User manual APPLE CINEMA TOOLS 4

[. . . ] Cinema Tools 4 User Manual K Apple Inc. Copyright © 2007 Apple Inc. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Final Cut Studio software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services. [. . . ] Clips that are trimmed are noted in the batch reverse telecine log file, which is named "reverse. log. " When key numbers are not burned in to the video, finding an A frame is much more difficult. If there is a lot of motion in the video, you might be able to distinguish one of the original film frames from the next in the video. In that case, look for a video frame made up of two fields from the same original film frame, which has different film frames before and after it. Such a frame would be an A frame. 134 Part I Using Cinema Tools I Using Batch Reverse Telecine for Multiple Source Clips Before you use batch reverse telecine to process multiple source clips, make sure to read "Preparing to Use Batch Reverse Telecine" on page 133. To use batch reverse telecine: 1 Place all the clips that you want to process in one folder. 3 In the dialog that appears, select any source clip file in the folder that contains the source clips, then click Choose. 4 In the Batch Reverse Telecine dialog that appears, select the capture mode that indicates the correct field capture for the clip: Â Field 1 Only: Select this option if the video contains only field 1. Â Field 2 Only: Select this option if the video contains only field 2. Â F1 - F2: Select this option if the video contains both fields, and field 1 is the dominant field (the first field to appear). Â F2 - F1: Select this option if the video contains both fields, and field 2 is the dominant field. Select the field capture information for this clip. See "Determining the Field Capture Information" on page 128 for more information. Note: If Cinema Tools finds pull-down information embedded in the source clips, a simpler version of this dialog appears. See "Removing 2:3:3:2 or 2:3:2:3 Pull-Down with Cinema Tools" on page 211. 5 From the "Conform to" pop-up menu, choose the frame rate that allows you to maintain or restore audio/video sync: Â 23. 98: This frame rate is useful if you want to later use the Final Cut Pro pull-down feature that lets you output 23. 98 fps video as 29. 97 fps video. (See "Pull-Down Patterns You Can Apply to 23. 98 fps Video" on page 215 for more information. ) Â 24. 0: You may want to conform and edit the clips at this rate if you plan to include them in a project that contains other clips that are exactly 24 fps. Note: If the audio and video are contained in the same clip, and you choose 24. 0 from this pop-up menu, the Reverse Telecine feature increases the audio speed by a very small percentage so that it is in sync with 24 fps instead of 23. 98 fps. Chapter 6 Preparing the Source Clips for Editing 135 6 Leave the "Standard upper/lower" checkbox selected. The "Standard upper/lower" checkbox should be selected unless you find that the batch reverse telecine process does not produce the correct results. For more information, see "Checking Your Reverse Telecine Results" on page 132. 7 To save the original clips in a separate folder, leave the Keep Originals checkbox selected. (When you deselect it, the original clips are deleted as each new clip is created. ) Important: You cannot undo a reverse telecine operation. If you do not save the original clips and later find out that one of the settings was incorrect, you will need to recapture the clips to correct the setting and perform reverse telecine on the clips a second time. After the process is complete, the following occur: Â For each clip in the folder, a new clip with the same name is created and placed in a Cinema Tools­created subfolder named Reversed. Â If you selected Keep Originals, the original files are placed in a Cinema Tools­created subfolder named Originals. [. . . ] In digital filmmaking, a workprint is usually used to verify the cut list and to create a prototype of the film to view on a big screen before conforming the negative. A general-purpose markup language that combines human-readable text with additional, specialized information. Because of the large variety of tools available, XML files are widely used to exchange information between applications. 248 Glossary 16mm film 18, 222, 224 2:2:2:4 pull-down 216 2:3:2:3 pull-down See also 3:2 pull-down described 209 removing with Cinema Tools 211 2:3:3:2 pull-down 26 advantages 210 described 209 removing with Cinema Tools 211 removing with Final Cut Pro 211 2:3 pull-down. See 3:2 pull-down 23. 98 fps video adding pull-down for NTSC FireWire output 217 converting to NTSC 215 24 & 1 method 25, 158 24 @ 25 method 25 24 @ 25 pulldown method 25, 158 24p video about the aspect ratio 208 adding and removing pull-down 208­217 audio EDLs and 217 checking for cadence discontinuities 212 Cinema Tools and 10 Conform feature and 206 converting NTSC EDLs to 24 fps 207­208 converting to NTSC 206 converting to PAL 206 described 10, 199 editing 11 editing material that originated on film 200 editing with Final Cut Pro 201­218 exporting 24 fps EDLs 206 Final Cut Pro and 10, 26 frame rate 10, 22 frame rate on NTSC systems 26 importing 24 fps EDLs 204 importing NTSC EDLs 204 Reverse Telecine feature and 206 telecine transfers and 10, 26 timecode used 207 using Final Cut Pro as both online and offline editor 201­202 using Final Cut Pro as offline editor 205­208 using Final Cut Pro as online editor 203­204 3:2 pull-down "A" frames and 24 cut list accuracy and 158 described 23 removing extra fields with the Reverse Telecine feature 24, 127 35mm film 18, 222, 223, 224 3-perf 35mm 224 A Acmade numbers. 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