Apple Color 1.5 - Manual (Page 71)

Stage 2: Telecining the Dailies
Once the film has been shot, telecine the dailies to a video format that's appropriate for
the offline edit. Whether or not you telecine to a high definition video format for the
offline depends on the configuration of the editing system you'll be working with and
the amount of hard disk space available to you.
Of more importance is the frame rate at which you choose to telecine the dailies.
• To eliminate an entire media management step, it's recommended that you telecine
the film directly to a 23.98 fps video format.
• Otherwise, you can telecine to a 29.97 fps video format and use Cinema Tools in a
second step to perform 3:2 pull-down removal.
To more easily maintain the correspondence between the telecined video and the 2K or
4K film frames that will be scanned later, you should request that:
• A marker frame is assigned to each roll of film at a point before the first shot begins,
with a hole punch permanently identifying that frame. This marker frame is assigned
the timecode value of XX:00:00:00 (where XX is an incremented hour for each
subsequent camera roll being transferred), and determines the absolute timecode for
each shot on that roll.
• The timecode recorded to tape during the offline telecine must be non-drop frame.
• Each roll of negative should be telecined to a separate reel of tape. This way, the reels
specified by the EDL will match the rolls of camera negative from which the shots are
scanned.
• If the transfer is being done strictly for offline editing, you can ask for a window burn
that displays both timecode and edgecode to provide an additional means of reference.
If you’re transferring film to a 4:3 aspect ratio video format, you may elect to have this
window burn made in the black letterboxed area so it doesn’t obscure the image. It
may also be possible to write the edgecode number of the source film to the user bit
of VITC timecode for electronic tracking. Ask the facility doing the transfer what would
be best for your situation.
Stage 3: Using Cinema Tools and Final Cut Pro to Perform the Offline Edit
As with any other film edit, generate a Cinema Tools database from the ATN, FLEx, FTL,
or ALE telecine log files provided by the telecine operator, then export an XML-based
batch capture list you can import into Final Cut Pro to use to capture the corresponding
media and edit the program.
Important: When working with offline media that tracks the original camera negative,
do not use the Media Manager to either rename or delete unused media in your project.
If you do, you'll lose the ability to create accurate pull lists in Cinema Tools.
71 Chapter 2 Color Correction Workflows