a list. 2 Choose $ile P 0Eport P Cine!a "ools $il! 4ists. A dialog appears so you can choose the for!at of the list. Choose the for!at of the list fro! the 4ist $or!at pop,up !enu.

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"he options are 9B$' IM4' and :ith %tyle %heet. %ee A out 9B$,$or!at $il! 4ists' A out IM4,$or!at $il! 4ists' and A out %tyle %heetQ1ased $il! 4ists for infor!ation a out these for!ats. 4 If you chose :ith %tyle %heet fro! the 4ist $or!at pop,up !enu' choose a style sheet fro! the %tyle %heet pop,up !enu. ( Clic( Continue. "he 0Eport $il! 4ists dialog appears. "he settings in the dialog vary ased on the for!at you chose in the 4ist $or!at pop,up !enu. $ollowing is the dialog for the 9B$ list for!at.

$ollowing is the dialog for the IM4 and :ith %tyle %heet list for!ats.

! Configure the settings in the dialog. %ee %ettings the 0Eport Bialogs =ave in Co!!on for settings infor!ation.

1!8 1!8

Chapter 1" Fenerating $il! 4ists and Change 4ists

If you eEpect to !a(e changes to this $inal Cut 9ro se2uence and want to eEport a change list later' !a(e sure to select )%ave a Cine!a "ools progra! file.* You can use that progra! file to eEport a change list that co!pares this version of the se2uence to another version. Note: You can use a $inal Cut 9ro IM4 file of the se2uence in place of the Cine!a "ools progra! file when you eEport a change list. 7 Clic( 0Eport. 8 If you selected )%ave a Cine!a "ools progra! file'* enter a filena!e and location for the file in the dialog that appears. Im$ortant: Five the progra! file a na!e that clearly identifies the se2uence and the version' so that you can easily locate it later when you need to eEport a change list that co!pares this se2uence to a newer version. 9 In the neEt dialog that appears' enter a filena!e for the fil! list' choose a location' and clic( %ave. 1" In the dialog that appears' select the data ase file that Cine!a "ools should use to produce the lists that you have selected. +%elect the data ase you created for source !edia used in this se2uence./ A fil! list is generated as a file that contains all of the lists you have selected. If you eEported a 9B$,for!at list' it auto!atically opens in 9review +or the application you have set as your default for opening 9B$ files/. After eEporting a fil! list' you should co!pare the edge code +(ey nu! ers or in( nu! ers/ in the fil! list to the edge code in the window urn at the In point fra!e of each edit. Although it can e ti!e,consu!ing to go through all of the edits and co!pare the edge code nu! ers' it prevents the loss of ti!e and !oney caused y incorrect cuts. ItLs particularly i!portant to chec( the edge code nu! ers if you are not confor!ing a wor(print efore cutting your negative.

Chapter 1" Fenerating $il! 4ists and Change 4ists

1!9 1!91

1ettings the ,4port *ialogs 8ave in Common

"he settings availa le in the eEport dialogs vary depending on which output for!at you choose fro! the 4ist $or!at pop,up !enu' ut all versions have the sa!e asic settings. "he dialog that appears when you choose 9B$ fro! the 4ist $or!at pop,up !enu contains additional for!atting settings. %ee 9B$ Configuration %ettings in the 0Eport $il! 4ists Bialog for !ore infor!ation a out configuring 9B$ fil! lists.

"he eEport dialogs have these settings in co!!on@ J 8ist Title: 0nter a na!e for the fil! list file you are going to eEport. J %ilm -tandard: Choose the fil! standard that !atches the type of fil! you are using. "his should e the sa!e as the fil! standard setting you used when you created the pro?ect data ase. Cine!a "ools uses the fil! standard that you choose here to calculate footage counts in the cut list. J Telecine -$eed: %elect the speed at which the fil! was transferred@ J I" &ou are /or*ing /ith NT-C video: You would typically choose 26 fps' though the actual speed of the fil! in the telecine was approEi!ately 2G.97 fps. J I" &ou edited NT-C video that /as trans"erred at 25459 "$s: Choose G0 fps. J I" &our "ilm /as trans"erred to video at 24 "$s: Choose 26 fps. J I" &our "ilm /as trans"erred to video at 21 "$s: Choose 25 fps. J Du$licates: Choose whether you want to e notified when duplicate usage of source !aterial is found. If you choose :arn' a warning !essage appears in the cut list every ti!e a duplicate usage occurs. "he !essage tells you eEactly which fra!es have een used !ore than once and eEactly where in your editing pro?ect they are used. All of these !essages also appear in a dou le usage warning list. If you choose Ignore' these dou le usage warnings do not appear.

17" 17"

Chapter 1" Fenerating $il! 4ists and Change 4ists

J Transitions: Choose how transitions should e listed in the fil! list. %ee Contact 9rinting vs. -ptical 9rinting for !ore infor!ation. Note: Cine!a "ools identifies the set of standard lengths for 26 fps or 2G.97 fps !edia as 38' 26' G2' 67' 86' and 98 fra!es in duration. Cine!a "ools identifies the set of standard lengths for 29.9K fps !edia as 20' G0' 60' 80' 70' and 320 fra!es in duration. +Ma(e sure to chec( with your contact printer a out the standard lengths re2uired for different fra!e rates./ "here are three choices for how transitions are listed in a fil! list@ J 7ll are cuts: All transitions are represented y a cut in the !iddle of the transition' regardless of whether or not the transitions are of standard length. Choose this option if you are eEporting a list for use in confor!ing a wor(print. Cine!a "ools also inserts notes to indicate where the start and end of the transition should e for oth the outgoing and inco!ing clips. "hese notes can e used as a guide in !ar(ing the transitions on the confor!ed wor(print. J -td are cuts: "hose transitions that are of standard length are listed as cuts' and those that are of nonstandard length are descri ed as opticals. "his is the option that you choose if youLre going to have your transitions printed on a contact printer. If you choose this option' standard,length transitions appear in the cut list' not the optical list' and are shown as a cut in the !iddle of the transition. "he starting and ending points of the transition also appear in the cut list as three lines for a dissolve and two lines for a fade. "he cut list contains all of the infor!ation that the negative cutter re2uires to prepare the A and 1 rolls for these transitions. J 7ll are o$ticals: All clips that are part of a fade or dissolve are listed in the optical list. Choose this option if you want all of your fades and dissolves to e printed optically' regardless of their length. J ;andles: Your negative cutter or optical printer !ay want to have so!e spare fra!es on either side of a transition. "hese eEtra fra!es are called transition handles4 0nter a nu! er etween 0 and G2. :hen chec(ing to see if any fra!es are used !ore than once' Cine!a "ools adds this nu! er of fra!es plus one,half to the head of the inco!ing shot and the tail of the outgoing shot for each transition. + "he setting you choose for cut handles does not apply to transitions./ J Cut ;andles: In deter!ining whether or not any fra!es have een used !ore than once' Cine!a "ools assu!es that at least one,half of a fra!e is destroyed at oth the In point and the -ut point of each cut. %o!e negative cutters !ay want to use !ore than a half,fra!e on each side of a cut. You can specify up to five and one,half fra!es of cut handles. If you inadvertently include' in a se2uence' fra!es that are needed as cut handles' Cine!a "ools reports the! as duplicate usages in the duplicate list and the dou le usage warnings. J Trac*: You can choose the video trac( to ase the eEported list on.

Chapter 1" Fenerating $il! 4ists and Change 4ists

171 1711

J -tarting %ootage: 0nter a starting nu! er to use for the fil! listLs )$eet H fra!es* value. "he default value is 0000S00. $ollowing are so!e tips for how to use the )%tarting* entries@ J I" &ou are generating a cut list "or con"orming the negative: You typically want to start at #ero. J I" &ou are editing &our "ilm (& scene or (& reel: You !ay want to enter a starting point in the )%tarting* fields that is the sa!e as the ending point of the preceding scene or reel. "his field is auto!atically filled in with the se2uence starting point you have set in the $inal Cut 9ro "i!eline. J I" &ou /ant to generate a cut list /ith timecode so that &ou can com$are events in the list /ith edits in %inal Cut Pro or in the ?D8: %tart the cut list at the sa!e ti!ecode value as the "i!eline se2uence or the 0B4 start ti!e. J -tarting Time: 0nter a starting ti!ecode nu! er for the fil! listLs "i!e value. "he default value is the se2uenceLs starting ti!ecode value. J -tarting Count: 0nter a starting fra!e count nu! er for the fil! listLs Count value. "he default value is 0000. J -ave a Cinema Tools $rogram "ile: A progra! file can e used if you want to later create a change list for this se2uence' reflecting any edits you !a(e after this point. Note: You can also use a $inal Cut 9ro IM4 file for this se2uence to create a change list. %ee A out 0Eporting Change 4ists for !ore infor!ation. A progra! file is also needed if you want to eEport an audio 0B4 fro! Cine!a "ools. 0Eporting an audio 0B4 fro! $inal Cut 9ro is !ore auto!ated and does not re2uire a Cine!a "ools progra! file. %ee 0Eporting an Audio 0B4 for !ore infor!ation. J -tart /ith 6 seconds o" leader: Choose whether or not to start the cut list with 7 seconds of leader. 0ight seconds is the standard length of Acade!y or %M9"0 leader. If you select this option' 7 seconds of leader is inserted at the eginning of the cut list. If you have already included a leader clip at the eginning of the se2uence' do not select this chec( oE. +ItLs etter to use a leader clip in your se2uence instead of selecting this option in the cut list ecause the ti!ecode in the digital se2uence will not !atch the ti!ecode in the cut list unless a leader clip actually eEists in the se2uence./ Note: "he 0Etras folder on the $inal Cut %tudio installation disc contains a folder with head leader clips and a docu!ent eEplaining how to use the!. J %ilm list chec*(o<es: %elect the list types to include in the eEported fil! list. J Cut 8ist: infor!ation. %elect to include a cut list. %ee Cut 4ist for !ore

J Du$e 8ist: %elect to include a duplicate list. %ee Buplicate 4ist and Bou le Usage :arnings for !ore infor!ation. J !$tical 8ist: infor!ation. %elect to include an optical list. %ee -ptical 4ist for !ore
171 1711

Chapter 1" Fenerating $il! 4ists and Change 4ists

J Pull 8ist: infor!ation.

%elect to include a pull list. %ee 9ull 4ist for !ore

172 1721

Chapter 1" Fenerating $il! 4ists and Change 4ists

J -cene 8ist: %elect to include a scene list. %ee %cene 4ist for !ore infor!ation. J Missing ?lements 8ist: %elect to include a !issing ele!ents list. %ee Missing 0le!ents 4ist for !ore infor!ation.

P*& Config%ration 1ettings in the ,4port &ilm 3ists *ialog

:hen eEporting a 9B$,for!at fil! list' you can control which ite!s appear in the list and their order. "his allows you to create a fil! list that includes eEactly the infor!ation you re2uire. To a-- items to the P*& film list Brag ite!s fro! the left colu!n to the right colu!n.
"he left colu!n lists all of the possi le ite!s that can appear in the 9B$ fil! list.

"he right colu!n lists the ite!s in the order that they will appear in the 9B$ fil! list.

U U

To remove items from the P*& film list %elect ite!s in the right colu!n and press Belete. To set the or-er of the items in the P*& film list Brag ite!s up and down in the right colu!n. "he width of the 9B$ fil! list is li!ited' and it is possi le to add !ore ite!s than will actually appear in the list. 1y using the settings in the 4ayout -ptions area of the 0Eport $il! 4ists dialog' you can custo!i#e the 9B$ page layout and font si#e so that !ore selected colu!ns will fit.

Chapter 1" Fenerating $il! 4ists and Change 4ists

17 17 1

To c%stomiBe the P*& page la/o%t 1 Choose 9ortrait or 4andscape fro! the -rientation pop,up !enu. 2 Choose a font si#e fro! the $ont %i#e pop,up !enu. You can save and load settings files that include the colu!n configuration and the -rientation and $ont %i#e settings. Additionally' !ost of the other settings in the dialog are also saved as part of the settings file. "he eEceptions are the "rac(' %tarting $ootage' %tarting "i!e' and %tarting Count settings. 1eing a le to save and load settings files for this dialog !a(es it easy to configure !ultiple Cine!a "ools syste!s to eEport lists with the sa!e configuration. Note: "he dialogs you use to eEport fil! lists and change lists auto!atically re!e! er the last settings you used and will use those settings the neEt ti!e the dialog appears. To save the c%rrent settings 1 Clic( the %ave %ettings utton. 2 0nter a filena!e and location for the settings file in the dialog that appears. Clic( %ave. To loa- a settings file 1 Clic( the 4oad %ettings utton. 2 %elect the settings file and clic( -pen. $ollowing is a list of the ite!s you can choose to include in your eEported 9B$ fil! list.
0tem name $eet H fra!es "i!e Count $ootage length "i!e length Count length .ey nu! ers In( nu! ers %ource reel %ource ti!e %ource count Ca!era roll P*& name $ootage "i!e Count 4ength 4ength 4ength 9refiE and .ey 9refiE and In( <eel %rc "i!e %rc Count Ca! <oll 1hows <unning footage count starting with the %tarting $ootage value <unning ti!ecode starting with the %tarting "i!e value <unning fra!e count starting with the %tarting Count value 4ength of each event in feet and fra!es 4ength of each event in ti!ecode 4ength of each event in fra!es %tarting source (ey nu! er of each event %tarting source in( nu! er of each event %ource reel nu! er %tarting source ti!ecode value of each event %tarting and ending source fra!e counts Ca!era roll nu! er

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Chapter 1" Fenerating $il! 4ists and Change 4ists

0tem name 4a roll Baily roll Clip na!e %cene H ta(e B9I fra!e

P*& name 4a <oll Bly <oll Clip &a!e %cene and "a(e B9I $ra!e

1hows 4a roll nu! er Baily roll nu! er %ource clip na!e %cene and ta(e settings %tarting and ending fra!e B9I filena!es

Creating Change 4ists

A change list reports the differences etween two versions of a se2uence edited in $inal Cut 9ro. $or fil!, ased pro?ects' the purpose of the change list is to descri e the changes that need to e !ade to the wor(print or negative since it was confor!ed to a prior version of the se2uence. $or BI pro?ects' change lists are used to let other depart!ents' such as the sound depart!ent or closed captioning depart!ent' (now the details a out changes you have !ade to the se2uence. :hen you eEport a change list' you can also choose to include in the change list file a change $ull list' which lists fil! rolls in the order in which they need to e pulled to add any new fil! to the wor(print' and a discard list' which lists any sections that need to e re!oved. :hen you eEport a change list file fro! $inal Cut 9ro' you can also eEport a new cut list +and other standard fil! lists/ for the se2uence. :hen creating the change list' Cine!a "ools uses a variety of !ethods to !atch up the original and new edits to generate the change list. $ollowing is a list of the !ethods in order fro! !ost relia le to least relia le@ J 0ach clipLs uni2ue identifier J "he reel nu! er and ti!ecode values J .eycode +(ey nu! ers or in( nu! ers/ J Clip na!e

Chapter 1" Fenerating $il! 4ists and Change 4ists

17( 17(1

When Are Change 3ists Use- in a &ilm Wor)flow9

Change lists are typically used in a cyclical wor(flow that involves digital editing' sound confor!ing' and wor(prints.
Yes Confor! original ca!era negative to latest cut list and wor(print

More changes re2uiredD

&o

Create wor(print

"ransfer to video

$inal Cut 9ro with Cine!a "ools data ase 0dit se2uence 1 2 Confor! wor(print to change list

:or(print screening

0Eport change list and cut list 0Eport cut list

Confor! wor(print to cut list

$ollowing is a typical wor(print, ased change list wor(flow. 1tage 1C .a)ing a Wor)print 7i-eo Ma(e a wor(print fro! the original ca!era negative' with in( nu! ers applied to the edge' and !a(e a telecine transfer video of the wor(print. 1tage 2C ,4porting a C%t 3ist of the ,-ite- Wor)print 7i-eo 0dit the wor(print video in a digital editing syste! and eEport a cut list +usually ased on in( nu! ers/ to use as a guide to confor! the wor(print' as well as either a Cine!a "ools progra! file or a $inal Cut 9ro IM4 file fro! the se2uence to use when eEporting the change list. 1tage C Pro'ecting the C%t Wor)print 9ro?ect the cut wor(print for screenings' and !a(e decisions to cut or add to the !ovie. 1tage 4C .a)ing Changes in the ,-iting 1/stem Ma(e any changes to the !ovie in the digital editing syste!. 1tage (C ,4porting a Change 3ist to Conform the Wor)print to the Changes 0Eport a change list' which provides instructions for !odifying the wor(print to confor! to the new version of the !ovie. 1tage !C Conforming the Wor)print Using the Change 3ist :ith the change list as a guide' confor! the wor(print to !atch the new version of the !ovie.

17! 17!1

Chapter 1" Fenerating $il! 4ists and Change 4ists

%tages G through 8 are repeated until it is decided that the picture is loc(ed. $inally' the original ca!era negative is cut to !atch the final wor(print and cut list.

When Are Change 3ists Use- in Other Wor)flows9

Change lists can e used in a variety of other wor(flows' including those that do not involve fil! at all. "hese include digital inter!ediate' sound confor!ing' and closed caption wor(flowsMany wor(flow where you need to (now what has changed etween two edited versions of a progra!. "he (ey to eing a le to eEport a change list is to have availa le either a $inal Cut 9ro IM4 file or a Cine!a "ools progra! file that represents the previous version of the se2uence. If you eEport the change list using $inal Cut 9ro' the file representing the previous se2uence version is co!pared against the current se2uence. If you choose to eEport the change list using Cine!a "ools' you will need a second $inal Cut 9ro IM4 file or a Cine!a "ools progra! file that represents the current se2uence. %ee A out 0Eporting Change 4ists for details to help you choose how to eEport your change lists.
Yes

More changes re2uiredD

$inal Cut 9ro 0dit se2uence %creen progra!

2 0Eported IM4 for second edit Cine!a "ools

0Eport change list 0Eported IM4 for initial edit

Change list +for sound confor!ing' and so on/

$ollowing is a typical wor(flow for using $inal Cut 9ro IM4 files to eEport a change list for use in a nonfil! pro?ect. 1tage 1C Completing the 0nitial ,-it of the Program 0dit your progra! using $inal Cut 9ro as usual.

1tage 2C ,4porting an 6.3 &ile of the &irst 7ersion of the Program After you have finished the initial edit of your progra! and are ready to screen it and have other depart!ents such as sound confor!ing and closed captioning egin wor(ing on it' you need to eEport a $inal Cut 9ro IM4 file for the progra!Ls se2uence. "his IM4 file provides a snapshot of the current state of the pro?ect. It is re2uired if you end up !a(ing changes to the pro?ect later and want to eEport a change list. Note: An alternative approach is to save a copy of the initial se2uence. You can later eEport the $inal Cut 9ro IM4 file y opening that saved initial se2uence. 1tage C 1creening the Program an- .a)ing Changes After you screen your progra!' you !ay find that you need to !a(e so!e changes to it. Ma(e the changes as needed. 1tage 4C ,4porting an 6.3 &ile of the :evise- Program After you have finished the second edit of the progra! and are again ready to screen it' you can either eEport the change list directly fro! $inal Cut 9ro or eEport a new $inal Cut 9ro IM4 file and use Cine!a "ools to eEport the change list. Note: If there is a chance of additional revisions' you should eEport a new $inal Cut 9ro IM4 file even if you are going to generate the change list using $inal Cut 9ro' ecause the IM4 file will e needed to generate future change lists. 1tage (C ,4porting a Change 3ist "he iggest difference etween eEporting a change list using $inal Cut 9ro and eEporting one using Cine!a "ools is that with $inal Cut 9ro you can choose to include any of the other traditional fil! lists along with the change list. "here are other potentially significant differences discussed in A out 0Eporting Change 4ists. J To e<$ort a change list "rom %inal Cut Pro: You select the first versionLs IM4 file +$inal Cut 9ro assu!es you want to co!pare this with the current se2uence' so the second IM4 file is not used/ and choose the type of list to eEport +9B$,for!at' IM4,for!at' or style sheetQ ased/. J To e<$ort a change list "rom Cinema Tools: You si!ply select the two IM4 files to co!pare and choose the type of list to eEport +9B$,for!at' IM4,for!at' or style sheetQ ased/. 1tage !C Using the Change 3ist =ow you use the change list depends on the style of change list you chose to output +9B$, ased' IM4, ased' or a custo! output ased on a style sheet/ and who the list is intended for. A 9B$ version of the change list !ight e used y the sound depart!ent to !anually ad?ust the parts of the progra! the sound editors are wor(ing with' or an IM4 version !ight e part of an auto!ated process providing the closed captioning depart!ent with new video clips to wor( on.

A+o%t ,4porting Change 3ists

You can eEport change lists fro! either $inal Cut 9ro or Cine!a "ools. "his section descri es the differences etween the two !ethods. %ee 0Eporting Change 4ists Using $inal Cut 9ro and 0Eporting Change 4ists fro! :ithin Cine!a "ools for details a out the change list eEport process. "his section also descri es the differences etween using $inal Cut 9ro IM4 files and Cine!a "ools progra! files when eEporting change lists. ,4porting from &inal C%t Pro :hen you eEport a change list fro! $inal Cut 9ro' the following rules apply@ J In addition to the change listQspecific change pull list and discard list' you have the option to include all of the standard fil! lists such as a cut list' a duplicate list' and so on. J "he change listLs fra!e rate is deter!ined y the "elecine %peed setting in the 0Eport Change 4ist dialog. If you choose a Cine!a "ools progra! file to represent the original edit' the progra! file !ust e ased on the sa!e telecine speed. "his !eans that you can only eEport a change list fro! $inal Cut 9ro that uses a fra!e rate supported y a Cine!a "ools data ase +26 fps' 25 fps' or G0 fps/. =owever' you can eEport a change list fro! Cine!a "ools that is ased on nonsupported fra!e rates such as 50 fps or 59.96 fps. J You !ust select a Cine!a "ools data ase. If you are not concerned a out fil!, ased settings such as (ey nu! ers or ca!era rolls' you can select any data ase' or even create an e!pty data ase in Cine!a "ools to e used for this purpose.

"he following diagra! shows the asic process when eEporting a change list fro! $inal Cut 9ro. After you finish the initial edit of the progra!' you eEport a $inal Cut 9ro IM4 file +or a Cine!a "ools progra! file if you are using a fil!, ased wor(flow/ and screen the progra!. If changes are re2uired' you !a(e the edits in the se2uence and then eEport a change list that co!pares the file representing the initial edit with the current se2uence.
Yes

More changes re2uiredD

$inal Cut 9ro 0dit se2uence 0Eport change list %creen progra!

Change list +for sound confor!ing' and so on/

0Eported IM4 for initial edit

,4porting from Cinema Tools :hen you eEport a change list fro! Cine!a "ools' the following rules apply@ J You !ust have two files@ one that represents the original se2uence and another that represents the new se2uence. J You can use a !iEture of $inal Cut 9ro IM4 files and Cine!a "ools progra! files as the original and new se2uences. J "he fra!e rates of the original and new files !ust e the sa!e. J 1y using $inal Cut 9ro IM4 files for the original and new versions of the se2uence' you can output a change list with a fra!e rate that is not actually supported y a Cine!a "ools data ase' such as 59.96 fps or 50 fps. "his can e useful in nonfil!, ased BI wor(flows. +Cine!a "ools progra! files always use a fra!e rate supported y Cine!a "ools data ases./ Note: Change lists eEported fro! $inal Cut 9ro are always ased on Cine!a "oolsQsupported telecine speed + ". %peed/ fra!e rates' as specified in the 0Eport $il! 4ists dialog. "hese fra!e rates include 26 fps' 25 fps' and G0 fps.

J You cannot eEport any of the standard fil! lists' such as a cut list or a duplicate list' along with the change list' as you can fro! $inal Cut 9ro. You can include the change listQspecific change pull list and discard list. "he following diagra! shows the asic process when eEporting a change list fro! Cine!a "ools. After you finish the initial edit of the progra!' you eEport a $inal Cut 9ro IM4 file +or a Cine!a "ools progra! file if you are using a fil!, ased wor(flow/ and screen the progra!. If changes are re2uired' you !a(e the edits in the se2uence and then eEport a new $inal Cut 9ro IM4 file. In Cine!a "ools' you eEport the change list y co!paring the file representing the initial edit and the file representing the current edit.
Yes

More changes re2uiredD

$inal Cut 9ro 0dit se2uence %creen progra!

2 0Eported IM4 for second edit Cine!a "ools

0Eport change list 0Eported IM4 for initial edit

Change list +for sound confor!ing' and so on/

1ho%l- $o% Use 6.3 or Program &iles9 "here are a few differences etween using a $inal Cut 9ro IM4 file and a Cine!a "ools progra! file when eEporting a change list. "hese differences can help you decide which approach is the est for you to ta(e. J :hen you eEport a Cine!a "ools progra! file' you !ust also eEport a fil! list. If you do not need a fil! list' eEporting a $inal Cut 9ro IM4 file is si!pler. If you do need a fil! list' it is easy to add a Cine!a "ools progra! file to that process and avoid having to go through a second eEport process to create the $inal Cut 9ro IM4 file.

J Cine!a "ools progra! files !ust use a valid telecine speed +26 fps' 25 fps' or G0 fps/ as the fra!e rate. If you are not wor(ing on a fil! pro?ect and are using a fra!e rate other than the supported telecine speed fra!e rates' eEporting a $inal Cut 9ro IM4 file retains the se2uenceLs fra!e rate. "his fra!e rate is !aintained if you eEport the change list using Cine!a "ools.

,4porting Change 3ists Using &inal C%t Pro

0Eporting a change list is si!ilar to eEporting a cut list. "a(e note of the following efore you start@ J !nl& one video trac* is com$ared: A change list descri es the difference etween a selected video trac( in one se2uence and a selected video trac( in another se2uence. It does not descri e any other video or audio trac(s. J 7void modi"&ing the Cinema Tools data(ase (et/een e<$orting change lists: :hen a data ase is altered after the previous list was eEported' the new change list !ay not e relia le. =owever' if you did alter the data ase after you eEported the previous list' you can eli!inate this ris( y eEporting a new cut list for the previous se2uence and saving a new progra! file. "hen' use that progra! file when you eEport the change list. J I" &ou have each reel in a se$arate sequence in %inal Cut Pro) and &ou /ant to do some reel (alancing: 9erfor! the reel alancing edits after any other changes. %ee If You &eed to <eel 1alance for !ore infor!ation. %ee 0Eporting Change 4ists fro! :ithin Cine!a "ools for infor!ation a out eEporting change lists using Cine!a "ools. %ee A out 0Eporting Change 4ists for infor!ation a out how the change list eEport process differs etween $inal Cut 9ro and Cine!a "ools.

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A+o%t Change 3ists5 ,ffects5 2aps5 an- 1o%n-trac)s

If you add !otion effects to a progra!' an optical will have to e !ade' and the length of that section of fil! changes' affecting the sync. "he fil! assistant who confor!s the wor(print needs to (now where to put in slug +fill leader or su stitute footage/ in order to preserve synchroni#ation while the optical is eing !ade. $or this reason' Cine!a "ools lists !otion effects in the change list si!ilarly to the way it displays leader infor!ation. $or !otion effects' )Insert 4eader* appears in the Bo "his colu!n' and )0ffect* is displayed under the $irstA4ast .ey colu!n. Faps in a se2uence are also descri ed as leaders in change lists. A change list does not provide infor!ation a out transitions' superi!posed titles +)supers*/' filters' or soundtrac(s. =owever' to see whether or not any transitions or supers were changed or added' you can eEport a cut list and an optical list for each of the se2uences and co!pare the lists. -r' if you are !ar(ing the transitions on the wor(print' you can eEport a cut list with the change list and run the confor!ed wor(print through the synchroni#er' noting where the transitions start or end at different places in the cut list. To e4port a change list %sing &inal C%t Pro 1 In $inal Cut 9ro' select the new version of the se2uence' then choose $ile P 0Eport P Cine!a "ools Change 4ist. 2 In the dialog that appears' clic( Choose to ring up a dialog to choose either the Cine!a "ools progra! +.pg!/ file that you saved when you eEported a fil! list for the previous version of the se2uence or the $inal Cut 9ro IM4 file you eEported for the previous version of the se2uence. + "hey contain needed infor!ation a out the previous se2uence./

If you chose a $inal Cut 9ro IM4 file' choose the trac( nu! er to co!pare fro! the -riginal "rac( pop,up !enu. 4 Choose the type of list to output fro! the 4ist $or!at pop,up !enu. "he choices are 9B$' IM4' and :ith %tyle %heet. %ee A out 9B$,$or!at $il! 4ists' A out IM4,$or!at $il! 4ists' and A out %tyle %heetQ1ased $il! 4ists for infor!ation a out these for!ats. ( If you chose :ith %tyle %heet fro! the 4ist $or!at pop,up !enu' choose a style sheet fro! the %tyle %heet pop,up !enu.

182 182

Chapter 1" Fenerating $il! 4ists and Change 4ists

! Clic( Continue. "here are two different dialogs that can appear@ one for 9B$ output and one for IM4 and :ith %tyle %heet output. "he differences are si!ilar to those etween the 0Eport $il! 4ists and 0Eport IM4 $il! 4ists dialogs. 7 In the 0Eport Change 4ist dialog that appears' configure the settings' then clic( 0Eport. %ee %ettings in the 0Eport Change 4ist Bialog for details.

"hese lists provide infor!ation a out the changes.

"hese lists provide infor!ation a out the entire se2uence.

:hen you select fil! list options such as Cut 4ist and 9ull 4ist in the %ettings area of the 0Eport Change 4ist dialog' the change list file includes +in addition to the selected change list options/ the sa!e content you would get if you eEported those lists fro! the 0Eport $il! 4ists dialog. Note: .eep in !ind that the following settings should e the sa!e for the two se2uences you are co!paring@ $il! %tandard' "elecine %peed' whether (ey nu! ers or in( nu! ers are in the Included Colu!ns area' and whether the )%tart with 7 seconds of leader* chec( oE is selected. "he two se2uences !ust also have the sa!e editing ti!e ase +set in $inal Cut 9ro/. 8 In the dialog that appears' enter a filena!e and choose a location. 9 Clic( Choose Bata ase to choose the data ase associated with the clips in the se2uences you are co!paring. +Ma(e sure you select the sa!e data ase that was used when the previous list was eEported./

Chapter 1" Fenerating $il! 4ists and Change 4ists

18 18

1" Clic( %ave. 11 If you selected )%ave a Cine!a "ools progra! file'* enter a filena!e and location for the file in the dialog that appears' then clic( %ave. Five the progra! file a na!e that clearly identifies the se2uence and the version' so that you can easily locate the file later if you need to eEport another change list. A change list file is generated that contains all the lists you selected in the 0Eport Change 4ist dialog.

0f $o% >ee- to :eel #alance

In reel (alancing' heads and tails of reels are reapportioned to !a(e sure the length of each reel is in the right range. If you want to do any reel alancing in $inal Cut 9ro' perfor! the reel alancing edits separately fro! any other changes. $or instance' to !ove a scene fro! the head of one reel to the tail of another' first confor! the two reels to the change lists eEported fro! their associated se2uences. "hen' in $inal Cut 9ro' cut the scene fro! the head of the se2uence for reel 3 and paste it at the tail of the se2uence for reel 2. $inally' eEport new change and cut lists for oth se2uences and use those lists as a guide for alancing the two reels. &ote that shots deleted fro! one reel should e eEactly the sa!e length as the shots added to the other reel.

1ettings in the ,4port Change 3ist *ialog

"he 0Eport Change 4ist dialog that you access fro! within $inal Cut 9ro contains the sa!e settings as the 0Eport $il! 4ists dialog +descri ed in %ettings the 0Eport Bialogs =ave in Co!!on/ and' if you chose 9B$ fro! the 4ist $or!at pop,up !enu' the sa!e 9B$ colu!n options +descri ed in 9B$ Configuration %ettings in the 0Eport $il! 4ists Bialog/' with the eEceptions and additions descri ed elow.

"he 0Eport Change 4ist dialog contains these settings that are either not availa le in the 0Eport $il! 4ists dialog or are used differently@ J Transitions: "he est choice for handling transitions when you eEport a change list is )All are cuts'* in which transitions are represented y a cut in the !iddle of the transition' regardless of whether or not the transitions are of standard length. Cine!a "ools inserts notes in the cut list +eEported with the change list/ to indicate where the start and end of the transition should e for oth the outgoing and inco!ing clips. "hese notes can e used as a guide in !ar(ing the transitions on the confor!ed wor(print. %ee %ettings the 0Eport Bialogs =ave in Co!!on for infor!ation a out the other settings. J Change 8ist !$tions: "he following options control what is included in change lists@ J Pull 8ist: %elect to include a change pull list' which lists any fil! that needs to e newly added to the wor(print. J Discard 8ist: %elect to include a discard list' which lists only clips that need to e re!oved fro! the wor(print. J -ho/ onl& changes: If this option is selected' the change list displays entries for new edits only. Unchanged footage is not listed. +=owever' if the Cut 4ist chec( oE is selected' a cut list is included in the change list file' listing all the footage in the se2uence' including the unchanged footage./

J Com(ine deletions: If this option is selected' footage deletions that are contiguous are listed as one deletion rather than individual deletions. "his instructs the fil! assistant to cut the! as a li"t' a series of pieces re!oved as one piece and stored intact' rather than as individual pieces. $il! assistants tend to prefer seeing and perfor!ing the series as one deletion ecause it saves ti!e and effort.

A+o%t the P*& 0tems an- Change 3ists

Unli(e cut lists' for the !ost part change lists cannot e custo!i#ed. Change lists provide specific infor!ation and !ust have the colu!ns to support that infor!ation. =owever' the ite!s you drag to the right colu!n in the 0Eport Change 4ist dialog can affect the type of data that appears in those colu!ns. You need to add one ite! fro! each of these four categories@ J Time measurement: )$eet H fra!es'* "i!e' or Count J Name identi"ier: )%cene H ta(e* or )Clip na!e* J ,oll num(er: )Ca!era roll'* )4a roll'* or )Baily roll* J ?dge code: ).ey nu! ers* or )In( nu! ers* Im$ortant: If you add !ultiple ite!s of one type +for eEa!ple' if you add oth ).ey nu! ers* and )In( nu! ers* to the right colu!n in the 0Eport Change 4ist dialog/' the one that appears first in the right colu!n is used y the change list. If you choose to include a cut list with your change list' you can add additional ite!s to the right colu!n and arrange the! in the order in which they should appear in the cut list. Note: Although IM4 output contains all change list infor!ation' the style sheet you choose for the %tyle %heet output for!at deter!ines which infor!ation appears in the output. If you use the supplied 9lain "eEt style sheet' the infor!ation included in the output depends on how the last 9B$,for!at style sheet was output. In other words' what you choose for the a ove four categories when you output a 9B$,for!at change list also affects the %tyle %heet output when you choose the 9lain "eEt style sheet.

,4porting Change 3ists from Within Cinema Tools

If the !ost recent version of a se2uence is not availa le or conveniently accessi le' or if it is da!aged' you can still create a change list as long as you have the eEported progra! +.pg!/ files or IM4 +.E!l/ files for the two se2uences you need to co!pare. You can eEport the change list fro! Cine!a "ools using the progra! or IM4 files instead of eEporting the change list fro! $inal Cut 9ro +where you need to select a se2uence/.

:hen you eEport a change list fro! within Cine!a "ools' you cannot include a cut list or any of the other fil! lists that you can eEport using the 0Eport $il! 4ists dialogN you can only eEport lists and infor!ation specific to change lists. %ee A out 0Eporting Change 4ists for infor!ation a out how the change list eEport process differs etween $inal Cut 9ro and Cine!a "ools. To open the ,4port Change 3ist -ialog in Cinema Tools 1 Choose $ile P 0Eport P Change 4ist.

2 In the dialog that appears' choose the original and new progra! or IM4 files to e co!pared. You can use a !iE of progra! and IM4 files if necessary. Choose the output for!at of the change list fro! the 4ist $or!at pop,up !enu. "he choices include 9B$' IM4' and :ith %tyle %heet. %ee A out 9B$,$or!at $il! 4ists' A out IM4,$or!at $il! 4ists' and A out %tyle %heetQ1ased $il! 4ists for infor!ation a out these for!ats. 4 If you chose :ith %tyle %heet fro! the 4ist $or!at pop,up !enu' choose a style sheet fro! the %tyle %heet pop,up !enu. ( Clic( Continue. ! Configure the settings in the 0Eport Change 4ist dialog that appears' then clic( 0Eport. Note: "he settings in the dialog change ased on the output for!at you chose fro! the 4ist $or!at pop,up !enu. %ee %ettings in the Cine!a "ools 0Eport Change 4ist Bialog for details a out the settings you see in this dialog.

1ettings in the Cinema Tools ,4port Change 3ist *ialog

"he settings availa le in the 0Eport Change 4ist dialog when eEporting fro! Cine!a "ools change ased on the output for!at you chose fro! the 4ist $or!at pop,up !enu.

1ettings Common to All O%tp%t &ormats $ollowing are the settings that appear in all versions of the 0Eport Change 4ist dialog when eEporting a change list fro! Cine!a "ools.

J !riginal Trac*: Choose the video trac( to co!pare fro! the original se2uence. J Ne/ Trac*: Choose the video trac( to co!pare fro! the new se2uence. J Pull 8ist: %elect to include a change pull list' which lists any fil! that needs to e newly added to the wor(print. J Discard 8ist: %elect to include a discard list' which lists only clips that need to e re!oved fro! the wor(print. J -ho/ onl& changes: If this option is selected' the change list displays entries for new edits only. Unchanged footage is not listed. J Com(ine deletions: If this option is selected' footage deletions that are contiguous are listed as one deletion rather than individual deletions. "his instructs the fil! assistant to cut the! as a li"t' a series of pieces re!oved as one piece and stored intact' rather than as individual pieces. $il! assistants tend to prefer seeing and perfor!ing the series as one deletion ecause it saves ti!e and effort. 1ettings Onl/ in the P*& O%tp%t &ormat "he following settings appear only if you chose 9B$ fro! the 4ist $or!at pop,up !enu.

%ettings availa le only for 9B$, for!at change lists

Note: Although IM4 output contains all change list infor!ation' the style sheet you choose for the %tyle %heet output for!at deter!ines which infor!ation appears in the output. If you use the supplied 9lain "eEt style sheet' the infor!ation included in the output depends on how the last 9B$,for!at style sheet was output. In other words' the settings for the two %how pop,up !enus that appear when you output a 9B$,for!at change list also affect the %tyle %heet output when you choose the 9lain "eEt style sheet. J -ho/ (u$$er : Choose the ti!e !easure!ent to use. "he choices are $eet H $ra!es' "i!e' and Count. J -ho/ (lo/er : Choose how to identify each event. "he choices are %cene H "a(e and Clip &a!e. J !rientation: Choose 4andscape or 9ortrait for the 9B$ output. Using 9ortrait allows you to use a larger font. J %ont -i=e: You can choose a font si#e for the output.

:or(ing with I%4 %tyle %heets

If you have no prior eEperience wor(ing with 0Etensi le %tylesheet 4anguage +I%4/ style sheets ut are reasona ly co!forta le loo(ing at IM4 data' you can create your own custo! style sheets. "here are !any oo(s and Internet resources availa le to help you learn a out wor(ing with IM4 data using I%4 style sheets. Im$ortant: "he following infor!ation is intended to give you a asic understanding of the process and is not a co!plete reference guide. A good place to start is to eEport an IM4 fil! list and loo( at it in a teEt editor. "eEt0dit can e used to view and edit IM4 and I%4 files' although if you find yourself fre2uently wor(ing with these file types' you should get a speciali#ed application with uilt,in tools specifically for wor(ing with these sorts of files' such as -Eygen or 110dit.

6.3 &ilm 3ist #asics

IM4 fil! lists egin with a list of ite!s showing the settings in the 0Eport $il! 4ists dialog. "his is followed y sections for each type of list you included in the fil! list' such as a cut list and pull list. 0ach of these list sections include the appropriate events' and each event includes a co!plete list of the ite!s that Cine!a "ools trac(s. $ollowing is a si!plified eEa!ple of this structure.

<ctlists> Settings from the Export Film Lists dialog <cutlist> <items> First event Items in this event Second event Items in this event </items> </cutlist> <pulllist> <items> First event Items in this event Second event Items in this event </items> </pulllist> </ctlists>

:hen you set up a style sheet' you generally start y defining the list infor!ation you want to output +cut list' pull list' and so on/. You then define the specific ite!s in that listLs events that you want included in the output' such as (ey nu! ers and source ti!ecode start and end points.

P%ll 3ist 1t/le 1heet ,4ample

A si!ple style sheet to start out with is the supplied 9ull 4ist style sheet. Ma(e a copy of the file +see A out %tyle %heetQ1ased $il! 4ists for details a out where to find the file/ and give it a na!e you can easily recogni#e. :hen you open the copy of the 9ull 4ist style sheet in a teEt editor' there are two !ain sections that appear' with these lines at their head@ J G<sl:tem$late matchHIctlistsB$ulllistBitemsIJ: "his section lists the colu!n headings for all of the ite!s that are included in the list. "he path that is listed' ctlists/pulllist/items' directs this section to the events in the pull list area of the fil! list. J G<sl:"or'each selectHI$ullIJ: "his section lists the specific ite!s in each pull list event to output. +0ach event in a pull list is wrapped y a pull ele!ent./ If you want to add or re!ove an ite! fro! the pull list output' you need to !a(e a change to oth sectionsMthe first section that controls the colu!n headings and the second section that specifies the data to put under those headings.

$or eEa!ple' if you want this style sheet to output in( nu! ers and not (ey nu! ers' you would !a(e the following changes@ J In the heading section: Modify the following three lines@ J Change
<xsl:text>In$ <xsl:text>Key refix</xsl:text>!ta"#

to

refix</xsl:text>!ta"#

Change

<xsl:text>First

<xsl:text>First

Key</xsl:text>!ta"#

to

In$</xsl:text>!ta"#

Change

<xsl:text>Last

<xsl:text>Last

Key</xsl:text>!ta"#

to

In$</xsl:text>!ta"#

If other na!es etter suit your wor(flow' you can enter whatever teEt you li(e into the data part of these lines. Additionally' if you want to leave the original lines as they are and ?ust add new lines for the in( nu! ers' you can do that' ut (eep in !ind that this will !a(e the output wider' which could !a(e the output file difficult to print if thatLs your final goal. Another option is to change the (ey nu! erQ ased lines into co!!ents y preceding each line with <%&& and following each with &&>. $or eEa!ple' <%&& <xsl:text>Key refix</xsl:text>!ta"#&&> is treated as a co!!ent and is ignored when the file is used to process the IM4 fil! list. J In the item selection section: Modify the following three lines@ J Change J Change J Change
<xsl:value&of select'($eyprefix(/>!ta"#

to

<xsl:value&

of select'(in$prefix(/>!ta"# <xsl:value&of select'($eynumstart(/>!ta"#

to

<xsl:value&

of select'(in$numstart(/>!ta"# <xsl:value&of select'($eynumend(/>!ta"#

to

<xsl:value&

of select'(in$numend(/>!ta"#

If you added or re!oved lines in the heading section' you !ust add or re!ove lines in this section as well. "he values you use here' such as in$prefix' !ust eEactly !atch the way they appear in the fil! list IM4 file. "he order of the ite!s is i!portant as well' ecause that order deter!ines how the ite!s !atch the heading na!es. After you have !odified the 9ull 4ist I%4 file' you can try it out and verify that you get the correct output.

Chapter 1" Fenerating $il! 4ists and Change 4ists

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,4port Consi-erations anCreating A%-io ,*3s

1 1

After youLve edited your pro?ect' you !ay want to eEport to videotape' eEport the audio' or eEport an audio 0B4 ased on the edited pro?ect. "his chapter covers the following@ J A out Co!!on Ite!s You Can 0Eport for Your 9ro?ect +p. 39G/ J Considerations :hen 0Eporting to Cideotape +p. 396/ J Considerations :hen 0Eporting Audio +p. 396/ J 0Eporting an Audio 0B4 +p. 395/

A out Co!!on Ite!s You Can 0Eport for Your 9ro?ect

"he pri!ary goal of using Cine!a "ools is to generate an accurate cut list. $or !ost pro?ects' you !ay also want to create other helpful ite!s fro! your edited progra!@ J 7 videota$e o" the $rogram: "his !ay e useful so that you can show the progra! to others or provide a visual guide to the negative cutter. "here are a nu! er of considerations to ta(e into account' such as the editing fra!e rate and any re2uired speciali#ed hardware. %ee Considerations :hen 0Eporting to Cideotape for details. J 7 "ile containing the $rogram>s audio: You usually create this file if you want to use the progra!Ls audio ut finish it using a speciali#ed application or an audio post, production facility. "here are a couple of approaches you can ta(e to do this' and several issues you !ust e aware of. %ee Considerations :hen 0Eporting Audio for details. J 7n audio ?D8: "his is re2uired when you intend to recapture the audio using speciali#ed e2uip!ent and reedit it using the audio ti!ecode fro! the edited progra!. %ee 0Eporting an Audio 0B4 for details.

19

Considerations :hen 0Eporting to Cideotape

You !ay want to !a(e a videotape of your edited progra!' either to !a(e it easier to view the progra! or to provide a visual reference for the negative cutter. "here are a few ways to create a videotape fro! an edited se2uence' and these !ethods are eEplained in the $inal Cut 9ro docu!entation. =owever' if you edited video at 26 fps and you want to create a 9A4 or &"%C videotape' there are additional considerations eEplained here. :hen you !a(e a videotape fro! a 26 fps se2uence' so!e video output devices create an &"%C or 9A4 signal y inserting eEtra fields as needed to go fro! 26 fps to 25 fps or 29.9K fps. %uch a tape is generally fine for viewing' ut not as accurate as it should e if it is to e used as a visual reference in cutting the negative. Ma(e sure to let your negative cutter (now if there are issues with the videotape +for eEa!ple' if the video occasionally displays the wrong fra!e/.

Considerations :hen 0Eporting Audio

Bepending on your pro?ectLs needs' you !ay e a le to use the edited audio fro! $inal Cut 9ro directly in the fil!Ls release print. More often you will want to finish the edited audio using a speciali#ed application or a facility speciali#ing in audio finishing. "his is typically where sound effects' !usic' and any dialogue are added or enhanced. "here are a couple of ite!s to consider when eEporting audio@ J The t&$e o" audio "ile required: You can eEport an -pen Media $ra!ewor( +-M$/ or Audio Interchange $ile $or!at +AI$$/ file. J The audio s$eed: Bepending on how the video was transferred' you !ay have slightly altered the speed of the audio to !aintain synchroni#ation. If you decide to recapture and reedit the audio at an audio post,production facility' see 0Eporting an Audio 0B4 for details.

O.& &iles
An -M$ file contains not only the audio' ut also a description of the audio edits. Bigital Audio :or(stations +BA:s/ that can i!port -M$ files can ta(e advantage of having the edit In and -ut points along with other infor!ation' such as cross fades' ena ling the! to !a(e s!all changes. -M$ files typically contain all of the audio trac(s used in the progra! +other eEport for!ats have li!its/. Another advantage of -M$ files is that they can contain the audio and edit infor!ation fro! non,ti!ecode, ased sources' such as audio CBs. +Audio 0B4s descri e only edits using ti!ecode, ased sources and do not include any references to sources such as audio CBs./ %ee the $inal Cut 9ro docu!entation for infor!ation a out eEporting -M$ files.

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Chapter 11 0Eport Considerations and Creating Audio 0B4s

A0&& &iles
An AI$$ file contains only the audio and cannot e easily changed. You !ust eEport a separate file for each audio trac(. As with -M$ files' AI$$ files can contain the audio fro! non,ti!ecode, ased sources' such as audio CBs. +Audio 0B4s descri e only edits using ti!ecode, ased sources./ %ee the $inal Cut 9ro docu!entation for infor!ation a out eEporting !ultiple trac(s as AI$$ files.

A%-io 1pee-ften the play ac( speed of the edited audio is slightly different fro! what it was when it was originally recorded +its natural speed/. "his co!pensates for fil! speed changes !ade during the telecine transfer. Anyti!e you are editing at 29.9K fps or 2G.97 fps' the audio is running 0.3 percent slower than its natural speed. If you are editing at 25 fps and the telecine transfer fil! rate was 25 fps' the audio is 6 percent faster. "his speed difference is !aintained when you eEport an AI$$ or -M$ file. Ma(e sure to find out the re2uire!ents of your audio post,production facility with regard to audio speed issues efore you eEport the files.

0Eporting an Audio 0B4

>ust as the final edited video fro! $inal Cut 9ro is not generally used when confor!ing the negative' the edited audio !ight not e used. If you intend to recapture and reedit your audio at an audio post,production facility' you need an audio 0dit Becision 4ist +0B4/ indicating how the audio clips are used in the edit. Although the $inal Cut 9ro 0B4 contains oth video and audio infor!ation' it !ay not contain references to the ti!ecode and roll nu! ers fro! the original production sound rolls' depending on how the clips were captured and how the video was synced to the audio. A Cine!a "ools data ase !a(es it possi le to generate an audio 0B4 with the original production audio ti!ecode and sound roll infor!ation.

Where?s the A%-io Timeco-e9

$il! productions use dual syste! recording +separate ca!era and audio dec(/ for capturing the pictures and sound. You !ust sync the two of the! together' either during the telecine transfer or efore capturing the clips with $inal Cut 9ro.

Chapter 11 0Eport Considerations and Creating Audio 0B4s

19( 19(

If your audio is synced during the telecine transfer and recorded onto the audio trac(s of the videotape' the ti!ecode and roll nu! er of the original sound roll is no longer part of the clip' and all edits within $inal Cut 9ro refer only to the video ti!ecode and reel nu! er. $ortunately' the telecine log created during the transfer usually contains the audio infor!ation and adds it to the data ase when you i!port the log into Cine!a "ools. You can also !anually enter the audio infor!ation if no telecine log is availa le.

Using Cinema Tools to ,4port an A%-io ,*3

Cine!a "ools can eEport an audio 0B4 as long as its data ase contains accurate audio infor!ation +an audio ti!ecode nu! er that corresponds to the first video fra!e of the clip and the sound roll nu! er/ in each record. 1ecause of the way audio is recorded during the production +using dual syste! recordingMa separate sound recorder that is started and stopped independently of the ca!era/' the Cine!a "ools 0Eport Audio 0B4 function is applica le only when the pro?ect data ase has a record for each ta(e +as with scene,and,ta(e transfers/. It is critical that the value in the %ound "i!ecode field correspond directly to the first video fra!e of the clip. "his is typically the case when you i!port the audio infor!ation fro! a telecine log. Use the Clip windowLs Identify feature to enter +or verify/ the audio ti!ecode value for a (nown point in the clip +!ost often at slate close/. 1ased on this value' Cine!a "ools calculates the ti!ecode for the first fra!e. %ee Using the Identify $eature to Calculate Bata ase Infor!ation for !ore infor!ation. After you have finished editing and have added the audio ti!ecode and sound roll infor!ation to the data ase' you are ready to eEport the audio 0B4. You generally open the 0Eport Audio 0B4 dialog fro! within $inal Cut 9ro. You can also open it fro! within Cine!a "ools if necessary' although additional steps are re2uired' including the creation of a progra! file in the 0Eport $il! 4ists dialog. %ee Using the 0Eport Audio 0B4 $eature fro! Cine!a "ools for !ore infor!ation. To e4port an a%-io ,*3 from &inal C%t Pro %sing Cinema Tools 1 In the $inal Cut 9ro "i!eline or 1rowser' select the se2uence fro! which you want to eEport an audio 0B4. 2 Choose $ile P 0Eport P Cine!a "ools Audio 0B4.

19! 19!

Chapter 11 0Eport Considerations and Creating Audio 0B4s

Cine!a "ools opens and its 0Eport Audio 0B4 dialog appears.

0nter and select settings in the 0Eport Audio 0B4 dialog' then clic( -.. %ee %ettings in the 0Eport Audio 0B4 Bialog for settings infor!ation. 4 In the dialog that now appears' select the Cine!a "ools data ase file to use' then clic( Choose. -nce you select the data ase' Cine!a "ools starts !atching events in the se2uence to it@ J $or each edit involving a trac( ena led in the 0Eport Audio 0B4 dialog' Cine!a "ools searches the data ase to see if that editLs video clip is connected to any data ase records. If not' it uses the editLs video reel nu! er to try to locate a record that includes the editLs ti!ecode In and -ut points. %ee Audio "rac( Usage for !ore infor!ation a out audio trac(s. J If Cine!a "ools finds a suita le record' it chec(s whether that record includes audio infor!ation +audio ti!ecode and sound roll nu! er/. If so' an entry is added to the 0B4 and Cine!a "ools !oves on to the neEt edit. J Cine!a "ools !ay not e a le to !atch all audio edits within the se2uence. "his !ay e due to inco!plete data ase records or the use of audio fro! sources other than the logged sound rolls. $or those edits that cannot e !atched ac( to the data ase' an entry is added to the 0B4 using the sound roll and audio ti!ecode infor!ation fro! the se2uence' with an asteris( placed y the roll na!e. A co!!ent stating that no !atching data ase record was found is also added to the 0B4 entry. Cine!a "ools creates two files during the eEport@ a CMI G800 0B4 for!at file and a teEt file containing infor!ation a out the 0B4 eEport@ J "he CMI G800 0B4 for!at is widely used as a standard for 0B4 interchange and should e accepta le at virtually all facilities.

Chapter 11 0Eport Considerations and Creating Audio 0B4s

197 197

J "he teEt file created along with the 0B4 file uses the 0B4Ls filena!e with a .tEt eEtension. "he file contains infor!ation regarding the se2uence used and all the settings of the 0Eport Audio 0B4 dialog' including the nu! er of trac(s and their !apping. It also lists any errors that occurred during the eEport.

1ettings in the ,4port A%-io ,*3 *ialog

Cine!a "ools uses infor!ation fro! the se2uence to fill in several fields in the top part of the 0Eport Audio 0B4 dialog.

%ile: "he na!e of the Cine!a "ools progra! file ?ust opened. "his is used only when eEporting an audio 0B4 directly fro! Cine!a "ools. %ee Using the 0Eport Audio 0B4 $eature fro! Cine!a "ools for !ore infor!ation.

J 7udio Trac*s: "he nu! er of audio trac(s used in the edit. J Pro#ect name: "he na!e of the $inal Cut 9ro se2uence on which the file is ased. J Pro#ect time(ase: "he fra!e rate of the se2uence in the "i!eline. J -tart time: "he se2uence start ti!e as assigned in the $inal Cut 9ro AudioACideo %ettings window. J ?D8 Title: "he na!e of the 0B4. 1y default' it is the sa!e as the pro?ect na!e fro! the se2uence. J ?D8 start time and timecode "ormat: "he start ti!e for the 0B4 and the ti!ecode for!at to e used. 1y default' the start ti!e is the sa!e as the start ti!e fro! the se2uence. "his should not e changed unless your audio post,production facility has a specific re2uire!ent.

198 198

Chapter 11 0Eport Considerations and Creating Audio 0B4s

7udio Ma$$ing: Use these pop,up !enus to assign each of the eight possi le se2uence audio trac(s to the four audio 0B4 trac(s +the !aEi!u! supported y audio 0B4s/. %ee Audio "rac( Usage for details a out configuring these settings.

J Include cli$ comments: :hen this option is selected' the audio 0B4 includes the na!e of the clip file +if (nown/ as a co!!ent for each event in the list. J Include scene and ta*e comments: :hen this option is selected' the audio 0B4 includes the scene and ta(e nu! ers as co!!ents for each event in the list.

J !$en in te<t editor: :hen this option is selected' the eEported audio 0B4 opens in the teEt editor specified in the pop,up !enu. 1ecause the audio 0B4 is actually a teEt file' the "eEt0dit application is typically used.

A%-io Trac) Usage

Although $inal Cut 9ro supports !any audio trac(s' the Cine!a "ools 0Eport Audio 0B4 feature includes only the first eight' and audio 0B4s support a !aEi!u! of four. "he 0Eport Audio 0B4 dialog provides settings for each of the eight possi le audio trac(s' allowing you to !ap the! to the four 0B4 trac(s. "he trac( configuration pop,up !enus are active for those trac(s included in the se2uenceMall others are unavaila le. Although it is possi le to !ap !ultiple trac(s to a single 0B4 trac(' this fre2uently results in errors and confusion in the resulting 0B4. 1ecause there is no way to fit the eight audio trac(s into the four 0B4 trac(s' you !ust eEport two 0B4sMone 0B4 with trac(s 3 through 6 ena led +and the others off /' and the other 0B4 with trac(s 5 through 7 ena led. 1e aware that so!e sound editors !ay prefer a single trac( per 0B4' re2uiring you to eEport !ultiple audio 0B4s. Ma(e sure to consult with your sound editor efore you eEport the audio 0B4.

Using the ,4port A%-io ,*3 &eat%re from Cinema Tools

You will !ost often use the Cine!a "ools 0Eport Audio 0B4 feature fro! within $inal Cut 9ro. You can use this feature fro! within Cine!a "ools' ut ecause Cine!a "ools does not have the edited se2uence directly availa le' an additional step is re2uired to create a Cine!a "ools progra! file.

Chapter 11 0Eport Considerations and Creating Audio 0B4s

199 199

$inal Cut 9ro creates a Cine!a "ools progra! file if you select )%ave a Cine!a "ools progra! file* in the 0Eport $il! 4ists dialog. A Cine!a "ools progra! file contains infor!ation a out the edit se2uence in a for!at that can e used y Cine!a "ools to create the audio 0B4. -ther settings within the 0Eport $il! 4ists dialog' such as whether or not the various availa le lists are included' have no effect on the progra! file. To open the ,4port A%-io ,*3 -ialog from within Cinema Tools 1 In Cine!a "ools' choose $ile P 0Eport P Audio 0B4 fro! 9rogra! B1. 2 In the dialog that appears' select the progra! file to use' then clic( -pen. "he 0Eport Audio 0B4 dialog appears.

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Chapter 11 0Eport Considerations and Creating Audio 0B4s

Wor)ing with ,4ternal ,*3s5 6.35 an- A3, &iles

12

You can use Cine!a "ools to wor( on pro?ects started on other syste!s. -n occasion you !ay find that you want to create fil! lists' including a cut list' ased on edits fro! an editing syste! other than $inal Cut 9ro' or fro! a $inal Cut 9ro installation on a different co!puter. $or this reason' Cine!a "ools lets you generate fil! lists ased on 0dit Becision 4ists +0B4s/ created with $inal Cut 9ro and other syste!s' as well as fil! lists ased on $inal Cut 9ro IM4 files. Cine!a "ools also lets you i!port and eEport Avid 4og 0Echange +A40/ files. "hese files contain !ost of the fil!' video' and audio infor!ation in a Cine!a "ools data ase' in a for!at supported y !ost fil!, ased editing syste!s. A40 files do not contain any edit, ased infor!ation +as is found in an 0B4/. "his chapter following@ covers the

J Creating 0B4,1ased and IM4,1ased $il! 4ists +p. 203/ J :or(ing with A40 $iles +p. 208/

Creating 0B4,1ased and IM4,1ased $il! 4ists

"he sa!e considerations you have to ta(e into account when creating fil! lists fro! within $inal Cut 9ro apply to other video editing applications. You !ust@ J =ave a co!plete and accurate Cine!a "ools data ase that includes the fil! and ti!ecode infor!ation J =ave video ti!ecode and reel nu! ers in the 0B4 or IM4 file that eEactly !atch those in the Cine!a "ools data ase J 1e prepared to deal with audio speed issues that !ay affect synchroni#ation with the picture All of the considerations related to the telecine transfer' including whether the scene,and,ta(e or ca!era,roll !ethod was used' apply as well. "he telecine log fro! a scene,and,ta(e transfer is still the est way to uild your Cine!a "ools data ase. %ee Creating a Cine!a "ools Bata ase for infor!ation a out uilding a Cine!a "ools data ase.

2"1

Im$ortant: :hen you eEport fil! lists fro! an 0B4 or IM4 file' Cine!a "ools has to use the ti!ecode, ased !ethod of fil! list creation. $or this reason' you !ust e careful to have accurate video ti!ecode values in the data ase' ecause they alone' and not the actual clips' provide the edit infor!ation for generating the lists. "here are two ways you can generate fil! lists fro! an 0B4@ J Use the Cinema Tools ?<$ort commands: "his is the easiest approach. %ee 1efore You Use the Cine!a "ools 0Eport Co!!ands for !ore infor!ation. J Im$ort the ?D8 into a %inal Cut Pro sequence: "his !ethod re2uires a it !ore effort ut displays the edit points in a ti!eline fashion +with no video or audio if the clips are not availa le/. If the clips are availa le' it is possi le to actually play and !odify the se2uence efore you eEport the lists. $or infor!ation a out i!porting an 0B4' see the $inal Cut 9ro docu!entation. %ee An Introduction to $il! 4ists and Change 4ists for details a out generating fil! lists fro! within $inal Cut 9ro.

#efore $o% Use the Cinema Tools ,4port Comman-s

In addition to the Cine!a "ools data ase' a suita le 0B4 or IM4 file is re2uired to create fil! lists fro! within Cine!a "ools. ,*3 :e=%irements Cine!a "ools supports 0B4s that co!ply with the CMI G800 and FCF for!ats. As a general rule' any options to include )pre,read* or )1,reels* should e disa led' ecause these apply directly to tape, ased editing. If necessary' Cine!a "ools can wor( with pre,read events' ut the na!e of the pre,read reel !ust e 9<0<0AB. Ma(e sure that co!!ents are included' ecause these can display the clip' transition' and effects na!es. "hey will e recogni#ed y Cine!a "ools and included in the cut list co!!ents. "he reel na!es that appear in the 0B4 !ust !atch those used in the Cine!a "ools data ase. 0ven a slight difference' such as an added space or an eEtra leading )0* +)003* instead of )0003*/ can cause pro le!s. 1e aware that so!e editing syste!s !odify the reel na!es when eEporting an 0B4. "he CMI G800 for!at allows a !aEi!u! of eight characters with only nu! ers and uppercase letters +no spaces/. -ften a reel conversion list is appended to the end of the 0B4 to !a(e it easier to resolve any na!ing issues that occur. You can use the Cine!a "ools Change <eel co!!and to change all occurrences of a particular reel na!e in the data ase to !atch the 0B4 +for eEa!ple' you can change all instances of reel "ape 006 to "A90006/. %ee Changing All <eel or <oll Identifiers for !ore infor!ation. Note: "o reduce the chance of issues with the 0B4 file' select Feneric 0dits in the <eel Conflicts section of the 0B4 0Eport -ptions dialog.

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Chapter 12 :or(ing with 0Eternal 0B4s' IM4' and A40 $iles

,*3 7i-eo 1tan-ar-s 0B4s are uilt on references to video ti!ecode points. "his !eans that 0B4s have a fra!e rate' typically either 29.9K fps +&"%C/' 25 fps +9A4/' or 26 fps or 2G.97 fps + ased on either the fil! rate or the 26p video rate/. Additionally' &"%C 0B4s !ust contain a line near the eginning that starts with )$CM.* "his co!!ent specifies whether the ti!ecode is drop fra!e or non,drop fra!e. 9A4 and 26 fps ti!ecode are always non, drop fra!e and do not re2uire the $CM line +although it !ay appear as non,drop fra!e/. :hen you use an 0B4 file to generate a fil! list' you !ust identify the 0B4Ls fra!e rate in the selection dialog. %ee 0Eporting $il! 4ists fro! Cine!a "ools for !ore infor!ation. 6.3 :e=%irements Cine!a "ools supports $inal Cut 9ro IM4 files. 1ecause IM4 files contain a lot !ore infor!ation a out an edited se2uence than an 0B4 file' IM4 is the preferred for!at to use when eEporting fil! lists using Cine!a "ools.

,4porting &ilm 3ists from Cinema Tools

In Cine!a "ools' the processes for eEporting fil! lists ased on 0B4 files and fil! lists ased on $inal Cut 9ro IM4 files are nearly the sa!e. In oth cases you can choose to eEport a 9B$,for!at' IM4,for!at' or style sheetQ ased fil! list. To generate film lists %sing the Cinema Tools ,4port comman1 -pen the Cine!a "ools data ase corresponding to the 0B4 or IM4 file you will use to create the fil! lists. "his ensures that the fra!e rate of the list and the data ase !atch. 2 Bo one of the following@ J To e<$ort a "ilm list (ased on an ?D8 "ile: Choose $ile P 0Eport P $il! 4ists fro! 0B4. J To e<$ort a "ilm list (ased on an EM8 "ile: Choose $ile P 0Eport P $il! 4ists fro! IM4. %elect the 0B4 or IM4 file in the dialog that appears. 4 If you are using an 0B4 file' choose the listLs fra!e rate fro! the 0B4 $ra!e <ate pop,up !enu. IM4 files contain a para!eter that defines their fra!e rate. ( Choose the output for!at of the fil! list fro! the 4ist $or!at pop,up !enu. "he choices are 9B$' IM4' and :ith %tyle %heet. %ee Choosing the 4ist $or!at for !ore infor!ation a out these for!ats. ! If you chose :ith %tyle %heet' choose a style sheet fro! the %tyle %heet pop,up !enu. 7 Clic( Continue.

Chapter 12 :or(ing with 0Eternal 0B4s' IM4' and A40 $iles

2"

A dialog appears in which you can configure the infor!ation in the output file. "he settings in the dialog vary depending on the output for!at you chose fro! the 4ist $or!at pop,up !enu. %ee %ettings the 0Eport Bialogs =ave in Co!!on and 9B$ Configuration %ettings in the 0Eport $il! 4ists Bialog for details a out the settings.

8 Clic( 0Eport. 9 Choose a location and na!e for the fil! list file to e created' then clic( %ave. 1" If you chose to have a Cine!a "ools progra! file created in the 0Eport $il! 4ists dialog' choose a location and na!e for the file' then clic( -.. "he fil! list is generated. Note: If Cine!a "ools has any pro le!s processing the 0B4 file' a )parsing error* !essage appears that includes the line nu! er that caused the pro le!. %ee :hat Actually =appens to the 0B4 for !ore infor!ation.

What Act%all/ 8appens to the ,*3

-nce you start the fil! list eEport' Cine!a "ools first processes the 0B4 file and creates a version for its own internal use. Buring this processing' Cine!a "ools loo(s for errors that would !a(e the 0B4 unsuita le to use for creating a fil! list. If it encounters nonstandard or uneEpected teEt' the eEport is halted and an error !essage appears listing the line nu! er where the processing failed. "his is referred to as a $arsing error4 9ro le!s in an 0B4 can often e repaired y !anually editing its contents. 1ecause 0B4s are actually plain teEt files' they can e opened in "eEt0dit. 1e careful@ often the line nu! er listed is not the actual pro le!N the real issue !ay e with the line efore. 0Eperi!ent with deleting lines and co!paring the! to si!ilar ones that occur previously in the 0B4 to help deter!ine the pro le!. %ee Using "eEt0dit to Ma(e Changes to an 0B4 for !ore infor!ation.
2"4 Chapter 12 :or(ing with 0Eternal 0B4s' IM4' and A40 $iles

Cine!a "ools also loo(s for conflicts within the 0B4' such as when two edits overlap +(nown as a dirt& list/. Cine!a "ools cleans these edits' re!oving any portions that would e recorded over y any edits that follow. Any transitions or supers that are co!pletely overlapped y a following edit are re!oved. If the transition or super is only partly overlapped y a following edit' it is flagged as a conflict' the later edit is re!oved' and an entry is added to the cut list indicating that this was done. :hen Cine!a "ools successfully processes an 0B4' it places an entry in the !essages section of the fil! list showing a su!!ary of events that it processed. "his entry lists how !any of each type of event occurred +cut' dissolve' wipe' and (ey/. "he nu! er of events in the list should !atch the nu! er of events in the 0B4.

A+o%t Using ,*3s with *P6 0mage 1e=%ence .e-ia

A co!!on BI wor(flow involves editing your progra! using offline !edia files' eEporting an 0B4 of the progra!' and then using that 0B4 to eEport a fil! list ased on a Cine!a "ools data ase connected to the original B9I i!age se2uence !edia. In this case' Cine!a "ools tries alternative !ethods to !atch edits to data ase records if the preferred !ethods donLt wor(. Im$ortant: Although these alternative !ethods !ay help you eEport a fil! list in cases where there is inco!plete infor!ation' they also increase the chances of !atching an edit to an incorrect record. 1e sure to carefully review the resulting fil! list to ensure its accuracy. $ollowing are the differences in how Cine!a "ools !atches edits to data ase records if the records are connected to B9I i!age se2uence !edia@ J I" Cinema Tools "ails to "ind a match (ased on the timecode e<tracted "rom a DPE image sequence: It atte!pts to interpret the i!age se2uence filena!es as ti!ecode values and use those values instead. J I" Cinema Tools "ails to "ind a match (ased on using the name o" the "older that contains the DPE image sequence "iles as the reel name: It tries to !atch edits to records ased on the ti!ecode alone. Im$ortant: "o prevent issues with B9I i!age se2uence reel na!es' you should never rena!e the folder that contains the i!age se2uence files' and you should never !ove the files fro! the folder or change their na!es.

Using Te4t,-it to .a)e Changes to an ,*3

1y default' "eEt0dit saves files in the <ich "eEt $or!at +<"$/' ut the 0B4 needs to e a plain teEt file. $ollow these steps to edit an 0B4 in "eEt0dit and save it in a plain teEt for!at.

Chapter 12 :or(ing with 0Eternal 0B4s' IM4' and A40 $iles

2"(

:arning: Use great care when editing an 0B4 fileMso!e ite!s that appear !eaningless can e very i!portant. Ma(e sure you have a ac(up copy availa le in case you alter your wor(ing copy eyond usa ility. To e-it an ,*3 file in Te4t,-it 1 -pen "eEt0dit. 2 Choose $ile P -pen' then locate the 0B4 file and clic( -pen. Choose $or!at P Ma(e 9lain "eEt' then clic( -. in the dialog that appears. "he font changes to Monaco' a fiEed,width font that ensures the teEt colu!ns line up properly. "he na!e changes to Untitled. 4 Ma(e your teEt edits' then choose $ile P %ave. 1y default' the na!e is Untitled' and a .tEt eEtension is appended to it. ( 0nter a na!e for the file and replace the .tEt eEtension with .edl +or whatever was used in the original file/' then clic( %ave. A dialog appears as(ing if you want to have .tEt appended to the end of your filena!e. ! Clic( )BonLt append.* If you often find yourself editing plain teEt files' you !ay want to configure "eEt0dit preferences to !a(e it easier. Note: Bou le,clic(ing a filena!e with an .edl eEtension opens it in a read,only window in $inal Cut 9ro.

:or(ing with A40 $iles

"he Avid 4og 0Echange +A40/ file for!at was created so that the contents of fil!, ased data ases could e transferred etween syste!s. Cine!a "ools supports i!porting and eEporting A40 files' !a(ing it possi le to share data ases with other syste!s. As with 0B4 files' A40 files are plain teEt files that can e opened and edited with any teEt editor. A difference is that they are ta ,deli!ited' !a(ing the! a it !ore difficult to read. Although it is possi le to edit the contents with a teEt editor' you !ust use great care to avoid corrupting the file y accidentally deleting a ta character.

1%pporte- A3, &iel-s

0ach line in an A40 file corresponds to one data ase record. Cine!a "ools supports the following A40 fields. &ilm;:elate- &iel-s J Camroll: Contains the nu! er used for the Ca! <oll field. J 8a(roll: Contains the nu! er used for the 4a <oll field.

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Chapter 12 :or(ing with 0Eternal 0B4s' IM4' and A40 $iles

J Dail& roll: Contains the nu! er used for the Baily <oll field. J In* num(er: Contains the In( field values. J KN -tart: Contains the .ey field values. 7i-eo;:elate- &iel-s J Ta$e: Contains the Cideo <eel field value. J -tart: Contains the Cideo "i!ecode field value. J ?nd: :ithin Cine!a "ools' this is a calculated value created y adding the Cideo Buration field to the Cideo "i!ecode field. J Duration: Contains the contents of the Cideo Buration field. J TC 24: Contains a 26 fpsQ ased Cideo "i!ecode value that is used in place of the %tart value if the data ase you are i!porting this file into is set for 26 fps ti!ecode. Additionally' if the A40 file does not include a %ound "C colu!n' the "C 26 colu!n values are added to the data ase as the %ound "i!ecode values. A%-io;:elate- &iel-s J Trac*s: Cine!a "ools inserts )CA3* into this field during eEport. J -oundroll: Contains the contents of the %ound <oll field. J -ound TC: Contains the contents of the %ound "i!ecode field' representing the ti!ecode value of the first fra!e. 2eneral &iel-s J Name: :hen eEporting' contains the filena!e of the connected clip +if there is one/' or a Cine!a "oolsQcreated na!e co! ining the scene and ta(e nu! ers +if they have een entered/' or' as a last resort' the video reel and ti!ecode values separated y a hyphen. J -cene: Contains the %cene field contents. J Ta*e: Contains the "a(e field contents. J Notes: Contains any notes you !ay have included in the data ase record.

0mporting an A3, &ile

You i!port an A40 file with the I!port "elecine 4og co!!and. You can i!port an A40 file into an eEisting Cine!a "ools data ase or into its own new data ase. ItLs reco!!ended that you i!port into a new data aseMyou can always i!port that data ase into another one later. You can also i!port the A40 file using either $inal Cut 9ro or Cine!a "ools. %ee I!porting Bata ase Infor!ation fro! a "elecine 4og or A40 $ile for !ore infor!ation a out i!porting A40 and telecine log files using either $inal Cut 9ro or Cine!a "ools.

Chapter 12 :or(ing with 0Eternal 0B4s' IM4' and A40 $iles

2"7

,4porting an A3, &ile

Cine!a "ools eEports an A40 file ased on the current found set. "o avoid pro le!s' !a(e sure all of the records are co!plete and accurate prior to eEporting. To e4port an A3, file 1 Create a found set that contains the records you want to eEport. +%ee $inding and -pening Bata ase <ecords for details a out creating a found set./ 2 In Cine!a "ools' choose $ile P 0Eport P Avid 4og 0Echange. 0nter a na!e and location for the new file. ItLs reco!!ended that you add an .ale eEtension to the filena!e.

4 Clic( %ave to eEport the file.

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Chapter 12 :or(ing with 0Eternal 0B4s' IM4' and A40 $iles

Wor)ing with 24p 7i-eo an- 24 fps ,*3s

Cine!a "ools provides several tools that are useful when editing 26p video. "he proliferation of high definition +=B/ video standards and the desire for worldwide distri ution have created a de!and for a video standard that can e easily converted to all other standards. Additionally' a for!at that translates well to fil!' providing an easy' high,2uality !ethod of originating and editing on video and finishing on fil!' is needed. 26p video provides all this. It uses the sa!e 26 fps rate as fil!' !a(ing it possi le to ta(e advantage of eEisting conversion sche!es to create &"%C and 9A4 versions of your pro?ect. It uses a progressive scanning sche!e and usually an =B i!age to create an output well suited to eing pro?ected on large screens and converted to fil!. Additionally' 26p video !a(es it possi le to produce high,2uality 26 fps telecine transfers fro! fil!. "hese are very useful when you intend to roadcast the final product in !ultiple standards. Note: %everal of the features !entioned here are included with $inal Cut 9ro and do not re2uire Cine!a "oolsN however' these features are descri ed here ecause they relate to wor(ing with 26p video' which is of specific interest to !any fil!!a(ers. "his chapter following@ covers the

J Considerations :hen -riginating on $il! +p. 230/ J 0diting 26p Cideo with $inal Cut 9ro +p. 233/ J Adding and <e!oving 9ull,Bown in 26p Clips +p. 23K/ J Using Audio 0B4s for Bual %yste! %ound +p. 22K/

2"9

Considerations :hen -riginating on $il!

:hen editing 26p !aterial that originated on fil!' you need to e aware of a nu! er of special circu!stances.
-riginal ca!era negative Confor! negative $inal Cut 9ro with Cine!a "ools +ofZine edit/ "elecine log Cine!a "ools Create data ase %hoot fil! Convert to video with a telecine 26p C"< 0Eport cut list 0Eport 26 fps 0B4 Cut list 26 fps 0B4 0dited fil! !aster

Capture and process

0dit -nline editor 0dited video !aster

26p video

J If you intend to confor! the fil! to !atch the edited video' you !ust have its edge code trac(ed y a Cine!a "ools data ase. +%ee $il! 0dge Code for details a out edge code./ J "he fil! !ust e transferred to video using a telecine. "ypically the offline telecine video output contains urned,in video and audio ti!ecode' as well as (ey nu! ers. "hese urned,in values +(nown as /indo/ (urn/ are invalua le when you intend to later confor! the fil!. Unfortunately' their visi ility is a pro le! if you also intend to use the 26p video to produce a video version of the progra!. $or this reason' if you intend to produce oth a confor!ed fil! and an edited video version of the pro?ect' you !ight have the telecine run on two dec(s si!ultaneously' one with the window urn and the other without. J :hether youLre shooting fil! or 26p video' sound is al!ost always recorded separately fro! the picture' with a separate sound recorder. "his is often referred to as recording dual s&stem sound4 Although 26p productions can record the sound on the 26p video recorder' providing synced audio that is easily captured with $inal Cut 9ro' fil! productions do not have the option of recording sound on the fil!' so the audio !ust e synced to the picture at so!e point later in the process. "he preferred wor(flow is to synchroni#e the audio during the telecine transfer. "his !a(es it easy to capture the audio along with the video clips for editing with $inal Cut 9ro. "he Cine!a "ools data ase can trac( the original sound roll nu! ers and audio ti!ecode and generate an audio 0B4 that can e used to recapture and edit the audio at an audio post,production facility. %ee "elecines for infor!ation a out telecine transfers. %ee 0Eporting an Audio 0B4 for infor!ation a out eEporting audio 0B4s.
21" 21" Chapter 1 :or(ing with 26p Cideo and 26 fps 0B4s

0diting 26p Cideo with $inal Cut 9ro

"he eEcellent 2uality of 26p video presents a challenge when it co!es to editingMthe andwidth and storage space it re2uires. 0diting !ini!ally co!pressed 26p video directly in $inal Cut 9ro re2uires that you have a syste! with a large' fast hard dis( and speciali#ed capture hardware. 0ven with a properly configured syste!' you !ay e a le to capture only the video you actually intend to use' not the typical 20 to 300 hours you !ay have shot. "he typical approach to editing 26p video with $inal Cut 9ro involves two steps@ an offline edit' using co!pressed 26p clips or downconverted +to standard definition &"%C/ and co!pressed clips' followed y an online edit with recaptured' unco!pressed clips.

What 0s *ownconverte- 7i-eo9

It is often necessary to use =B video' such as 26p' in syste!s designed for standard definition +%B/ &"%C video. "he process of converting =B video to %B video is called do/nconverting. Most =B C"<s have an option that provides %B video outputs. %everal speciali#ed hardware downconverters are also availa le. %ee Understanding Aspect <atios for infor!ation a out dealing with the aspect ratio differences etween the standards when downconverting.

Using a &inal C%t Pro 1/stem for 24p Offline an- Online ,-iting
Using the sa!e $inal Cut 9ro syste! for oth offline and online editing !a(es the process as si!ple and error,free as possi le. "he wor(flow when using the sa!e syste! for oth purposes is outlined elow. 1tage 1C Capt%ring $o%r 24p 7i-eo as Compresse- Clips Capturing your 26p video using a lower,resolution codec !a(es it easier to capture and edit the video without running into storage or perfor!ance issues. 1tage 2C Performing an Offline ,-it of the Clips 0dit the progra! using the lower,resolution video clips. 1tage C Creating a *%plicate Pro'ect That Uses Onl/ >ee-e- 7i-eo You can use the $inal Cut 9ro Media Manager to create a duplicate pro?ect containing only the video actually used in the progra!. "his is usually !uch less than half of the originally captured video. 1tage 4C *eleting the Original Clips 1ecause the neEt step is to recapture the video using its native codec' you can delete the original lower,resolution video clips. 1tage (C :ecapt%ring the .aterial in the *%plicate Pro'ect &ow that you (now eEactly which video clips your pro?ect needs' you can recapture the

video at its native resolution.

0ven if your $inal Cut 9ro syste! is not configured to edit unco!pressed 26p video' it can serve as an offline editor and eEport a 26 fps 0B4 to e used y a 26p online editing syste!. 0ven etter' if your 26p online editing syste! uses $inal Cut 9ro' you can si!ply copy the pro?ect fro! the offline syste!' allowing you to preserve far !ore infor!ation a out the edit than with an 0B4 alone. %ee Using $inal Cut 9ro as a 26p -nline 0ditor and Using $inal Cut 9ro as a 26p -ffline 0ditor for !ore infor!ation a out each option.

Using 24p 7i-eo with &inal C%t Pro an- Cinema Tools
$inal Cut 9ro and Cine!a "ools give you the a ility to handle various situations related to editing 26p video@ J Im$orting 24 "$s ?D8s: Use for perfor!ing an online edit of 26p !aterial that has een offlined on another syste!. %ee Using $inal Cut 9ro as a 26p -nline 0ditor for !ore infor!ation. J ?<$orting 24 "$s ?D8s: Use for perfor!ing an offline edit of 26p !aterial with a 26 fps editing ti!e ase. %ee Using $inal Cut 9ro as a 26p -ffline 0ditor for !ore infor!ation. J Converting an ?D8 to or "rom 24 "$s: Use for perfor!ing an offline edit of 26p !aterial using an &"%C editing ti!e ase or for doing an online edit of 26p !aterial that has een offlined on an &"%C syste!. %ee Using $inal Cut 9ro as a 26p -ffline 0ditor for !ore infor!ation. J ,emoving 2:.:.:2 or 2:.:2:. $ull'do/n: Use if you are capturing your source clips fro! a digital video ca!corder that applied 2@G@G@2 or 2@G@2@G pull,down to 26p video. "his feature cleanly eli!inates the redundant fra!e fields created y the pull,down' without any reco!pression' so you can edit at 2G.97 fps or 26 fps. %ee :or(ing with 2@G@G@2 9ull,Bown for !ore infor!ation. J 7dding $ull'do/n: Use to output 2G.97 fps video in a for!at that you can play on an &"%C device' such as an &"%C !onitor' and to record it as 29.9K fps video. "his feature lets you output 2G.97 fps video via $ire:ire at the &"%C standard of 29.9K fps video. %ee 9ull,Bown 9atterns You Can Apply to 2G.97 fps Cideo for !ore infor!ation. J Creating an audio ?D8 /hen using dual s&stem sound: Use if you intend to recapture the audio elsewhere for final processing. %ee Using Audio 0B4s for Bual %yste! %ound for !ore infor!ation.

Using &inal C%t Pro as a 24p Online ,-itor

An i!portant consideration when using $inal Cut 9ro as your online editor is how to i!port the offline edit infor!ation. :hen using a separate syste! as the offline editor' there are three !ethods you can use to get edit infor!ation fro! the offline syste! +presented in order of preference/@ J Co$& the $ro#ect: Can e used when a separate $inal Cut 9ro syste! is the offline

syste! and you used a 26 fps editing ti!e ase for the offline edit.

J Im$ort a 24 "$s ?D8: Can e used when your offline syste! supports eEporting 26 fps 0B4s. J Im$ort an NT-C ?D8: Can e used when your offline syste! can only edit downconverted &"%C versions of the 26p video and eEport an &"%C 0B4. Cop/ing the Pro'ect Copying the pro?ect fro! an offline $inal Cut 9ro syste! to the online $inal Cut 9ro syste! provides not only the edit In and -ut point infor!ation ut also all other infor!ation related to the pro?ect' such as filter and effects usage. "o use this !ethod' you !ust have edited using a 26 fps ti!e ase on the offline syste!. A+o%t 0mporting ,*3s :hen using nonQ$inal Cut 9ro offline syste!s +or a $inal Cut 9ro syste! editing downconverted &"%C versions of the 26p video/' you !ust i!port an 0B4. $inal Cut 9ro provides oth 26 fps 0B4 i!port and &"%CQtoQ26 fps 0B4 conversion.
$inal Cut 9ro with Cine!a "ools 26p source video Capture unco!pressed 26p video -nline edit 26p video 0Eport $inal Cut 9ro !ovie 0dited 26p video

9rocess 0B4 +if necessary/

-ffline 0B4 +26 fps or &"%C/

Im$ortant: 1efore i!porting any 0B4 into $inal Cut 9ro' !a(e sure that the editing ti!e ase for the se2uence is the sa!e fra!e rate as the 0B4. If the fra!e rate of the 0B4 is different fro! the editing ti!e ase of the se2uence' the 0B4 will not e i!ported correctly. 0mporting 24 fps ,*3s :henever the offline editor is not a $inal Cut 9ro syste!' the est way to i!port infor!ation a out the offline edit is to provide an 0B4. 0B4s contain only the asic infor!ation a out an editing pro?ect@ the In and -ut edit points for the first two video trac(s and the first four audio trac(s' infor!ation for si!ple transitions' and any notes you have added. To import a 24 fps ,*3 into &inal C%t Pro 1 -pen an eEisting $inal Cut 9ro pro?ect or create a new one. 2 Choose $ile P I!port P 0B4. Configure the I!port -ptions dialog' then clic( -..

Note: If the dialog does not allow you to choose 26 fps as the editing ti!e ase' itLs pro a ly ecause the 0asy %etups included with Cine!a "ools are not installed. If they are not installed' reinstall Cine!a "ools. 4 %elect the na!e and location of the 0B4 file' then clic( Choose. A new se2uence opens in the pro?ect' containing the edits of the 0B4' all indicating that the !edia is offline. "he 1rowser contains a list of the !edia used in the edit. You can then use the $inal Cut 9ro Media Manager to capture the clips for the online edit. %ee the $inal Cut 9ro docu!entation for details a out capturing clips' i!porting 0B4s' and configuring the I!port -ptions dialog. 0mporting >T1C ,*3s You can perfor! an offline edit of your downconverted 26p video on an &"%C syste! and eEport an 0B4 that can e converted and used y an online $inal Cut 9ro syste!. "o i!port an &"%C 0B4 for use with a 26p pro?ect' you first need to convert the &"%C 29.9K fps 0B4 to 26 fps +or' !ost often' to 2G.97 fps/. Note: Cine!a "ools does not support converting 9A4 0B4s to 26 fps. %ee Converting &"%C 0B4s to 26 fps for !ore infor!ation. After you have converted the 0B4' you can i!port the 26 fps 0B4 into $inal Cut 9ro using the process descri ed in I!porting 26 fps 0B4s' a ove.

Using &inal C%t Pro as a 24p Offline ,-itor

0diting 26p =B video generally re2uires that you first edit it with an offline syste!. "his allows you to choose the actual footage you want to use while wor(ing with downconverted or co!pressed versions of the 26p video. :hen the online syste! also uses $inal Cut 9ro' it is highly reco!!ended that you perfor! the offline edit using a 26 fps ti!e ase. "his allows you to open the pro?ect with the online syste! and !aintain all special settings' effects' and filtersMele!ents that are not included in an 0B4. :ith online syste!s other than $inal Cut 9ro syste!s' you need to provide a 26 fps 0B4 fro! the pro?ect. Cine!a "ools provides two tools that !a(e it easier to use $inal Cut 9ro for 26p offline editing@ J ,everse Telecine and Con"orm "eatures: "hese features are useful when you have captured downconverted versions of the 26p video and want to convert the! ac( to 26 fps. J NT-CFtoF24 "$s ?D8 conversion: "his is useful when you !ust edit using an &"%C 29.9K fps ti!e ase ut need a 2G.97 fps or 26 fps 0B4.

$or offline editing' it is preferred that the 26p video e co!pressed and captured directly' with no fra!e rate conversions. "his re!oves the possi ility of errors during video and ti!ecode rate conversions and eli!inates the need to convert the videoLs aspect ratio +see Understanding Aspect <atios/. =owever' this re2uires speciali#ed hardware' so the following alternatives using standard downconverted versions of the 26p video have een developed. Using the :everse Telecine an- Conform &eat%res 26p video is often downconverted to !a(e it easier to use with standard video e2uip!ent. Cine!a "ools provides tools to convert &"%C or 9A4 captured clips ac( to their original 26 fps video' ena ling you to edit using a 26 fps ti!e ase@ J NT-C: Converting 26p video to &"%C video re2uires using a pull,down !ethod that adds redundant fields' !aintaining the actionLs original speed +3 second of 26p video e2uals 3 second of &"%C video/. "he <everse "elecine feature re!oves the pull,down y re!oving the eEtra fields and restores the original 26 fps rate. %ee <eversing the "elecine 9ull,Bown for infor!ation a out using the <everse "elecine feature. If your source clips originated fro! a special type of BC ca!corder that shoots 26p' such as the 9anasonic AF,BCI300 ca!corder' a si!pler for! of the <everse "elecine dialog appears. %ee <e!oving 2@G@G@2 or 2@G@2@G 9ull,Bown with Cine!a "ools for infor!ation a out reversing the pull,down for clips that originated fro! a 26p,capa le digital video ca!corder. J P78: "here are several !ethods of converting 26p video to 9A4. "he !ost co!!on is to play the tape 6 percent faster' providing a one,to,one relationship etween the 26p and 9A4 fra!es' ut speeding up the action y 6 percent. Cine!a "ools and $inal Cut 9ro provide a Confor! feature that you can use to restore the video ac( to 26 fps in order to edit it at 26 fps in $inal Cut 9ro. %ee $ra!e <ate 1asics for infor!ation a out fra!e rate issues. Converting >T1C ,*3s to 24 fps You !ay decide to edit the downconverted &"%C version of the 26p video using a standard &"%C 29.9K fps ti!e aseN however' !ost 26p online editing syste!s re2uire a 2G.97 fps or 26 fps 0B4. Cine!a "ools includes a feature that allows you to convert &"%C 29.9K fps 0B4s to 2G.97 fps or 26 fps. "his !a(es it possi le for you to perfor! an offline edit of your downconverted 26p video on an &"%C syste! and eEport an 0B4 that can e converted and used y an online syste!. Note: Cine!a "ools does not support converting 9A4 0B4s to 26 fps. "o convert an &"%C 0B4 to 26 fps' you need the 0B4 file to e converted in the CMI G800 or FCF for!at. You do not need a Cine!a "ools data ase.

To convert an >T1C ,*3 to 24 fps 1 In Cine!a "ools' choose $ile P 0Eport P Converted 0B4 P 26 $9% fro! G0 $9%. 2 In the dialog that appears' locate and choose the 0B4 file to convert. In the neEt dialog' choose the na!e and location for the new file to e created' then clic( %ave. "he new 0B4 file is identical to the original' with the eEception of the ti!ecode values and effects durations' which have een converted to !atch the new fra!e rate. Im$ortant: 26p ti!ecode is always non,drop fra!e' and the &"%C ti!ecode to e converted !ust also e non,drop fra!e. Cine!a "ools does not prevent you fro! converting an &"%C drop fra!eQ ased 0B4' ut instead treats it as if it were non,drop fra!e. "he eEported 26 fps 0B4 will contain errors' and Cine!a "ools inserts a warning !essage into the 0B4. You can now i!port the 26 fps 0B4 into $inal Cut 9ro using the process descri ed in I!porting 26 fps 0B4s.

Un-erstan-ing Aspect :atios

:hen capturing &"%C or 9A4 video fro! 26p sources' you typically choose how to handle the differences in their aspect ratios. %B video +&"%C or 9A4/ has a 6@G +3.GG/ aspect ratio. "his !eans the picture is K5 percent as tall as it is wide. Many 26p for!ats use a 38@9 +3.K7/ aspect ratio that is closer to the co!!on fil! aspect ratio of 3.75 and is the sa!e as that of the widescreen roadcast =B for!ats. Many =B C"<s can downconvert 38@9 video to %B 6@G video. $inal Cut 9ro syste!s not capa le of capturing 26p video directly can capture using one of these %B video outputs for editing. %ee the $inal Cut 9ro docu!entation for detailed infor!ation a out the options for converting 38@9 video to 6@G video.

Adding and <e!oving 9ull,Bown in 26p Clips

Cine!a "ools and $inal Cut 9ro have pull,down re!oval and addition features that address issues specific to wor(ing with 26p video. 9ull,down is a process that adds redundant fields to video in order to distri ute 26 fra!es per second into the &"%C standard of 29.9K fra!es per second. %ee $ra!e <ate 1asics for !ore infor!ation. %o!e ca!corders' such as the 9anasonic AF,BCI300' are designed to shoot in progressive !ode at 26 fps +literally 2G.97 fps/ and then record the video to tape as a 80,field interlaced signal y applying a special (ind of pull,down called advanced 2:.:.:2 $ull' do/n4 :ith $inal Cut 9ro or Cine!a "ools' you can re!ove the redundant fields created y the ca!eraLs pull,down' so that you can edit at 2G.97 fps or 26 fps. :hen you edit 2G.97 fps video' you !ay need to output it to an &"%C !onitor' record it to an &"%C videotape' or send it to another type of &"%C device. 1ecause the &"%C standard specifies a fra!e rate of 29.9K fps' $inal Cut 9ro gives you a way to add pull, down ac( in to the video as you output it. "o acco!!odate various circu!stances' $inal Cut 9ro provides a few different types of pull,down patterns for outputting your 2G.97 fps video as 29.9K fps video@ G@2 pull,down' 2@G@G@2 pull,down' and 2@2@2@6 pull, down. +%ee 9ull,Bown 9atterns You Can Apply to 2G.97 fps Cideo for a description of these pull,down patterns./ "he sections that follow descri e a nu! er of ways that you can use $inal Cut 9ro or Cine!a "ools to re!ove advanced 2@G@G@2 pull,down or 2@G@2@G pull,down fro! digital video clips. You can@ J Use $inal Cut 9ro to re!ove 2@G@G@2 pull,down while capturing' or after capturing J Use Cine!a "ools to re!ove 2@G@G@2 or 2@G@2@G pull,down on one clip at a ti!e J Use Cine!a "ools to re!ove 2@G@G@2 or 2@G@2@G pull,down on several clips at a ti!e

What 0s 2C C2C P%ll;*own9

A 2@G@2@G pull,down pattern is eEactly the sa!e as a G@2 pull,down pattern' eEcept that it is applied y a digital video ca!corder +as opposed to any other type of e2uip!ent that could apply the sa!e pattern of pull,down/. "his !anual uses the ter! 2:.:2:. when referring to the pull,down that co!es fro! a 26p digital video ca!corderN this type of pull,down can e re!oved using the auto!ated for! of reverse telecine. %ee <e!oving 2@G@G@2 or 2@G@2@G 9ull,Bown with Cine!a "ools for !ore infor!ation.

Wor)ing with 2C C C2 P%ll;*own

%o!e ca!corders' such as the 9anasonic AF,BCI300' are designed to shoot in progressive !ode at 26 fps +actually 2G.97 fps/ and then record the video to a tape as a 80,field interlaced signal y applying 2@G@G@2 pull,down to it. "he 2@G@G@2 pull,down is si!ilar in concept to G@2 pull,down ut has a different pattern of field repetition' as illustrated elow.

A
A A
$ield 3 $ield 2

#
#
$ield 3

C *
# C
$ield 2

#
$ield 2

C
$ield 3

C * *
$ield 2 $ield 3 $ield 2

$ield 3

2@G@G@2 9ull,Bown 1efore +2G.97 fps/

# C * A # C * A # C

* A # C

* A # C

* A # C *

A A # # # C C C * * A A # # # C C C * * A A # # # C C C * * A A # # # C C C * * A A # # # C C C ** A A # # # C C C * *

After +29.9K fps/ -ne second

"here are so!e advantages to shooting with' and then re!oving' 2@G@G@2 pull,down instead of wor(ing with G@2 pull,down@ J $inal Cut 9ro can easily re!ove the 2@G@G@2 pull,down while you are capturing' so that you can edit 26 fps +actually 2G.97 fps/ progressive video.

J Unli(e G@2 pull,down re!oval' re!oving a 2@G@G@2 pull,down does not re2uire the reco!pression and re,creation of any fra!es' so it results in a etter picture 2uality. $inal Cut 9ro eli!inates the redundant fields y si!ply pulling out the fra!es containing fields with two different i!ages +the fra!es that were constructed fro! two different original fra!es/. -nly fra!es containing one still i!age are left' resulting in a clean picture.
2@G@G@2 9ull,Bown <e!oval -ne second 1efore +29.9K fps/
A A # # # C C C * * A A # # # C C C * * A A # # # C C C * * A A # # # C C C * * A A # # # C C C ** A A # # # C C C * *

# C * A # C * A # C

* A # C

* A # C

* A # C *

After +2G.97 fps/

A A # # #
$ield 3 $ield 2 $ield 3 $ield $ield 2 3

C C
$ield 2 $ield 3

C * *
$ield 2 $ield 3 $ield 2

C *

You can re!ove the 2@G@G@2 pull,down with $inal Cut 9ro while capturing the source !edia' or with $inal Cut 9ro or Cine!a "ools after capturing. Note: %ee 2@G@G@2 9ull,Bown for infor!ation a out applying 2@G@G@2 pull,down to video +rather than re!oving it fro! video/.

:emoving 2C C C2 P%ll;*own with &inal C%t Pro

You can re!ove 2@G@G@2 pull,down with $inal Cut 9ro either while capturing the video or after the clips have een captured. To remove the p%ll;-own while capt%ring from a -igital vi-eo so%rce 1 In $inal Cut 9ro' choose $inal Cut 9ro P AudioACideo %ettings. 2 Clic( the Capture 9resets ta . %elect the preset you want to use' then clic( 0dit. 4 %elect )<e!ove Advanced 9ulldown andAor Buplicate $ra!es fro! $ire:ire sources.*

At so!e point after re!oving the 2@G@G@2 pull,down' you !ay want to output the video with 2@G@G@2 pull,down added ac( to recapture it with the ca!era. -r' for &"%C roadcast or distri ution' you !ay want to apply the !ore conventionally supported G@2 pull,down. You can output 26p video in either of these pull,down patterns. %ee 9ull, Bown 9atterns You Can Apply to 2G.97 fps Cideo for !ore infor!ation. To remove the p%ll;-own in &inal C%t Pro after capt%ring 1 In $inal Cut 9ro' select the clips or se2uence. 2 Choose "ools P <e!ove Advanced 9ulldown.

:emoving 2C C C2 or 2C C2C P%ll;*own with Cinema Tools

Clips captured fro! digital video ca!corders that shoot 26p' such as the 9anasonic AF, BCI300 ca!corder' have the pull,down pattern +also called cadence/ infor!ation e! edded in a way that Cine!a "ools can read. If Cine!a "ools detects this cadence infor!ation when you use the <everse "elecine feature' the Auto!ated <everse "elecine dialog appears. ItLs a si!plified version of the regular <everse "elecine dialog. Note: "he <everse "elecine feature cannot e used with te!porally co!pressed video such as M90F,2,for!at video. You can use auto!ated reverse telecine to re!ove the pull,down either fro! one clip at a ti!e or fro! a group + atch/ of clips. To %se a%tomate- reverse telecine to remove the p%ll;-own in a single clip 1 Choose $ile P -pen Clip' then select the clip in the dialog. 2 In the Clip window' clic( <everse "elecine. Choose a fra!e rate fro! the )Confor! to* pop,up !enu@ J 2.456: "his fra!e rate is useful if you want to later use the $inal Cut 9ro pull,down feature that lets you output 2G.97 fps video as 29.9K fps video. +%ee 9ull,Bown 9atterns You Can Apply to 2G.97 fps Cideo for !ore infor!ation./ J 244A: You !ay want to confor! and edit the clips at this rate if you plan to include the! in a pro?ect that contains other clips that are eEactly 26 fps. Note: If the audio and video are contained in the sa!e clip' and you choose 26.0 fro! this pop,up !enu' the <everse "elecine feature increases the audio speed y a very s!all percentage so that it is in sync with 26 fps instead of 2G.97 fps.

Choose a fra!e rate fro! the pop,up !enu.

4 %elect )&ew +s!aller/* or )%a!e +faster/* to specify the (ind of file you want to create@ J Ne/ (smaller : Creates a new !edia file that does not contain the eEtra fra!es introduced y the pull,down. "he new file is a out 20 percent s!aller than efore' ut this !ethod is slower. <egardless of whether the original file was reference or self,contained' this !ethod creates a self,contained file. +%ee "he Bifference 1etween %elf,Contained and <eference Media $iles for !ore infor!ation./ J -ame ("aster : Modifies the current !edia file so that the eEtra fra!es are not visi le to the editing syste!' ut the data is not re!oved fro! the file. "his process is faster ut does not reduce the si#e of the file. "he resulting file is self,contained if it was originally self,contained' or reference if it was reference.

If you select &ew' the file will e s!aller. If you select %a!e' the processing will e faster. :hen &ew is selected' )Chec( for cadence discontinuities* is on. $or %a!e' you can deselect it to speed up processing.

If you selected )%a!e +faster/'* you can choose whether Cine!a "ools chec(s for cadence discontinuities. :hile re!oving the pull,down' Cine!a "ools loo(s for rea(s in the pull,down cadence. If any rea(s are found' it ad?usts the processing to acco!!odate those discontinuities. A cadence discontinuity !ight occur if a recording was stopped and then started again at another point in the five,fra!e se2uence. Chec(ing for cadence discontinuities is !ore ti!e,consu!ing for the %a!e file option than it is for the &ew file option' so if you select )%a!e +faster/'* you can deselect the )Chec( for cadence discontinuities* chec( oE for the fastest possi le processing. Note: If this chec( oE is deselected and cadence discontinuities eEist in the clip' or if the cadence changes fro! 2@G@G@2 to 2@G@2@G +or any other pattern/ in the !iddle of a clip ecause the settings were changed during the recording' reverse telecine cannot e properly perfor!ed on the clip. ( Clic( -. to start the pull,down re!oval process. If you selected the &ew file option' you are as(ed to give the new reversed clip a na!e and location. If the original clip was connected to a data ase record' the new reversed clip replaces its connection to the record +regardless of whether or not the new clip overwrites the old clip/.
Chapter 1 :or(ing with 26p Cideo and 26 fps 0B4s 221 221

To %se a%tomate- +atch reverse telecine to remove the p%ll;-own from several clips at once 1 9lace all the clips that you want to process in one folder. +Ma(e sure that they are all clips that were captured fro! a 26p digital video ca!corder./ 2 Choose $ile P 1atch <everse "elecine. In the dialog that appears' select any source clip file in the folder that contains the clips you want to process' then clic( Choose. 4 Choose a fra!e rate fro! the )Confor! to* pop,up !enu@ J 2.456: "his fra!e rate is useful if you want to later use the $inal Cut 9ro pull,down feature that lets you output 2G.97 fps video as 29.9K fps video. +%ee 9ull,Bown 9atterns You Can Apply to 2G.97 fps Cideo for !ore infor!ation./ J 244A: You !ay want to confor! and edit the clips at this rate if you plan to include the! in a pro?ect that contains other clips that are eEactly 26 fps. Note: If the audio and video are contained in the sa!e clip' and you choose 26.0 fro! this pop,up !enu' the <everse "elecine feature increases the audio speed y a very s!all percentage so that it is in sync with 26 fps instead of 2G.97 fps.

Choose a fra!e rate fro! the pop,up !enu.

( %elect )&ew +s!aller/* or )%a!e +faster/* to specify the (ind of files you want to create@ J Ne/ (smaller : Creates new clip files that do not contain the eEtra fra!es introduced y the pull,down. "he new files are a out 20 percent s!aller than efore' ut this !ethod is slower. <egardless of whether the original files were reference or self,contained' this !ethod creates self,contained files. +%ee "he Bifference 1etween %elf,Contained and <eference Media $iles for !ore infor!ation./ If you select )&ew +s!aller/'* you can also choose to (eep or delete the original clip files. "o save the original clips in a separate folder' select the .eep -riginals chec( oE.

J -ame ("aster : Modifies the current clip files so that the eEtra fra!es are not visi le to the editing syste!' ut the data is not re!oved fro! the files. "his process is faster ut does not reduce the si#e of the files. "he resulting files are self,contained if they were originally self,contained' or reference if they were reference.

If you select &ew' the file will e s!aller. If you select %a!e' the processing will e faster.

$or %a!e' you can deselect )Chec( for cadence discontinuities* to speed up processing. $or &ew' selecting .eep -riginals saves the original clips in a folder.

If you selected )%a!e +faster/'* you can choose whether Cine!a "ools chec(s for cadence discontinuities. :hile re!oving the pull,down' Cine!a "ools loo(s for rea(s in the pull,down cadence. If any rea(s are found' it ad?usts the processing to acco!!odate those discontinuities. A cadence discontinuity !ight occur if a recording was stopped and then started again at another point in the five,fra!e se2uence. Chec(ing for cadence discontinuities is !ore ti!e,consu!ing for the %a!e file option than it is for the &ew file option' so if you select )%a!e +faster/'* you can deselect the )Chec( for cadence discontinuities* chec( oE for the fastest possi le processing. Note: If this chec( oE is deselected and cadence discontinuities eEist in the clip' or if the cadence changes fro! 2@G@G@2 to 2@G@2@G +or any other pattern/ in the !iddle of a clip ecause the settings were changed during the recording' reverse telecine cannot e properly perfor!ed on the clip. ! Clic( -. to start the pull,down re!oval. After the process is co!plete' the following occur@ J If you selected )&ew +s!aller/'* for each clip in the folder' a new clip with the sa!e na!e is created and placed in a Cine!a "oolsQcreated su folder na!ed <eversed. If you selected .eep -riginals' the original files are placed in a Cine!a "oolsQcreated su folder na!ed -riginals. If you selected )%a!e +faster/'* the new versions of the clips replace the old versions' in their original folder.

J If Cine!a "ools is una le to co!plete the reverse telecine process for a clip' that clip is !oved into a Cine!a "oolsQcreated su folder na!ed %(ipped. A clip is not processed if it doesnLt contain a video trac(' if the fra!e rate is not supported' if the clip does not contain cadence infor!ation' or if there is no codec found for the video trac(. J A teEt file appears at the top level of the folder you started with' na!ed )reverse.log.* "his log gives the date and ti!e that the process started and ended' as well as a start ti!e for each clip. If any pro le!s were encountered' such as running out of dis( space or !e!ory' an error !essage descri ing the pro le! also appears in the log.

P%ll;*own Patterns $o% Can Appl/ to 2 G98 fps 7i-eo

:hen editing 2G.97 fps video' you !ay want to output it to an &"%C !onitor' record it to an &"%C videotape' or send it to another type of &"%C device. :hen you need to do this' you can use the pull,down addition feature in $inal Cut 9ro. 9ull,down addition is a software !ethod of converting 2G.97 fps video to the &"%C standard of 29.9K fps. "here are three pull,down patterns that $inal Cut 9ro can apply to 2G.97 fps video.

C2 P%ll;*own G@2 pull,down is the sa!e type e!ployed y a telecine. %ee :or(ing with &"%C Cideo for !ore infor!ation. 1ecause G@2 pull,down is the conventionally supported pull, down pattern for &"%C devices' you need to use this pull,down pattern to record to an &"%C device' such as an %B television' an M90F,2 encoding device' or a high,end finishing syste!.

A
A A #
$ield 3 $ield 2 $ield 3

#
#
$ield 2

C *
# C
$ield 2

C
$ield 3

* * *
$ield 2 $ield 3 $ield 2

$ield 3

G@2 9ull,Bown 1efore +2G.97 fps/

# C * A # C

* A # C

* A # C

* A # C * A #

C *

A A # # # C C * * * A A # # # C C * * * A A # # # C C * * * A A # # # C C * * * A A # # # C C * ** A A # # # C C * * *

After +29.9K fps/ -ne second

2C C C2 P%ll;*own Another type of pull,down you can use is 2@G@G@2 pull,down. As with G@2 pull,down' the )G* in the pattern represents three fields' where one redundant field is added to the original two fields of a fra!e. %ee :or(ing with 2@G@G@2 9ull,Bown for details a out this pattern and the advantages it provides. Although G@2 pull,down is the conventionally supported pattern for &"%C devices' you !ay want to use 2@G@G@2 pull,down to output video that you can record to tape and yet later convert ac( to 2G.97 fps with the advantages of 2@G@G@2 re!oval +the a ility to re!ove the pull,down without the reco!pression and re,creation of any fra!es/.

2C2C2C4 P%ll;*own "he 2@2@2@6 pull,down pattern is not typically supported for recording devices or ca!eras' ut ecause it re2uires the least a!ount of processing power' itLs a good choice if you are editing 2G.97 fps video and want to preview it with as !any real,ti!e effects as possi le on an &"%C !onitor. "his pattern is also useful if you need to output video for display fro! an older' slower co!puter +or a co!puter with a heavy processing load/ that drops fra!es when you try to output G@2 or 2@G@G@2 pull,down video.
2@2@2@6 9ull,Bown -ne second 1efore +2G.97 fps/

# C * A # C * A # C

* A # C

* A # C * A # C *

A A # # C C * * * * A A # # C C * * * * A A # # C C * * * * A A # # C C * * * * A A # # C C * * ** A A # # C C * * * *

After +29.9K fps/

A
* A A #
$ield $ield 3 3 $ield 2 $ield 3

#
#
$ield 2

C *
C * * * *
$ield 2 $ield 3 $ield 2 $ield 3 $ield 2

C
$ield 3

A--ing P%ll;*own to 2 G98 fps 7i-eo

$inal Cut 9ro lets you add pull,down to 2G.97 fps video as you output it via $ire:ire. As discussed in the previous section' this is useful when you are editing 2G.97 fps video and want to output it to an &"%C device. Im$ortant: You !ust have a $ire:ire device connected and the se2uence !ust have a 2G.97 fps ti!e ase for the pull,down options to appear. "hey do not appear if the se2uence has a 26 fps ti!e ase. To a-- p%ll;-own +ac) in while sen-ing 2 G98 fps vi-eo to an >T1C -evice via &ireWire 1 In $inal Cut 9ro' select the se2uence in the "i!eline. 2 Choose the type of pull,down to use fro! the <" pop,up !enu in the "i!eline.

%ee 9ull,Bown 9atterns You Can Apply to 2G.97 fps Cideo for details a out the availa le patterns. -utput the video using your $ire:ire connection. <efer to the $inal Cut 9ro docu!entation for details a out outputting video. "he pull,down is perfor!ed on the video that is sent out of your co!puter via $ire:ire.

Using Audio 0B4s for Bual %yste! %ound

As with fil! productions' 26p video productions al!ost always record the sound separately fro! the picture' with a separate sound recorder. "his is referred to as using dual s&stem sound4 "his audio is often si!ultaneously recorded onto the videotape of the 26p C"<' !a(ing it easy to later capture oth the video and audio' with the audio already synced to the video for the edit.
9roduction video 26p C"< 26p video -nline 26p editor

%ynchroni#ed video 9roduction audio !iEer

$inal Cut 9ro with Cine!a "ools -fZine edit Cideo 0B4 eEport Bata ase for audio 0B4 eEport 26 fps 0B4 $inal edited !aster

%ynchroni#ed audio

Audio 0B4

Audio recorder

-riginal production audio

Audio finishing

In !ost cases' once you have finished editing' you will want to recapture the audio fro! the original production sound rolls and finish it at an audio post,production facility. "he difficulty is that the 0B4 fro! $inal Cut 9ro does not (now the roll nu! ers and audio ti!ecode of the original production sound rollsN it only has the videotape infor!ation. 1ecause the production sound recorder is started and stopped independently of the C"<' its ti!ecode will not !atch the C"<Ls. Using its data ase feature' Cine!a "ools can !atch the edits using the videotape audio with the original production sound rolls and generate an audio 0B4 that can then e used to recapture and finish the audio. You !ust create a Cine!a "ools data ase efore you can use this feature. %ee Creating and Configuring a &ew Bata ase for details a out creating a data ase and 0Eporting an Audio 0B4 for details a out eEporting an audio 0B4 fro! Cine!a "ools.

1efore you use Cine!a "ools to edit your fil!' itLs helpful to have a general understanding of a few fil! properties and e fa!iliar with the traditional fil! editing !ethod. "his appendiE provides asic ac(ground infor!ation a out fil! and how it is edited' oth traditionally and digitally. Most of this infor!ation is very general and is not intended to e a co!plete guide +or the final word/ on the fil! process. "here are a wide variety of resources that can provide detailed infor!ation on the su ?ect. "his appendiE covers the following@ J $il! 1asics +p. 229/ J 0diting $il! Using "raditional Methods +p. 2G6/ J 0diting $il! Using Bigital Methods +p. 2G8/

$il! 1asics
"here are a nu! er of things that differentiate the various fil! standards. "he !ost co!!on are@ J %rame si=e: $or !ore infor!ation' see $ra!e %i#e. J Per"oration arrangement (ho/ man& s$roc*et holes $er "rame : $or !ore infor!ation' see 9erforations. J %ilm edge codes) including *e& num(ers and in* num(ers: $or !ore infor!ation' see $il! 0dge Code. J -$eed (ho/ man& "rames $er second : $or !ore infor!ation' see %peed. "he following sections discuss these points as they relate to Cine!a "ools.

&rame 1iBe
Cine!a "ools supports two co!!on fil! fra!e si#es@ 38!! and G5!!. "he aspect ratio +height versus width/ of each si#e is different.

Appen-i4
229

&ilm #ac)gro%n- #asics

1ecause of its lower costs' 38!! fil! is typically used for productions with s!aller udgets. If you intend to shoot 38!! ut release your pro?ect as 6,perf G5!!' you should use %uper 38!! fil!. It has perforations along only one edge and a larger fra!e that !ore closely !atches the 6,perf G5!! aspect ratio.

38!! for!at

%uper 38!!

G5!! fil! is !ost co!!only used for theatrical releases' with 6 perforations per fra!e +6,perf / eing the !ost prevalent version. Another co!!on version uses G perforations per fra!e +G,perf /. "here are other versions of G5!!' such as 7,perf' ut they are not currently supported y Cine!a "ools.

G5!! for!at 6,perf

G5!! for!at G,perf

Perforations
Ca!era and pro?ection e2uip!ent uses the perforations' also (nown as s$roc*et holes' along one or oth edges of fil! to pull it past the shutter. 1!mm &ilm 38!! fil! has a single perforation for each fra!e' which co!es out to 60 perforations per foot. 38!! is availa le as single perforated +perforations along one edge only' allowing space for an optical trac(' or in the case of %uper 38!! fil!' for a larger fra!e/ and dou le perforated +perforations along oth edges/. Cine!a "ools supports single and dou le perforated 38!! fil! as long as it has a (ey nu! er every 20 fra!es. %ee .ey &u! ers for !ore infor!ation.

2 "

Appen-i4 A $il! 1ac(ground 1asics

(mm &ilm G5!! fil! has 86 perforations per foot. Cine!a "ools supports the 6,perf G5!! and G,perf G5!! for!ats for all types of fil! lists and change lists. "hese are y far the !ost co!!on G5!! for!ats. "he 6,perf G5!! fil! for!at has 38 fra!es per foot. "he G,perf G5!! for!at does not have a whole nu! er of fil! fra!es in a foot +there are 23 and one,third per foot/. "o avoid trac(ing fractions of fra!es' the G,perf G5!! for!at is considered to have a pattern of two 23,fra!e feet followed y a 22,fra!e foot. %ee G,9erf G5!! -ffsets for !ore infor!ation.

&ilm ,-ge Co-e

"o aid in locating specific fil! fra!es' fil! !anufacturers place nu! ers along the edge of the fil!. "hese (ey nu! ers +also (nown as latent edge code/ appear when the fil! is developed. $or wor(prints' fil! la s can add nu! ers called in* num(ers +also (nown as 7cmade num(ers/. 0dge code is essential to your Cine!a "ools data ase ecause it !a(es it possi le for you to eEport cut lists or change lists that specify eEactly where your negatives or wor(prints need to e cut in order to !atch your digital edits. Ie/ >%m+ers .ey nu! ers provide oth an identification nu! er for each roll of fil! and an incre!ental footage count nu! er used to identify specific fil! fra!es. "hey often appear as oth regular teEt and as a ar code.

.ey nu! er

Appen-i4 A $il! 1ac(ground 1asics

2 1 2 12

0ach fil! standard uses (ey nu! ers differently@ J 38!! fil! can have a (ey nu! er every 20 fra!es +!ost co!!on/ or 60 fra!es' depending on the fil! stoc(. Cine!a "ools supports the 38!!,20 for!at. J G5!! fil! has a (ey nu! er every 86 perforations +which wor(s out to every 38 fra!es with the 6,perf for!at' or 23 and one,third fra!es with the G,perf for!at/. Unli(e video ti!ecode' which provides a uni2ue nu! er for each video fra!e' (ey nu! ers do not appear on every fra!e of fil!. $or this reason' when identifying a specific fra!e in a log oo( or in Cine!a "ools' (ey nu! ers have a fra!e count eEtension added specifying the actual fra!e. A )S07* at the end of a (ey nu! er indicates it is the eighth fra!e fro! that (ey nu! erLs first fra!e. In the previous illustration' the actual (ey nu! er for the center fra!e is .> 29 32G6 58K7S00. "he )J* following the nu! er indicates fra!e 00 for that (ey nu! er. +:ith 6,perf fil!Mthe (ind shown in the illustrationMthere are 38 fra!es per (ey nu! er' with the first one starting at )00.*/ "he fra!e to the right would e .> 29 32G6 58K7S03. "he fra!e to the left would e the last fra!e of the previous (ey nu! er' .> 29 32G6 58KKS35. +38!! fil! places the )J* at the eginning of the (ey nu! er./ G5!! fil! also has !id,foot !ar(ers halfway etween the #ero fra!e !ar(ers. "hese help to identify a !idpoint +the )S07* fra!e in the previous eEa!ple/ and reduce the chance of a !iscount. "hese !ar(ers use the sa!e (ey nu! er with a )SG2* appended +indicating the perforation nu! er' not the fra!e nu! er/ in a s!aller font. ;Perf (mm Offsets 1ecause the G,perf G5!! for!at does not have a whole nu! er of fra!es etween each (ey nu! er' an additional )perforation offset* nu! er is added to the end of the (ey nu! er. "his nu! er indicates the relationship of the perforation !ar(ed with a )J* and the fra!e at that position.

-ffset 3 -ffset 2

-ffset G

2 2

Appen-i4 A $il! 1ac(ground 1asics

0n) >%m+ers In( nu! ers' fre2uently used for wor(prints' are another !ethod of encoding the edge of fil! in order to trac( feet and fra!es. In( nu! ers are added to wor(prints and corresponding !agnetic,stripe fil! soundtrac(s +called mag trac*s/ after the wor(print and the !ag trac( have een synchroni#ed. -n transferred wor(prints' in( nu! ers are easier to read than (ey nu! ers' and they provide a counting !echanis! that is synchroni#ed for oth the soundtrac( and the wor(print. In( nu! ers are so!eti!es called 7cmade num(ers ecause Ac!ade !a(es a !achine that is used to print in( nu! ers. Machines that print in( nu! ers are co!!only rented or owned and run y fil! crews. "he typical style of in( nu! ering is a three,digit prefiE followed y a character or space' followed y four digits representing the footage nu! er' followed y digits representing the fra!e offset. $or eEa!ple' in in( nu! er 32G 658KS07' )32G* is the prefiE and )658KS07* is the fra!e nu! er' indicating that the fra!e occurs at 658K feet and 7 fra!es. "he in( nu! ers encoded on the fil! do not actually include the last part +the fra!e offset nu! er/. <ather' the fra!e offset is calculated y the telecine and appears in the telecine log. "he prefiE !ay contain fewer or !ore than three digits' and the nu! ering techni2ue for the prefiE is usually deter!ined y an editing assistant. $or eEa!ple' the nu! ering could e associated with the scene nu! er' as in )062* for the footage in scene 62. -r' the prefiEes !ight represent daily roll nu! ers. Win-ow #%rn As part of the telecine transfer process +descri ed in "ransferring $il! to Cideo/' the (ey nu! er is typically urned in to the video +along with the video and audio ti!ecode/' helping to identify specific fra!es. "he urned,in nu! ers are called /indo/ (urn4

It is !uch easier to use Cine!a "ools if you can see the (ey nu! ers. You can use Cine!a "ools without the window urn' ut it re2uires !ore effort on your part to ensure that edits are eing trac(ed properly.

Note: After you have captured your video ut efore you start editing' chec( the urned, in (ey nu! ers and ti!ecode to !a(e sure they !atch the actual ones on the fil! and videotape. "here are a variety of reasons why the window urn values !ight not e correct' ranging fro! incorrectly entered values to faulty auto!atic detection. Any errors at this point will result in serious pro le!s when the negative is confor!ed. "he !ost co!!on way to verify these nu! ers is to have the la or transfer facility physically punch a hole or otherwise !ar( a fil! fra!e' note its (ey nu! er' and co!pare it to the urned,in (ey nu! er when viewing the transferred video. Ma(e sure you verify this at least once for each ca!era roll +prefera ly for each ta(e/. Co!pare the ti!ecode in the window urn with the value the videotape dec( displays.

1pee$il! nor!ally has a fra!e rate of 26 fra!es per second +fps/. "his !eans a new i!age is eEposed or pro?ected 26 ti!es a second. "o ease conversion to video fra!e rates' it is co!!on to run the fil! at rates other than 26 fps during the telecine transfer. Cine!a "ools supports fil! transferred to video with the telecine running at the rates of 2G.97 fps' 26 fps' 25 fps' and 29.9K fps +often referred to as G0 fps/. %ee $ra!e <ate 1asics for !ore infor!ation a out fra!e rates.

0diting $il! Using "raditional Methods

"he traditional process of editing fil! has changed little over the years. Although the e2uip!ent has i!proved dra!atically' the steps are asically the sa!e. $ollowing is a si!plified wor(flow outlining the fil! editing process. &ote that the original ca!era negative is al!ost never used during the creative editing part of the process. "he negative !ust e handled as little as possi le' and then y professionals in the proper environ!ent' to avoid da!aging it.
-riginal ca!era negative %hoot fil! Bevelop fil! Create audio scratch trac(s Create wor(print 0dit wor(print 0dit audio scratch trac(s -riginal production audio Confor! original ca!era negative to wor(print MiE audio trac(s Add sound effects

<ecord audio

Create release prints

1tage 1C 1hooting the &ilm an- :ecor-ing the 1o%nAudio is always recorded separately fro! the fil!' on a separate sound recorder. "his is (nown as shooting dual s&stem sound4 :hile shooting the fil!' you need to include a way to synchroni#e the sound to the picture. "he !ost co!!on !ethod is to use a clapper oard +also called a slate or stic*s/ at the eginning of each ta(e. "here are a nu! er of other !ethods you can use' ut the general idea is to have a single cue that is oth audi le and visi le +you can see what caused the noise/. 1tage 2C *eveloping the &ilm "he developed fil! is (nown as the original camera negative4 "his negative will eventually e confor!ed to create the final !ovie and !ust e handled with eEtre!e care to avoid scratching or conta!inating it. &or!ally' the negative is used to create a wor(print +fil! positive/ and then put aside until the negative is confor!ed. 1tage C Creating the Wor)print "he wor(print is created fro! the original ca!era negative and gives you a copy of the raw fil! footage to use for the editing process. 1ecause wor(prints are fil! positives' they can e pro?ected and used as dailies' letting you view what has een shot. 1tage 4C Creating A%-io 1cratch Trac)s An audio scratch trac( is si!ilar to the fil!Ls wor(printMitLs a copy of the production audio to use while editing. Bepending on the type of !echanical fil! editor you intend to use' you will often create an audio scratch trac( on !agnetic fil!. Magnetic fil!' (nown as single stri$e' three stri$e' mag stoc*' and "ullcoat' uses perforations li(e regular fil! ut is coated with !agnetic !aterial. -nce the !agnetic fil! is synced with the fil! on the editor' oth the audio scratch trac( and the wor(print are run in tande!' !aintaining their sync during editing. 1tage (C ,-iting the Wor)print "his is the point when you !a(e decisions regarding which parts of the fil! footage you want to use and how you want it laid out. 0diting the wor(print involves physically cutting and splicing at each edit point. Changing your !ind a out the eEact place!ent of a cut or trying an alternative edit is ti!e,consu!ing and tends to e hard on the fil!. + "his is the part of the process that digital editing greatly facilitates./ :hen you are satisfied with the edited wor(print' you send it to the negative cutter. 1tage !C Conforming the >egative "he negative cutter uses the edited wor(print as a guide to !a(e edits to the original ca!era negative. "his process is called con"orming4 1ecause there is only one negative' it is crucial that no !ista(es are !ade at this point. As opposed to the cutting and splicing !ethods used when wor(ing with the wor(print' the cutting and splicing !ethods used for confor!ing the negative destroy fra!es on each end of the edit. "his !a(es eEtending an edit virtually i!possi le and is one of the reasons you !ust e a solutely sure of your edit points efore eginning the confor! process.

1tage 7C ,-iting the A%-io You typically )rough,cut* the audio while editing the wor(print. :hile the negative is eing confor!ed' the audio is edited +using the original sound rolls/ and finished with sound effects and any re2uired dialogue enhance!ents. 1tage 8C Creating the Answer an- :elease Prints After the original ca!era negative has een confor!ed and the audio finali#ed' you can have an answer print created. "his print is used for the final color ti!ing' where the color alance and eEposure for each shot are ad?usted to ensure the shots all wor( well together. You !ay need to create several answer prints efore you are happy with the results. -nce you are satisfied with the answer print' the final release print is !ade.

0diting $il! Using Bigital Methods

"he process of editing fil! digitally is constantly evolving' ut the asic concept re!ains the sa!eMyou start and end on fil!' with only the creative part of the editing process changing. $ollowing is a si!plified wor(flow outlining the asic process. +%ee Cine!a "ools :or(flows for a !ore detailed eEplanation of this process./
-riginal ca!era negative Cut list Confor! original ca!era negative to cut list

"elecine log

$inal Cut 9ro Cine!a "ools Create Cine!a "ools data ase 0Eport cut lists ased on edits <everse telecine 0dit Confor! decisions Capture video 9repare clips

%hoot fil!

Bevelop fil!

Convert to video with a telecine

Audio 0B4 video and audio

Create release prints

Audio for edit <ecord audio -riginal production audio

Capture audio

MiE audio trac(s Add sound effects

Although this wor(flow appears !ore co!plicated than the traditional editing !ethod' !any of these steps can e auto!ated. $or !ost fil!!a(ers' the enefits of eing a le to edit digitally easily offset any added procedures. %everal parts of this process are the sa!e as for the traditional !ethodMas !entioned earlier' it is only the !iddle part of the fil! editing process that is affected y editing digitally.

1tage 1C 1hooting the &ilm an- :ecor-ing the 1o%nAudio is always recorded separately fro! the fil!' on a separate sound recorder. "his is (nown as shooting dual s&stem sound4 :hile shooting the fil!' you need to include a way to synchroni#e the sound to the picture. "he !ost co!!on !ethod is to use a clapper oard +also called a slate or stic*s/ at the eginning of each ta(e. "here are a nu! er of other !ethods you can use' ut the general idea is to have a single cue that is oth audi le and visi le +you can see what caused the noise/. 1tage 2C *eveloping the &ilm "he developed fil! is (nown as the original camera negative4 "his negative will eventually e used to create the final !ovie and !ust e handled with eEtre!e care to avoid scratching or conta!inating it. "he negative is used to create a video transfer +and typically a wor(print' as with the traditional !ethod/ and then put aside until the negative is confor!ed. 1tage C Transferring the &ilm to 7i-eo "he first step in converting the fil! to a for!at suita le for use y $inal Cut 9ro is to transfer it to video' usually using a telecine. "elecines are devices that scan each fil! fra!e onto a charge,coupled device +CCB/ to convert the fil! fra!es to video fra!es. Although the video that the telecine outputs is typically not used for anything esides deter!ining edit points' itLs a good idea to !a(e the transfer 2uality as high as possi le. If you decide against !a(ing wor(prints' this !ay e your only chance to deter!ine if there are undesira le ele!ents +such as !icrophone oo!s and shadows/ in each ta(e efore co!!itting to the!. "he video output should have the fil!Ls (ey nu! er' the video ti!ecode' and the production audio ti!ecode urned in to each fra!e. "he actual videotape for!at used for the transfer is not all that i!portant' as long as it uses relia le ti!ecode and you will later e a le to capture the video and audio digitally on the co!puter prior to editing. An eEception is if you intend to use the video transfer to also create an edited video version of the pro?ect' perhaps for a video trailer. "his re2uires two tapes to e !ade at the transferMone that is high 2uality and without window urn' and another that has window urn. It is strongly reco!!ended that the audio e synced to the video and recorded onto the tape along with the video during the telecine process. "here are also !ethods you can use to sync the audio after the telecine process is co!pleteMthe i!portant thing is to e a le to si!ultaneously capture oth the video and its synchroni#ed audio with $inal Cut 9ro.

1tage 4C Creating a Cinema Tools *ata+ase "he (ey to using Cine!a "ools is its data ase. "he data ase is si!ilar to the traditional code oo( used y fil!!a(ers. It contains infor!ation a out all ele!ents involved in a pro?ect' including fil! (ey nu! ers' video and audio ti!ecode' and the actual clip files used y $inal Cut 9ro. Bepending on your situation' the data ase !ay contain a record for each ta(e used in the edit or !ay contain single records for each fil! roll. "he fil!,to,video transfer process provides a log file that Cine!a "ools can i!port as the asis of its data ase. It is this data ase that Cine!a "ools uses to !atch your $inal Cut 9ro edits ac( to the fil!Ls (ey nu! ers while generating the cut list. "here is no re2uire!ent that the data ase e created efore the video and audio are captured' or even efore they are edited. "he only real re2uire!ent is that it !ust e created efore a cut list can e eEported. "he advantage of creating the data ase efore capturing the video and audio is that you can then use it to create atch capture lists' allowing $inal Cut 9ro to capture the clips. "he data ase can also e updated and !odified as you edit. 1tage (C Capt%ring the 7i-eo an- A%-io "he video created during the telecine process !ust e captured as a digital file that can e edited with $inal Cut 9ro. "he way you do this depends on the tape for!at used for the telecine transfer and the capa ilities of your co!puter. You need to use a third, party capture card to capture files fro! a 1etaca! %9 or Bigital 1etaca! tape !achine. If you are using a BCCAM source' you can i!port directly via $ire:ire. "o ta(e advantage of the atch capture capa ility of $inal Cut 9ro' you should use a fra!e,accurate' device,controlla le source. As opposed to the captured video' which is never actually used in the final !ovie' the edited audio can e used. You !ay decide to capture the audio at a high 2uality and eEport the edited audio as an -pen Media $ra!ewor( +-M$/ file that can e i!ported at a Bigital Audio :or(station +BA: / for finishing. Another approach is to capture the audio at a low 2uality and' when finished editing' eEport an audio 0B4 that can e used y an audio post,production facility' where the production audio can e captured and processed at a very high 2uality. 1tage !C Processing the 7i-eo an- A%-io Clips Bepending on how you are using Cine!a "ools' the captured clips can e lin(ed to the Cine!a "ools data ase. "hey can also e processed' using the Cine!a "ools <everse "elecine and Confor! features' to ensure co!pati ility with the $inal Cut 9ro editing ti!e ase. $or eEa!ple' the Cine!a "ools <everse "elecine feature allows you to re!ove the eEtra fra!es added when transferring fil! to &"%C video using the G@2 pull, down process.

1tage 7C ,-iting the 7i-eo an- A%-io You can now edit the pro?ect using $inal Cut 9ro. $or the !ost part' you edit your fil! pro?ect the sa!e as any video pro?ect. If you captured the audio separately fro! the video' you can synchroni#e the video and audio in $inal Cut 9ro. Any effects you use' such as dissolves' wipes' speed changes' or titles' are not used directly y the fil!. "hese !ust e created on fil! at a facility speciali#ing in fil! opticals. It can e helpful for the negative cutter if you output a videotape of the final pro?ect edit. Although the cut list provides all the infor!ation re2uired to !atch the fil! to the video edit' it helps to visually see the cuts. 1tage 8C ,4porting the &ilm 3ists After youLve finished editing' you eEport a fil! list that can contain a variety of fil!, related lists' including the cut list' which the negative cutter uses to !atch the original ca!era negative to the edited video. Additional lists can also e generated' such as a duplicate list' which indicates when any source !aterial is used !ore than once. 1tage 9C Creating a Test C%t on a Wor)print 1efore the original ca!era negative is confor!ed' it is strongly suggested that you confor! a wor(print to the cut list to !a(e sure the cut list is accurate +so!e negative cutters insist on having a confor!ed wor(print to wor( fro!/. "here are a nu! er of things that can cause inaccuracies in a cut list@ J Ba!aged or !isread (ey nu! ers entered during the telecine transfer process J Incorrect ti!ecode values J "i!ecode errors introduced during the capture process J :ith &"%C video' G@2 pull,down pro le!s In addition to verifying the cut list' other issues' such as the pacing of a scene' are often hard to get a feel for until you see the fil! pro?ected on a large screen. "his also gives you a chance to ensure that the selected shots do not have uneEpected pro le!s. If your production process involves wor(print screenings and !odifications' you can also eEport a change list that descri es what needs to e done to a wor(print to !a(e it !atch a new version of the se2uence edited in $inal Cut 9ro. 1tage 1"C Conforming the >egative "he negative cutter uses the cut list' the edited wor(print' and the edited video +if availa le/ as a guide to !a(e edits to the original ca!era negative. 1ecause there is only one negative' it is crucial that no !ista(es are !ade at this point. As opposed to the cutting and splicing !ethods used when wor(ing with the wor(print' the cutting and splicing !ethods used for confor!ing the negative destroy fra!es on each end of the edit. "his !a(es eEtending an edit virtually i!possi le and is one of the reasons you !ust e a solutely sure of your edit points efore eginning the confor! process.

1tage 11C &inishing the A%-io You usually rough,cut the audio while editing the video +stage K/N the audio is typically finished while the fil! is eing confor!ed. As !entioned in stage 5' you can use an eEported -M$ version of the $inal Cut 9ro edited audio or eEport an audio 0B4 and recapture the production audio +using the original sound rolls/ at a BA:. $inishing the audio is where you perfor! the final sound !iE' including cleaning up dialogue issues and adding sound effects' ac(grounds' and !usic. 1tage 12C Creating the Answer an- :elease Prints After the original ca!era negative has een confor!ed and the audio finali#ed' you can have an answer print created. "his print is used for the final color ti!ing' where the color alance and eEposure for each shot are ad?usted to ensure the shots all wor( well together. You !ay need to create several answer prints efore you are happy with the results. -nce you are satisfied with the answer print' the final release print is !ade.

8ow Cinema Tools Creates &ilm 3ists

Cine!a "ools can produce a fil! list only if it can !atch edits !ade in the editing syste! to records in the Cine!a "ools data ase. "he data ase record contains the fil! roll and (ey nu! er infor!ation that Cine!a "ools needs in order to descri e the edit in the fil! list. "his appendiE following@ covers the

J $il! 4ist Creation -verview +p. 263/ J A out the Clip,1ased Method +p. 262/ J A out the "i!ecode,1ased Method +p. 26G/

$il! 4ist Creation -verview

In creating a fil! list' there are two asic !ethods Cine!a "ools uses to locate a data ase record associated with a particular edit@ J Cli$'(ased method: Cine!a "ools o tains the clipLs filena!e fro! $inal Cut 9ro and then loo(s for the clip in the data ase. Cine!a "ools first tries to locate the clip ased on the clip pathna!e indicated in the editing syste!. If it fails to find the clip y loo(ing for the pathna!e' it searches for the clip y its na!e and !odification date. :hen Cine!a "ools finds the clip in the data ase' it can also locate the associated record' ecause each clip !ust e lin(ed to one record. %ee A out the Clip,1ased Method for !ore infor!ation. J Timecode'(ased method: If Cine!a "ools canLt find the data ase record using the clipLs filena!e' it finds the data ase record y loo(ing for the video reel and ti!ecode infor!ation associated with the edit in the se2uence in $inal Cut 9ro. %ee A out the "i!ecode,1ased Method for !ore infor!ation.

Appen-i4

241

Cine!a "ools always uses the clip, ased location !ethod when it can. If it doesnLt find a !atching clip' it uses the ti!ecode, ased location !ethod. If Cine!a "ools cannot find a suita le data ase record with either !ethod' an entry is logged in the !issing ele!ents list +if you chose to include a !issing ele!ents list in the fil! list/. "his process is outlined in the flow chart elow.
Cine!a "ools gets clip na!e fro! $inal Cut 9ro

Cine!a "ools loo(s for clip na!e in data ase

Bata ase record foundD &o

Yes

Cine!a "ools uses fil! roll and (ey nu! er in data ase record to descri e edit in cut list

Cine!a "ools gets clip ti!ecode and reel identifier fro! $inal Cut 9ro

Cine!a "ools loo(s for clip ti!ecode and reel identifier in data ase

Bata ase record foundD &o A !issing ele!ent note is !ade in the !issing ele!ents list

Yes

A out the Clip,1ased Method

$or Cine!a "ools to locate a data ase record using the clip, ased location !ethod' it needs to (now only the relationship etween the source clip and the (ey nu! ers or in( nu! ers. In contrast' the ti!ecode, ased !ethod re2uires that Cine!a "ools (now the relationship etween the (ey nu! ers or in( nu! ers and the video reel and ti!ecode. 1ecause the clip, ased !ethod relies on fewer varia les' it is !ore relia le' which is why Cine!a "ools tries to use this !ethod first.

242

Appen-i4 # =ow Cine!a "ools Creates $il! 4ists

A out the "i!ecode,1ased Method

"here are so!e situations in which the ti!ecode, ased !ethod is useful or even essential@ J I" &ou have not logged cli$s in the Cinema Tools data(ase (& connecting them to data(ase records: -nly the ti!ecode, ased !ethod can locate the data ase records. If the data ase contains the data that is needed to !atch the edge code and the ti!ecode' and if the source clips were captured y $inal Cut 9ro using fra!e,accurate device control' $inal Cut 9ro should (now the video reel and ti!ecode infor!ation for each clip' and a fil! list can e produced fro! this infor!ation. +In such a case' you do not have to connect the source clips to the data ase records' saving you a fair a!ount of la or./ J I" &ou are generating a "ilm list "rom an e<ternal ?D8: "he ti!ecode, ased !ethod is used +assu!ing you have not connected the source clips to the data ase/. J I" the cli$ "iles are inaccessi(le (o""line /hen the "ilm list is generated: -nly the ti!ecode, ased !ethod can locate the data ase records.

Appen-i4 # =ow Cine!a "ools Creates $il! 4ists

24

"here are a nu! er of resources you can turn to for help when you have issues with Cine!a "ools. "his appendiE covers the following@ J <esources for %olving 9ro le!s +p. 265/ J %olutions to Co!!on 9ro le!s +p. 265/ J Contacting AppleCare %upport +p. 26K/

<esources for %olving 9ro le!s

If you run into pro le!s while wor(ing with Cine!a "ools' there are several resources you can use to find a solution. J This a$$endi<: "his appendiE includes infor!ation a out so!e of the !ost fre2uent issues users encounter. J 7$$leCare Kno/ledge Dase: AppleCare %upport !aintains a data ase of co!!on support issues that is updated and eEpanded to include new issues as they arise. "his is an eEcellent' free resource for Cine!a "ools users. "o access the AppleCare .nowledge 1ase' go to the AppleCare %upport page at http@AAwww.apple.co!Asupport. J 7$$leCare -u$$ort: "here are a variety of support options availa le to $inal Cut %tudio custo!ers. $or !ore infor!ation' see the docu!entation a out support options that was included with your $inal Cut %tudio pac(age.

%olutions to Co!!on 9ro le!s

$ollowing is a list of co!!on pro le!s you !ight have while using Cine!a "ools' with one or !ore solutions provided for each pro le!.

Appen-i4

1olving Pro+lems

24(

$o% see warnings a+o%t -%plicate %sages of so%rce material J :hen the nu! er of fra!es reused is fewer than the nu! er of fra!es you entered in the Cut =andles or "ransition =andles settings in the fil! list eEport dialog' itLs possi le that a duplicate usage warning is a result of the cut handles or transition handles. "o deter!ine whether this is the case' try setting the "ransition =andles option to #ero fra!es and the Cut =andles option to one,half of a fra!e' then eEport the fil! list again. J :hen your edited progra! contains duplicate usages of source !aterial and you have only one original ca!era negative to cut' you have a couple of options. You can reedit your scene or scenes in order to avoid using the !aterial !ore than once. -r' you can eEport a duplicate list and give it to a la so the la can create duplicate negatives of each shot that is used !ore than once. You then transfer the duplicate negatives to video' capture the! into $inal Cut 9ro' log the! in the Cine!a "ools data ase' and use the! to replace the duplicate sections in your edited pro?ect. The )e/ n%m+ers in the c%t list -o not match the )e/ n%m+ers in the -igital clips J $irst' !a(e sure that it is so!ething to e concerned a out. :hen editing at the &"%C video rate of G0 fps +actually 29.9K fps/' (ey nu! ers !ight e off y SAQ one fra!e. "his is nor!al and to e eEpected if you edited at the &"%C video rate. +%ee $ra!e <ate 1asics for !ore infor!ation./ Also' the (ey nu! er !ay e off y !ore than one fra!e at the end of the cut if it was necessary to add or su tract a fra!e in order to !aintain sync with the audio. =owever' under no circu!stances should the (ey nu! er e off y !ore than one fra!e at the (eginning of the cut. And' if you are editing 9A4 video at 26 fps' the (ey nu! er you see urned in to the fra!e should never e different fro! the (ey nu! er you see in the cut list at the In and -ut points. J If the difference is !ore than one fra!e' the !ost li(ely cause is that the clip is not properly identified in the Cine!a "ools data ase. "o chec( that the clip is correctly identified' go to the corresponding data ase record' then clic( -pen Clip to open the Clip window. Use the Identify feature to chec( the (ey nu! ers for !ore than one location in the clip to see if the fra!es are properly identified. If the (ey nu! er was entered incorrectly' correct it in the Identify pane of the Clip window. %ee Cerifying and Correcting 0dge Code and "i!ecode &u! ers for !ore infor!ation. "hen' generate the cut list again and verify that the correct (ey nu! ers are now displayed. J Ma(e sure that the ti!ecode is accurate in $inal Cut 9ro. If you used device control to capture your clips ut find that Cine!a "ools is reporting the wrong ti!ecode' there is a good chance that the ti!ecode is incorrect in $inal Cut 9ro. If the ti!ecode is wrong in $inal Cut 9ro' you !ust recapture the source clips. If you used serial device control' the ti!ecode !is!atch !ay have happened ecause you did not set the appropriate ti!ecode offset in $inal Cut 9ro for the specific dec( you used. You need to !a(e this setting once per dec(' per co!puter. If the serial device control ti!ecode offset was not set' set it' then recapture the source clips. $or !ore infor!ation' see the section a out cali rating the ti!ecode signal in the $inal Cut 9ro docu!entation.
24! Appen-i4 C %olving 9ro le!s

J Ma(e sure that all the clips in your se2uence have the sa!e fra!e rate as the editing ti!e ase for the se2uence in $inal Cut 9ro. %ee the $inal Cut 9ro docu!entation for details a out setting the editing ti!e ase in the %e2uence 9reset 0ditor. J "here !ay e dropped fra!es or discontinuities in the (ey nu! ers of the video. "ry recapturing the clips. When /o% tr/ to %se the :everse Telecine feat%re5 /o% see an error a+o%t -roppe- frames J -ccasionally there are clips that contain fra!es that are longer than they should e. "his situation can cause the Cine!a "ools reverse telecine process to report one or !ore dropped fra!es' when in fact there arenLt any. "ry confor!ing the clip to 29.9K fps with the Confor! feature' then start the reverse telecine process again. J If fra!es were actually dropped during the capture process' itLs est to recapture the source clips without dropped fra!es ecause dropped fra!es can interfere with the reverse telecine process. %ee Avoiding Bropped $ra!es for !ore infor!ation. $o% see %ne4pecte- Gtmp files J Cine!a "ools !ay create several te!porary files in the process of creating the cut list. "hese files are nor!ally deleted when the process is co!plete' so you donLt see the!. If a syste! failure occurs efore the fil! list is generated' these files !ight not e deleted. If you find any Cine!a "oolsQgenerated files with a filena!e eEtension of .t!p' .t!p.dat' or .t!p.idE' you can delete the!. 0n the c%t list5 /o% see an error a+o%t a temporar/ file J If a pro le! occurs while Cine!a "ools is creating a te!porary file' you !ight see error !essages a out these files in the cut list. "he !ost li(ely reason for this pro le! is that there is not enough dis( space availa le on the storage volu!e. Ma(e sure the storage volu!e has dis( space availa le.

Contacting AppleCare %upport

Included in your $inal Cut %tudio pac(age is docu!entation a out the support options availa le fro! Apple. %everal levels of support are availa le' depending on your needs. :hatever your issue' itLs a good idea to have the following infor!ation i!!ediately availa le when you contact Apple for support. "he !ore of this infor!ation you have ready to give to the support agents' the faster they will e a le to address your issue. J "he %upport IB nu! er found on the ac( of the Installing Kour -o"t/are oo(let that ca!e with $inal Cut %tudio. Note: "he 33,digit %upport IB nu! er is different fro! the product serial nu! er used to install $inal Cut %tudio. J "he version of Mac -% I you have installed. "o find the version of Mac -% I' choose Apple !enu P A out "his Mac.

Appen-i4 C %olving 9ro le!s

247

J "he version of Cine!a "ools you have installed' including updates if applica le. "o find the version of Cine!a "ools' choose Cine!a "ools P A out Cine!a "ools. J "he !odel of co!puter you are using. J "he a!ount of <AM installed in your co!puter' and how !uch is availa le to Cine!a "ools. "o find out how !uch <AM is installed' choose Apple !enu P A out "his Mac. J :hat other third,party hardware is connected to or installed in the co!puter' and who the !anufacturers are. Include hard dis(s' graphics cards' and so on. J Any third,party plug,ins or other software installed along with Cine!a "ools. In certain support situations' AppleCare !ay re2uire infor!ation a out oth your co!puter and how this particular application is configured. Choosing =elp P Create %upport 9rofile creates a file that contains the necessary infor!ation and can e e!ailed to AppleCare. You would not nor!ally use this feature unless directed to y an AppleCare representative. "o access AppleCare %upport for Cine!a "ools' go to http@AAwww.apple.co!AsupportAcine!atools.

248

Appen-i4 C %olving 9ro le!s

2C C2C p%ll;-own A pull,down !ethod that is the sa!e as the G@2 pull,down !ethod' eEcept that it is applied y a digital video ca!corder +as opposed to any other type of e2uip!ent that could apply the sa!e pattern of pull,down/. "his !anual uses the ter! 2:.:2:. when referring to the pull,down that co!es fro! a 26p digital video ca!corderN this type of pull,down can e re!oved using the auto!ated for! of reverse telecine. %ee also G@2 pull,down . 2C C C2 p%ll;-own A !ethod of distri uting fil!Ls 26 fps a!ong &"%C videoLs 29.9K fps when fil! or 26p video is transferred to &"%C video. In the transfer' the recording alternates two fields of one fra!e and then three fields of the neEt two fra!es' followed y two fields of the neEt fra!e. In this way' the 26 fra!es in 3 second of fil! or 26p video fill up the G0 fra!es in 3 second of &"%C video. Although G@2 is the conventionally supported pull,down pattern for &"%C devices' so!e digital ca!eras and editing syste!s are eginning to support 2@G@G@2 pull,down. C2 p%ll;-own A !ethod of distri uting fil!Ls 26 fps a!ong &"%C videoLs 29.9K fps when fil! or 26p video is transferred to &"%C video. In the transfer' the recording alternates two fields of one fra!e and then three fields of the neEt' so that the 26 fra!es in 3 second of fil! or 26p video fill up the G0 fra!es in 3 second of &"%C video. Also (nown as 2:. $ull'do/n4 ;perf (mm A G5!! fil! for!at supported y Cine!a "ools. <efers to having three perforations +sproc(et holes/ for each fil! fra!e. It is gaining popularity' especially with episodic television' ecause it contains 25 percent !ore fra!es per foot of fil! than the !ore co!!on 6,perf G5!! for!at. 4;perf (mm A co!!on G5!! fil! for!at that is supported y Cine!a "ools. <efers to having four perforations +sproc(et holes/ for each fil! fra!e. 24 A 1 A !ethod of transferring fil! to 9A4 video' where two eEtra fields per second are added to the video so the 26 fra!es in 3 second of fil! are all contained within the 25 fra!es in 3 second of 9A4 video. "his !ethod !aintains the original action speed. %ee also 26 R 25' 26 R 25 pull,down.

2lossar/
249

2lossar/

24 @ 2( "he !ost co!!on !ethod of transferring fil! to 9A4 video' where the fil! is sped up during the telecine transfer to 25 fps. "his creates a one,to,one fil!,to,video fra!e relationship' ut speeds up the action y 6 percent. %ee also 26 H 3' 26 R 25 pull,down. 24 @ 2( p%ll;-own "he $inal Cut 9ro ter! for the 26 H 3 !ethod. %ee also 26 H 3' 26 R 25. 24p A high definition video for!at using a 26 fps rate and progressively scanned video. It is finding wide use in fil! production ecause of its high 2uality and identical fra!e rate. It also converts easily to !ost 29.9K fps and 25 fps standard and high definition video for!ats. Acma-e n%m+er %ee in( nu! er . JAK frame "he first fra!e in the repeating five,fra!e G@2 pull,down se2uence. In two,field G@2 pull,down video' it is the only fra!e that fully contains oth fields fro! a single fil! fra!e. 1' C' and B fra!es have their fields split a!ong two video fra!es. A fra!es nor!ally occur on ti!ecode nu! ers ending with )0* or )5* +when using non,drop fra!e ti!ecode/. %ee also G@2 pull,down ' field . A3, file A reviation for 7vid 8og ?<change4 A file for!at that allows fil! data ases to e shared etween different syste!s. %ee also telecine log . answer print "he first fil! print that includes sound and picture' su !itted y the la oratory for the custo!erLs approval. aspect ratio "he ratio of an i!ageLs width to its height eEpressed either as two nu! ers +width@height/ or as a value e2ual to the height divided y the width. %tandard definition video uses 6@G +0.K5/' and !ost high definition video uses 38@9 +0.58/. $il! aspect ratios depend on the for!at and lenses used. change list A list you can eEport fro! $inal Cut 9ro using Cine!a "ools' which assu!es a wor(print or negative has een cut to the specifications of a cut list +or prior change list/ and specifies further changes to !a(e ased on new edits you have !ade to a $inal Cut 9ro se2uence. conform EfilmF "o cut and arrange an original ca!era negative to !atch edits !ade in a digital editing syste!. Also' to asse! le video or audio according to an 0dit Becision 4ist +0B4/. %ee also cut list ' 0dit Becision 4ist +0B4/ . conform Evi-eoF "o change the fra!e rate of a video clip. $or eEa!ple' you can use the Cine!a "ools Confor! feature to change the fra!e rate of a 9A4 25 fps video clip to fil!Ls 26 fps rate. You can also confor! a clip to its current fra!e rate' ensuring there are no fra!e rate errors within it.

2("

Flossary

contact printing A fil! printing !ethod in which the e!ulsion sides of the original ca!era negative and the print stoc( are in contact as the negative is pro?ected onto the print stoc(. Creates an i!age that is reversed in color and light +for eEa!ple' lac( eco!es white and white eco!es lac(/. c%t list A teEt file that se2uentially lists the edits that !a(e up your progra!. "he negative cutter uses the cut list to confor! the original ca!era negative. "he cut list is a type of fil! list you can eEport fro! $inal Cut 9ro using Cine!a "ools. Also (nown as an assem(le list. -evice control "echnology that allows $inal Cut 9ro to control an eEternal hardware device' such as a video dec( or ca!era. *& %ee drop fra!e ti!ecode . -igital interme-iate E*0F A fil! wor(flow that does not rely on confor!ing the original ca!era negative for the final output. Fenerally' the fil! is scanned and processed at a high enough 2uality that the final output can e directly sent to a fil! printer or distri uted as digital video. "his ter! is also used even if the source for the video is a high,2uality digital ca!era such as the <0B -&0 and no fil! is involved at all. -ownconverte- vi-eo Cideo created y converting high definition video +such as 26p/ to standard definition video +&"%C or 9A4/. *P6 image se=%ence Bigital 9icture 0Echange +B9I/ i!age se2uences are often referred to y their resolution. $or eEa!ple' B9I i!age se2uences with 2067 hori#ontal piEels are referred to as 2K resolution' and B9I i!age se2uences with 6098 hori#ontal piEels are referred to as 4K resolution. "he video is actually a set of still i!ages' one per fra!e' within a folder. "he i!ages are played ac( in se2uence at their specified fra!e rate. B9I i!age se2uences are often used as part of a BI wor(flow. Cine!a "ools uses the folder na!e as the reel na!e and eEtracts the ti!ecode fro! each i!age. %ee also digital inter!ediate +BI/. -rop frame timeco-e &"%C ti!ecode that s(ips ahead in ti!e y two fra!e nu! ers each !inute' eEcept for !inutes ending in )0'* so that the end ti!ecode total agrees with the actual elapsed cloc( ti!e. + "i!ecode nu! ers are s(ipped' ut actual video fra!es are not s(ipped./ "his s(ipping corrects for &"%CLs actual fra!e rate of 29.9K fps' which results in an inaccuracy of G seconds and 37 fra!es per hour in co!parison to actual elapsed ti!e when non,drop fra!e ti!ecode is used. "o avoid confusion' drop fra!e ti!ecode should e avoided in fil!, ased productions. %ee also non,drop fra!e ti!ecode . -roppe- frames $ra!es that are not captured. If co!puter perfor!ance is i!peded or if the scratch dis( is not fast enough' fra!es !ay e dropped during the capture process. :hen a fra!e is dropped during capture' the fra!e efore it is repeated. Bropped fra!es can result in an incorrect cut list and interfere with the reverse telecine process.
Flossary 2(1 2(1

-%al s/stem so%n- %ound for any production using separate devices to record the i!age and the sound. Bual syste! recording is always used in fil! productions and often used in 26p productions. Also (nown as dou(le s&stem production. -%plicate list A fil! list Cine!a "ools users can eEport' indicating duplicate uses of the sa!e fil! source !aterial in an edited progra!. Also (nown as a du$e list4 e-ge co-e <efers to feet and fra!e count nu! ers found on the fil! edge. May e latent (ey nu! ers on the original ca!era negative' or in( nu! ers added to the edge of wor(prints. %ee also in( nu! er ' (ey nu! er . ,-it *ecision 3ist E,*3F A teEt file that se2uentially lists all of the edits and individual clips used in a se2uence. 0B4s are used to !ove a pro?ect fro! one editing application to another' or to coordinate the asse! ly of a progra! in a tape, ased online editing facility. ,4tensi+le 1t/lesheet 3ang%age Transformations E613TF "he language used y the Cine!a "ools style sheets. I%4", ased style sheets are co!!only used to eEtract infor!ation fro! IM4 files. :hen you eEport a style sheetQ ased fil! list' Cine!a "ools first eEports an IM4,for!at fil! list and then processes that IM4 output with the selected style sheet' resulting in eEactly the output ite!s and layout the style sheet specifies. %ee also style sheet. fiel- =alf of an interlaced video fra!e consisting of the odd or the even scan lines. Alternating video fields are drawn every 3A80 of a second in &"%C video +3A50 of a second in 9A4/ to create the perceived 29.9K fps video +25 fps 9A4/. "here are two fields for every fra!e' an upper field and a lower field. It is possi le to capture only one field of each fra!e. %ee also interlaced video . fiel- -ominance <efers to the field that occurs first in an interlaced video fra!e. If only one field is captured' field 3 do!inance !eans that only field 3 is captured and field 2 do!inance !eans that only field 2 is captured. %ee also field . film list A teEt file you give to the negative cutter to use as a guide in confor!ing the original ca!era negative. "he fil! list !ay contain one or !ore of the following@ a cut list' a !issing ele!ents list' a duplicate list' an optical list' a pull list' and a scene list. A fil! list !ay also contain additional infor!ation for pulling the negative rolls' !a(ing duplicate negatives' !a(ing a wor(print' or printing effects. &3,4 file A co!!on telecine log file for!at. %ee also telecine log . footage n%m+er 9art of a (ey nu! erN refers to the four,digit nu! er indicating the position on a fil! roll. %ee also fra!e nu! er ' (ey nu! er . fo%n- set "he set of data ase entries shown in the Cine!a "ools 4ist Ciew window. "his set is called the "ound set ecause you use the $ind co!!and to display it.

2(2

Flossary

fps A

reviation for "rames $er second4

frame A single still i!age. $il! and video are !ade up of a series of these i!ages. Although a fil! fra!e is a photographic i!age' a video fra!e contains one or !ore fields. frame n%m+er "he last part of the (ey nu! er. "he fra!e nu! er consists of the footage nu! er and the fra!e counter and indicates how !any feet and fra!es into the fil! a particular fra!e occurs. %ee also (ey nu! er . 8* vi-eo %ee high definition video . high -efinition vi-eo <efers to any of a wide range of video for!ats' including the 26p for!at' providing a higher,2uality i!age than standard definition video. 0nhance!ents can include increased resolution' a wider aspect ratio' and progressive scanning. %ee also progressive video ' standard definition video . i-entifier In Cine!a "ools' a co! ination of one or !ore letters' nu! ers' or oth' that identify a shot' scene' ta(e' video reel' sound roll' la roll' or ca!era roll. in) n%m+er A feet and fra!e count nu! er added to the edge of wor(prints and !agnetic fil! soundtrac(s. Also (nown as an 7cmade num(er4 interlace- %ee interlaced video . interlace- vi-eo A video fra!e for!at that divides the lines in a fra!e of video into two fields' each consisting of alternating odd and even lines' which are scanned at different ti!es. Used in standard definition video. %ee also field ' field do!inance ' progressive video . interpositive E0PF A low,contrast positive fil! print !ade fro! an original ca!era negative. It is not pro?ecta le as a full,color i!age' ecause it has an orange !as( on it li(e a negative. I9s are typically used as an inter!ediate step in creating opticals and duplicate negatives. )e/ n%m+er 4atent feet and fra!e count nu! ers found on the fil! edge. .ey nu! ers are often superi!posed y the telecine onto the edge of the video fra!es +this is called /indo/ (urn/. Cine!a "ools uses (ey nu! ers to help !atch digital edits ac( to the original ca!era negative. .ey nu! ers consist of a (ey prefiE' which is unchanging throughout an entire roll of fil!' and a fra!e nu! er' which consists of a footage nu! er and a fra!e count nu! er. "elecine syste!s also often add a fra!e type identifier to the (ey nu! er. $or eEa!ple' in the (ey nu! er .> 293030 578KS0K' the (ey prefiE is ).> 293030* and the fra!e nu! er is )578KS0K.* Also (nown as edge code4 latent )e/ n%m+er A nu! er added to the fil! edge during its !anufacturing process. Also (nown as latent edge code4 %ee also (ey nu! er .

Flossary

2( 2(

match +ac) "o !atch the edits of a video progra! that originated on fil! ac( to the original ca!era negative. All the edits to the video are listed in a cut list' which the negative cutter uses to cut the wor(print and original ca!era negative. >*& %ee non,drop fra!e ti!ecode . negative c%tter A professional who confor!s the original ca!era negative according to a cut list or a visual reference such as a wor(print or a videotape generated y the digital editing syste!. non;-rop frame timeco-e &or!al &"%C ti!ecode' where fra!es are nu! ered se2uentially and there are G0 fra!es per second' 80 seconds per !inute' and 80 !inutes per hour. 1ecause &"%CLs fra!e rate is actually 29.9K fps' non,drop fra!e ti!ecode is off y G seconds and 37 fra!es per hour in co!parison to actual elapsed ti!e. %ee also drop fra!e ti!ecode . >T1C A reviation for National Television -tandards Committee' the organi#ation that defines &orth A!erican roadcast standards. "he ter! NT-C video refers to the video standard defined y the co!!ittee' which is 29.9K fps' 525 lines per fra!e' and interlaced. offline e-it "he creative edit' where edit decisions are !ade. :hen the offline edit is finished' the !aterial is often recaptured at high 2uality or an 0B4 is generated for re,creating the edit on another syste!. %ee also 0dit Becision 4ist +0B4/ . O.& A reviation for !$en Media %ormat. A !edia interchange for!at' supported y !any Bigital Audio :or(stations +BA:s/' that allows all of the audio and edit points in an audio se2uence to e eEported as a self,contained file. -M$ files are often given to an audio post,production facility' finished there' and then used as the final audio in a feature. online e-it "he final editing process' where all the decisions !ade in the offline edit are applied to the original ca!era negative or full,resolution video reels. optical list A fil! list Cine!a "ools users can eEport for the optical house to use in printing effects for fil!. "he optical list descri es transition and !otion effects that you created in your digital edit. optical printer <ephotographs one or !ore fil! ele!ents onto a new section of fil!. An optical printer can add or delete light fro! an i!age' create superi!posed effects' or !a(e scene transitions such as wipes' fades' and dissolves. opticals 0ffects produced y an optical printer' including transitions and superi!posed titles. %ee also optical printer .

2(4

Flossary

original camera negative Also (nown as !CN. "he negatives fro! the fil! shootN the original source fil!. "he original ca!era negative is what the negative cutter cuts after all the edits have een finali#ed in the digital editing syste!. "here is only one original ca!era negative. +Buplicate negatives can e !ade' ut they are eEpensive./ PA3 Acrony! for Phase 7lternating 8ine4 A video for!at used y !any 0uropean countries and other countries outside &orth A!erica. "he 9A4 video standard is 25 fps' 825 lines per fra!e' and interlaced. progressive vi-eo A video fra!e for!at that progressively scans all lines in a fra!e. %ee also interlaced video . p%ll list A fil! list Cine!a "ools users can eEport' which list shots in the cut list in the order in which they can e found on the negative rolls. "he la refers to a pull list when going through your negative rolls to pull shots for a wor(print or original ca!era negative cut. release print A positive print of a finished !ovieN the final product for distri ution. reverse telecine "he process that re!oves the eEtra fra!es fro! G@2 pull,down video' returning it to its original 26 fps fra!e rate. <everse telecine creates a one,to,one relationship etween the video and fil! fra!es so that the cut lists are accurate. <eversing the G@2 pull,down can e acco!plished with hardware in real ti!e during capture' ut if you do not have the proper e2uip!ent' you can use the Cine!a "ools <everse "elecine feature. %ee also G@2 pull,down . scene In fil!ing' a ti!e and place setting for one or !ore shots' typically tied together y a co!!on story line or certain characters. scene list A fil! list Cine!a "ools users can eEport' which lists all the shots that are in the cut list with each shot listed only once. %cene lists are typically used to order prints of the shots in a progra! so that a wor(print can e confor!ed prior to cutting the original ca!era negative. 1* vi-eo %ee standard definition video . shot A continuous fil! recording that does not have any cuts. A shot is a su set of a scene. sl%g 1lan( +fill leader/ or su stitute footage used to fill in spaces where footage is te!porarily !issing' in order to !aintain sync etween the picture and the soundtrac(. 1.PT, A reviation for -ociet& o" Motion Picture and Television ?ngineers. "he standard,setting organi#ation that esta lished the %M9"0 ti!ecode standard for video. %M9"0 ti!ecode is the !ost co!!only used ti!ecode for!at.

Flossary

2(( 2((

so%rce clips "he !edia files you start with when you egin editing. "hese are the files that are captured into your co!puter and lin(ed to the Cine!a "ools data ase efore editing egins. stan-ar- -efinition vi-eo <efers to the &"%C and 9A4 video standards. %ee also high definition video ' &"%C ' 9A4 . st/le sheet %tyle sheets are 0Etensi le %tylesheet 4anguage "ransfor!ations +I%4" / files that Cine!a "ools uses to provide custo!i#ed output lists. "his includes controlling the specific types of infor!ation to include and defining the output layout and for!at +plain teEt' ="M4' and so on/. %everal are provided y Cine!a "ools' and you can create custo! style sheets as needed. %ee also 0Etensi le %tylesheet 4anguage "ransfor!ations +I%4" /. s%pers %hort for su$erim$osed4 -verlays of i!ages or teEt onto fra!es. $or eEa!ple' titles are superi!posed onto fra!es. s/nc %hort for s&nchroni=ation4 :hen sound is in unison +synchroni#ed/ with the picture' they are said to e in s&nc4 s/nchroniBer +loc) A s!all !echanical ench device with sproc(eted wheels !ounted on a revolving shaft. 4ocated etween fil! reels !ounted on shafted rewinds' it accepts one strip of fil! and perforated !agnetic soundtrac( per sproc(eted wheel. -nce the fil! and trac( are loc(ed onto the wheels' they can e placed in eEact !echanical sync and will !aintain this sync while they are advanced forward through the synchroni#er loc(. "he synchroni#er loc( also (eeps trac( of elapsed footage via a !echanical feet and fra!e counter geared to the sproc(et wheels. Also (nown as a s&nc (loc*) gang s&nc) or s&nchroni=er4 ta)e A ta(e is another version of a particular shot. In shooting a fil!' there !ay e !ultiple ta(es of each shot. telecine A !achine that copies the i!ages on the original ca!era negative to a videotape for!at' often including a window urn of the fil! edge code. %ee also window urn . telecine film spee- "he fra!e rate at which the fil! is run in telecine e2uip!ent during the transfer to video. telecine log A file generated y the telecine technician during the telecine transfer. <ecords the (ey nu! ers of the original ca!era negative and the ti!ecode of the video transfer' trac(ing the relationship etween the!. %o!eti!es called a %8?< "ile4 timeco-e A for!at for assigning each fra!e of video a uni2ue' se2uential unit of ti!e. "he for!at is hours: minutes: seconds: "rames4 TI spee%ee telecine fil! speed.

2(!

Flossary

win-ow +%rn Cisual ti!ecode and (eycode infor!ation superi!posed onto video fra!es. It usually appears on a strip at the otto! or top of the fra!e' providing code infor!ation to the editor without o scuring any of the picture. wor)print A positive copy of the original ca!era negative' cut to provide a record and prototype of the creative edit. In traditional fil!!a(ing' the wor(print is edited first and then used y the negative cutter as a guide for cutting the original ca!era negative. In digital fil!!a(ing' a wor(print is usually used to verify the cut list and to create a prototype of the fil! to view on a ig screen efore confor!ing the negative. %o!eti!es called a /or* $i< or cut $i<4 6.3 A reviation for ?<tensi(le Mar*u$ 8anguage4 A general,purpose !ar(up language that co! ines hu!an,reada le teEt with additional' speciali#ed infor!ation. 1ecause of the large variety of tools availa le' IM4 files are widely used to eEchange infor!ation etween applications. 613T %ee 0Etensi le %tylesheet 4anguage "ransfor!ations +I%4" /.

Flossary

2(7 2(7