Editing Digital Film Integrating Final Cut Pro®, Avid®, and Media 100° Jaime Fowler Focal Press An imprint of Butterworth-Heinemann Boston Oxford Auckland Johannesburg Melbourne New DehliContents Preface xi Acknowledgements xv Chapter 1: Tools of the Film Editor 1 A Tour of the Film Cutting Room 3 Film Gauges and Shooting Formats 6 Anamorphics 7 Soft Mattes versus Hard Mattes 8 Camera Rolls and Sound Rolls 8 Numbering Formats 9 Ink Numbers 9 Key Numbers 10 Time Code 11 Production Notes 14 Script Supervisor Daily Log 14 Facing Pages 15 Lined Scripts 16 Camera Reports 16 Sound Reports 17 Code Books 17 Slates 18 When Good Notes Go Bad 18vill © Editing Digital Film ‘Chapter 2; Post Production Workflow 21 Three Workflow Scenarios 22 The High-Budget Film Workflow 22 The Medium-Budget Film Workflow 25 The Ultra-Low-Budget Film Workflow 28 DY Film Workflow 31 - Chapter 3: Telecine Demystified 33 The Components of Telecine 33 Methods of Transfer 35 NTSC Telecine 36 PAL Telecine 37 Telecine Considerations 38 Telecine Options 41 Chapter 4: Conforming a Workprint 43 Getting Started 44 Creating and Balancing the Reels 44 Adding SMPTE Leader on the NLE 45 ‘The Pull List 46 Starting the Conform 47 Splicing It Together 48 Opticals 50 Marking Workprint for Motor Start and Changeover 51 Sound 52 Continuity Reports 52 Chapter 5: Cut Lists 55 Negative Cutters 55 Types of Cut List 56 The Assemble List 56 Frame Handles 56 The Dupe List 58Contents © ix The Optical List 59 The Pull List 61 Lok Box 61 Conformed Workprint 61 Chapter 6: 24 fps versus Matchback 63 NTSC: 24 fps Projects 63 NTSC Matchback 64 PAL 25 at 24 fps Projects (Telecine B) 66 1:1 PAL Frame Correspondence (Telecine A) 66 PAL Sound and Picture Digitized Together 67 PAL Sound and Picture Digitized Separately 67 A Final Note 67 Chapter 7: Editing Film on Avid NLEs with FilmScribe 69 Converting Telecine Files 69 Setting up the Project 70 Adjusting Film Settings 74 Importing ALE Files. 74 Combining Events Based on Scene Number 75 Combining Events Based on Camera Roll 75 Merging Events with Known Sources 75 Checking Key Numbers 76 One Frame Delays 76 Frame Miscounts 77 Mislabeled or Duplicate Numbered Tapes 78 Using Autosyne 78 Film Effects 79 Film Dissolves 79 Mattes 80 Blow-ups 81 Script Integration 81 Using FilmScribe 83 Unique Items for Individual Types of Cut Lists 84 Change Lists 84X © Editing Digital Film Preview Code 87 Quicktime Options 91 Exporting Audio 92 Digital Cut 92 OMF 92 The OMF Export 93 Exporting an EDL 94 Saving the EDL 95 Some Important Notes about Saving EDLs 96 Outputting Video 96 Chapter 8: Editing Film on Media 100 NLEs with Slingshot Pro 99 About Media 100 99 About Slingshot and Trakker Technologies 99 Drag and Drop Functionality 100 Supported Telecine Logs 100 Import Logs 101 TLC Files 101 Dailies Log 101 Log Conversion Procedure 101 TLC Preferences 101 Choosing Destinations 102 Enable Tracks 103 Syntax Error Correction 103 Synching Picture with Sound in Media 100 104 Film Trakker 106 Film Trakker Preferences 107 Format 107 Check Syntax on All Inputs 108 Flag and Match Unknown Tape Names 108 Disable SyncLock 109 Show EDL Comments 109 Use Feet + Frames vs. Absolute Frames 109 Cut List Options 109 Cut List 109 Dupe Lists 110 Dupe List Options 110Contents © xi Pull List 111 Pull List Options 111 Optical List 111 Optical List Options 111 Creating the Cut Lists 112 The Sound Tracer 112 Sound Tracer Preferences 113 Running the Lists 114 Chapter 9: Editing Film on Final Cut Pro NLEs with FilmLogic 115 FilmLogic 115 Importing the Telecine Log 116 Logging the Database Manually 117 A Word about Backing Up and Undo 119 Working with FilmLogic’s Database 119 Linking Media to the Database 123 Verification 123 Info 124 Conforming 124 Reverse Telecine 124 Limitations 125 Sound Considerations 126 Exporting Batch Lists 126 Importing the Batch Capture Log 126 Editing with Final Cut Pro 127 Exporting a Cut List 127 Exporting EDLs 127 Future Hopes 128 Chapter 10: Cutting DV for a Film Release 131 Resolution 131 Contrast 133 Color Space 133 Filmmaker or Videomaker? 135 Finishing on Tape 136xii © Editing Digital Film Transferring from DV to Film 137 Filmmaker Considerations 138 Video-to-Film Transfer Methods 138 Film Recorder 139 Film Scanner 139 Kinescopic-like Processes 139 Electron Beam Recorder (EBR) 139 Proprietary Processes 140 Dropped Frames 140 AFilmIsaFilm 141 Chapter 11: HDTV, 24p, and the Future 143 The Standard(s) 143 Bandwidth and Format 145 24p 145 1:1 Frame Correspondence with Film 146 24 fps Nondrop Frame Time Code 146 Universal Mastering 146 24sF 146 Monitoring and Flicker 147 Color 147 DataCine 148 Issues of Cutting and Placement 149 HDTV NLEs 150 24 fps EDLs 151 HDDV Cameras? 151 Electronic Cinema 152 Summary 153 Glossary 155 Appendix A: Time/Footage Conversions 171 Bibliography 175 Webliography 177 Index 183Preface The first time I heard about digital nonlinear editing was 1992. An insane visual artist named Adam walked into my video editing room to finish a trailer for his film, He explained to me that he had already cut the trailer offline and that all | had to do was make a few tweaks and assemble the rest. During the course of our conversation, he kept bugging me about how smoothly the edit had gone. Adam is Hungarian, but the language he spoke was English. Still, I didn’t understand a word of it. “We cut all of this on an Avid. It works nonlinear. You can make a change just like that!” he exclaimed, snapping his fingers. When we set up to finish the trailer and were checking H/SC phase, Adam said, “You never have to do that in nonlinear.” Every time I did a dissolve, he would say, “Oh, that’s so easy with nonlinear. Just drag and drop.” Every time Thad to change a transition and check for H-shifts, he would say, “You don’t have to do that anymore. Not with nonlin- ear: He was really beginning to get on my nerves, The advent of nonlinear editing systems has opened a lot of doors for edi- tors, particularly with respect to mediums. Thanks to the inventors of NLE tech- nology, video editors can become film editors, film editors can become world wide web developers, world wide web editors can become CD-ROM editors, and so on. These days, the term “editor” can apply to one who is familiar with many mediums and has adapted to many different styles of cutting. But each medium has its niche, a set of rules that makes it different. And many times, the rules about that particular medium are cast aside, to be learned later as the project proceeds. For example, one could edit a short film for place- ment on the world wide web, but how do you compress it? Will the website visi- tors need a plug-in to see it? Which is the best compression technique for the quickest download at the highest quality? It isn’t necessarily important to know these things at the outset of the project, but when the time comes to compress the film and prepare it for the world wide web, it is absolutely essential that the edi- tor has the knowledge to properly adapt the finished cut to that medium. In the case of filmmaking, there are many rules as well. But some of the rules of filmmaking have to be implemented from the start. If one waits until the edit isxiv © Editing Digital Film completed to learn the particulars of film, the result would prove disastrous. Unlike some mediums, film parameters have to be established from the begin- ning, because of the adaptation from one medium (film), to another medium (video) and then back to the original medium (film). The initial adaptation doesn’t usually cause any problems. But without a proper set up from the beginning of the project, vital information can be lost, and re-adaptation from video to the orig- inal film can prove challenging, or even in some cases, impossible. It isn’t very difficult to understand how film works, but there are too many methods and means of completing film to list them in brief. Is it a DV film? Is it a 16mm film? Will it be projected in a theater? Electronically or on film? Who will conform the film? What type of numbering system will be used to identify frames of the film? Who will process the film? What about telecine? Who's the neg cutter? The list of questions could go on and on. This book is intended for those who want to know how to adapt their non- linear editing skills to film work. But unlike most books about film, this one is written from a video editor’s perspective. I learned about film much later in my career. As a result, I don’t take as much stock in one particular method of cutting, film, as some film editors do. In this book, you'll learn about how to integrate film with nonlinear editing systems and some helper applications called matchbacks. If you're an experienced editor looking for a way to cut films with nonlinear editors, or NLEs, this book is for you. If you're shooting DV but aren't sure how to put it on film, this book is for you. If you're a film editor or director without a clue as to how film and NLEs are integrated, this book is for you. And if you're a stu- dent who is learning nonlinear, but no one in your school has figured out how to use it with film, this book is definitely for you. Learn how easy and fun it can be. Turn the page. Jaime Fowler March 2001Acknowledgements It may take a village to raise a child, but it takes a global village to write a book. Without a group of loyal associates, it’s a waste of time and effort. I'll do my best to mention everyone and hope I didn’t leave anyone out. Steven Hullfish, my friend, colleague, and fellow nonlinear enthusiast, has a literary touch that can be seen throughout the book. Without his kind assistance and focused perspective, I doubt that I could have finished the work in a readable manner. Alan Stewart and Mark Newman, A.C.E. have been very generous with their time, suggesting alter- ations and correcting some of my math. Deborah Cravey, former English profes- sor at Clemson, helped me put this work into English, which is my native language, but not always apparently so. Nick Edgar gave me a perspective from an assistant editor's point of view, particularly with the conforming chapter. Don Nelsen taught me most of what I know about color space over a span of several years and made sure that I didn’t make a fool out of myself to those who make their living studying the science of color. Patrick Krass assisted me in shooting, capturing and preparing some of the photographs and figures in this book. The folks at Film Camp™ deserve a medal for letting me run willy-nilly around the place shooting pictures and taking screenshots. Bruce Sturgill verified informa- tion to me about one of his many areas of expertise, the Media 100. Td also like to thank the following people for the advancement of knowl- edge regarding films and film systems. Their research and hard work have made a big difference in my own understanding of films, 24p, HDTV and how it is inte- grated with digital systems: Michael Schwartz at Sony Advanced Imaging, and Norman Hollyn for a great book about assisting (see bibliography). Thanks to Barry Silver, Josette Hernandez, and the indefatiguable Robert Mathieu at Trakker Technologies, and the good people at Focal Point Software, for their kind assistance in teaching me the details about their products. Aspecial thanks to my friends Janet Strauss and Angela Edwards (for using their lovely images) and David Davidson at Camera Obscura (for using his lovely script). Thanks to the people at Focal Press for walking me through this first book with ease: Marie Lee, Lilly Roberts, Kevin Sullivan, and the rest of the Focal yokels.xvi © Editing Digital Film Id also like to thank my family for letting me use the kitchen table for sev- eral months in the wee hours to finish this work. One final thank you goes to whoever created the autosave function on Microsoft Word. And now, about trademarks and their use in this book. Avid, Media Com- poser, Xpress, FilmScribe, AutoSync, EDL Manager, OMFI, OME, and Avid Log Exchange are all registered trademarks of Avid Technology, Inc. Trakker, Film Trakker, Telecine Log Converter, Sound Trakker, SyncLock, and Slingshot are reg- istered trademarks of Trakker Technologies Inc. FilmLogic is a registered trade- mark of Focal Point Software, Inc. Final Cut Pro, Quicktime, and Macintosh are registered trademarks of Apple Computer Inc. Film Camp is a registered trade- mark of Digital Media Education Center. Aaton and Aatonbase are registered trademarks of the Aaton Corporation. Cineon, Keykode, Eastman, and Kodak are registered trademarks of the Eastman Kodak Corporation. Excalibur is a trade- mark of Filmlab Systems. FilmLook is a registered trademark of FilmLook, Inc. CineLook is a registered trademark of Digi-Effects, Inc. Stenbeck is a registered trademark of the Steenbeck Corporation. Moviola is a registered trademark of Moviola, Inc. Cinetrim is a registered trademark of Cinetrim, Inc. Orb is a trade- mark of Castlewood, Inc. Zip and Jaz are trademarks of Iomega Corporation, Inc. Spirit, DataCine, Spectre and Virtual DataCine are trademark of Phillips Video, Inc. Millenium Machine is a trademark of Innovation ITK.Chapter 1: Tools of the Film Editor Several years ago I was asked to consult on a “problem” film. It was a low-budget independent film (an indie) being cut in Los Angeles. The editor was very compe- tent at cutting video, but had no idea how to cut film. The producer of the film knew that this particular editor was very competent at working with NLEs (non- linear editing systems), but had no idea about his editor’s film experience. In other words, the editor was in over his head. Despite what you might think about this editor’s judgment, he was only doing what video editors have done for years. New video equipment is intro- duced all the time. For the savvy editor, it takes a short time to master new equip- ment. But in this case, the “new equipment” was film. Knowing the “say no once and you'll never work again” mindset of Los Angeles producers, when asked about his skill level with film, of course the editor said he could do it! In this case, the editor was trying to learn how to cut film as he went. As a result, the project was set up incorrectly from the start. The film was cut digitally at thirty frames per second (30 fps), with no method of matching back to the original film frames (matchback) enabled on the NLE, which was an Avid, The lab, according to the producers, had not recorded key numbers and starting time code numbers for the beginning of each cam roll, so going back to the lab and autoconforming the film according to the time code EDL on an Excalibur was out of the question. To complicate matters even further, there was no burn-in video time code or film key numbers on the videotape trans- fers, and the telecine house had absolutely no database records, again, according to the producer. So, I was asked, what's the next step? Disaster has a uniquely slow pace. On the Titanic, people continued drink- ing and dancing after their ship had hit an iceberg, unaware that they were slowly sinking into the frozen waters of the North Sea. They weren't going to survive longer than a couple more hours. When it became apparent that there was trou-2 © Editing Digital Film ble, all hell broke loose and everyone abandoned ship. In this case, my editor was about to abandon ship as well. It troubles me greatly that such a foolish mistake could be made, that in haste someone would actually decide to cut a project and then try to figure out how to piece it back together. In this case, the last moments of cutting a poorly planned project seemed more like an I Love Lucy skit than a professional post pro- duction project. Another example of lack of care happened more recently, again with a low- budget indie. I don’t mean to pick on low-budget indies, but they are far more familiar to me. Similar mistakes have happened in my experience with filmed sit- coms and higher budget films, but it is usually the low-budget films, on which less-experienced people work, that have the biggest problems. In this case, the film was cut. The project was complete, with a database intact and everything organized. There was only one small issue that the editor had to resolve. The key numbers displayed above picture from the NLE were not matching the key numbers on his burn-in video. The editor wondered, “would this be a problem?” The answer, of course, was yes. Somewhere along the line — we eventually pinpointed the problem to the telecine transfer (the process of transferring the film to videotape) — the numbers in the log had been converted from a 35mm project to 16mm gauging. As a result, the NLE was giving him frame counts up to 19, running on a base 20 scale used for 16mm instead of 16 frames per number, which is used for 35mm. Any list cre- ated by the NLE at that point would have been no good. It’s easy to become too comfortable with technology and not careful enough. In this case, the whole problem could have been avoided by looking at the tele- cine log, checking the numbers on the first clip to see that both NLE and video- tape burn-ins matched and making sure that the proper gauge of film was noted on the log. The editor claimed that he didn’t have the budget to hire an assistant, who could have checked those numbers. “Too bad,” I said. “Now you're responsible.” It is for these reasons that I wrote this book. Film editing, a relatively easy subject to comprehend, is replete with small details and potential pitfalls. Film editing has been around much longer than video. But unlike video, it has changed very little. The methods used for traditional film editing are pretty much the same as they were in the 1940s. The tools are certainly the same. In fact, many of those tools remain in use today, and they are just as accurate and useful as they ever were. In the 1980s, equipment manufacturers were making steady attempts at uniting two very different groups of people: film editors and video editors. In those days, video editors tended to be more gadget savvy and technocratic. Film editors, on the other hand, were very hard to impress and preferred to be left to their own devices. Although a number of interim solutions were introduced in the mid and late 1980s, it wasn’t until the 1990s that nonlinear editors or NLEs made an impact. The predecessors of the modern NLE were ruled out as either “too technical” or “not sophisticated enough.”Chapter 1 © Tools of the Film Editor * 3 In hindsight and through my own experience, I understand what made film editors standoffish when it came to new technology. Their methods were better. The thought of having to create anything in a linear manner was unthinkable. Linear editing is like building a brick wall. It starts at the bottom and works its way up. If, when halfway through, the builder discovers that one of the bricks on the bottom is too short, he or she will have to tear down the whole wall and start over again. I can attest to this, having been through many recuts and trace edits during my tenure in television. Film is different. The nonlinear method of cutting film is more akin to build- ing a sand castle. It starts out by creating a basic shape that doesn’t even have to look like a castle. Then, through slow trimming and sculpting of the sand, it even- tually becomes a magnificent sculpture, assuming that the creator has the knack for sculpting, Another problem for film editors was the missing element of hands-on con- trol of the film. While they used machines to edit, film editors didn’t have to trust machines to tell them which scene they were cutting or what frame they were on. They used their own eyes, hands, and good judgment for that fundamental infor- mation. Asa result, the individuality of the editors seemed diminished when they were forced to use machines to tell them what they could not see: an edge number beside a frame or a grease pencil mark. But in the early to mid 1990s, two companies began to make solid gains toward converting film and video editors toward the same type of editing equip- ment. Avid and Lightworks had both developed nonlinear editing machines using a means that combined the nonlinear elements of filmmaking with the tech- nological prowess of digital video. With the advent of NLEs, there has been a lot of crossing of traditional lines. “On line” and “Off line,” terms that video editors used, became vague. Higher resolutions used with NLEs allowed creative off line editing to be completed on line. All types of editors — film, off line, and on line video— had to learn each other's trade. But today there is still a learning gap when a video editor makes the jump to film. That gap is primarily due to a lack of understanding of how films work. In this chapter, we'll look at some of the tools and methods of traditional film edi ing. Later, we'll examine how they are still integrated today in even the most tech- nical films. A TOUR OF THE FILM CUTTING ROOM To a modern NLE editor, the film cutting room might seem more like a museum than a work space. Nonetheless, it has served, and continues to serve, a purpose. If a director wants to see his or her film projected before the final negative is cut, the editor must come here to conform workprint and mag stock, the visual and aural elements used in film, using lists created by an NLE.4. © Editing Digital Film Nowadays these rooms are used less, but they're no less important. Con- forming a workprint from an NLE cut list has to be done on an edit bench. It can be checked on a Moviola upright or a KEM flatbed. But the assembly of film begins here, and no matter how high tech the rest of the digital world may be, the only way to project a film is to cut film. The survey of film editing tools begins with the traditional film cutting room. Most film cutting rooms are the same. There is always a workbench or edit bench with reel rewinds on either end, where the film is cut, synched, and con- formed. The work bench has a synchronizer, also known as synch blocks or a gang syne, in between the two rewinds. Here the workprint and mag stock are synched together. There is usually a backlit portion of the table top for viewing frames. A loupe, used for looking closely at frames, is an absolute necessity. And some overhead lights are good, too. Most editors use metal long-armed clamp-on incandescent lights. These make the bench look absolutely hideous, but editors find themselves redirecting these lights all the time, so they're a must. Figure 1.1 A typical film editing bench And what would be the purpose of an edit bench without a splicer? Most benches have a Rivas (also called “butt”) splicer on hand. Some use a guillotine splicer. Guillotine splicers are especially efficient for 16mm films. Lisa Day, the editor of many Hal Ashby films, introduced me to a roller splicer made in Canada. The cir- cular blade rolls across the film when it cuts. | like this splicer, mostly because I'm left-handed and have a tendency to reach across the Rivas, which results in splic- ing more than just film. Splicers are equipped with rolls of splicing tape. Clear tape is used for picture, white tape for sound. The splicer is adjustable to create diagonal cuts for mag stock and straight cuts for film. Diagonal cuts are more durable and less likely to break. But a diagonal cut across a frame of film would be objectionable.Chapter 1 # Tools of the Film Editor * 5 Figure 1.2 A Cinetrim roller splicer There is always a viewing device. Different editors prefer different devices. There are two different types of devices: uprights and flatbeds. I think uprights are a lot easier to use for most purposes, but they’re also very hard on workprint. As the film goes through the gate of an upright, it brushes against the bottom of the hard metal surface. I've seen a number of homemade devices that prevent the film from scratching on an upright. The most popular seems to be a velvet cloth taped to the bottom near where the film enters the gate. For smaller formats like 16mm, Iprefer a flatbed, which is not only kinder and gentler on film, but also quieter than the rattle and hum of an upright. Figure 1.3. KEM Universal Flatbed and a Moviola Upright6 © Editing Digital Film A typical film editing room will have a lot of storage racks, large metal bins with cloth bags used for hanging cut film clips, white boxes for storage of cam rolls, sound rolls and left-over clips that are too short to hang in a bin, film cleaner, and other knick knacks, So why am I bringing all of this up in a book about digital filmmaking? Two reasons: One, you might be asked to visit such a room. Try not to freak out. And the second reason is that you might actually be asked to work in a film editing room. If the project follows some of the workflows presented in Chapter 2, there’s little reason to worry. You will only be required to conform the film to the list of numbers generated on your nonlinear editing system. It’s surprising to find how intuitive film cutting machines are. If you can align a piece of film properly in sprockets, you'll probably find the process of con- forming films relatively easy, Let's take a look at film formats and aspect ratios. FILM GAUGES AND SHOOTING FORMATS Motion picture uses two common gauges but many formats. The common gauges are 16mm and 35mm. 65mm is also used in extraordinary high-budget cases (65mm is the shooting equivalent of 70mm without the 5mm soundtrack area) and there is also Super Panavision 70mm. The formats of film differ primarily in two ways: matte size, which creates the film’s aspect ratio, and anamorphics, which is an optical solution that allows the film to be expanded for a wider aspect ratio despite its smaller original size. A full frame of film, whether it be 16 or 35mm, has an aspect ratio very simi- lar to video: film is 1.37:1 whereas video is 1.33:1. So why is the picture wider in the theatre? For the most part, this wasn’t so before the 1950s. ‘The “Golden Age” of television wasn’t so golden for the film world. More people were staying at home with their families in front of the tube. Box office receipts were plummeting. Many of the major studios were on the threshold of bankruptcy. Something had to be done. One of the answers to the problem was to create, promote and advertise different formats and processes. These included wider screens, brighter colors, bigger pictures and better sound. Filmmakers found that they could create more dynamic pictures that spilled across giant screens by matting the top and bottom of the film frame and project- ing it over a wider space. These mattes created a wider aspect ratio, which later became the standard for almost all theatrical releases. One of the first of these films to come along was The Robe, presented in Cine- maScope at a 2.35:1 aspect ratio. The wider aspect made the viewing of the film much more spectacular. As a result, box office receipts began to increase again. Of all the mates that were created, the 1.85:1 aspect ratio turned out to be the most popular. As a result, most films made in America still use that aspect ratio today. European films thought 1.66:1 to be a better solution, and that became their more common standard. The beauty of mattes is that there is no single stan- dard that has to be used. Not all American films use 1.85:1. For example, Tim Bur- ton’s Nightmare Before Christmas was shot with a 1.66:1 matte.Chapter 1 © Tools of the Film Editor © 7 Common 35mm Aspect Ratios/Formats Full Camera Aperture Anamorphic 1.85:1 TV Safe Aperture (4:3) 1.66:1 Figure 1.4 Comparison of common aspect ratios/formats used in film Anamorphics Anamorphics is the optical science of compressing wide pictures into a more nar- row frame of film and decompressing them during projection onto wide screens. Without special anamorphic camera and projection lenses, the film would look compressed when projected. The opening and closing credits of The Sound of Music on video is a good example of an anamorphic distortion. In order to be dis- played correctly, movies must be shot and projected with the same type of anamorphic lens. In the case of some video releases where the opening and clos- ing titles are shot in a wider scope, the aspect ratio is so large that to display it on video at the correct aspect ratio would cause the image to shrink significantly. The compromise is an elongated and somewhat distorted image. Not all directors like anamorphics. There is a compromise in picture quality, particularly in high-contrast images, where bright light smears across the screen. Nonetheless, it is very popular with those films that use environment as part of the character of the film. Westerns with scenic panoramas and science fiction epics with fictional, futuristic worlds tend to take advantage of wider, more spectacular anamorphic aspect ratios.8 © Editing Digital Film Soft Mattes versus Hard Mattes Now that the more common film formats have been shown, here’s how they are created. As it was mentioned previously, an anamorphic film is created with a special type of lens. Different aspect ratios are created with mattes. There are two different types of mattes used when shooting a film, called soft and hard mattes. If the soft matte method of production is used, the final matte or cropping of the frame is created in negative printing, the final stage before the film is released. If a hard matte is used, the aspect has already been determined and the film is cropped during production, A soft matte, might be considered a virtual matte in today’s terms. That is to say, the matte doesn’t actually exist on the exposed negative. Instead, the director of photography has an outline of the matte in the ground glass viewfinder of the camera. The DP knows where the matte will be, despite the fact that the entire pic- ture is viewable in the viewfinder, The director, when using video assist, has the video monitor cropped to show where the matte will be placed and where the active portion of the frame exists. The biggest advantage of a soft matte is that it can always be corrected. For example, if by mistake the director of photography included a stray boom micro- phone in the shot, a soft matte affords the opportunity to move the image higher up into the matted area by creating a new optical of the scene at the lab. Normally this is used only when absolutely necessary, as optical printing can be expensive. Another advantage of shooting full frame and adding mattes later is that the film can be printed in full frame as well as matted, provided that proper steps were taken during the production phase. This allows an easy conversion for tele- vision at its native aspect ratio. Many DVDs provide both full aspect video and letterboxed film aspect ratios. Without a soft matte, the film must use pan and scan to create a full frame image within the normal television (1.33:1) aspect. This requires some hard decisions by the director as to what to include and exclude in the frame. This is becoming less necessary, as new widescreen televisions can adjust for different aspect ratios. The advantage of a hard matte is simple: what you see is what you get (WYSIWYG). In production, post production, conforming, neg cutting, and release printing phases, the picture is always true to itself. No confusion or ques- tions about what is on the screen. A hard matte is created during production by installing a proper matte in the matte box of the camera and exposing the original camera negative (OCN) with the matte in place. Camera Rolls and Sound Rolls Normally a film is shot on 400 foot camera rolls. On 16mm film, this translates to about 11 1/2 minutes. On 35mm, it’s close to 4 minutes. Numbering systems for cam rolls are usually very simple. The first one is Roll 1, second is Roll 2, and so on. If two cameras are used for a scene, the numbers have letters attached. For example, cam roll 3 on the first camera is 3A, cam roll 3 on the second camera is 3B. In cases when the second camera is seldom used, the cam roll numberChapter | * Tools of the Film Editor © 9 matches the succession of single cam roll numbers. In other words, if the produc- tion is shooting a twenty-third cam roll, but it is the first cam roll using a second camera, the cam roll would be called 23B, not 1B. Sound is recorded on location using either a time code Nagra reel to reel recorder or a time code DAT. Nagras appear to be getting, more scarce on the set, because of the digital qualities of DAT and the ease of SMPTE time code. A time code DAT can go direct from the production set to an NLE. Nagra reels are sel- dom transferred in this fashion, Time code DATs range in length from 30 to 90 minutes. In some higher-bud- get cases, the DATs are transferred to mag stock, a magnetic oxide tape that has sprockets and is the same gauge as the film. Once a cut list is completed, the edi- tor and assistant can cut or “conform” a workprint and a mag stock copy of their digital cut on an edit bench. In extreme cases, non-time code DAT can be used on location as well. In order to stay in the digital domain and establish frame accuracy, it must be trans- ferred or cloned through a digital port on the machine to a time code source deck, preferably another DAT. Without this, it will not be able to redigitize the sound. Any accidental deletion of files from the NLE could prove disastrous. NUMBERING FORMATS Films can use several different frame numbering schemes. Each of these methods is valid, but they are used for different purposes. This section examines the most common ways used to number film frames, and how they are synchronized with sound. Edge numbers is a frequently used and often confusing term. There are actually two different types of edge numbers: ink numbers and key numbers. Ink Numbers Ink numbers are printed onto workprint and mag stock after they've been synched on the editing bench. Ink numbers are used a lot less on NLE projects these days because material can be synched in the NLE after it is transferred on a telecine instead of on an edit bench. However, if the budget allows conforming a workprint during an edit on an NLE, ink numbers could be used as a reference. There are lots of different ways to cut films, which are examined in Chapter 2. Ink numbers are divided into three components: a prefix, which is two alphanumeric characters for 16mm and three for 35mm; the leading numbers, which come in two varieties as well, four digit and five digit; and a frame count, which is not a visual part of the ink number, but is used to identify frames between ink numbers. Usually the prefix numbers match each synched roll of film. Most major studios have individual methods of numbering ink numbers on their films. Alphabetic characters can be used, so that synch roll letters are not confused with cam roll numbers. The original intent of the prefix was for shot numbers, which is the English method of shooting films. Instead of using scene10 © Editing Digital Film numbers as a guide, each shot is numbered and the ink numbers reflect that num- ber in the prefix. So shot 1 would have a prefix of 01, and so forth. Ink numbers are more difficult to track, so a code book is needed. The code book shows the relationships between ink numbers and the latent edge numbers on the OCN and workprint. It also shows the relationships for original recorded sound and the mag stock that is used to conform the workprint. Figure 1.5. Ink Numbers on workprint This 35mm mag stock has a three digit prefix followed by four leading numbers. Key Numbers Key numbers, also called latent edge numbers, are more commonly used with NLEs. Key numbers are generated along the edge of the film after it is processed. They are a physical part of the film and don’t require inkjet printing, as ink num- bers do. When a workprint is made, the key numbers match the ones on the OCN, or original camera negative. Using this method, itis a lot easier to conform the OCN after the cutting is done. Beside the key number on the film’s edge is a bar code, known as the Key code. This bar code can be read by most telecine machines and makes it easy for the colorist to database frame numbers to use in an NLE. 35mm films have a new key number every 16 frames for each foot of film. Kodak 16mm films change key numbers every 20 frames, or 6 inches of film. Some other 16mm film manufacturers have key numbers every 12 inches or 40 frames. To accurately keep track of each frame beyond the key number, a frame count is added. One of the problems with the use of key numbers is that they are indeed latent. In other words, if there is a light leak in the camera and the film edge is exposed, it could actually overexpose the key number, so that the telecine (or any- one or anything else) could not read it. Still, tis much more advantageous in the realm of NLEs to use key numbers than to revert to a code book. The key numbers identify certain traits of the film, including the manufac- turer, the stock type, a prefix identifying the roll and a footage count. For example,Chapter | © Tools of the Film Editor * 11 the key number KN 91 1246 7990 indicates that the film used is Eastman 7292 stock (see Table 1.1). Every manufacturer uses a different prefix for each stock. ‘The key code reveals the same information as the human-readable key num- bers, but adds information about the date of manufacture of the film. Film Markings- Identifying Features of 35mm Film ' pees cee eee 12 2 toe 299 eau = . | arn] Manufacturer's Frame index Identification Code A hyphen placed every Ast Letter: KeyNumber .| Keykode™ four perfs on 35mm film. Increments every] Machine-readable | Helps identity frame line 16 f./35mm key numbers, for darker scenes. 20fr.16mm 2nd Letter Identifies ‘Stock Zero Frame Ret. Mark This dot identifies the Check symbols venx -‘Fameadacortto as Unaitovery matehup Slat Prete. rezeofame inthe Key betwen wap number Ths, is ame gave isk 12.08 2190:00 Figure 1.6 Identifying Marks on 35mm Film Time Code Time code is used as a method for counting frames with videotape. From its beginning in the mid 1960s time code was never accurate. Time code measured the frame rate of video at 30 fps, when in fact the frame rate is 29.97 fps. For years, this was not a problem. In the late 1970s, a combination of automated equipment and syndicated television significantly changed that. Broadcast playback was measured by a clock in real time. But a program that ran 28:30 minutes using 30 fps time code was actually a couple of seconds longer. So the automated equip- ment ended the program abruptly and went to a commercial. Unfortunately, the last two seconds of the program was usually the syndicator’s logo.12. © Editing Digital Film Table 1.1. Key code Number IDs WE cog Maker Stock Vision 800T 5243/7243 5279/7279 Vision 500T KB Kodak | 5247/7247 KV Kodak | 5244/7244 ‘KC | Kodak | 5297/7297 KW. | Kodak | 5287/7287 KD | Kodak | 5234/7234 KX | Kodak | SFX 200T [ke | Kodak | 5222/7222 KY | Kodak | 5620/7620 PT 640T | KF | Kodak | 5295 KZ | Kodak | 5274/7274 Vision 200T KG | Kodak | 5294/7294 EA | Kodak | 5285 KH | Kodak | 5231/7231 FA | Fuji | FCI(01) KI | Kodak | 5246/7246 FN | Fuji | F-64 (10) Vision 250D K) Kodak | 5296/7296 | FCI (13) KK | Kodak | 5245/7245 | F-500 (14) KL | Kodak | 5293/7293 | F-64D (20) KM Kodak | 5248/7248 F-125 (30) KN | Kodak | 7292 F-250 (50) KO | Kodak | 5249/7249 F-250D (60) KP | Kodak | 5600 PT F-500 (70) KQ | Kodak 5277/7277 XT 100 | Vision 320T KR | Kodak | 5289/7289 AM | Agfa | XTR250Chapter | © Tools of the Film Editor ¢ 13 Table 1.1. Key code Number IDs (continued) Lg Stock 5272/7272 Agfa | XT 320 KT Kodak | 5298/7298 AS Agfa XTS 400 | Note that Fuji Keykode ID “FN” refers to several different stocks. To decode the exact stock used, it is necessary to read the barcode, which has a numbering system instead of letter- ing. The bar code 1D number is in parentheses. The result was the use of a new, more accurate form of time code. To distinguish between the two, the accurate version was called drop frame because it “dropped” two numbers of frames every minute except for every tenth minute, which maintained accurate timing according to the 29.97 fps play rate. The tradi- tional 30 fps measuring method was called nondrop frame. Itis important to note that drop frame never truly drops a frame. It drops the names of the frames. The number of frames is the same in nondrop frame time code and drop frame time code, but the names of the frames differ between the two. This could be compared to high-rise buildings that have at least thirteen floors. They always have a 13th floor, but they often skip the floor number 13, going from 12 to 14. Both of these types of measurement are still used today. Broadcasters gener- ally prefer drop frame, although it should be noted that some still stick to the old way. Many of the programs that I edited for PBS used nondrop frame. As a result, a standard 30 minute show, with a running time of 28:38 was actually came in at 28:36:08 using nondrop time code. Animators, advertisers, and filmmakers tend to avoid drop frame time code. Animators find the loss or dropping of frames confusing. When each frame of ani- mation is created, a dropped frame can confuse the count of actual frames pro- duced. For the filmmaker, it can cause a numeric inconsistency for gauging pulldown. Ifa telecine transfer is made and it is assumed that every fifth frame of time code is a telecine A frame, for example, what happens at the top of every minute when that count is altered by two frames? The consistency goes away. As a result, filmmakers usually insist that nondrop frame time code be used both for picture and sound. Advertisers tend to use nondrop frame for another reason. Their end prod- uct, normally under a minute, doesn’t require any end-of-minute adjustments to maintain consistency. A 30-second spot will not need a frame adjustment. With filmmaking, the rule is simple: use nondrop frame time code.14 © Editing Digital Film Production Notes There is no doubt that a film generates more paperwork than any television or video product ever could. Perhaps the best reason for this is that there are so many people working on so much footage that the more information given, the better the odds of successfully working with the materials. As a result, logs of information are kept so that film editors can understand what took place during the production. ‘Atypical production uses these logs and reports: Script supervisor daily production report or log, Facing pages Lined script Camera reports Sound reports Script Supervisor Daily Log Some new directors of low-budget films make the poor decision not to hire a script supervisor. This almost always results in catastrophe. A good script super- visor can make the post production process smooth through the use of informa- tional tools such as the script supervisor daily log. This log is full of details that can prevent the editor from wasting time looking for missing, footage. On every shooting day, the script supervisor prepares a log. The log is a jour- nal of sorts, with complete details on which scenes were shot on which cam rolls and sound rolls and which takes the director wants to print. A typical log will contain Production title Director Date Production company Script supervisor It also contains entries for each shot, including Cam roll number Sound roll number Slate (scene number) Print (selected take numbers, chosen by the director) Time (duration of the shot in minutes:seconds) Description The description usually contains a few words about the subject and framing of a shot. It may also contain information that the director requests be put into the log.Chapter 1 © Tools of the Film Editor © 15 Facing Pages Facing pages are given their name because they are printed on the back of a sheet of three ring paper instead of on the front. Their purpose is to be placed opposite a corresponding script page, so that the editor may look at all of the information about a scene with the script on the other side of the open binder. Each facing page has an entry for the corresponding script page that it should face. They are one-sided, so that additional pages may be added when necessary. For some films, the facing pages have such copious notes that they do not all face the correct page. In these cases, the pages are placed together so that the editor can find the one that corresponds with the scene they are cutting. Facing pages have much of the same information as a daily log, with more explicit descriptions, remarks, and lens length. The remarks usually have some information about the director's preference, or note any mistakes were on any of the takes. They also contain information about changes in the blocking or in the script and how they were dealt with on the set. Facing pages also have circled takes, which help the editor determine the director's preferred take. Facing pages may not always explain why certain takes were preferred over others, but that is usually evident in the dailies themselves. LOOK! iw To} cams tov ge Bruen rian can brn ~ 1 aa ala Baieton daock tee atin ALLS Or orne mT IZTIT SS ates bons treo eee ere tied PAG o prteT a om a SRO ten se SOOwatn a fe ea eves fee dons meta em - 2 fais FROM ei Sie eae al Seap oa al feats ee = ES as hei pees a . ALL at On rs "GF van gh gC Sear g canine prey SETS Sic eet acre Sie aa faeee Rau a reOon| ed fn = patos i She wee ee Oe eee am Figure 1.7. Facing Pages next to a Lined Script.16 © Editing Digital Film Lined Scripts Lined scripts provide the editor with a visual representation of what is happen- ing on camera over the course of the script. Script supervisors create lined scripts to let the editor know circled takes and coverage for the scene. A typical lined script would contain Scene number Circled takes Astraight line during dialog to indicate that the persons speaking are covered in the shot Asquiggly line during dialog to indicate that the persons speaking are not in the shot Abrief shot description, such as MS- Dan Keitz in living room In some cases, an audio or video time code for the start of the shot When used with facing pages, the lined script contains all of the items necessary to edit a scene. These tell the story of what was intended and what actually hap- pened. Other elements, such as sound and camera reports can also be used as a reference. Camera Reports Camera reports are created by the camera department and contain information about what was shot on each camroll, including, Cam roll Number Scene/take Length of shot (in footage) Total footage per roll Frame rate (normally 24) Date Notes Camera operator or assist name Circled takes (chosen by the director) Circled takes can be noted in NLEs by either adding a Print column to an elec- tronic bin or using an asterisk (*) next to a clip name. Any uncircled takes are also referred to as B-Neg and aren’t always telecined or printed, depending on the budget.Chapter 1 © Tools of the Film Editor ¢ 17 Sound Reports Sound reports are the sound department's equivalent of a camera report. The sound reports have more precise information, because SMPTE time code can be noted during recording of sound. A sound report will contain Sound roll number Scene/take SMPTE time code Date Sound mixer name Notes Circled takes Figure 1.8 A typical Camera Report Code Books Code books are post production logs for recording the relationship of scenes with ink numbers, key numbers, sound rolls, cam rolls, lab rolls, and time code. Prima- rily used for tracking ink numbers to their original cam roll and corresponding key numbers, a code book is a regular item in most film cutting rooms. Code books aren't always necessary in a digital editing suite. The database of materials is already recorded in an electronic bin, the result of an automated telecine log, which records the numbers automatically. But a code book is a very18 © Editing Digital Film handy reference in either room, particularly if there is doubt regarding the valid- ity of the database, or if ink numbers are used. Slates Aslate is the best visual representation of what happened on each shot in the dai- lies. The slate should contain both audio and visual information. In some cases, if the shot is without sound (MOS), the sound person will do the audio slate any- way. The slate should contain the production name, director, director of photogra- phy (DP), scene and take and shoot date. There is also a “smart slate” that will generate audio time code information in an LED array located at the top of the slate. This makes it much easier to sync sound with picture. An editor can check the smart slate against the database in the NLE to ensure that the audio time code matches. In some situations, audio time code will have to be entered manually. Audio time code should always be recorded using nondrop frame mode. Figure 1.9. Smart Slate When Good Notes Go Bad If the camera reports don’t match sound reports on circled takes or the facing pages don’t have information that agrees with the rest of the production notes, it is best to call the script supervisor. This person is in charge of keeping track of the various reports and should have accurate answers. Any of the production paper- work that doesn’t jibe is the responsibility of the script supervisor. Going over the supervisor's head to the director is considered bad form and can create more problems.Chapter | © Tools of the Film Editor © 19 It's important to get to the bottom of these minor problems before they become big problems downstream. As the late Alabama football coach Paul “Bear” Bryant once said, “It’s the little things that'll git ya.” Now that the tools of filmmakers have been examined, let’s move on to some of the workflows for post productionChapter 2: Post Production Workflow There is an old saying that if you don’t know where you’re headed, you'll never get there. This certainly rings true when it comes to the creation of a motion pic- ture. It is fascinating to see how each filmmaker works, because there are so many different ways to create film. And no two filmmakers work exactly alike. ‘The first step to successfully creating a film is to define a path or plan, a workflow of how the film will be produced from beginning to end. Some of these workflows are elaborate, resembling architectural drawings for skyscrapers. Oth- ers are written on the back of a piece of cardboard. It doesn’t really matter. But without a workflow, every phase of production will suffer. Some filmmakers lack the experience to create a workflow, as parodied in the films American Movie and Bowyinger. The workflow is the key to finishing any film successfully, whether it be a low-budget slasher or a blockbuster extravaganza. The post production workflow is normally determined by above-the-line staff, usually the line producer. The line producer develops this workflow with the director in preproduction meetings. It is the responsibility of the editor to notify the producer of any proposed changes in the workflow that could affect the process. The line producer must always be made aware of how the process will change, particularly with respect to how money is being spent on services and supplies. Any alteration in the work flow could potentially cause a waste of resources, loss of available personnel, or a loss of monies reserved for services in the budget. Post production services, such as telecine, lab work, and editing facil- ities, are prearranged by the production company. If the editor determines that a change is necessary, he or she must first consult with the line producer for approval. Failure to do so could result in dismissal.22. © Editing Digital Film One of the biggest flaws in writing about film post production workflow is that no matter how adamant one is about the “proper” methods used for film cre- ation, there is at least another who will say, “we don’t do it that way.” And there is far more variance in the process of filmmaking than of videomaking. Why? One reason is that filmmaking, particularly film editing, can use a wider variety of methods and tools than video can, Some filmmakers developed their methods of post production long ago. For others, their post methodology develops as rapidly as technology itself. Many theatrical motion pictures are edited concurrently with the production phase, a method rarely used in video editing. By bringing in the post production team at an early stage, the director can find continuity, scripting, action, and editing flaws early in production and seek solutions while the film is still being shot on location. Of course, this isn’t always possible. Some films don’t begin post production until after principal photogra- phy is completed. Any reshoots or pickup shots are done after the first edit, when flaws and needs of the film are detected Low-budget films, particularly those with little planning, can unwisely elim- inate production crew positions that seem too expensive, such as a script supervi- sor or continuity person. These seemingly economic decisions can lead to disastrous consequences in post. The end result is that the fledgling director learns a lesson and the editor is made to suffer the result of a bad decision. It has happened many times. As long as there are new and inexperienced directors, this problem will no doubt continue. This chapter examines some post production workflows, from high-budget feature films to ultra-low-budget indies. It also explores a workflow for the rela- tively new method of digital video (DV) filmmaking. In the process of doing so, one can get a pretty good idea of the different approaches to post production of a motion picture. THREE WORKFLOW SCENARIOS Here are some different scenarios for post production. Keep in mind that none of these are necessarily the exact way that any film is edited. There is more than one way to skin a cat. The High-Budget Film Workflow As mentioned previously, it is desirable in most higher budget films for the edit- ing staff to commence work immediately once the principal photography phase begins. If shooting takes place on a soundstage, it is common for the editing crew to be placed in a nearby building, so that the director can walk a short distance to look at dailies. As production continues, the editors and assistants are deluged with questions from the set. Will this work, or, what are we going to do about that? How will we be able to cut from this scene to the next? All of the questions can be answered a short distance away.Chapter 2 ¢ Post Production WorkFlow * 23 High Budget Post Production Workflow ‘Shoot & Proves Record & Transfer ‘Audio To Mag Track PS aA poems ae ‘Sync Dallas Original Camera Negative Soreen Dalles Make Notes t Telecine Circle Takes Tnpat Coa, Digitize 4 Eait ‘Output Cut List Contomm Workprint ‘Sound Dept ‘Temp Mix ee Cut Pix LokBox and Sound EDL y Make Changes Bassas T &.Neg Cutter Reedt * Eait is Complete Figure 2.1 A High-Budget Post Production Workflow24 © Editing Digital Film When a film is shooting on location, it was previously more common for the edit- ing crew to stay at the production company’s home city and discuss these prob- Jems by phone or fax. The OCN would be shot, selected takes (dailies) would be workprinted, synched and transferred, and the editorial crew would begin work- ing on them the next day. Because of the relative portability of NLEs, on-location editing has become far more common. Homeward Bound IT was shot in Vancouver, B.C, at the old Molson Brewery. There was plenty of room in the administration building for nonlinear equipment, so the Avids were set up there. Looking at dai- lies or checking a continuity problem meant a short stroll across the brewery. In some cases, where locations were a bit more remote, NLEs have been installed in mobile facilities. On the motion picture Assassins, Sony Pictures Digi- tal Editorial (SPDE) set up a recreational vehicle with two NLEs inside. SPDE manager Stephen Cohen oversaw the creation of this vehicle and it worked quite well for the editorial crew, who could move from location to location with relative ease. Director Richard Donner and editor Richard Marks could view dailies, dis- cuss continuity issues, and play back completed scenes in a comfortable environ- ment, even while situated in the middle of nowhere. ‘Advancements in this technology are making it even easier and better for editors at remote locations. Most NLEs can digitize “on the fly,” thatis, record immediately with a click of the mouse. Using the video tap from a film camera, which is normally used for video assist, an editor could conceivably sit in a trailer and record the takes on location as they are being shot. The big advantage would be almost immediate feedback on how well the scene would cut. If there were any problems, the director would be notified before the set was struck. The drawback would be that anything edited would need proper entry of edge numbers in the database at a later time, a lamentable task for even the most valiant assistant. With those examples in mind, the workflow of a big-budget picture follows a fairly straightforward path. 1, Shoot and process Original Camera Negative 2. Workprint everything, The director is going to want to see projected dailies. 3. Using camera and sound reports, the circled takes selected by the director are synched and telecined from the OCN to videotape. During telecine, a log is created of the transferred takes. 4, The log is converted into a readable format by the NLE and the footage is digitized into the editing system. 5. The editor edits, 6. A cut list is created. 7. The cuts in the list are conformed to workprint. 8, The cut is screened. So far, so good, right? Here's where everyone on the edit crew can take a breather. little calm before the storm.Chapter 2 © Post Production WorkFlow * 25 9. Changes are made. 10. The editor re-edits the film. 11. The new cut list or a change list is made. 12. Workprint is reordered if necessary and conformed. 13. The film is screened...again. And so it goes. Steps 9-13 are repeated until a solid cut of the film is achieved. After that, it goes to the sound department. The picture cut is complete. There are quite a few variances that can occur in this workflow, One is that the director may not need to have workprint of all of the dailies on hand before cutting begins. But it’s much better to view alll of the footage on the big screen. Dailies can be screened with the director and notes can be made early in the pro- cess. In such a case, the dailies would need to be synched and coded, then trans- ferred. This method was used on Homeward Bound II. The editors wanted to see the dailies on a flatbed, sometimes with the director on hand. So the assistants took the workprint, synched it with mag stock, coded it, and left the synch rolls on the flatbed until late afternoon for any necessary viewing. After that, the lead assistant would take the workprint to telecine, transfer it, and digitize it into the NLE. The next morning, the editors would cut those scenes. In other cases, the assistants might conform workprint concurrently as it is. being cut on the NLE. For example, the editor might have a good draft of Scene 26. The director wants to see it, so the assistants conform it from workprint and mag stock. The scene is screened on an interlock projector and change notes are made, This method has served many features well, however this is a capital inten- sive workflow, and budget constraints may prevent some productions from work- ing in this manner. The next examples will address a workflow with tighter purse strings. The Medium-Budget Film Workflow ‘These days, a “medium-budget film” is ill defined. In Hollywood, a $6 million dollar film would be considered low budget. But the recent rise of ultra-low-bud- get filmmaking lowers the bar a bit. So for these purposes, a medium-budget film is one that can’t quite afford the luxuries of high-budget techniques. In this case, the methods define it a lot better than the budget. Medium-budget films are deceiving, in that they may use some of the tech- niques of higher-budget films and yet cut costs in other more extraordinary ways. For example, I used Homeward Bound Il, a medium-budget film, in the previous examples of high-budget films. It did have some workflow methods that high- budget films use, but in most ways it was a medium-budget film. One of the cost cutting methods on HBII was the use of non-time code DAT machines for record- ing the character voices of the dogs and cats in the film. DAT machines, particu- larly those that utilize SMPTE time code, can be fairly costly. To cut costs, Disney used a high-end prosumer DAT machine and recorded SMPTE time code on26 ¢ Editing Digital Film Medium Budget Post Production Workflow Shoot & Process Original Camera Negative Teleane Circle Takos Input Log, Digize ‘Sync Pix & Sound y Edit Sorean Digital Cut Make Changes a Re-Edit —e[__ cntout Cut List der Selects Workprint ‘onto a Workprint Cutie [-—_ ‘Output Cut List, LokBox and Sound EDL ‘Make Changes v Ship to Sound Dept Re-Edit 8 Neg = Edit is Complete Figure 2.2 A Medium-Budget Post Production WorkflowChapter 2 © Post Production WorkFlow © 27 audio track 2. This saved them several thousand dollars, and took very little extra work on the NLE (an Avid), which could read audio time code. The mark of most medium-budget films is a reduced use of traditional film editing and increased dependency on NLEs as synching and screening devices. Like their high-budget cousins, medium-budget films still rely on screening of a workprint, but only in the final stages of post production. Because of the ability to synchronize sound and picture inside an NLE, medium-budget films can use the latent edge numbers of a film and the SMPTE time code from DAT machines as a method of synching and later conforming the film, This eliminates the need for creating ink code on workprint and mag stock. Allof the synching can be done inside the NLE as opposed to telecine, where it is much more expensive. Here then, is an example of a medium-budget post production workflow. 1. Shoot original camera negative. 2, Using camera reports, the circled takes are telecined MOS from the OCN to videotape. During telecine, a log is created of the transferred takes. 3. The log is converted into a readable format by the NLE and the footage is digitized into the editing system. Sound is digitized into the NLE using, sound reports, going direct from the original time code DAT. 4. Both sound and picture are synched in the NLE by an assistant. 5. The editor edits. 6. A digital cut is screened on the NLE. 7. Changes are made, usually in the form of alist, sometimes one by one with the director on hand. 8, The editor re-edits the film. From this point, steps 5-8 are repeated until a truly “screenable cut” is com- pleted. Once the director green-lights the cut, a workprint is ordered of the scenes in the NLE cut and the workprint is conformed using the cut list from the NLE. 9. A cut list is created. 10. The editor outputs sound directly from the NLE. Sound is transferred to mag stock for screening on an interlock projector with the workprint, 11. The cuts in the list are printed from the OCN to workprint. 12. The workprint is conformed. 13. The film is screened, with sound and picture interlocked. Usually, steps 9-13 are repeated at least twice more before the project goes to the sound department. These methods, though somewhat constrained by budget, allow for enough flexibility for the editor and director to work together in a fairly comfortable arrangement with some margin for error. The next workflow deals with less com- fortable conditions, particularly with respect to monies and resources.28 © Editing Digital Film The Ultra-Low-Budget Film Workflow When I first started working in Dallas as a television editor, I learned a valuable lesson. A client had given me a fairly sizable project, ridden with problems. It was a musical, with theatrical lighting and a lot of shaky handheld camera work. The cameras would start and stop intermittently, making match cuts impossible. Matching color seemed out of the question. With a large ensemble cast, the cam- era never seemed to be on the right actor at the right time. And the music? Yikes! The sound crew must have fallen asleep at the console. The producer, a kindly good ole boy type, asked me “What do you think?” I managed to sputter out a laundry list of serious issues, much like the ones men- tioned above. “We already know what's wrong with it,” he replied. “I meant, what can you do for it?” In a single moment, I came to realize that the director has seen the production many more times than I, and that their purpose in working with an editor is to gain insight into the solutions, not the problems of their production, Stephen Hullfish, the supervising editor at DHV TV in Chicago, put it best: “An editor is a solver of problems, not the creator,” Every film has problems. Listen to the director’s track on any DVD. Talk to the editors of big-budget films. Money may add production value, but it doesn’t necessarily prevent problems. In Saving Private Ryan, the eight American soldiers looking for Ryan enter a village. One is Killed by a sniper’s bullet. In a later scene, it cuts to a wide shot of the men combing the terrain of a large green field, and there are eight of them again. Titanic shows the entryway to the first class dining room, a glass door. And in the door, the reflection of the camera crew is seen. Planes, Trains and Automobiles had to reshoot an entire crowd scene in the train station, because a crowd of onlookers (not extras) had gathered to see Steve Martin and John Candy. The problem was that the windows of the train showed the reflection of the onlookers, So every film has issues, including high-budget films. But big-budget films have the money to solve them. Low-budget pictures can’t afford this luxury. The late Edward Dmytryk, considered by many the father of film noir and an excellent editor himself, once defined three types of editors: the mechanic, the cutter and the miracle worker. A mechanic is a button-pushing automaton, who offers little more to a film than the ability to operate equipment, follow the script verbatim and do exactly as the director says. The cutter is a creative person who sees the film as the audience sees it and can offer solutions, alternative viewpoints, and new ideas on how to finish the film. But the miracle worker can get the director out of any fix, repair any problem, come up with a better solution to any issue. Every ultra-low-budget film needs a miracle worker. When reshoots are impossible, ADR (automatic dialog recording) improbable, and compromises are inevitable, itis the task of the film editor to make a low-budget picture watchable. Not everyone can do this. Not everyone wants to do it.Chapter 2 © Post Production WorkFlow * 29 Ultra Low Budget Post Production Workflow ‘Shoot & Process Original Camera Negative i Telecine Circle Takes Taputlog, a ‘Syne Pix & Sound —— Edit ‘Berean Digital Cut Make Changes 1 Ll peat (Output Cut List, LokBox and Sound EDL Ship to Sound Dept ‘& Neg Cutter 1 Edit is Complete Figure 2.3 An Ultra-Low-Budget Post Production Workflow30 © Editing Digital Film There are more variables than ever in a low-budget post production scenario, Cre- ative budgeting calls for some daring techniques. Here's one example: 1. Shoot original camera negative. 2. Using camera reports, the circled takes are telecined MOS from the OCN to videotape. During telecine, a log is created of the transferred takes. 3. The log is converted into a readable format by the NLE and the footage is digitized into the editing system. Sound is digitized into the NLE using sound reports. 4. Both sound and picture are synched in the NLE by an assistant. 5. The editor edits. 6. A digital cut is screened on the NLE. 7. Changes are made, usually in the form of a list, sometimes one by one with the director on hand. 8. The editor re-edits the film 9. Repeat steps 5-8 until the film is completed. In this scenario, every screening takes place on an NLE. Most directors would like to see their work projected before it goes to the neg cutter. In most ultra-low-bud- get films, they never will be projected on a big screen. Instead, they go straight to tape, so there's no reason to even attempt to screen them outside of the NLE envi- ronment. But it’s very risky to go from NLE to neg cut. If there are any mistakes made, a cut neg cannot be replaced. In these situations, it's a good idea to send a digital cut on videotape to the neg cutter along with your cut list and sound EDLs. Thaven’t mentioned a lot about sound, but in the case of ultra-low-budget films, it’s very important. In higher-budget films, an EDL of the sound cuts is made. That way, the sound department can conform the time code numbers in the list from the original DATs directly onto their digital audio workstations, In lower-budget films, the sound is often taken directly from the NLE onto a DAT, which saves conforming time. This makes the picture cutter a sound cutter as well. On an ultra-low budget, the sound effects, mixing and music might all be done on the NLE. Most picture editors don’t particularly like doing this, but it happens—a lot. If the film goes directly from NLE to an answer print, there might be a few surprises. Some of the low-budget wonders that we've completed through the Film Camp program have used this method. The best solution is to project the NLE cut on a large format television. At Film Camp, we use a 60-inch projection TV. Subtle reactions become easy to read. Marginal production errors are ampli- fied. Even small plot twists can seem contrived. A large screen will amplify every intention of the filmmaker. So if any money is available in the budget, a filmmaker should at least consider projecting on a large format screen. Making a workprint of the NLE edit for a theater screen is even better.Chapter 2 © Post Production WorkFlow * 31 DV FILM WORKFLOW Digital video, better known as DY, is deceiving. Although it may seem to be a much less expensive method of filmmaking, getting the video back to film can be an expensive, unforgiving, and time consuming process. Some of the latest versions of NLEs offer uncompressed video output. I highly recommend that this type of system is used as the final video source. There are others that tout “full resolution DV,” but these systems use a codec, a com- pressor-decompressor, and the resolution is compromised. In fact, when any effect is placed on a DV source in an NLE, it leaves the digital domain. In the ever-changing world of video technology, one thing is sure: the reso- lution, format, contrast ratio, and colorimetry of video pictures will improve. The near future offers high-definition formats, progressive scan frames, and wide screens. Soon it will be hard to tell the difference between video- and film-origi- nated pictures. But for now, it’s pretty easy. So choose your format wisely. Here's an example of a DV project workflow 1. Principal photography (shooting on video). 2. Transfer the DV tape onto another format for cutting. DV videotape is a very thin 8mm metal tape. It’s better to work from a more durable and stable source instead of the original. When the final high-resolution redigitizing is done, use the originals. 3. Using a log or script supervisor notes, digitize the selected takes from DV toNLE. 4. The editor edits. 5. A digital cut is screened on the NLE. 6. Changes are made, usually in the form of a list, sometimes one by one with the director on hand. 7. The editor re-edits the film. Steps 5-7 are repeated until the film is completed. 8, Rebatch digitize the entire film at the highest resolution of your NLE. It's best to use an uncompressed resolution with color correction. 9. Send the videotape to the video-to-film transfer facility. 10. Screen the film and make changes when necessary and/or possible. Like the low-budget scenario, a DV film will be screened on the NLE. I highly rec- ‘ommend the use of a large format projection television or monitor. It’s easier to detect some of the subtleties and errors previously mentioned. The final stages of DV filmmaking are the most critical. Choosing a method of transfer and solving the problems associated with DV can be difficult. For more information on the processes involved, see Chapter 10.32. © Editing Digital Film DV Post Production Workflow ‘Shoot DV t Transfer DV To DigiBeta i Log & Digitize i Eait | Screen] Digital Cut y ‘Make Changes er Re-Edit Lp Rebatch @ Hi-Res | ———_____ (Output Hi-Res Digital Cut Ship to Film Xfer Facility 1 Screen Film IN. ( Re-Cut, Add or Delete 1 Section or Scene Edit is Complete Figure 2.4 A DV-To-Film WorkflowChapter 3: Telecine Demystified Do you like math? If you do, you're going to love telecine. Telecine is the process of transferring film to video. The telecine process necessitates a bit of math, because neither NTSC nor PAL video have the same number of frames per second as film, and NTSC requires a 3:2 pulldown in order to equate 24 fps to 30 fps. But NTSC video actually runs at 29.97 fps, so the telecine has to slow down to 23.97 fps. This means that the sound will have to be slowed down .01 percent, which makes the math even more fun! When film is transferred through a telecine, it is normally running at about 24 frames per second, which is its standard projection speed. Telecines don’t use light to scan the frames of film. Instead, they scan the picture with a gas beam. The beam is more accurate at sampling the characteristics of the film frame, and it also eliminates the possibility of burning, fading, stretching or otherwise marring the film. In fact, original camera negative can be transferred with little worry of wear and tear on most modern telecines. Some films even use telecine as a final means of color correction. More advanced systems, such as the Phillips Spirit DataCine, can create digital files large enough to be stored and transferred back to film, eliminating the necessity of film negative color timing. In these instances, all of the final color correction is done in the telecine suite, not the lab. THE COMPONENTS OF TELECINE A modern telecine consists of three major components. A film scanner, the largest part of any telecine suite, is a machine on which the film is loaded. The film crosses the path of the scanner and each frame is accurately scanned and con- verted to video. The scanner can also read numeric information about the film, such as key numbers or bar codes, which will be discussed later. The method of scanning varies from model to model. The telecine scanner is remotely controlled,34. © Editing Digital Film so by getting away from the telecine, sound noise is eliminated. Each scanner has a remote control keyboard located in the telecine suite. The color correction system is also placed in the telecine suite. This is where the telecine operator, or colorist, can color correct and match each frame of film. The colorist corrects the color on individual frames and stores those parameters in a computer. Then, when the transfer is made to the tape, the coloring decisions that were stored are implemented in realtime as the film passes through the scan- ner. The telecine logger keeps a log of activity in the telecine suite. Depending, on the model and make of the logger, it can do as little as keeping a database of the relationship of the film frames to the videotape time code, or as much as mem- orizing settings of colorization, syncing audio to film and controlling the telecine transport. Some loggers also insert specific film & video information that goes direct to the videotape output of the telecine. This information is inserted either in the vertical interval of the video signal (which is not seen in the frame) or over the picture, Many times the editor of a film will want information placed into the verti- cal interval of the telecined videotape. This information can include the film's edge code, audio time code, and video time code to ensure that the numbers in the editing database are consistent with the original telecine transfer. In order to do this, the assistant editor can ask to encode up to three lines of information into the vertical interval (VI) of the video signal. To use the VI information, a special reader that can display those numbers is required, because the vertical interval is not seen in the image on a video monitor. A drawback to this method is that some older NLEs do not digitize the telecine tape’s vertical interval, eliminating the information encoded on the tape. A visual burn-in on the picture is much more common and convenient. Because the video ultimately will not be the final source of a film, the numbers are placed over the picture, usually in the least obtrusive places. One of the most common schemes for a visual burn-in is to place the video time code on the bot- tom left of the frame; film key code, ink numbers, or 24 fps film time code in the right bottom of frame, and the audio time code in the top or upper left of the frame. For films with mattes, the burn-in is usually in the letterboxed area so that it does not interfere with the picture in any way (see Figure 3.3). As the telecine session progresses, a database is created. The database records the relationship of the film frames to the video output. For example, the database may contain: Aaton code (Aaton 24 fps time code) Arti F/S (Arri 24 fps time code) Key Code™ (latent edge numbers) Acmade (ink numbers) Videotape time code DAT or Nagra time code (for Sound)Chapter 3 © Telecine Demystified ¢ 35 Once telecine is complete, the database can be output in a number of log formats, including: flex file FIL (film telecine log) OSC/R file Avid log exchange (ALE) files keylog files And others, Without the database, it would be difficult to maintain continuity with the transferred videotape and the actual frames of the original film, Although there are always exceptions, negative cutters want an accurate list of edits based on the original film numbers. METHODS OF TRANSFER There are three methods of telecine transfer. In a one light transfer, also called a lab transfer, the colorist sets up for each reel of film on the first frame and colors it correctly, then lets the film play through, adjusting the colors and light from the transfer on the fly as the film passes through the telecine. Why would anyone use such an inaccurate method of transferring film? Because itis the least expensive and therefore most common method of transfer- ring dailies. As long as the editor can detect fine focus on the transfer and the luminance is good, it'll suffice for editing. And because the final product is film, not video from an NLE, one lights can save the production a lot of money. But one lights have some drawbacks. It is possible that the colorization (or lack thereof) in one lights could cause the editor to pass over some potentially ‘good footage. The lack of proper set up in a one light can create contrast and lumi- nance variations that may hasten an editor's decision to choose a scene that is col- ored better, only because the colorist was able to adjust it more quickly as it went through the scanner. Film assistants can adjust the time-base corrector settings on the videotape recorder to compensate for this somewhat, but TBCs have a limited range of control, magnified by the limitations of videotape. Best light transfer is a method of averaging the color set up of each shot across the entire roll. The colorist will set up on the first shot, then stop at each additional shot on the roll of film to find each scene's best light. What the colorist does NOT do is try to find continuity of colors between the shots. For example, with two different shots of the same set, the colorist will tweak each shot to look its best, but not necessarily to look the same as the other shots. Best lights are usu- ally a little more expensive than one lights and are used on some films with medium or high budgets. Scene-by-scene transfer is by far the most expensive. A supervised scene- by-scene transfer offers a precise color setup for each and every shot in the roll. A supervised transfer is just what it says it is— supervised, often by the director of the film, with a colorist tweaking according to the needs of the director. The conti-36 © Editing Digital Film nuity between scenes is carefully calibrated for uniformity. This method is prohib- itively expensive as a means for producing a video master for offline nonlinear editing. NTSC Telecine The telecine scans each frame of film and then transfers it to videotape. But how does the film keep the timing consistent with videotape? Film runs at 24 frames per second. Video runs at 30 fps. To keep the proper timing of the film, that is, run the film at its original speed while recording to video at its native speed, it has to repeat some frames of the film on some fields of video. The process of repeating these frames, or actually holding them for an extra length of time, is called pull- down, For every four frames of film, there is a need for five frames of video. But if every fourth frame of film was held for the duration of an extra frame of video, there would be a perceivable time lag or jutter in the picture, a sort of stopping. and starting motion that occurred six times a second. And so, the engineers who developed telecine had to come up with a less perceivable yet precise way to maintain the 24 to 30 frame relationship. An NTSC video picture consists of 525 lines of horizontal resolution. An electron gun scans the picture from top to bottom. When the gun scans the first field, it only scans the odd-numbered horizontal lines of the picture, then returns to the top. The second scan covers the even-numbered lines. Thus, a video frame actually consists of two separate components called fields. The two fields interlace with each other, and through persistence of vision, the viewer sees a single frame of video. OooggooooODoOoOoOODn0C doooo0o0noo Figure 3.1. NTSC 2:3 pulldownChapter 3 ¢ Telecine Demystified © 37 In order to smooth out the process and evenly distribute the pulldown, if every other frame of film for an extra field of video, it adds a total of one frame of video for every four frames of film. In other words, 30 frames of video is pro- duced for every 24 frames of film. The process of holding the extra field every other frame is called 2:3 or 3:2 pulldown. Here's how 2:3 pulldown precisely translates. The first frame of film, called the A frame, is held for two fields of video. The second frame of film, B frame, is held for three fields of video. The third frame, C, is held for only two fields of video, and finally, the D frame of film is held for three fields. This totals ten fields, which equals five frames of video for the A, B, C, and D frame of film. The equal spacing of the pulldown creates a perfect offset of fields; the process repeats itself 6 times per second. (The frame rate of video is actually 29.97. In order to compen- sate, telecines actually transfer the film at a speed of 23.976 fps.) PAL Telecine Film can be shot at 24 or 25 frames per second for PAL finishing and there are two ways to transfer PAL video. PAL telecine A transfers frame for frame from the film to PAL video. A film shot at 24 or 25 fps can be transferred this way. If the film was shot and transferred at 25 fps, there is no modification in the play rate of the resulting videotape, because the frame rate is the same on both media. If the film was shot at 24 fps, it will play back 4.166% faster than it was originally shot when transferred to video- tape. Using telecine A keeps the frame-to-frame ratio equal, but speeding up of the film can cause some problems. The 4.166% speed increase is not too noticeable visually but the sound also has to be sped up. It is only a half tone higher than normal, which works well with voices, but not particularly well for music. The process of speeding up the sound during transfer is relatively simple, as most modern DAT machines have the ability to play 6% faster or slower. PAL telecine B transfers the film to video by adding a field every twelfth frame. Thus, a 24 fps film is translated to 25 fps of PAL video. An additional frame is generated to make one second of film equal to one second of video. Although the frame-to-frame ratio isn’t equal, this method of transfer works fine for video output, and there's no need to speed up the sound. Figure 3.2 PAL telecine B pulldown38 © Editing Digital Film TELECINE CONSIDERATIONS Before deciding which facility to use, the producer should make sure that the appropriate film to videotape transfer equipment is used. A telecine, not a film chain, should be used. A film chain is a video camera positioned in front of a film projection device and does not accurately measure pulldown. It may seem more economical at the outset, but using a film chain will cause more problems and work in the long run. The editor should make sure that all of the film reference numbers run in ascending order. This seems only logical, but in some cases, a well-meant mistake can cause a multitude of problems. For example, when using certain types of cam- era devices for animation, the film is shot upside down and will need to be inverted later. A telecine operator could easily mistake the orientation of the film as reversed and transfer it upside down with descending numbers. It’s up to the editor or assistant editor to make sure that the transfers are done correctly, Although some matchback programs can deal with descending key numbers, as a general rule, they don’t. Telecine houses appreciate an immediate response; if a complaint is registered months later, it could be misconstrued as an effort to shave dollars off of the budget. All transfers should be made with nondrop frame time code, preferably both in the vertical interval (VITC time code) and on the address track for longitudinal time code (LTC) with burn-in on the video signal area. Without time code, the database created in any NLE won't work. Nondrop frame is preferable, because a frame numbering scheme can be used to determine where an A frame is located. Ifnondrop frame time code were used with two field capture, the time code num- bers would look something like those in Table 3.1 Table 3.1 Using Nondrop Frame Time Code in Telecine Pemerea ere olan hg age lud B/B 01 B/C | :02 cp 03 p/p 304 AIA 205Chapter 3 © Telecine Demystified © 39 Using this method, the A frame occurs consistently on either the :00 or :05 frame. Asa result, itis easy to find the A frame. If drop frame is used, two frames are dropped at the end of every minute, excepting every tenth minute as shown in Table 3.2. Asa result, the consistency is lost. This makes searching for A frames harder, which is important when working with 24 fps frame rates. Now the A frame is at an :05 time code and an :02 time code, and it will change for each minute that the frames were dropped. This causes a lot of confusion when trying to determine frames. Table 3.2 Using Drop Frame Time Code With Telecine Geers eee ead raat B/B 356 BIC 7 oD 358 D/D 201 NA. i 02 5 It is also important, though not necessarily a telecine consideration, to record audio at 30 fps (not 29.97) with nondrop frame time code. Keeping the frame code mode consistent will help avoid mistakes down the line when con- forming the film and making cut lists. It’s also helpful when checking numbers in the frame of the burn-in windows. When a frame number drops in the audio time code and doesn't in the video time code, it seems confusing, Stick with nondrop and there will never be a reason to worry about it, For every example, there is an exception. I have worked with films that use nothing more than visual orientation as a method of matching frames, It is not recommended that anyone use this type procedure, yet it is important to note that professionals have done it successfully. In David Barker's Afraid of Everything, the film, 35mm Eastman stock, was transferred without benefit of any key numbers in telecine. David assured us that we didn’t need to ink the film, as his negative cut- ter would “eyeball” the neg. Because the film was shot at a low ratio and over a short period of time, his neg cutter was able to match it to the final video cut. So, although it is not a normal procedure, and certainly not taught in the classroom, it can be done.40 Editing Digital Film Table 3.3. Telecine Options ‘Automated Telecine Log vic ‘Also known as a flex file or transfer log, the most com- mon are.fix, ftl and.ale files. The easiest way to get information in and out of the database. Otherwise, it will require recording information manually according | to the burn-in windows, which aren't always reliable. Vertical Interval Time Code. It’s mandatory to have some kind of longitudinal (address track) time code on the videotape to maintain video-to-film frame relation ships, but the vertical interval can also contain VITC, ‘Aaton Code and key code numbers. Up to three lines of information can be recorded and later read using a ver- tical interval decoding device. These are great for main- taining burn-in information both on picture and in the vertical blanking signal of the videotape. One Light Transfer Best Light Transfer Scene by Scene Trans- fer The most economical of these is One Light. Even if the project finishes on video, a pull list can be created and a scene by scene transfer can be performed for only those items used in the film. Time Logic Control (Tq) TLC maintains the pulldown between stop and start points for the entire transfer. If the colorist stops tele- ine for a restart of the transfer, color adjustments or reel changes, the pulldown will continue as if uninter- rupted at that edit point in the videotape. ‘A Frame White Flag This creates a white flash in the vertical interval on the A frame of the videotape. It can be seen on an NTSC monitor when it is in underscan mode or by looking at the vertical interval. Also viewable if a waveform moni- tor is handy. Hole Punch Most camrolls are punched at the lab. A hole punch is added to an even frame at the head of the film before the first slate of the camera roll. Burn-In Windows One of the few controls to verify cut lists and EDLs. Key Numbers with pulldown and frame are normally bot- tom right, video time code is bottom left and audio time code is upper left.Chapter 3 © Telecine Demystified » 41 TELECINE OPTIONS Modern telecine facilities offer a variety of options that can help create and main- tain the database information that will be necessary to integrate film with any NLE. Table 3.3 lists of some of the most commonly used options. Figure 3.3 A typical videotape with burn-in windowsChapter 4: Conforming a Workprint Not all digital films are spared the blade. Although some can spend the entire phase of post production in the digital realm, most films can’t escape the need for being screened in their natural environment: the theater. Rightly so, because one can never know what might be encountered until a film is displayed in the envi- ronment in which it was meant to be shown. Not long ago I viewed a documentary about the building of Boeing’s 777 air- craft, The engineers found a way to test the fitting of parts and structure of the plane in a simulated virtual mode. Nothing was ever manufactured, machined, or tested until it was first created and tested in a computer. Of course, eventually all parts were crafted and tested, and in the end, the plane had to be as airworthy in the real world as it was on the computer. Conforming a workprint is like that. In the world of digital NLEs, the film is seen as it “will be”. But one can only truly be sure of its effect when itis builtin its final intended medium. T've attended plenty of screenings of films that skipped conforming a work- print or bypassed screening in a larger format, like a projection TV. The final digi- tal cut was output verbatim to a cut list and sent directly to the negative cutter. More often than not, there are problems with these films. Conforming a workprint gives editors an opportunity to correct problems. What is seen on the small screen doesn’t always translate well to a theater, and vice versa. Ifa film were an aircraft, conforming a workprint would be its test flight. The conforming process helps the people who handle the film later. In par- ticular, it gives a road map for the negative cutter. Without a workprint, the neg, cutter is working strictly with a list full of numbers. If any problems exist in the list, they might be discovered when it is too late, A workprint gives a direct phys- ical frame-to-frame reference of the cut44 © Editing Digital Film GETTING STARTED Before the process of actually printing and cutting film begins, the editor needs to prepare the digital cut to match the characteristics of film. This can be a tedious process, but it also makes the difference between a well-done screening and a disastrous calamity of miscued reels, There are three steps that need to be taken. Balance the cut into 1,000 foot reels Add SMPTE leader Create a pull list and an assemble list Creating and Balancing the Reels In the real world, 1,000 feet is the standard maximum length for any single reel of film intended for screening. The length of each individual reel can vary, depend- ing on where the best cut point or ending is located. Normally, the best cut point is between scenes. At the end of each reel, another continuous second of the last scene on the reel is added after the last frame of action (LFOA). This LOA (also called the EOR, end of reel, or LFOP, last frame of picture) is where the reel change should be made. The extra second is used for human error on the changeover between projectors. Some people, particularly those better versed in video than film, are shocked to learn that projection isn’t a computerized science. More about that later. Balancing can be tricky. The length of the reels will vary, but they should never be less than 700 feet nor more than 1,000 feet. When counting the footage, be sure to include the length of the SMPTE leader on each reel. It is preferable to keep the reel length longer than 800 feet, because anything less could lead to calamity in the projection room. An 800-foot roll of 35mm film is just under nine minutes long, and the projectionist needs time to load each reel. ‘There can be issues with measuring the lengths of film. Using an NLE that doesn’t keep track of running footage during an edit necessitates the use of either a footage calculator or a chart (see Appendix A: Time / Footage Conversions). ‘There is also a handy device used in many cutting rooms called a Reddy-Eddy. This device calculates footage and running time on a circular graph. Tuse a footage calculator on my computer, but the length of reels can also be verified by some simple calculating. For example, a reel of a 16mm feature ends at 23:40. The first step would be to translate everything into seconds. So take the number of minutes, multiply them by 60, and add them to the leftover seconds, like this: (23 * 60) + 40 = 1,420 seconds The next step is to take the total number of seconds and multiply them by 24 to determine the number of frames, like so: 1,420 * 24 = 34,080 framesChapter 4 © Conforming a Workprint © 45 Finally, take the number of frames and divide them by the number of frames in a foot of film. In 16mm, this is normally 40 frames per foot. With 35mm, it would be 16 frames per foot. So the end result is: 34080 / 40 = 852 feet 852 feet is the length of the reel Figure 4.1 Measuring footage on the bench, Adding SMPTE Leader on the NLE Once manageable, balanced cut points for each reel are located, and separate sequences are made of the reels. In most NLEs it is very simple to mark the begin- ning and end frame and then drag them back as subcuts into a reel bin. After the subcuts for all of the reels are created, add SMPTE leader. SMPTE leader can be added later when the reels are conformed and built, but [like to do it in the NLE first, because it’s easier to calculate the length of each reel and create a continuity report, which documents the running time of each reel, before the pull list is created. The further I get ahead in my paperwork, the happier Iam. In order to create the complete reel in an NLE, SMPTE leader (on videotape) or a Quicktime movie of SMPTE leader is necessary. Once the SMPTE leader has. been digitized, place it at the head of each reel in the NLE. The first frame should46 © Editing Digital Film be the frame that has “Picture Start” on it. After the 2 frame, there should be 59 video frames of black, then the cut picture should begin. Add one frame of 1000 Hz tone on the 2 frame. Like most facilities, we have a tone generator at Film Camp, but a 1000 Hz sound file can be imported into the NLE and cut on the 2 frame. This is called the 2 pop or sync pop. Once the SMPTE has been added to all of the reels, output a cut list to go to the lab. The lab will create a roll of all of the scenes in the film. The next job is to cut them up and assemble them. The Pull List The pull list is a type of cut list that tells the person conforming exactly which shots to pull from an OCN or workprint. When a pull list is created, it lists the cuts by cam roll. That way, the person creating the workprint can pull everything needed from each roll, then print it. A pull list is the film world’s equivalent to a video on-line C-mode editing list. Ifa standard assemble cut list, which lists the cuts chronologically from beginning to end, is used, the person conforming the film would have to go back and forth between cam rolls. This is not only unneces- sary, but tedious. Screenings can be pretty nervous gatherings, and every film cutter has an awful story to tell about a screening gone bad. Suffice it to say that accuracy is the key here. Put together a solid pull list for each reel and double check it. Some edi- tors like to add extra frames called frame handles to each cut in the list. This can. “force” them to double check the numbers when they assemble the workprint. Every pull list should include Lab roll number Cam roll number Scene number Key number in Key number out Duration (feet + frames) Anything else is optional. For most matchback and 24 fps NLE applications, master time code, comments, original clip names, and time code durations can be placed in the pull list as well. It’s handy to have the time code durations to check against the digital cut, but not mandatory. After a pull list is made and checked, send it to the lab. The lab can and will make mistakes from time to time, Once the workprint is received from the lab, check it against the pull list to make sure everything is there.Chapter 4 * Conforming a Workprint * 47 STARTING THE CONFORM Once the workprint is made, it's time to conform. If the editor absolutely feels uncomfortable with physically cutting film for the first time, he or she can always hire an experienced assistant to do it for them. But if someone else does the cut- ting, it’s important to watch carefully and ask lots of questions. Figure 4.2 Cutting on the frameline Most film editors love touching film. But that’s not necessarily true for those of us who work mostly with video. At first, one might feel overcautious. In this case, fear is good. Make sure the print is conformed right the first time, or it will be tough putting it back together. The first step is to separate each shot in the pull list and hang it ina bin. Handle the workprint carefully and make sure it stays put on its bin hook. It’s very easy to scratch work print. Normally a director might expect the print to be pretty scuffed up by the time it makes it to a screening, but when used in conjunc- tion with an NLE, expectations run higher, as the workprint is new. On the edit bench, load the first roll of workprint on the left-hand side, shiny side down, emulsion up. Zip past the leader and find the first frame of print. Check the key number against the pull list. To count frames, find the nearest key number. There is a small dot in between the key number and key code (bar code) on the edge of the film next to the sprocket holes. This is the zero frame reference mark (see Figure 4.3). The zero frame reference mark lies next to the “Zero” frame. From that mark, count frames. Each corresponding frame beyond the mark is +1,48 * Editing Digital Film +2and so on. Find the proper frame and insert it into the splicer. The cut should be made along the frameline before the frame. Once the film is aligned into the sprockets of the splicer and it is verified that the blade will fall on the frameline, cut it Figure 4.3. The zero frame reference mark next to the key number Pull the first frame of the clip to the takeup reel on the right side of the bench and zip ahead to the last frame of the clip according to the pull list. Remember to count forward from the key number. Be sure to make the cut after the correct frame Aseach clip is cut out of the roll of workprint, place a trim tab on it and hang it in the bin on a pin. A trim tab contains information relating to each clip. There are two types of trim tabs: rectangular (West Coast) and cross shaped (East Coast). The trim tabs contain information helpful in identifying the clip. Typically, a trim tab can contain key numbers, in and out; a description of the shot (i.e., “LS- Gilli gan and Mary Ann”); and scene and take number. As each clip is cut, hang it in the bin left to right to match the order in which the clips will be conformed, using an assemble list as a guide. Hang each shot on a separate pin. Once all of the workprint is hung in the bin, the fun really begins. Splicing It Together Before splicing the reels together, the first task is to output an assemble list for each reel. If SMPTE leader was added in the NLE sequence, it will be the first cut. From there, take each clip in the list and add it to the reel. The cuts in the assemble list should be in chronological order according to the original digital version of the reel. A splicer and plenty of tape are needed for this task. For a screening, I highly recommend that both sides of the splice are taped. If the film is being screened on a flatbed or upright, taping one side should be enough.Chapter 4 © Conforming a Workprint « 49 Figure 4.4 A West Coast trim tab Eventually, every editor associated with film will need to learn how to properly use a splicer. It takes time, patience, and a little manual dexterity. Explaining how to splice takes little effort: just cut, tape, and tamp it down. But the best method of learning how to use a splicer is to work with someone who has used it before. Once the process is learned, splicing is like riding a bike. ‘There are many different splicers on the market. One of the most popular is the Rivas. Rivas splicers, also known as butt splicers, have sprockets for align- ment, straight and slanted channel cutting guides, two tape dispensers, a large blade, and a tamper for securing the tape (see Figure 4.5). There are two types of tape: clear and white. White tape is used for sound, clear for picture. Pictures are cut straight across the frameline. Sound is cut diago- nally. Film reels use three types of leader: clear leader for head and tail, picture leader for information at head and tail, and SMPTE leader at the beginning just before the picture starts. To begin, some clear leader is needed. It takes 10 to 12 feet of leader to thread a projector. The clear leader takes a beating during rewind- ing, so several feet won't hurt. After the clear leader, add some picture leader. On the picture leader, write information about the reel with a black permanent marker. For example: “GOOD TASTE TAKES A HOLIDAY” CUT WORK PIX R-1_ PIX HEADS. A consistent rule is that picture tracks are marked with black markers and sound is marked with red.50 © Editing Digital Film After the picture leader, splice in the SMPTE leader. Order this from the lab if necessary. As splicing tape is added to each cut, make sure that the tamper is. pressed hard against the tape surface to ensure a firm splice. Figure 4.5 A Rivas Splicer From here, begin the picture conform. Follow the assemble list from beginning to end for each reel. In the original digital cut, 24 frames should have been remain- ing at the end for a changeover between reels. After the changeover, attach a pic- ture tail leader and several feet of clear leader. Opticals When blending any two film elements together or manipulating the frame of a film, such as in a dissolve, a matte, a fade or a blow-up of the frame, an optical is required. Opticals are almost never created for screenings. If there are any opticals in the cut list, it is necessary to add leader for the duration of those opticals. Some editors use “scene missing” leader for these sections. Others attach white leader. But be sure that the leader is the correct duration for the optical in order to keep the reel in sync with sound. ‘Another method for dealing with opticals involves the cut list. If the option of showing dissolves and wipes as cuts is selected, the two shots can be spliced together and the transition can be drawn with a grease pencil. With this method, it clearly shows that there is a transition, but it also doesn’t interrupt the flow of the film as it is screened.Chapter 4 Conforming a Workprint * 51 Marking Workprint for Motor Start and Changeover Every motion picture contains two marks at the end of the reel. These marks can be seen in the upper right-hand corner of the picture. The first is called a motor start cue. This signals the projectionist to start the motor (but not the projector lamp and sound head) for the next reel. The second is a changeover cue. This sig- nals the projectionist to switch between projectors to the next reel of film. Many modern theaters have huge platters where the entire film is laid and projected from beginning to end. The projectionist hits one button and the film begins. But this isn’t true for all theaters and most screening rooms. These rooms use two projectors in the booth and switch projectors during reel changes or changeovers. In order to let the projectionist know when to change reels, a visual cue is given in the picture on the screen. Some assistants use small, sticky, white dots and others mark the workprint with the slash of a grease pencil. For a screening, either is fine. Each cue consists of four marked frames. It’s important that the marks made are visible on the screen, so don’t forget to mark it within the aspect area of the film The motor cue begins 200 frames before the last frame of action (LFOA), Beginning at that point, mark four consecutive frames, again considering the screening aspect of the film. The changeover cue occurs one second before the LFOA. Remember, an additional second of picture is necessary beyond the LFOA for human error, Mark four consecutive frames from the one-second point. Figure 4.6 Marking the 2 pop in the sync blocks52 © Editing Digital Film Sound When it comes to NLEs, sound is relatively simple to output. Sound can be trans- ferred directly from NLE to time code DAT or other time coded source. In fact, time coded source isn’t really necessary, so long as the 2 pop is inserted at the cor- rect point. Some editors take a little time to create a rough mix for screenings. In better- funded films, the rough sound would go to the sound department for a temp mix. Either way, anything that will enhance the screening process is considered good. Sound can be transferred digitally direct from NLE to a tape source. Be sure to transfer at the proper sampling rate. If there is access to direct digital output from the NLE and input to the source, use it. The fidelity and clarity make a big, difference at screenings. From the taped output, the sound will have to be transferred to mag stock. But before it is transferred, there is one small issue to resolve, If the NLE cut pic- ture and sound are at a true 24fps rate, it’s fine. But if matchback software was used and the pulldown speed wasn’t corrected, the difference in speed will need to be resolved. Chapter 2 discusses slowing down telecine to match the NTSC frame rate of 29.97. To match the video frame rate, film is actually transferred via telecine at 23.976 fps instead of 24. As a result, because the speed of sound on matchback projects wasn’t properly adjusted with an audio coprocessor, the resulting output will run at 23.976, not 24. This means that the sound is running about .01% too slow. When the sound output is sent out for a mag stock transfer, be sure to make a note to the lab that the sound needs to be sped up .01% during transfer. After the sound is transferred, there is the final task of building the sound reels. Because the mag in is one piece, there will be no need for internal edits, But clear leader and marked sound leader need to be added at head and tail of each reel, Use the same pattern that was shown for the picture leader, but use a red marker instead of black. The 2 pop needs to be marked with a red marker so that the projectionist can set it up appropriately to ensure that sound will run in syne with picture (see Figure 4.6). Continuity Reports ‘Once the reels are built, it’s time to make a reel breakdown or continuity report. The report shows the scene numbers on each reel, footage length and time. At the bottom, there is space for total footage and duration.Chapter 4 ¢ Conforming a Workprint © 53 film camp REEL CONTINUITY REPORT are_7/19/00 REEL SCENES cea 4 1-% 949 +01 2 q-24 942413, 2s 21-24 862413, 4 30-45 937411 5 46 -5F 9444 0S :; 6 7-65 BBI+O4 | 9:52:15 7 66-74 980+ 1S | 10:53:27 8 45 - 84 906+ iL | 10: OF 1S 9 90-12. 764+ OF | $29:19 40 11 12 13 14 15 TOTAL| {20640|| 91:10:21 Figure 4.7. Continuity ReportChapter 5: Cut Lists A cut list is a printed version of the edit decisions. It contains key or ink numbers, time code from the master videotape edit, and information about the original camera and sound rolls used in the cut, Cut lists are normally used for picture only, unless the audio is transferred to mag stock and ink numbered. For audio, an edit decision list (EDL) is assembled using SMPTE time code as a reference. There are two common reasons to create a cut list: to conform a workprint, or to send to a negative cutter. NEGATIVE CUTTERS If the editor is not experienced at negative cutting, he or she will have to send a cut list out to another person. One of the basic principals of working on a motion picture is that if something goes out, it must have paperwork, and lots of it. Be sure to include as much information as possible for a neg cutter when sending out your cut list. This can include a digital cut of the edit on a videotape for confirm- ing the cut points, reel continuity reports, editing notes, and so on. The more information the neg cutter receives, the more likely he or she will be to accurately recreate your edits. An editor should never assume that a neg cutter knows how he or she works. Alless often used but far more sensible approach is to actually call or even visit the neg cutter before the goods are delivered. It isn’t always possible, because the neg cutter may be in another city or even a different country, but even an email is good. Get to know this person. Know how the neg cutter works, what his or her preferences are and how they intend to complete the incredible task of finishing the film. Creating dialog with the neg cutter does two things for the film: it shows the neg cutter that you’ re not just another pretty negative and it empha- sizes the understanding of the importance of their role.56 © Editing Digital Film Okay, I can hear some of you laughing. But everyone needs a pat on the back now and then, right? Why not show a little attention to the most important person on your film? Remember, the hand that cuts the OCN is the hand that rules the world! Neg cutting is a thankless and unforgiving job. This person is required to properly perform physically all of the cuts completed on the NLE. One false slip and POW! The film is ruined. If the neg cutter seems nervous, that’s probably a good sign. TYPES OF CUT LIST There are several different types of cut list, each of these lists corresponds to a par- ticular need of a film The Assemble List ‘The assemble list, also known as a cut list, is a list of the cuts made on the film in the order in which they will be assembled. It starts with the first cut and ends with the last. Assemble lists can be customized to include several bits of information, depending on the software used to generate the list. At a bare minimum, every assemble list needs the following: Starting key number Ending key number Duration (feet + frames) Time code in (from the video master) ‘Time code duration Camera roll Scene and take 1 like to include just about everything possible in my lists in order to minimize mistakes. Those things can include a description of the cut and any comments added during post production. These things are all important to me if | am using, the cut list to conform a workprint. Frame Handles When the software is set up to output an assemble list, notice that there is an entry for “handles.” The handles for a cut list are the numbers of additional frames of film required to make a cut. If a workprint is being conformed, no handles are necessary. The frame is cut in between frames and will not overlap to any addi- tional frames. However, if the list is being sent to a neg cutter, check to see how many frames they'll need as handles. Most neg splicers require at least a single frame. I've dealt with some neg cutters who request as many as three extra frames on each side of the cut.Chapter 5 ® Cut Lists © 57 Avie Out Liste ‘created at 18:20:39 Ta 11 gan 2002 Project: JB List Title: asspaLe ter assmene List 11 events handles = -1 Picture 2 2 apes total footage: 19412 Assemble List 0 opticais total time: 00;00:13106 Footage Duration First/last Key Can Roll Sc/Tk Clip Name 2. avo 2415 wa 61 0970-6578006 003 amos 12 Airport bape 2345403 58102 Set a1 2, 2345s0¢ 2435 mz 61 0970-6570604 002, 2ae/12_Azport Dope 2349402 (6581002 set #2 2ade002 261 wz 61 097046598005 003. amna/12._ALxport 2350013 ‘6600825 4. 23s0e1d ons xz 69 0721-0630004 002. a/6 Restaurant 2351012 esise2 2a51e13—0v07 wa 69 oTZ1~8ez6+13 01S a6 Reataurant 2352403 19627603 2352606 1405 xz 69 0653-8071403 002, Geu/9_ Mad Dog Dupe. 2353409 907208 ser 2953610 1406 x 69 0653-8071403 002 eu/9_ Mad Dog Dive 5615 072008 se 2355600 161S_ KE 61 0970-65701 003. 2mc8/12_ Aiport Dupe. 2386e14 58002 : set #2 9.238615 LIS KE 61 0970-6596+06 003. anoe/12. Airport 2358613 16596408 30. maseend 104 Re 62 0970-6582+02 003 amne/12._Atrpore 2360+01 (6583405 LL. 23600021415 xz 69 O721-0632002 001. ta/6_Restaurent 2362400 1694200 (cod of Assemble List) ASSDELE LIST 11 events handles = -2 ‘Track 1 2 apes total footage: 19412 Figure 5.1 An assemble list Why are handles so important? Neg cutters often use splicers that cut through the center of the next adjacent frame to the cut. If that next frame is needed elsewhere, they need to know that a duplicate is necessary before the cut is performed. Oth- erwise, the frame will be cut in half, rendering it unusable.58 © Editing Digital Film The Dupe List If there is any repetition of footage in a film or handles that overlap in the assem- ble list, a dupe list is mandatory. For a neg cutter, the dupe list is the first order of business. The neg cutter sends the neg to the lab to duplicate any frames that are used. A dupe list should be created even if the editor believes that there are no dupes in the picture. Remember, there is no such thing as “oops” in the world of neg, cutting. A dupe list typically consists of the starting key number, ending key number, duration (feet + frames), time code in (from the video master), time code duration, camera roll, and scene and take, Other items can be added as well, depending on what the software permits. avid cue Liste created at 18:03:31 Ths 12 Jan 2001, Project: JB List Title: AssmeLe urs 1 2e18 (total) 003 tne/12 Aizport A, z34ar0s aes nz 61 0970-6870006 2345403 6561402 2. 2355000 asi RE 62 0970-6578+04 2356014 6500¢02 3. 2345106 2015 RE 61 0970-6578108 23eaeo2 se1c02 2. 1406 (total) 002 Gow? ad Dow, 4, 2352406 1406 x 69 0659-8071403 2353-09 ‘072608 2. zasae10 1606 xx 69 0653-2071002 2354015 907208 Figure5.2 A dupe listChapter 5 * Cut Lists © 59 The Optical List The next list is called an optical list. Here we enter the world of A/B strand con- forming. Here’s a rule of thumb: if the film is 35mm, it is almost always an A strand conform. If it is 16mm, it can be conformed A/B. The advantage of A/B strand conforming is that the film can use two strands to be conformed. In other words, optical prints of certain dissolves can be avoided by merging the two strands. For example, in the case of a dissolve, the lab can print it by irising down the camera on the “from” source on strand A while irising up the “to” source on strand B incrementally. In order for this to hap- pen, the dissolves must be lab standard durations. Lab standard dissolves nor- mally include durations of 16, 24, 32, 48, 64, and 96 frames. Any other length will have to go to an optical printer. I mention this because optical printing is very expensive. Many inexperienced indie directors appreciate this little tidbit. Chang- ing some of the dissolve durations by a few frames can make all the difference in the world to the budget. Table 5.1 Lab standard dissolves Duration ard Dac ae 2/3 second 16 frames 20 frames 17 frames 1 second 24 frames 30 frames 25 frames 11/3 seconds 32 frames 40 frames 33 frames Z, seconds = 48 frames 60 frames 50 frames 22/3 seconds 64 frames 80 frames 67 frames 4 seconds 96 frames 120 frames 100 frames Standard opticals are dissolves, fade-ins, fade-outs and superimpositions. Fade ins and fade outs are also A/B strand capable at lab standard durations. Again, any other duration would make the fade an optical. Superimpositions are differ- ent, however. A superimposition, unlike a dissolve, mixes between two sources and holds the mixed image for a duration, before either cutting away or fading out one or both sources. Titles from any NLE will have to be made by a titles or opticals company, unless the project is a DV film. Even then it is recommended, due to resolution limitations of video, that an optical be created. Even in the case of DV to film, a title over black would be better produced as a separate film optical. A typical optical list will show key start and end numbers for the from and to sources, with a frame count for the duration. Many neg and workprint cutters prefer an optical list format called optical blocks. The block format makes it easier to identify the from and to sources, with the from source on the top portion of the60 + Editing Digital Film block and the to source at the bottom. By using a geometric shape, it is easier to identify which is which at a glance, rather than poring through the list to verify the information. Avia cut Lists ‘created at 16:33:14 Fri 12 Jan 2001 Project: JB List Title: optical List optical list 2 optical unit Optical List Bach shot 1s described Like thie: + + all counts are inclusive | Starting Key # event #] | Footage (insiée/inside) I | of I | Camera all colors are specified | maing Key @ length of shot | Count. ‘as AGB values OPFICAL #1 Assemble Event #1 ‘total length: 13413 Reel ‘count. | x 20 6735-5563+07 1) | 0400 I I | * | wr 20 6735-s563+08 | ovo, i | i | [ Dissolve 0+05 i i 1 i i | wr 20 6735-s563412 0106 | o+05 i I | I o-t0 I I | Dissoive 010 | Figure 5.3 An optical list configured with optical blocks Now that we've described the list, here is a warning: find an optical house that does excellent work. It’s easy to go with a low bidder and report to the director that the budget is saved. But a bad optical can be disastrous. If you've never done opticals before, consult with other editors and assistants, your lab, and your neg cutter. They know someone who can do a good job at a reasonable price.Chapter 5 # Cut Lists © 61 The Pull List The final type of cut list is called a pull list. Pull lists make it easy to conform both workprint and negative. The pull list will show the cuts in the film arranged in the order of the reel from which they originated, so that the person conforming can “pull” the clips. It is normally sorted by cam roll and then from lowest to highest key numbers so that the selections are cut incrementally, rather than having to go back and forth on each cam roll. ‘There are alternative types of pull lists as well. A scene pull list shows cuts arranged first in the order of scene, then arranged by their associated cam roll numbers. This list is very similar to a scene assemble list, which has the cuts sorted by where they first appeared in the assemble list. Lok Box Before sending a list to the neg cutter, you'll probably want to also send a lok box. video. A lok box is a digital cut or output of the film on tape connected to a film gang synchronizer. Before creating a lok box, separate the cut into built reels, as described in Chapter 4. It is advisable to put a time code burn-in on the tape of record master time code in addition to any other burn-ins that are already there. This makes it easier for the neg cutter to gauge duration. ‘The Avid Film Composer offers a very desirable option for neg cutters: a lok box output that is frame-for-frame accurate. This type of output prints only film frames to the tape, with no pulldown. The result, when played at normal speed, is cartoon like sound, because the picture is speeded up- no pulldown is added to create thirty frames from the original twenty-four frames. The advantage of this frame-accurate output is that the neg cutter can jog through it and get an accurate accounting of each frame. Conformed Workprint Although a lok box video is an adequate visual representation of the film, nothing works better than a conformed workprint. The frame-for-frame accuracy and syn- chronized sound answer any questions that a neg cutter might have. Although it’ more expensive and time consuming, a conformed workprint not only tells the neg cutter the numbers, but shows them the numbers, complete with grease pen- cil and red audio markings. It’s more difficult to mistake intentions when a posi- tive of the film is already assembled for reference. When sending the lists to a neg cutter, be sure of two things. First, discuss the project with the neg cutter in full, learn all of his/her needs and output lists that conform to the neg cutter’s way of working. Second, have a phone nearby. If there are any questions, they'll need to be answered immediately. Between the cut lists, a lok box, and a conformed workprint, the neg cutter should have all she or he needs, But there are occasions when questions come up. Availability is impor- tant in order to expedite the neg cutting process.Chapter 6: 24 fps versus Matchback Before integrating a project with an NLE, a working frame rate must be deter- mined. In the NTSC world, there are two: 24 fps and 30 fps. For PAL video, you'll need to determine whether you're going to work with Telecine A without pull- down, where the film is shot at 24 or 25 fps and is telecined at 25 fps; or with Tele- cine B, where the film is shot at 24 fps and is telecined at 24 fps with two fields of pulldown to equal 25 frames per second. If you choose to work at 30 fps or use Telecine B, you’ re going to need software that can compute the matchback of your edits to the native film frame rate. In this chapter, we'll look at the differences between native 24 and 30 fps matchback projects as well as those PAL projects using pulldown versus speeded up transfer. We'll examine some of the problems associated with each and also the advantages of working with them NTSC: 24 fps Projects A true 24 fps project has a direct frame to frame correspondence with the film. There are no pulldown fields and therefore, what you see is what you get. NLEs and film software applications use one of two methods to create 24 fps projects. They remove the pulldown fields during digitization. They remove the pulldown fields after digitization. Working at 24 fps can be problematic, especially if it’s not clear where the A frame is located. As discussed in Chapter 3, it is important that the telecine facility records the A frame on a :00 frame of a nondrop frame time coded videotape. Identification of the A frame is important to the software, because it will have to determine where the pulldown fields are located in order to ignore them. If the wrong frame is identified, the result will be a picture with jerky action, because64 © Editing Digital Film the wrong two fields will be removed for each cycle of frames. For example, if the B frame was mistakenly identified to the NLE as an A frame, it would ignore the first field of frame 3 (which would be a D frame) and also ignore the last field of frame 5, which would be an A frame. The removal of these two fields would pro- duce a jitter in any camera motion or action within the frame. If this mistake of misidentification is made, it’s necessary to unlink the media (on an Avid), delete it, and redigitize it with the proper frame identification. ‘There are some new products that have come along recently that depend on nondrop frame time code for proper identification. These video capture cards, which remove pulldown or perform a reverse telecine, use the time code to deter- mine which pulldown fields to remove. As a result, they can ease some of the workload. However, if there are any anomalies in the telecine transfer, it goes. back to the hard and tried way of manual identification and digitization. How well this digitization will go over with the film crowd remains to be seen. When the telecine log is accurate and the numbers in the burn-ins match what is seen in the database, a 24 fps project is all but unbreakable. The great advantage is that there is frame-to-frame correspondence and no worries about adding or subtracting frames, as in matchback situations. Fast montages and flash cuts won't pose a problem, because all of the key numbers are in the database. NTSC Matchback Matchback software programs were initially created to deal with projects created at 30 fps. More recently, some of these programs have added software-based reverse telecine and 24 fps capabilities. Newer video capture cards can remove pulldown and work in conjunction with matchback applications such as Film- Logic to create a true 24 fps cut list. The problems associated with matchback are simple: there are two different frame rates, thus a single frame is added for every four frames from the original film, so the trouble is editing with pulled down frames. But pulldown isn’t the only consideration. Differences in frame rate can create problems of their own. The time base between the two mediums is different, so short edits will inevitably pose time base problems. Consider this: if several single frame edits are made using several A frames of a telecine transfer as a source, matchback will have to trim back the edit. The A frame is normally the start of a pulldown cycle. It con- sists of two fields, both with the same time code. So if 30 single-frame edits were made with A frames, 30 frames equals 1 second of video. But 30 frames equal 1.25 seconds of film. The matchback software will have to trim off six single-frame edits when creating a cut list for film to make the duration of the sequence correct. Almost all matchback software makes adjustments from the tail of an edit, when an inaccuracy in duration is detected, In the case of these thirty single- frame edits, every fifth edit would be cut to maintain time consistency. This time base error is commonly referred to as matchback running long. Although it ‘uncommon, it can happen in a unique situation such as the one described in Fig- ure 6.1Chapter 6 ® 24 fps versus Matchback # 65 sanneee STOTT TTT TT: $ TOT For Every 30 frames of video, rave ar 28 rane on Matchback Running Long: Time Base Error Prien 50°H"rmes ware stogterin ash trong ranfte wa omy on 2s core Temstal bene tes Grerenterce and eo Tree mactee oa Foret toes, twin tame? Figure 6.1. Matchback Running Long Matchback software can also run short. Consider the same situation, except that instead of using A frames, use B frames. In a film transfer, the B frame lasts for three fields, covering the two fields of the second video frame and the first field of the third video frame in the pulldown cycle. So if 30 B frames were edited together as a 60-frame sequence, the matchback software would compute this as a 30 film frame edit, because the B frame consists of two different frames of video, but only one frame of film. Instead of listing 48 frames of film in the list, it would list 30 frames, or 1.25 seconds of film. As a result the matchback software must again determine how to create the same duration, this time by adding film frames. In this case, thirty film frames would be the equivalent of 1.25 seconds. An addi- tional 18 frames of film would need to be added to the sequence in order to main- tain time consistency. Although these two examples are extreme, they illustrate why a matchback system can never be quite frame accurate. Matchback software will add or sub- tract a frame at the end of each edit to retain the proper duration of the film in proportion with the video. But because the editor cuts on a 30 fps system, match- back will occasionally have to adjust some edits, which could be a problem. The way to avoid any frame issues when using matchback would be to cut inonan A frame and out ona D frame for every edit. Hardly a practical solution!66 © Editing Digital Film Video Film THT For Every 30 frames of tim, here ae 375 comesponding frames of video. Matchback Running Short: Pulldown Error Problem: # 60-8" rames wore cut togeherin 2freme fda, the matonback woud normaly an 25 seconde ‘hare was a droct irae fo are corespendence because ofthe ena puldown Brame na atchback projet Figure 6.2. Matchback Running Short PAL 25 at 24 fps Projects (Telecine B) PAL projects that are shot and transferred at 24 fps to PAL videotape require a sin- gle frame of pulldown to equal the 25 fps rate of PAL video. As discussed in Chapter 3, this is known as Telecine B. Telecine B does not work with all match- back applications, but Slingshot’s 24:25 preference allows for Telecine B, as does FilmLogic, which can match back the list accordingly. The artifacts of matchback with Telecine B are less significant because of the lesser occurrence of pulldown. With NTSC matchback, there is a 50 percent chance that the last frame of a cut will need to be timed forward or backward, because of the four frames— A, B, C, and D —two of them contain a field of pull- down. With Telecine B, the occurrence of pulldown is less common. As a result, there is an 8 percent chance that pulldown could affect matchback with a PAL telecine B list. Ifa model similar to NTSC’s frame count is used, the J frame would be the pulldown frame. As a result, if several J frames were edited together in the video, each representing two frames, matchback could again run short, as with NTSC. Running long would be different however, because the maximum difference would be a miscount of 4.133 percent, the time base difference between 24 fps and 25 fps. For example, if any 50 single frames of PAL video were edited as single- frame cuts, only two frames would need to be cut to maintain time consistency. Although the problem is similar to that of NTSC, it is not nearly as disastrous and the fix is simpler. 1:1 PAL Frame Correspondence (Telecine A) Although telecine A presents significant problems for editors with relation to the speeded up picture and sound, there is no need for matchback due to the fact thatChapter 6 © 24 fps versus Matchback © 67 there is a 1:1 frame correspondence. But like the.01 percent pulldown issues asso- ciated with a 24fps NTSC project, there are going to be sound speed issues. PAL Sound and Picture Digitized Together Some software offers solutions that simplify the matter, For example, Avid’s Film Composer has solutions for 24 or 25 fps projects transferred at 24 fps with sound. For projects shot at 24 fps but digitized at 25 to create a 1:1 ratio, the film is digi- tized in the normal way and the Avid will slow it back down to its native 24 fps frame rate. There is no need to adjust any pulldown settings on the hardware. In fact, doing so would mess up the project. By selecting 24 fps as the project speed, the Avid knows that the film was shot at this rate and slows it down. This also slows down the audio transferred with the film, and the sampling rate will drop at the same 4.166 percent ratio. So, for a 44.1kHz sampling rate, the result is a 42.33kHz sample. PAL Sound and Picture ized Separately When picture and sound are digitized separately, the picture can be slowed down using Avid’s film settings preferences. Select a 24 fps speed and the film will slow down appropriately. Sound will be digitized and remain at production speed with no sampling issues. A digital cut can be performed with either pulldown inserted much like telecine B processes or with the picture and sound sped up 4.166 per- cent for a 1:1 frame ratio on the final video. Telecine A can also be achieved with Final Cut Pro by slowing down the clips by 4.166 percent, This can be done for sound or picture and is easily attained, However, doing this will cause the time code numbers to increase according to the existing frame rate. A project telecined at 25 fps can be digitized and edited in that mode, then output it as a separate sequence with the time base adjusted. But you'll want to duplicate the sequence for proper matchback prior to doing this. A Final Note The decision whether or not to use matchback versus 24 fps projects should depend on the support staff. If there aren’t enough eyes checking numbers, pull- down and sound speeds, a matchback would be more convenient. However, if a frame-to-frame correspondence between your media and the original film is required, 24 fps and telecine A are the only way to go.Chapter 7: Editing Film on Avid NLEs with FilmScribe Avid’s FilmScribe™ software is integrated with Media Composer or Xpress soft- ware and does not require separate databasing of telecine information outside of the NLE application. Telecine logs are imported directly into the Avid bins after conversion to the Avid Log Exchange (ALE) format. The information from the logs is stored in the Avid bins and doesn’t require further conversion to create a cut list. Avid makes NLEs in both NT and Mac flavors. The instructions in this chap- ter work for both platforms. but I use the more common Mac systems in the exam- ples. Whenever Command is mentioned, NT users should use Control, and whenever Option is mentioned, NT users should use Alt. CONVERTING TELECINE FILES The process begins with the conversion of telecine logs to Avid Log Exchange for- mat. Avid Log Exchange isn’t a telecine log format, but it is widely used as a con- version tool. Many telecine databases can now output in ALE format, eliminating the need for this procedure. Telecine logs are primarily in one of three formats: flex files, Evertz files or Aaton files. Any of these formats can be converted to ALE format using the Avid Log Exchange application. The ALE application comes bundled with Film Com- poser but is not serialized or copy protected by Avid. I suppose this was done to promote wider use of the format. The strategy succeeded, because ALE is com-70 * Editing Digital Film monly used in almost all log conversion and matchback applications. The Avid Log Exchange program is normally found in the Utilities folder of Media Com- poser or Xpress. Frequent users of ALE put an alias or shortcut to the program on their desktop. When the application is launched, a window opens with two col- umns, one for input format, the other for output. When converting to an Avid usable format, the output should be ALE, For input, several different formats can be selected. There is also a selection for Automatic. This is the easiest method of running the program. When Automatic is selected, ALE determines which format the file was created in by reading its file extension, In Table 7.1, all of the accept- able telecine log formats for ALE are shown, along with their file extensions. ALE can output logs in the formats shown in Table 7.2. Figure 7.1. Avid Log Exchange Interface After ALE has been set up, quit the program and drag and drop telecine log files onto the icon or alias for automatic conversion. In order to preserve the original logs, it is strongly suggested that the log is copied from its original media (nor- mally a floppy or Zip disk) to a folder on the desktop. In this way, it ensures that the original data won't be corrupted, lost, or destroyed. Another reason to copy the logs is that ALE will place converted logs onto their originating volume. IF i's a floppy disk and the disk is full, it won't convert them. Instead, it will return a Disk Full error. SETTING UP THE PROJECT Now that the files have been converted to an Avid readable format, it’s time to bring them into the project. But first, a project must be created.Chapter 7 Editing Film on Avid NLEs with FilmScribe © 71 Fee ne ‘Aaton | fix or agnw.Txx | ox mx. | " EditDroid lee Evertz | tl Flex fix Quantel Harry | wtr Keyscope Isl Log Producer lp OSCR ase Skycode ale Table 7.1. ALE Import Formats Se oO Avid Log Exchange (ALE) ale Quantel Harry tr Flex fix Table 7.2 ALE Export Formats Film and Matchback options are not available on all Avids, so it must be deter- mined if any of these are supported on the system. The easiest way to do this is to launch the application. When the project selection screen appears, create a new project. If the film options are available on the system, they'll appear at the bot- tom of the new project screen. There are two types of film options available. The first, Film Options is used when a 24 fps project is desired. The second, Matchback Options, is used if the editor wants to work in 30 fps but match the EDL back to original film numbers. If any of these options is grayed out on the project screen, that option isn’t available for that particular Avid. if none of the options is selected, the application will assume that the project is a video project and will not be able to create a cut list. Entering key numbers and ink numbers will be impos-72 © Editing Digital Film sible. This may seem obvious, but many editors ignore this in haste. Film and matchback options come in three gauges: 16mm, 35mm, and 65mm. After choos- ing between 24 fps or Matchback, choose the film gauge and open the project Audio Avid Controller Bin Bin View Custom Bin View Film Bin View HEMPSTERS Bin View Statistios Burnin Change List Composer Cut List Deck Configuration Deck Preferences Digital Cut Digitize Effects Export Film Project General User Grid User Import User Interface User Keyboard Mul Reader Render v ¥ y ¥ v v ¥ ¥ ’ v y ¥ ¥ v v ¥ v v ¥ Figure 7.2 Avid Project Window: Note Settings files are alphabeticalChapter 7 © Editing Film on Avid NLEs with FilmScribe ¢ 73 Table 7.3 Avid Film Settings Pre ion Sequence time code | Video (30 fps) Time code of the finished Format measured at 30fps (Default) Film (24fp3) Time code of the finished edit is measured at 24fps Ink Number Format | 35mm 16 fr/num Standard for both Key and Ink, numbered every foot of film. 6mm 20 fr/num Most common standard for Key numbers. Every 1/2 foot of film 6mm 40 fr/num Some film manufacturers have 16mm key numbers every foot. Also used in some ink number situations. Ink Number Dis | Key code The system displays key num- played As bers above the monitors on the EC track Edge Code (4 Count- | The system displays Ink num- ing) bers with a4 digit count on the | EC track | Edge Code (5 Count- | The system displays ink num- ing) bers with a 5 digit count on the EC track Auxiliary Ink Format | 35mm,16mm 20ft/ Determines how auxiliary ink num and 16mm 40 fr/ | numbers will be measured num (Same as Ink according to the same specifica- Number Format tions as Ink Number Format Above) above. Auxiliary Ink numbers | are used if the print was inked on two separate occasions. Auxiliary Ink Dis- Key code, Edgecode (4 | Same descriptions as Ink Num- played As counting) or Edge- ber Displayed As above. code (5 counting) Same as Ink Number Displayed As (above)74 © Editing Digital Film Table 7.3_ Avid Film Settings (continued) eS NenUnCuy Det DAT time code Format | SMPTE 30 fps For Audio Only in a 24 fps project. DAT time code should be referenced to a true 30 fps. SMPTE 29.97 fps.___| Used only if DAT time code was | incorrectly referenced at 29.97 | fos during recording ADJUSTING FILM SETTINGS Now that the project is created, it is necessary to tell the Avid how to gauge the film numbers and time code. The film settings are accessed through the setting files in the project window. Film settings are only necessary on 24 fps projects. If a matchback project is created, these settings are not accessible. Double click on the Film settings in the project window. The Film Settings ‘menu contains several pulldown items that need to be resolved. Avid’s nomencla- ture for edge numbering can be a little confusing. For example, the menu item Ink Number Displayed As refers to both key numbers and ink numbers. Ink numbers are also referred to as edge code, which normally could refer to either ink or key numbers. IMPORTING ALE FILES To import ALE files into an Avid project, itis first necessary to create a bin in which to store them. I highly recommend creation of a bin for each cam roll. From this bin, scene bins can be created, one for each scene in the film, and clips can be copied for each scene to those bins from the original cam roll bins by option-drag- ging them over. This organizational idea isn’t new, but it is very efficient. By creating and archiving cam roll bins, the original information remains intact. When the clips within the cam roll bins are copied to specific scene bins, a workspace is created where effects, imported picture files, and scenes can be combined for editing. Once the cam roll bin is created (by selecting New Bin in the project win dow), select Import from the File menu. The import screen allows users to import everything from graphics to information. In this case, shot log should be selected When Shot Log is selected, three options appear on the right of the screen. Combine events based on scene number and automatically create subclips Combine events based on the camera roll and automatically create subclips Merge events with known sources and automatically create subclipsChapter 7 © Editing Film on Avid NLEs with FilmScribe ¢ 75 These three items create a powerful array of viewing and subclipping options and allow scenes and clips to be divided in the manner that best fits the editor’s and director's style. Import Settings (Current) Shot Log Combine events based on scene and automatically create subclips. Combine events based on camera roll and automatically create subclips. Merge events with known sources and automatically create subclips. Merge events with known master clips. Figure 7.3. Import Shot Log Options Combining Events Based on Scene Number Combine events based on scene number makes one large clip of all of the ele- ments within a scene in the log, and then creates subclips of each individual clip recorded in telecine. In order to use this option, the telecine log must contain scene and take information. Combining Events Based on Camera Roll Combine events based on the camera roll will produce a large clip for each cam- era roll and divide individual takes into subclips. Merging Events with Known Sources Merge events with known sources creates subclips from a log with sources already inside of the bin. For example, if an entire cam roll is already logged in the bin as one clip, this will take the individual events recorded in telecine and create subclips for that cam roll.76 © Editing Digital Film CHECKING KEY NUMBERS After importing the telecine logs into bins, the material can be batch digitized on the Avid, just like a regular video project. Once the batch digitizing is done, check the key numbers to make sure that everything was recorded correctly. When working in a 24 fps project, digitizing on the fly won’t work. All materials must be logged or imported from telecine logs prior to digitization. This is to prevent pull- down errors. In the time code menu above the source monitor, select EC. This displays the edge code instead of time code. Load each clip and scroll through it, making sure that the EC in the display matches the key numbers burned into the video source. There are a few things in particular that should be detected. Aone-frame delay, which occasionally occurs in telecine. A frame miscount, which occurs when the film gauge doesn’t match the tele- cine log file. A completely different set of key numbers, usually caused by incorrectly labeling reels or having two reels with the same name. One Frame Delays Occasionally telecine burn-ins encounter a one-frame delay, where the number burned onto the screen is one frame behind the actual key number recorded into the telecine database. Most telecine houses don’t have this problem, but it can occur, It originates because the burn-in is created by a key number and time code reader/ character generator. During transfer, running the video signal through the reader / generator and then to a VTR can delay the image, thus the burn-in is off by a single frame. If this occurs, the videotape can be sent back with a request for an accurate burn-in or the neg cutter can be notified that the burn-in is behind a frame. Most neg cutters have heard this story before, and though they don’t like the inaccuracies, they can deal with it. As long as the database is accurate, there shouldn’t have any problems. But films by nature have problems, and the more that are created, the more difficult it is to keep track of them all. A retransfer is far more desirable and it eliminates concerns over the memory of all of the human beings who will be interacting with the film. If a retransfer is made, be sure to remove all of the “bad” clips and their associated media files from the NLE. Also rename the retransfer reel. For example, reel 001 becomes reel 00IR. I use this convention because, though there may be 001B and 001C reels, chances are very unlikely that the reel count extends to R. R is strictly used for retransfer. Ask the telecine logger to rename the new videotape to this in the database as well, which should save a lot of remodification time. Be sure to mark the original transferred reel as “DO NOT USE”. I recommend a red thick permanent marker for this purpose, writing on several locations on the tape box and on the labeled tape itself.Chapter 7 # Editing Film on Avid NLEs with FilmScribe ¢ 77 Frame Miscounts Frame miscounts are not as common as one frame delays, but they do happen. Miscounts are usually caused by either an error in telecine databasing or an error in setting up the project on the Avid. Ihave encountered other odd situations where data was logged incorrectly, but those occurrences are extremely rare. Ifit is noticed that the database numbers in the EC display and the burn-in numbers gradually become mismatched, stop everything. Any editing will become worthless. There is a serious problem. Usually, frame miscounts can be detected right away. The easiest way to troubleshoot a miscount is by looking at the EC display. The EC display is accessi- ble through one of the two time code registers above both the source and record monitors. One of the best features of an Avid is its ability to show the current numbers through the EC display. This allows any frame to be checked at any time for consistency in the numbers. The key number count in the EC display ends with either a “+” or “&” followed by two numbers. If it has a “+,” the database assumes that the film is 35mm. If it has a “&,” it assumes that itis 1omm. This is a standard for gauging film, although not every NLE application adheres to it. Figure 7.4 The EC displayed above the sequence monitor on an Avid.78 © Editing Digital Film For example, let's say that the film is 1mm but the EC column displays key num- bers with a “+”. In this instance, the header information in the telecine log may have erroneously been set up as a 35mm project, but the key numbers on the burn-in could be correct. The telecine log could be opened, the information could be changed in the header from 35mm to 16mm and the log could be reimported. ‘The numbers should match. Be sure to destroy the incorrect media files and bins. This problem can be detected when importing the log. A message stating that the log format does not fit the project type will occur. This is the first sign of trouble. The problem can also be detected by inspecting numbers both in the EC col- umn and burn-in. 35mm film does not count key numbers beyond “+15”. If 16, 17, 18, or 19 appears in the EC, the project is set up for 16mm. Mislabeled or Duplicate Numbered Tapes ‘One last problem that might occur with checking key numbers is when two sepa- rate reels are given the same number. This can occur for a variety of reasons which are too numerous to discuss here. Simply put, if the key numbers in the database or those displayed in the EC column don’t look even remotely like the numbers on the screen, chances are that the wrong reel was digitized with the wrong data- base. This problem occurs frequently, particularly with films that have high shoot- ing ratios. In this case, one could renumber one of the errant reels and modify its name in the database USING AUTOSYNC After the log is imported and digitized, key numbers are checked and the project is organized appropriately, sound and picture can be synched together. If the sound was already transferred in sync with picture at telecine, this step is unnec- essary. "ivid’s syncing mechanism is called Autosyne and it works very simply. First, select a picture clip and find the slate. Mark in where the clap boards meet. Then, select the corresponding audio clip. Scrub through the beginning until the frame where you hear the clapper impact is located. Mark in on that frame. In the bin, select the picture clip, then shift-select the sound clip. Under the Bin menu, select Autosync. A menu appears on the screen. Dailies can be synched by in point, out point, source time code or auxiliary time code. Choose In points and select OK. Anew subclip will appear in the bin, with the extension “.syne.01.” Load this clip into the source monitor and play it back. One of the best ways to check that it’s synced correctly is to scrub through the slate at the beginning and make sure that the clap sound is in the right place. If the new clip isn’t quite right, delete it and re-mark the sound and picture elements until the correct combination is made. In time, you'll gain confidence and will be able to do this very quickly. There is one limitation to Autosyne; the synced subclip ends where the pic- ture stops. If the film is a documentary and the camera stopped but sound contin- ued to roll, it is necessary to add sound separately to the sequence without using the synced clip.Chapter 7 ¢ Editing Film on Avid NLEs with FilmScribe « 79 FILM EFFECTS In addition to Avid’s regular effect palette, there are a variety of effects that can aid filmmakers, including mattes, blow-ups, film dissolves and film fades. Film Dissolves Film dissolves are not the same as a standard video dissolve. The two sources, which are dissolved “from” and “to” have intensities that are calculated differ- ently during the effect. The result is that if a standard video dissolve on an NLE is used, it looks or “feels” different when an optical print is made on film. During the course of a video dissolve, the intensity of the “from” source declines at the same rate as the “to” source increases. Thus, halfway through this type of dis- solve, each source is at 50 percent intensity. That rate remains consistent as “from” becomes more transparent and “to” becomes less transparent. But an optical dissolve is different. The “from” source remains at full inten- ity until it is halfway through the effect. The “to” source increases to full inten- sity at the halfway point. Thus, halfway through the effect, both are at full intensity. During the second half of the effect, the “from” source decreases in intensity until it has disappeared. The “to” source remains at full intensity. So for the second half of the effect, the only thing that is happening is that the “from” source vanishes from the screen, Depending on the two elements used, the resulting differences between a video and a film dissolve could appear as subtle or completely different, but use of the Avid film dissolve effect is a far more accurate rendition of how the effect will look when screened on film. Figure 7.5 Optical dissolve (left) and video dissolve (right) In like manner, a film fade effect combines black or darkness with the picture ele- ment at full intensity halfway through the effect. For the second half of the effect, the picture slowly vanishes. Again, it might be a matter of minor nuance, but it is truer to what you'll see when screening the effect on film.80 * Editing Digital Film Figure 7.6 Matte outlines via the Grid Tool Mattes If the film was shot full frame with the intention of adding, a matte, Avid’s film mattes are a great tool. The mattes vary in format and are located in the Effects Palette. The following mattes are supported: 169 1.66 (European Standard) (American Standard) (Anamorphic/ Super)Chapter 7 Editing Film on Avid NLEs with FilmScribe © 81 The mattes work just like any other Avid effect. Drag one from the Effect Palette and drop it to its intended location. If the matte is to be applied to an entire sequence, create a new video track and drag the effect to the top track. Any real- time effects underneath the matte will need to be rendered in the sequence. There is also a way to view what a matte will look like before it is applied. Above the sequence monitor is a Fast Menu. Click on the menu and choose Grid. ‘The title safe and action safe borders will appear on the screen in the form of bright white lines. In the Project Settings window, open the Grid settings. Set the grid to show film aspect ratios, and they will appear superimposed over the sequence as white lines. These lines signify the matte sizes. Although they can be seen in the sequence monitor, they do not show up on the NTSC monitor and will not appear in the output. Blow-ups ‘Although many NLEs have resizing options and effects, the most accurate one to use in the case of film is a blow-up. The reason for this is that a blow-up is not just an effect, it is also a method of conveying information to the optical house that will do the blow-up. For example, if the intention is to increase the screen size by 200 percent and pan the picture slightly left, a blow-up effect can convey the proper information to the opticals house in an optical list. Instead of percentages, the optical house uses fields to define expansion. Instead of left, right, up, and down, they use west, east, north, and south to define orientation of the frame. So if the size or orientation of a frame is changed, blow-up is the best effect to use. SCRIPT INTEGRATION Before I get to the business of creating cut lists, I should mention one of the more brilliant options available on Avid NLEs known as Script Integration. Script Inte- gration allows the editor to import a script into the NLE and use it much like the standard lined script that editors are used to using to diagram the coverage on a given scene. The script is treated much like a regular bin, but the editor has the ability to mark it with straight or squiggly lines to indicate dialog and coverage in the same way asa lined script and can record information about the relationship between dialog and the actual clip. To begin, a script is required. It can be in a text file, but a rich text format (RTF) is better, A rich text format looks pretty much like any script would on paper. When the script is imported and opened in the script bin, it appears in the bin monitor like a word processing document as shown in Figure 7.7. Usually the production office has the script in a word processor format, so it’s fairly easy to obtain. To open the script, select Open Script under the File menu. Then double click on the script name in the bin menu. Note that there are several tools unobtrusively placed above the script. There is a straight line (to indicate dialog spoken on camera), a squiggly line (to indicate dialog spoken off camera), a record button, and play button When a scene in the script is located, the corresponding scene bin with clips init can be opened. Drag the clips and place them appropriately before dialog or82. © Editing Digital Film the scene description in the script. When the clip is placed in the script, a color thumbnail image of the scene appears with the clip name on it. If there is more than one take of the same shot, drag it on top the original. The end result will be a single thumbnail from the first clip, but the numbers will change below the thumbnail, indicating more than one take. When one of the take numbers is dou- ble clicked, that take is loaded into the source monitor, The scene can be played back with coverage or even line-to-line correspondence between the clip and the script recorded. ‘cesT ay fiancee, smomes Pil drive you there poner Are You sure? ‘sums Holproblen! 1 knov Lake Hiswothe 10012; Figure 7.7. The Script Integration Interface To record script line correspondence, select a take by double clicking its number, then click on the record button in the script monitor. As the take plays back, click on each line of script as the actor delivers it. When the scene is finished playing, click the stop button. The result is that when any line in the script is clicked, the clip cues to that point. This is really helpful when looking for a best performance or delivery of a line, It enables the editor to click on the takes, then the line, and play them back to back, which is difficult to do with a standard NLE bin. It is also possible to choose between a straight or squiggly line to mark the script to indicate whether the dialog appears on or off camera. Just like a printed lined script, coverage can be determined at a glance without the need to open or play any clips.Chapter 7 © Editing Film on Avid NLEs with FilmScribe « 83 USING FILMSCRIBE Once the cut is completed on the Avid, it’s time to create a cut list. As described in Chapter 5, there are many types of cut list. To begin, from the Output Menu, select FilmScribe. FilmScribe™ is integrated with Avid editing software but is a separate appli- cation that can be launched with or without the Media Composer or Xpress run- ning. If FilmScribe is launched while the editing application is running, plenty of memory is needed. 256 MB is a good minimum, Most v.10 Avids come equipped with 384 MB. If the Media Composer is pre version 8.0 or pre Xpress 3.0, FilmScribe prob- ably isn’t available. In this case, Cut List can be used. Cut List is located under the Output menu. The Cut List tool is very similar to FilmScribe, but not as robust. FilmScribe adds a little versatility and a lot of templates to the tool that make it easier to configure and create cut lists. There was also a significant change from ‘Media Composer 5.x to 6.x with the Cut List Tool. For these examples, FilmScribe is used, but the same results can be achieved with any Avid Cut List tool. If some of the options mentioned in this chapter are missing from the Cut List tool, it’s probably an earlier version. ‘After launching FilmScribe, bins can be opened directly from the File menu. In earlier versions of the Cut List tool, this is done by dragging the sequence directly from a bin in the Media Composer or Xpress, which must stay open in order for the cut list tool to work.Because FilmScribe can work as a standalone or modular application, it can be launched separately with the bins opened from FilmScribe or launched from within the Media Composer / Xpress application, where sequences can be dragged directly from the bins into the tool. Once the sequence bin is opened, bring up the cut list tool. From the File Menu, select New Cut List. After dragging the sequence into the Sequences win- dow of the cut list tool, select the video track where the cut exists. If a matte has been added on a higher track, don’t use it. This will only make the list confusing. Every edit should be on a single track in order to maintain a uniform cut list. Nor- mally, a cut list for audio wouldn’t be created unless ink numbers are used. In a later section, we'll discuss various methods of audio export. On the bottom right underneath the Sequences panel is a menu of the vari- ous types of list that can be generated with the tool. Global, when selected, opens alist of global options used when generating any of the lists (see Table 7.4). To output each type of list, click on the box located to the left of the list name. To choose options for that particular list, double click on the name. ‘There are numerous types of lists that can be generated in the tool. These include Assemble Optical Dupe Pull Optical pull84. © Editing Digital Film Scene assemble Scene pull Optical scene pull Figure 7.8. The FilmScribe Cut List Tool Unique Items for Individual Types of Cut Lists Each list type has several individual options. The individual options for these lists determine which items will be displayed in the final output. Depending on the project, some are important and some are not. For example, if key numbers are used as a source of reference for the film, ink numbers and auxiliary ink wouldn’t normally be necessary in the list. Any options that do not have corresponding information in the bins will not have any information in the list. In addition to the ‘common options shared by other lists in Table 7.5, the individual types of cut list have the options shown in Table 7.6, Table 7.7, Table 7.8, and Table 7.9. Change Lists In addition to standard cut lists, FilmScribe allows users to create a change list. A change list relates to an original cut and a revised cut. It compares the two lists and outputs only change-specific information. This makes the list easier to con- form because the person conforming doesn’t have to search two entire lists toChapter 7 © Editing Film on Avid NLEs with FilmScribe ¢ 85 make a few changes. Change lists work on 24 fps projects only. FilmScribe will generate change lists, change pull lists, and change discard lists. A change pull list determines the clips necessary to pull for creation of the changes. A discard list does the opposite. Table 7.4 Global Cut List Options Template TAnimation- a list customized for animation including a running counter, duration, frames and clip names. Tcolumnar- a simple method of displaying the list in col- umns that are easy to read. ‘TLog Exchange- Creates the cut list in an ALE format that can be converted back to a Flex file. Flex files are com: monly used by some neg cutters. TOptical Block- This is a display of opticals that is more graphical and less textual than the columnar format. Tstoryboard- Displays clip names, scene and take. Picture Conforming | Selects which format will be used to conform the picture. This mostly affects how dissolves and fades are treated, A Roll (Single Strand) Conforming treats all transition | effects as opticals AB (Double Strand) Conforming places standard length dissolves and fades in the assemble list. These can be done at the lab without creating an optical, so long as | their lengths are 16, 24, 32, 48, 64 or 96 frames. Using Choose the frame numbering system that is being used for the conform. Usually, it’s Key Numbers, but Ink Num- bers, Auxiliary Ink Numbers or Film Time code can also be used. Sound Conforming For creating sound cut lists, choose between Ink Num- bers or Auxiliary Ink Numbers.86 * Editing Digital Film Table 7.4 Global Cut List Options (continued) Orta Running Footage As D Serr This option shows feet and frames based upon gauge or a total frame duration. The choices are 16 mm- 40 frames per foot (Standard) 16mm — 20 frames per foot 35mm-2 pert 35mm- 3 perf 35mm-4 perf (Standard) 35mm-8 perf 65mm- 5 perf 65mm-8 perf 65mm- 10 perf 65mm- 15 perf Total Frame Count Durations As Determines durations as footage or frames in the list. Font Choose from any fonts on the system, but be aware that some don't line up in the columns as well as others when the list is created. Courier is the default and it tends to line up quite well, Most monospaced sans serif fonts offer the best solution. Try not to get too fancy here. The list needs to be easily readable. Font Size ‘Again, simplicity is the key. Make sure that the fon} large enough to be easily read but small enough so that the list doesn't run off of the right side of the page when printed, Counter Starts At Determines the footage count where the cut list begins. Default would be 00000+00. Summary List When this checkbox is selected, a summary of all of the cut lists is generated. Separate Lists for Each Channel This option, when selected, generates different lists for | each channel of video selected in the Cut List Tool. Be areful. If it's necessary to make a cut list from several tracks, it will ignore any multi track effects and only gen- erate information about the foreground of the effect. Multi-track lists are generally not used. The picture track, where elements were combined and picture was cut, should be the cut list track. Normally the cut list will combine elements from multiple tracks unless this option is selected.Chapter 7 Editing Film on Avid NLEs with FilmScribe © 87 Table 7.4 Global Cut List Options (continued) Cro Matchback Info This option displays what modifications were necessary when creating a 24fps list from a 30 fps matchback. For ‘example “Matchback trimmed —1 frame” underneath a cut that had to be trimmed for time. Disable Pert Slip Not available in matchback. A perf slip in a 24fps project allows the editor to slip sound in perforations, not frames to more closely match sync. Frame Images Displays a thumbn. frame of each cut. image in the list for each starting Icons Allows inclusion of representative icons in A/B con- formed assemble lists only for dissolves, fades, dupes, jump cuts and freeze frames. Only standard duration fades and dissolves are included. All others go to the optical list Show prefix Shows entire key number, including its generic prefix, at both start and end numbers in the list. Deselect this item to show the prefix only on the start number and there- fore save some printing space on the list. Ignore Color Effects Ignores information about color effects in the cut list. Ignore Special Charac- | Generates the cut list without graphic icons, Quicktime™ ters movie images or header images. All of the global options previously mentioned apply as well to change lists. Com- mon options are identical as well. Table 7.10 shows a list of specific options avail- able on change lists. Preview Code If you've conformed a workprint and are going through the process of making some changes, it is wise to create preview code on the previously conformed print. Preview code consists of ink numbers that are placed on the workprint before changes are made. Preview code information can be included in a change list to simplify the process of making changes to the workprint. If ink numbers were used to complete the original conform, preview code can be generated in another ink color directly on the cut workprint to distinguish between the two.88 © Editing Digital Film Table 7.5 Common Cut List Options Key Numbers Reference numbers based upon KN Start and KN End in the bins. Ink Numbers All of these items can be listed, but are dependent upon ‘Aux. Ink Numbers whether or not each was noted in the bins. Locator and Lab Roll comment information in the sequence, such as special Camera Roll music or sound effects cues, color correction, or other Sound Roll important data, can also be included. Of special import to Reel the neg cutter are Camera Roll and Scene & Take. Slate Comments Scene & Take Locators Clip Name This places the designated name for the clip in the cut list. Normally, this isn’t necessary if Scene & Take are included, as the clip name in a film is normally the same. Custom Column from Bin This option allows placement of information from a cus- tomized column into a bin. For example, if a custom col- umn were created that contained sound notes, it could be included in the list. Be careful not to go overboard with this item, as the list will end up overrunning the printed page. If this item is chosen, be sure to use the same spell- and case that was used for the original name in the bin. Record TC This places the time code from the master sequence into the list. It is especially helpful if a videotape digital cut of the sequence is included with the list so that the neg cut- ter can cross reference it. Address TC Film TC Sound TC ‘Aux TC 1-Aux TC 5. 247 25p TC 251C 30T¢ These are other time code types that can be used when digitizing that might be necessary for generating a cut list. For example, if time code from a sound source was gener- ated on audio track 2 and then read by the Avid, it would normally be input as an auxiliary TC. Ifa list is needed for this source, the cut list can generate it. If Film Time Code | was used, it could be used as an alternative source for cut- | ting the film rather than using Key Numbers.Chapter 7 © Editing Film on Avid NLEs with FilmScribe « 89 Table 7.6 Unique Assemble List Options LFOA Last Frame of Action. Determines duration of a reel at the LFOA. You can subtract footage at the head or tail of the reel to determine the proper duration. Head would nor- mally be on the picture start frame, tail would be after the LFOA. Mark Short Cuts If this item is checked, the list will flag cuts shorter than a Shorter Than specified number of frames with a comment. This can be helpful to the person conforming Mark Jump Cuts In this case, a jump cut is defined as where a short piece of Shorter Than material is missing between adjacent cuts of the same material. When selected, the list will flag jump cuts shorter than a specified number of frames with a comment. Show Trans Effects As | This item is especially useful for conforming workprint, so Cuts that instead of leaving blank space for an optical, the list will tell where the optical goes so that it can marked with a grease pencil or tape. Table 7.7 Unique Optical List Options Key Frames This determines whether the optical keyframes are taken from the composition itself. f any changes might be made to the optical keyframes of an effect, it’s a good idea to choose this option. Optical Footage Shows footage relative to the beginning of an optical Page Break Between | Creates a separate page for each optical in the list. Opticals90 ¢ Editing Digital Film Table 7.8 Unique Dupe List Options Option Name Deserta) Tolerance/Assume Tolerance sets the size of handles during dupe checking, Handles but calculates the handles to each side of the clip inter- nally, rather than putting the handles into the list Print w/ Handles This sets the size of handles after checking for dupes in the list. The given number of frames selected with this option is added to the beginning and end of each clip in the list Table 7.9 Unique Pull and Scene Assemble List Options Or a pret) First Sort By Establishes a hierarchy of how the list is to be configured, a Then Sort By pecking order of which criteria is most important in how it Then Sort By is displayed. It can be sorted by the follo Lab Roll Camera Roll Sound Roll Scene & Take Clip Name After the first order of sorting is selected, there is also the option of “none” for the second and third order of sorting | For example, if you only wanted the list sorted by Camera | Roll, select it as the First Sort By item and then select None | in the other two items bn gees ; : Sort Order | Choose how the clips will be sorted, either heads out {ascending edge numbers) or tails out (descending edge numbers) This is dependent upon how the person con- forming, either neg cutter or assistant editor, stores the rollsChapter 7 « Editing Film on Avid NLEs with FilmScribe ¢ 91 Table 7.9 Unique Pull and Scene Assemble List options Place Separators Include Opticals Include Headers Specifies whether or not opticals and headers are to be Creates a horizontal separator in the list, which can make | it easier to access specific information at a glance. Choose where the separator is placed from the following options: First Sort Field Second Sort Field Key code or Ink Prefix Prefix or every 1000 feet (no separators) included in the list. Show Only Changes ON tS Dt Table 7.10 Change List Options Selecting this option shows only inser- tions, deletions, trims and moved clips. When deselected, the list will elicit details about unchanged sections as well. Combine Deletions Preview Code Counter Starts At Quicktime Options Allows groups of adjacent deletions to be included in one event. However, select ing this option disables generation of dis- card lists, which specifically list each deletion as a separate event. Displays preview code numbering. (See below details) Determines the footage count where the change list begins. Default would be 00000+00. ‘One of the features of FilmScribe is its ability to show Quicktime movies of the sequence from within the list. This works handily for verification. In order to92 © Editing Digital Film show the Quicktime movies, they'll need to be exported from the Avid. It’s some- thing of a time consuming process. Still, if FilmScribe is used as a standalone application, it works well and allows viewing of burn-in numbers as the list is browsed. EXPORTING AUDIO Audio can be exported from the project by digital cut, OMF file conversion or EDL. Digital Cut If the audio is exported via digital cut to tape, keep in mind that somewhere along the line, the audio will have to be conformed to its proper speed. If the audio is exported directly to tape from a matchback project and played at speed with a cut film, it wouldn’t work. The audio has to be resolved at +.01 percent faster. For fur- ther details on sound sync issues, see Chapter 4 OMF ‘Audio media and sequences can be exported through the use of OME, also called OMEI, or Open Media Framework Interchange. OMFI is ambitious; it is a com- mon format allowing media to be shared not only cross-application but also cross- platform. OMFI is supported on most digital audio workstations and is frequently used for exporting audio media files between computers. Conversion to a proper format requires the OMF tool, which is available on most workstations and also is, downloadable through Avid and Digidesign’s websites. OMF will export cuts, dissolves, level information, time code, track numbers and clip names. It does not export pan information or automation gain. OMF files consist of two items: compositions, which are the framework of the edited sequence, and media. The OMF composition can be exported by itself if the media is already on a workstation. Most OMF compositions and media files from feature-length films can be exported onto high capacity removable format drives, including Iomega Jaz or Castlewood Orbs. For short films, Zips might be used, but, depending on the complexity of the audio tracks, they might not fit. Before exporting the audio into OME, some preparations must be made, First, make a copy of the master sequence and place it in a separate new bin. Load the duplicate sequence in the record monitor and delete any video tracks. This can be done by clicking on the video track selectors and pressing the delete button on the keyboard. The system will verify that this is being done intentionally. Click on Yes. Render any audio effects, including dissolves, mix downs, etc. before export- ing. The next step is to consolidate the media to a drive. It can be a removable media or an empty drive that can be moved to the sound department. In any case, Thighly recommend that the drive be completely empty, to allow the necessaryChapter 7 © Editing Film on Avid NLEs with FilmScribe ® 93 space. There is nothing worse than the near completion of consolidation that is interrupted by a “not enough room on this drive” message. The Avid does not precompute the amount of space necessary to make the consolidation ahead of time, so good planning is the best solution. In its bin, click on the duplicate sequence. From the Clip menu, choose Con- solidate. When the Consolidate menu appears, deselect the first two items, Select the proper disk where the consolidated media will be placed. Be sure to give each clip some handles so that the sound department can adjust the audio as necessary. Click OK. It takes a while to consolidate, so be patient. The OMF Export With the consolidated audio-only sequence highlighted in the bin, click on the File menu and choose Export. When the export menu appears, choose OMFI Audio and Composition. If specifically exporting to a Pro Tools system, choose OMFI Composition Only and check the SD2 Format Audio items. This will allow a simpler export to Pro Tools. The audio can then be converted from OMEF to Pro Tools /SD2 using the OMF Tool. Figure 7.9. The Consolidate menu If Media Composer version 6 or lower is used, there is a choice of OMFI versions. Most systems use OMFI 2.0, but it is wise to check with the sound department ahead of time to see which they will require. Click the OK button on the Export menu and the audio exports to the drive.94 © Editing Digital Film Exporting an EDL An EDL, or edit decision list, tells the tale of every cut made in a sequence. For films, EDLs are commonly used for audio. EDLs contain information about the audio, including source and record time codes, but unlike OMFI, they cannot con- tain media. EDLs are an excellent way of exporting sound information to work- stations that do not use OMFI. They are also a good reference source for audio spotting sessions and mixes. ‘To export an Avid EDL, use EDL Manager, Avid’s EDL generating standal- one application. This application is bundled on most Avid systems. It also works in tandem with Media Composer and Xpress, so it can be launched through the Output menu in those applications. Warning: Before launching EDL Manager from Media Composer or Xpress, make sure the system has enough memory to do it. Some systems have too little memory for both applications to run at the same time, particularly if the sequence is long and complicated Figure 7.10 EDL Manager ScreenChapter 7 ¢ Editing Film on Avid NLEs with FilmScribe * 95 To begin the EDL export, launch EDL Manager. The EDL Manager screen appears, shown in Figure 7.10. If EDL Manager was launched from within the Media Composer or Xpress application, click and drag the sequence into the EDL. tool. If EDL Manager was launched separately, select Open from the File menu. Select the bin where the sequence is located. A window will open with all of the sequences in the bin listed. Choose the correct sequence and open it. Select the tracks that are needed to generate the EDL. Below the tracks are Format and Sort Mode. Unless instructed otherwise by the sound department, choose CMX 3600 as the format and A (Record In) as the sort mode. CMX 3600 is the most universally readable format and almost every audio workstation has a method of reading and sorting CMX lists. A Mode sorting lists the sound in the order that it appears in the sequence. Additional options for the list can be chosen by clicking on the Options but- ton in the EDL Manager. More information can be added to the EDL by selecting, items in the Comments column. Select Optimize EDL from the optimization menu and be sure to choose NTSC or PAL in the Standards column Figure 7.11 EDL Manager Options Window Saving the EDL An EDL can be saved to a floppy disk or removable media. If a floppy disk is cho- sen, format the disk to DOS format. All Apple computers made today are capable96 © Editing Digital Film of reading DOS formatted disks, so this makes it more universal for audio work- stations that read DOS. From the File Menu, choose Save EDL. Make sure it is saved to the correct disk. The EDL is saved. Some Important Notes about Saving EDLs It is better to use eight characters or fewer when naming the EDL. If the name for the EDL is too long, the EDL Manager will truncate it for the proper format and add the proper extension to the name file. Do not change the name after this, point, or it might not read properly when imported. Using EDL Manager, a disk can be formatted specially for Grass Valley Group (GVG) or CMX editing systems in RT-11, a DOS derivative format. In most cases, this is unnecessary, however, because modern GVG and CMX systems can read DOS. OUTPUTTING VIDEO Video and audio can be directly output from Media Composer and Xpress. There is one particular option that is very helpful for conforming; when Digital Cut is selected from the Output menu on a 24 fps project, there are options of outputting at Film Speed (100%) or Video Speed (100+%). If film speed is selected, the output will proceed at the standard frame rate with pulldown for video playback. How- ever, if video speed is selected, the output will proceed with no pulldown and a frame-to-frame correspondence of video to film. Playback of this output would produce sped up sound. The purpose of Video Speed output is to make a lok box for conforming, not for playback. Pulldown fields tend to hinder using videotape for conforming, but with a frame-to-frame correspondence, the person conform- ing knows that the cut should be frame accurate. This is especially helpful if con- forming a workprint is bypassed with the intention of conforming straight to neg.Chapter 7 © Editing Film on Avid NLEs with FilmScribe © 97 Figure 7.12 Digital Cut Output OptionsChapter 8: Editing Film on Media 100 NLEs with Slingshot Pro In this chapter, we'll take a look at integrating film with two popular applications, Media 100 and Trakker Technologies Slingshot Pro. ABOUT MEDIA 100 Media 100 is a digital 30 fps NLE, It is built for video editing and does not have any special features, effects or listing capabilities that relate to film. Media 100, Inc. recently made a move toward producing NLEs for interactive and web out- put. They acquired Terran, Inc. and have been focused primarily on furthering the development of streaming video and interactive technology. There are a great many Media 100 systems in the market with several options and features. None of these relate to film. This necessitates the use of a matchback program. In this chapter, we'll look at using the Media 100 with Slingshot Pro. ABOUT SLINGSHOT AND TRAKKER TECHNOLOGIES ‘Trakker Technologies’ Slingshot Pro is a suite of applications for matching back EDLs from NLEs with the original telecine log. It should be noted that Slingshot Pro is very robust and can work with just about any NLE made, including Avid and Final Cut Pro. Slingshot Pro consists of three stand alone applications:100 © Editing Digital Film The Telecine Log Converter (TLC) converts the four most common log types into batch digitize lists for all major NLEs. The Film Trakker converts video EDLs into 24 fps film cut lists, including assemble, dupe, optical, pull, and optical pull lists. ‘The Sound Tracer traces information from any telecined audio back to its original time code in the database. If audio is digitized separately, there is not normally a need for this application. However, it is an absolute necessity for finding the original numbers of sound transfers done in telecine. DRAG AND DROP FUNCTIONALITY Slingshot’s biggest asset is its drag and drop functionality. From the first few pages of the User Guide, it’s easy to learn how to set up the applications and drag, the proper files in and out for a fast and easy matchback. There are so many options that one could select when using matchbacks that it could be overwhelm- ing. Slingshot sticks to the important items and pretty much ignores fancy win- dow dressing. It’s configurable to a number of specifications, but also is easy to run, In order to do the work, Slingshot creates an intermediary file between the original telecine log and the final EDL. This file, called the Telecine Log Converter file or TLC (not to be confused with Time Logic Control) is the key to creating suc- cessful lists. Slingshot lets the databases do their work without interference. Instead of having to database each shot that has already been databased in the telecine logs, Slingshot translates them into the language of the target NLE rather than making the editor redo work that’s already been done. SUPPORTED TELECINE LOGS Slingshots Telecine Log Converter will convert from the four most popular for- mats of telecine log, which are shown in Table 8.1. Telecine Log Converter will create three types of files from the original telecine logs: they are import logs, TLC files, and dailies logs. Table 8.1 Telecine Log Converter Input Formats ete een een Keyscope Telecine Logs FLEX Telecine Logs FLX (aka “Flex Files) Evertz Telecine Log FIL Avid Log Exchange “ALEChapter 8 Editing Film on Media 100 NLEs with Slingshot * 101 Import Logs Import logs are the files converted by TLC for batch digitizing with the NLE. These files are created specifically for the type of NLE that is being used. Once imported into the NLE, the individual clips in the files can be batch digitized. TLC will output Adobe Premiere, Avid Log Exchange, D-Vision, EMC, Media 100 Power Log, Discreet Edit, Scitex/ImMix, Speed Razor and Final Cut Pro input files. As seen in Figure 8.1, just about any type of NLE is supported. TLC Files TLC files contain the vital information necessary for Slingshot to perform film and sound matchbacks. Be sure to keep these in a folder in a safe place. It also isn’t a bad idea to copy the TLC files onto a removable form of media for archive. With- out these files, a matchback is impossible, so plan wisely. They will be used at the end of the edit to create the final cut lists and sound EDL. ies Log The dailies log is created for the use of the assistant editor or editor. The dailies log contains vital information in detail for each day of telecine transfer. It also serves as a tool for proofreading log information and correcting any errors in the database. The dailies log will contain key numbers, camera roll, sound roll, sound time code, video time code, reel name, and scene and take entries. The dailies log can be printed and placed in a binder for use in conjunction with camera reports, sound reports, and script supervisor notes. LOG CONVERSION PROCEDURE Before starting TLC, create three new folders to hold your TLC, import files and dailies logs. TLC will work with these folders later when the preferences are adjusted, Launch TLC. The pop-up menu shown in Figure 8.1 appears. TLC Preferences Before any logs are converted, it’s necessary to adjust the preferences to choose a destination folder for each of our TLC file outputs. First, click on the pop-up menu and choose the editing system being used (in this case, Media 100). Next, select the destination folders under Preferences. The screen shown in Figure 8.2 appears.102 © Editing Digital Film ° None Adobe Premiere (ux#HH.PBL) Avid (HHHH.ALE) Broadware (HHHH.EMC) D-Vision (x#Hx.DUISION) Digital Origin (xH#H.EDU) Discreet edit* (xxxH.EDT) Fast (HHHH.FST) Final Cut Pro (xHHH.FCP) Media 168 (x#uHH.M168) Scitex (HRHH.SCTH) Speed Razor (#HHH.EDL) Figure 8.1 TLC Pop-Up Menu In the Preferences menu, destination folders and track enabling can be selected for the conversion. Once this is set, drag and drop telecine logs on the TLC applica- tion and it will automatically place the results in the appropriate folders. Figure 8.2. TLC Preferences menu Choosing Destinations For each TLC, dailies and import log, save the files in the three separate folders created earlier. For purposes of organization, it is recommended to use separate folders. Ifa single folder is used, the organization of the project becomes muddledChapter 8 © Editing Film on Media 100 NLEs with Slingshot © 103 and files are harder to find. Choose the destination by clicking on the Browse but ton and navigating to the proper folder. If Browse is grayed out, deselect the Same Place As Source File option by clicking on the Here radio button. Enable Tracks Sometimes telecine databases include audio tracks that need not be digitized. As a result, if the telecine files are directly converted and batch digitized as databased, you'll eat up a lot of drive space on your NLE digitizing redundant or empty sound tracks. This error can be reduced by examining the source tapes and deter- mining which tracks actually contain audio that needs to be digitized. Usually this information is on the label, however, the transfer could also have included redundancy between tracks one and two, in which case, only one track needs dig- itization. When the proper tracks are selected under Enable Tracks on the preferences window, it will eliminate unnecessary tracks on the batch digitize Input list for the NLE, thus saving time and drive space. Undoing this in the NLE is time con- suming and tedious. Better to do it here before importing. Syntax Error Correction Telecine logs can potentially contain incorrect or missing information. This results in redigitizing, clip modification, bogus bins and media files, and other nasty arti- facts. When converting logs through TLC, any syntax errors will be flagged before the conversion is complete. The syntax checker in TLC is rather sophisticated, with a WYSIWYG debugging-type screen that not only explains the error, but shows it in the text of the log file. an fae Or, you can ignore this error. a & co Come Figure 8.3 Syntax Error screen in Telecine Log Converter104 © Editing Digital Film When a syntax error occurs, the top of the screen shows the error in the native file. An insertion point cursor has been placed on the errant section of the text. Below the text is an explanation of why the file was not converted, the file name, and the problem. At the bottom of the screen is an explanation of options and the actions that can be taken. With syntax errors, there are four options from which to select at the bottom of the screen. Fixed! Choosing Fixed! indicates that the text at the insertion point has been adjusted and the error is fixed. For example, if a scene number is missing, the insertion point is placed next to the Scene entry in the log. Type in the proper number and then choose Fixed! If Fixed! is selected, be careful not to acciden- tally ruin the formatting of the file by placing spaces in between the entries. If the other entries in the log shift disproportionately, it is possible that another syntax error has been created. In any event, if this error occurs, abort the con- version and start over again. Ignore. If the error is ignored, TLC will continue with the log conversion. But be warned! Ignoring the error in a telecine log could have disastrous results, The logs could contain inaccurate information or even be incomplete. On some occasions, I've had the misfortune of making this error, only to have the director ask, “Where's take 11?” to which I respond, “I didn’t know we had a take 11.” Which leads to a mad skimming of the camera reports, which leads to investigating the original logs which leads to total recall of a bumbling error on my part. Ignore All. Be sure that you feel confident when choosing this option. Ignor- ing All pretends that any syntax errors don’t exist. Although there may be a known consistent error in the log, it could also contain a few surprise errors as well. Choosing Ignore All will bypass any errors encountered, See the pre- vious anecdote for potential results. Abort. If you feel squeamish about debugging telecine logs, simply choose Abort and send it back to the telecine house. Let them deal with it. Once the logs are exported in the appropriate format, enter the Power Batch cap- ture tool in Media 100 and digitize as usual. Because the lists are controlled exter- nally by Film Trakker, there are no special considerations when cutting with Media 100 except for creation of lab standard dissolves for A/B conforming, nor- mally used with 16mm films. Film Trakker uses the laboratory standard lengths. SYNCHING PICTURE WITH SOUND IN MEDIA 100 Synching up in Media 100 is about as easy as it gets. To do this, you'll need to cre- ate a new program in the timeline for every clip that needs to be synched. Before you begin, it is wise to create a new bin for synched clips to avoid any confusion with clip names. The original audio and video clips should be together in the same bin.Chapter 8 ¢ Editing Film on Media 100 NLEs with Slingshot « 105 First, load the video into the timeline. Double click on the video clip to make it appear in the Edit Clip window. Look for the first frame where the clapper con- tacts the slate. Press Control-F6 (the function key) to mark that point on the clip. A small blue triangle appears at the current time indicator in the timeline. That tri- angle is the syne mark. Next, load the audio clip into the timeline so that it overlaps the video, and scrub through it until the first frame of the clapper is heard. Waveforms can also be used to see the sound. From the Track menu, select Show Audio Waveform. It may be necessary to zoom in to the timeline a bit to see the waveform. When the frame where you can first hear (or see, with audio waveforms enabled) the clap- per connect is found, press Control-F6 to put a syne marker on that frame of the current time indicator. Holding the option key down, click on the video track and drag it so that the two blue sync markers connect in the timeline. Holding down the option key will cause the two to snap together. Select both the audio and video clips by clicking on the first clip, then shift-clicking on the second clip. From the Program menu, select Sync Clip. The clips in the timeline will turn pink, signi- fying that the clips are synched together. Click and drag the synchronized clips from the timeline into the new bin. With each synchronization, it is important to check for accuracy. I find it somewhat common to be off a frame when synching up clips. If you find yourself in this predicament, no problem. Re-mark the originals and do it again, until you get it right. Some Media 100 users recommend deleting the original video and audio clips- not the media, mind you, but the clips. [highly recommend that you not do this. Instead, place them in an archive bin, where they can be accessed in the event of an emergency. A project can be organized in a Media 100 in exactly the same fashion that I mentioned previously in the Avid chapter. Import the log and place it in a cam roll bin. Copy the clips and place them in separate scene bins. When you sync up lips, create synched scene bins and use them there. This redundancy allows you to have a backup in case unforeseen bin corruption or sync issues are later discov- ered. That's not to say that NLEs regularly lose bin information. In my entire nine years of working with NLEs, I’ve lost only two bins to corruption. But in both cases, I recovered the information because the clips were redundant in other bins. Most NLEs have a recovery process for missing clip information, but who wants to go through that in the middle of an edit? Because Media 100 is a video editing machine, audio sync can only be frame accurate, as opposed to perf accurate. Most 35mm film formats have four perfs per frame, so when cutting on a traditional bench, it’s easier to attain sync by slip- ping the audio track a perf or two. Avids have the ability to slip perfs in 24 fps projects. Still, missing syne by a perf or two is common. If you look closely at filmed television, you'll see it all the time. Media 100 has a full suite of effects, but most don’t have a lot to do with filmmaking. An exception is its matting capability, which can allow you to letter-106 ¢ Editing Digital Film box for appropriate formats. When creating dissolves, be sure to make them cen- ter-point dissolves at lab standard frame counts to avoid additional optical costs. After the film is edited, it’s time to output EDLs. For Slingshot, output either CMX 3600 (most commonly used), CMX 3400, or GVG 4.0-7.0 EDL formats. aaa Film Trakker R_61-EDL Macintosh HD R_82.EDL Slinashot R_83.EDL Practice Files Processed TLC Files Figure 8.4 Film Trakker Interface FILM TRAKKER Once the EDLs are output from the Media 100, use Film Trakker to generate your cut lists. The Film Trakker program works very simply, comparing the TLC file, which contains both key numbers from the film and transfer tape time code to the video EDL. First, launch the Film Trakker application. The FT interface appears, as shown in Figure 8.4.Chapter 8 * Editing Film on Media 100 NLEs with Slingshot * 107 Film Trakker Preferences Before creating the lists, be sure to select preferences. Each one of the Preferences must be selected before an accurate list can be generated. Once saved, the prefer- ences will work automatically, as described with TLC, @NIsc 38:24 | GA Check synten on all inputs NTSC 1:1 Flag end maten unknown tope names pat 24:25 Show EDL comments in Cut List OPAL 1:1 | Use @ Feet + frames | Osbsotute frames | Cbisapte synctock™ "Show synctock™ comments Figure 8.5 Film Trakker Preferences Table 8.2 Film Trakker Format Preferences Format Preferences oy Ti cnt NTSC 30:24 Use this option if the film was shot at 24 fps, then transferred at 24 fps to video at 30 fps. (29.97fps) NTSC 1:1 Use this option if the film was shot and transferred at 30 fps to video at 30 fps (29.97 fps) | PAL 25:24 Use this option if the film was shot and transferred at 24 fps to video at 25 fps (PAL B Telecine- See Chapter 3) PALA:1 Use this option if the film was shot at 24 or 25 fps then transferred at 25 fps to video at 25 fps (PAL A Telecine- See Chap- ter 3) Format There are four formats available, as shown in Table 8.2.108 © Editing Digital Film Check Syntax on All Inputs Choosing this option turns on the syntax checker when comparing EDLs to TLC files. The syntax checker with Film Trakker works exactly as it does with TLC. Flag and Match Unknown Tape Names As Film Trakker reads the EDLs, it looks for syntax errors and any unknown sources. To ensure accuracy, select this option so that Film Trakker will spot any unknown tapes that exist in the EDL that aren’t in the TLC files. There could be a few reasons to use this option. 1. A tape has been digitized into the NLE without transferring its telecine log Film Trakker will need the right information to correctly produce the cut list. Transfer the telecine log with TLC so that Film Trakker can find the proper corresponding key numbers. 2. The name of an existing tape was changed. In this case, match the new tape name in the EDL to an existing tape number that was previously used to des- ignate the same tape. 3. You've forgotten or missed running a log through TLC. Make sure that all of the logs are converted and saved in the same folder so that Film Trakker can use them. When Film Trakker encounters a Flag and Match error, there are three options. Table 8.3. Flag and Match Options i Pare No Match This tells Film Trakker that there is no match, i.e., that a telecine log doesn’t exist for this reel This One Selects the reel highlighted on the left side of the screen in the tape list. Ignore Remaining Ignore is rarely a good idea when it comes to matching lists, but if you're cre- ating a combined list of film & video, | could see why you might want to avoid the annoyance of flag & match war Just remember, you asked for it.Chapter 8 « Editing Film on Media 100 NLEs with Slingshot * 109 Disable SyncLock SyncLock is the process that Film Trakker uses to maintain correct syne between picture and sound, as all matchback programs must do. (See Chapter 6 for details on how matchback works.) If sound sync is not important for your list and the duration poses no problems (“Running Short” and “Running Long” in Chapter 6), then you can disable this option. For most purposes, you'll want to keep SyncLock on. Show EDL Comments This option transfers comments from the EDL to their corresponding event in the cut list. Use Feet + Frames vs. Absolute Frames This option allows the choice between showing durations in the cut list as, feet +frames or absolute frames. Most editors like footage, but animators prefer absolute frame counts, for the most part. CUT LIST OPTIONS Film Trakker creates cut lists (also called assemble lists), dupe lists, pull lists and optical lists. The options for each type of list are selected by clicking on the twirl down button on the Film Trakker interface next to the list that is selected (see Fig- ure 8.4). Here are the contents of each list and the configurable options. Cut List The cut list for Film Trakker includes the following entries: event number, footage (feet + frames or absolute frames), record time code, duration (for both film and video), first and last key number (a.k.a. key number in and key number out), cam roll number, and clip name (normally the scene and take numbers). The following options are available on the cut list tool: Include Optical Count allows for opticals to be included in the assemble cut list. It’s convenient to see all of the events in the list. However, this is not recom- mended for use with the optical house. Most optical houses just want to see opti- cals, not everything else in the movie. The cut list makes allowances for lab standard dissolves on A/B conforms and includes them in the cut list, not the optical list. The start frame is a footage counter and is expressed in feet and frames, normally starting at 0000+00. Check with the neg cutter before assigning a number. Some start with 0000+00, others prefer every frame counted and start at 0000+01.110 © Editing Digital Film Dupe Lists Film Trakker’s dupe lists can be traced across several EDLs. For example, if you build 7 reels for a feature, Film Trakker will check all of the reel EDLs for dupes at a single time. It’s a good idea to check for dupes after the first cut from time to time. The sooner it is done, the less possibility that the director will fall in love with the cut and want to use both. Dupes are expensive. The dupe lists include the following entries: Set — Each duped section is listed as a set of dupes. In this way, you can deter- mine where they're located and which, if any, to eliminate. EDL ~ The name of the originating EDL of the dupe. Time Code- The location of the dupe on your sequence’s master time code. Event- The event number of each duped item according to the cut list. Footage- The running footage count in the cut list where the dupe occurs. Duration- Expressed in feet and frames or absolute frames. First/Last Key- Key numbers, starting and ending. Cam Roll Clip Name - The clip name normally identifies scene and take Dupe List Options ‘The dupe lists in Film Trakker offer sort and handles options. Normally one would sort a dupe list by Cam Roll first, then by Key Number. However, the fol- lowing sort criteria are available to choose from: Footage- where the clip occurs in the edit. Record TC- master record time code in point. Duration — length of the duped clips First Key- Key number start frame Last Key - Key number end frame Camera Roll The number of frames used for handles in the dupe list can also be adjusted. Con- tact the neg cutter to see how many frames they will need for each dupe.Chapter 8 Editing Film on Media 100 NLEs with Slingshot © 111 Pull List As described in Chapter 6, pull lists help the person conforming the film to pull the clips necessary for conforming a workprint or negative. A Film Trakker pull list contains Reel & Event- based upon built reels and the event numbers in the cut (assemble) list. First/ Last Key Duration- Feet + frames or absolute frames Cam Roll Clip Name- scene and take Pull List Options Pull lists can be sorted by the same criteria as specified in the Dupe List Options. Normally, pull lists are sorted by cam roll, then first key numbers. There is also the ability to set handles. As before, check with the neg cutter when setting han- dies. Additionally, a choice can be made between creating a cut pull or optical pull list, or both. And you can create a global pull list for a set of EDLs or an indi- vidual pull list for each EDL. Optical List Optical lists contain specific information that needs to be sent to the optical house to create non-standard fades, dissolves, and other effects. This information includes A and B sides of the optical, key numbers of A and B sides, the optical effect and duration of the effect. Optical List Options List Format ~ Choose between a number of optical list formats. The Trakker format looks much like a cut list and is the easiest to read. Global List- Same as the option on Pull lists. This will create an optical list from several chosen EDLs. Individual List- Again, same as the option on Pull lists. This creates an opti- cal list for a single EDL only.112. © Editing Digital Film CREATING THE CUT LISTS Before the lists are created, select a format on the Film Trakker Interface. Choose between 35mm, 16mm (40 Count), and 16mm (20 count). After selecting the film gauge, it’s necessary to select a conforming format. Standard is single strand for 35mm, A/B for 16mm. For more details on conforming, see Chapter 4. Add all of the EDLs and TLC files. Select the EDLs in the left window, the TLCs in the right. Once the list types are selected at the bottom of the interface, click on Create. The lists can now be viewed, printed, or saved. Did you notice that I mentioned not one, but multiple EDLs and TLC files? Film Trakker recognizes that filmmakers will create separate built reels for con- forming. As a result, you'll need an EDL for each reel. Film Trakker can search across several reels for dupes. If you ran a separate matchback for each reel with- out one recognizing the other, this would be impossible. Sound Tracer =8 (FROM THESE EDI's | ~ (| USING THESE 1 R_@1.EDL Macintosh HD R_62.EDL Slinashot R_83.EDL Practice Files Processed TLC Files Sameasinput | > Ce/TRACE | Figure 8.6 Sound Tracer Interface THE SOUND TRACER The sound tracer uses the data from TLC logs and EDLs to trace back to time code of the original sound source (DATs or Nagra recordings) so that an EDL can be created for the sound department. You can always go with your NLE sound or an EDL from the videotapes, but if you use sound from an original source, the SoundChapter 8 Editing Film on Media 100 NLEs with Slingshot * 113 Tracer can help you find the original numbers. Most sound departments want the most pristine recordings available, and that doesn’t come from videotape! Using Sound Tracer is like using any other Trakker application. Once the preferences are set, drag and drop EDLs onto the Sound Tracer icon. From there, double click on it to open the interface. Sound Tracer uses the TLC files and the EDLs to determine correct original sound numbers that are used to create the final EDL. Like Film Trakker, it can input CMX 3400, CMX 3600 or GVG 4.0-7.0 EDLs. It outputs these same types of EDLs. Sound Tracer has the same syntax correction as well as flag and match functions as TLC and Film Trakker. After using Slingshot a few times, it became very clear to me that the creators of the application wanted a hassle-free experience for matching back. Sound Tracer Preferences Before generating your EDLs, set the Sound Tracer preferences. Sound Tracer™ Preferences Bi Standard: @ NISC OPAL (Enforce DOS naming conventions Create sound roll list {Show clip name (Sc/Tk) on output [Check syntax on all inputs [Flag and match unknown tape names Figure 8.7 Sound Tracer Preferences Standard— Choose NTSC or PAL Enforce DOS Naming Conventions—Anyone who has been around comput- ers for a while knows that DOS has some limitations on the number of charac- ters used in file names and extensions. If your sound department uses DOS, you need to select this option. Create Sound Roll List— This option creates a list of sound rolls used in the EDL so that the sound department can pull them for mixing, Show Clip Name (Se/Tk) On Output— Shows the scene number and take in the EDL. Sound mixers usually need this type of information to correlate any spotting notes made by the director.114 © Editing Digital Film Check Syntax on all inputs— Same as in Film Trakker. Flag and Match Unknown Tape Names— Same as in Film Trakker. After the preferences are set, the TLC files are located, an output format is chosen and the tracks to be included in the list are selected, click on the Trace button and Sound Tracer creates the list. RUNNING THE LISTS Now that I've gone through every configuration, here’s an example of how Sling- shot would run with Media 100 if we had the preferences set and the film edited. Drag and drop all of the telecine logs onto TLC. The logs are converted in your TLC folder. Drag and drop all of your EDLs into Film Trakker, Set up the project under Preferences by choosing the conversion type. Select the type of cut lists that you wish to generate. Click on Create. It’s that easy. Save everything and print as required. Slingshot Pro can tackle matchback as good or better than any other pro- gram on the market. But what if you want to a more integrated matchback appli- cation that works inside of your NLE? In the next chapter, we'll take a look at FilmLogic, which uses a combination of databasing, plug-ins and reverse telecine.Chapter 9: Editing Film on Final Cut Pro NLEs with FilmLogic In this chapter, we'll examine the methods for cutting films using two relatively new applications. Apple's Final Cut Pro is a very popular nonlinear editing appli- cation that was designed for video editing with Apple’s Quicktime digital movie format. FilmLogic, a matchback and 24 fps solution made by Focal Point Soft- ware, is compatible with Final Cut Pro, Media 100 and Adobe Premiere. It can be used as a standalone application or as a plug in with Final Cut Pro FILMLOGIC FilmLogic consists of a powerful database manager that can create cut lists in two very different ways. Like Slingshot Pro, FilmLogic can compare between telecine and EDL databases to assemble cut lists. But it also works with certain applica- tions as a plug-in, which will allow output of a cut list from within the NLE appli- cation. Currently, FilmLogic offers plug-in support for Premiere, Media 100 and Final Cut Pro. It can also be used as a stand alone application in conjunction with Avid, and EditDV as well as the previously mentioned NLEs. Normally, a plug-in feature would not make that big of a difference. After all, itis still necessary to import the telecine logs into the database to compare work done with the NLE. But when used with an NLE, plug-ins have the ability to bypass time code information and generate a cut list without the need to gener- ate an EDL.116 © Editing Digital Film Version 3 of FilmLogic was the first version of the software to add plug-ins. It also offers something once exclusively reserved for more expensive NLEs: 24 fps editing. 24 fps editing with FilmLogic can be achieved in one of two ways: hardware 24 fps or software 24 fps. Apple’s Final Cut Pro can work with almost any type of video capture card. There are a number of new cards coming onto the market with HD capability as well as true 24 fps capture rates. In order to correctly capture at 24 fps and remove pulldown frames from the telecine video, these cards use SMPTE time code infor- mation. As discussed earlier, it is very important to use nondrop frame time code on the telecine masters and audio tapes. Assuming the standard configuration in which an A frame starts at :00 time code and repeats at :05, a 24 fps card knows where to look to remove the extra pulldown fields. The audio remains intact, without need for any time adjustment, because the quicktime file can change its time base to a true 24 fps without altering the audio. The key to attaining 24 fps has to do with Quicktime architecture. Quick- time, unlike standard NTSC or PAL video, is not limited by a set framerate or frame duration. As a result, 24 fps capability can be achieved within Quicktime by either eliminating the pulldown during digitization with a 24 fps video capture card or removing pulldown with FilmLogic software through a process called reverse telecine. The ability to reverse the telecine process is relatively new to FilmLogic as is its plug in capabilities. Reverse telecine uses information in the database and Quicktime’s ability to change frame rates and alter time base in order to reduce the framrate to 24 fps and remove pulldown fields. Although Quicktime allows for a reversal of the process, FilmLogic has to recalculate each frame, In Quicktime, a frame is not always the same size and duration. Asa result, FilmLogic has to uniformly adjust or conform the frames and match them to the video rate of 23.976. But there's a problem here: the audio has not been reduced .01 percent to accurately reflect the pulldown. Reverse tele cine fixes the problem by adding more time to the frames, increasing the frame rate to a true 24 fps, thus negating any audio mismatches in sync. Just what is FilmLogic? A database? A Quicktime application? A matchback application? A file conversion program? A logging application? The answer is yes. IMPORTING THE TELECINE LOG The FilmLogic suite of functions can be used as a plug-in to Final Cut Pro (FCP), allowing the user to operate from a single application. Final Cut Pro was invented for video editing, not film editing, So in order to open a telecine log, it must first be done using FilmLogic. FilmLogic accepts the four most commonly used telecine logs; TLC or Flex files (.flx), Aaton files (.atn), Evertz files (.ft1), and Avid Log Exchange files (.ale). To convert the telecine logs with FilmLogic, start the application and create a new