Hey Jodie, I thought the same thing. The keycode is in the metadata so you don't need the window burn (except when you do).
My EDL did not match my neg because my flex files were a total mess. Fotokem did the telecine to HDCAM, created the ProRes files and created the flex files. I thought I was saving time and money. It should have worked, but it turned into a massive headache instead. I had to crosscheck the Cinema Tools flex file keycode against the ProRes file which I checked against the work print - then I had to enter the actual/accurate keycode manually in Cinema Tools. It really makes you doubt when cutting your neg. Editing from a window burn version doesn't guarantee against bad EDLs. My friend had the EDL problem as well, but was able to crosscheck against his window burn. It makes it easier to correct and to do so confidently. I completely understand neg cutters requiring that. Skipping a step is only a time saver if the step was unnecessary which can only be determined in hindsight. If you still want to go that route, I would recommend you make sure the lab knows which version of FCP you are using. They need to make the flex files in that version and you need to stay in that version. This all happened when the school was between 6 and 7, so it could have caused or exacerbated the problem, but Fotokem wasn't sure. :) amy On Tue, Jul 31, 2012 at 8:42 PM, Jodie Mack <[email protected]> wrote: > > > > Calling all contemporary workflow afficionados! > > > > I am working on a new 16mm project and considering making an EDL from a > telecine via Cinema Tools and FCP. From the EDL, I will cut my negative > and make a sound print via A/B rolls. > > > > This will be my first time using a telecine and Cinema Tools to edit, and > most of the information I’ve found involves a two-transfer telecine process > (all dailies in SD first then select shots from EDL in HD). > > > > My shooting ratio is fairly low. I’d like to avoid transferring twice and > use my HD edit as my video master. So, if possible, I’d like to just go > ahead and transfer my rushes to HD Pro Res 24fps (no window burn) with > Evertz keylog file, edit in FCP, generate an EDL, and cut my negative > without running into any issues (3:2 pulldown or otherwise). Can any of you > foresee any problems with this simplified, online-all-the-time workflow? > > > > Am I being naïve? I feel like this method could work for me - the two > transfer process seems designed for large-scale productions. > > > > If any of you have worked this way or teach this workflow, I’d surely > appreciate any advice you can offer. > > > > All the best, > > > > Jodie Mack > > > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks > > -- Amy Basen California Institute of the Arts Film Services Manager 24700 McBean Parkway Valencia, CA 91355 661-253-7886
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