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Appendix A: Time/Footage Conversions
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Appendix A: Time/Footage Conversions
by Jaime Fowler
Editing Digital Film
Half Title
Title Page
Dedication
Contents
Preface
Acknowledgements
Chapter 1: Tools of the Film Editor
A Tour of the Film Cutting Room
Film Gauges and Shooting Formats
Anamorphics
Soft Mattes versus Hard Mattes
Camera Rolls and Sound Rolls
Numbering Formats
Ink Numbers
Key Numbers
Time Code
Production Notes
Script Supervisor Daily Log
Facing Pages
Lined Scripts
Camera Reports
Sound Reports
Code Books
Slates
When Good Notes Go Bad
Chapter 2: Post Production Workflow
Three Workflow Scenarios
The High-Budget Film Workflow
The Medium-Budget Film Workflow
The Ultra-Low-Budget Film Workflow
DV Film Workflow
Chapter 3: Telecine Demystified
The Components of Telecine
Methods of Transfer
NTSC Telecine
PAL Telecine
Telecine Considerations
Telecine Options
Chapter 4: Conforming a Workprint
Getting Started
Creating and Balancing the Reels
Adding SMPTE Leader on the NLE
The Pull List
Starting the Conform
Splicing It Together
Opticals
Marking Workprint for Motor Start and Changeover
Sound
Continuity Reports
Chapter 5: Cut Lists
Negative Cutters
Types of Cut List
The Assemble List
Frame Handles
The Dupe List
The Optical List
The Pull List
Lok Box
Conformed Workprint
Chapter 6: 24 fps versus Matchback
NTSC: 24 fps Projects
NTSC Matchback
PAL 25 at 24 fps Projects (Telecine B)
1:1 PAL Frame Correspondence (Telecine A)
PAL Sound and Picture Digitized Together
PAL Sound and Picture Digitized Separately
A Final Note
Chapter 7: Editing Film on Avid NLEs with FilmScribe
Converting Telecine Files
Setting up the Project
Adjusting Film Settings
Importing ALE Files
Combining Events Based on Scene Number
Combining Events Based on Camera Roll
Merging Events with Known Sources
Checking Key Numbers
One Frame Delays
Frame Miscounts
Mislabeled or Duplicate Numbered Tapes
Using Autosync
Film Effects
Film Dissolves
Mattes
Blow-ups
Script Integration
Using FilmScribe
Unique Items for Individual Types of Cut Lists
Change Lists
Preview Code
Quicktime Options
Exporting Audio
Digital Cut
OMF
The OMF Export
Exporting an EDL
Saving the EDL
Some Important Notes about Saving EDLs
Outputting Video
Chapter 8: Editing Film on Media 100 NLEs with Slingshot Pro
About Media 100
About Slingshot and Trakker Technologies
Drag and Drop Functionality
Supported Telecine Logs
Import Logs
TLC Files
Dailies Log
Log Conversion Procedure
TLC Preferences
Choosing Destinations
Enable Tracks
Syntax Error Correction
Synching Picture with Sound in Media 100
Film Trakker
Film Trakker Preferences
Format
Check Syntax on All Inputs
Flag and Match Unknown Tape Names
Disable SyncLock
Show EDL Comments
Use Feet + Frames vs. Absolute Frames
Cut List Options
Cut List
Dupe Lists
Dupe List Options
Pull List
Pull List Options
Optical List
Optical List Options
Creating the Cut Lists
The Sound Tracer
Sound Tracer Preferences
Running the Lists
Chapter 9: Editing Film on Final Cut Pro NLEs with FilmLogic
FilmLogic
Importing the Telecine Log
Logging the Database Manually
A Word about Backing Up and Undo
Working with FilmLogic’s Database
Linking Media to the Database
Verification
Info
Conforming
Reverse Telecine
Limitations
Sound Considerations
Exporting Batch Lists
Importing the Batch Capture Log
Editing with Final Cut Pro
Exporting a Cut List
Exporting EDLs
Future Hopes
Chapter 10: Cutting DV for a Film Release
Resolution
Contrast
Color Space
Filmmaker or Videomaker?
Finishing on Tape
Transferring from DV to Film
Filmmaker Considerations
Video-to-Film Transfer Methods
Film Recorder
Film Scanner
Kinescopic-like Processes
Electron Beam Recorder (EBR)
Proprietary Processes
Dropped Frames
A Film Is a Film
Chapter 11: HDTV, 24p, and the Future
The Standard(s)
Bandwidth and Format
24p
1:1 Frame Correspondence with Film
24 fps Nondrop Frame Time Code
Universal Mastering
24sF
Monitoring and Flicker
Color
DataCine
Issues of Cutting and Placement
HDTV NLEs
24 fps EDLs
HDDV Cameras?
Electronic Cinema
Summary
Glossary
Appendix A: Time/Footage Conversions
Bibliography
Webliography
Index
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Bibliography
Appendix A:
Time/Footage Conversions
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