apple cinema tools overview

25/09/10 23:11Apple Cinema Tools Overview

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June 28, 2010

Apple Cinema Tools Overview Underneath the Surface with Frame Rates

By Dan Brockett

Film Workflow Steps Pulling it Down Doing the DI Two Important Cinema Tools Features For Editing Generating All Kinds of Lists Integrating Cinema Tools with Your Final Cut Pro Workflow How To Use Cinema Tools to Conform a Canon 5D MKII Clip The Basics of Syncing Your Audio

Cinema Tools is an interesting and often misunderstood utility that hasbeen shipping with Apple Final Cut Studio since 2004. Many editors are noteven sure of what Cinema Tools function is. The application is a databaseapplication that tracks the relationship between film frames and theircorresponding video frames. Included with Final Cut Studio, Cinema Toolsassists in editing a film or 24p digital intermediate project just as youwould edit any video or multimedia originated project. Few Final Cut Proeditors are aware of or understand exactly how Cinema Tools works andwhat it is intended for.

In order to completely understand exactly how to use Cinema Tools, youshould consult the manual. Unlike the other Final Cut Studio applications,the Cinema Tools 4.5 manual seems to only exist on-line at or is includedwhen you install the application, there is no printed manual. While thisarticle covers some of the procedural material listed in the Cinema Toolsmanual, the intent of this article is to give you an in-depth overview ofCinema Tools, and to simplify some of the concepts of editing film oncomputers. In order to really learn how to use Cinema Tools, there is nosubstitute for hands-on experience with the application.

While every user in every postproduction situation may not need CinemaTools, it is an application that can prove to be useful in a variety ofsituations, once you understand how it functions. The main aim of thisarticle is to illustrate how Cinema Tools can be effective in digital videoworkflows, but in order to do that, you must understand Apple's intent fordesigning Cinema Tools. Cinema Tools was designed for the film world.

Filming Your Film On Film? It is 2010 and we exist, as filmmakers, in aworld of blurred lines, confusing, ever-

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http://documentation.apple.com/en/cinematools/usermanual/



evolving digital video standards andterminology. People are shooting their"films" on everything from cell phones allof the way to high-end digital cinemacameras to, yes, even on good old motionpicture film stock. Even the terms "film","filming" and "filmmaking" have evolvedwith many people "filming their films" ondigital video. It comes down to an issue ofhow pedantic you want to be about theterminology of creating images that peoplewatch for entertainment. These distinctions become even more importantwhen trying to understand exactly how Cinema Tools fits into yourworkflow.

Just six short years ago when Cinema Tools was introduced, using film toshoot and distribute theatrical entertainment was still incredibly popular.Motion picture film in 2004 was THE standard. In some ways, it still is, butin other ways, film is rapidly decreasing in popularity as hot new digitaltools like the Canon 7D and 5D MKII, the RED One, the Arri Alexa, theSilicon Imaging Si-2k, Sony F35, Thomson Viper and the PanavisionGenesis have been rapidly replacing film for many users. Film is not yetdead, but digital origination is becoming more popular.

Canon 7D 5D MKII RED One Arri Alexa

Silicon Imaging Si-2k Sony F35 Thomson Viper Panavision Genesis

Film First What exactly does Cinema Tools do? In order to comprehend how CinemaTools functions, you should understand that it has always been gearedtoward managing film-based workflows. A film-based workflow typicallybegins with shooting film, then transferring the film to video, editing thefilm with a digital non-linear editing program, then outputting a cut list sothat a negative cutter can assemble the final film negative. Film prints arethen struck from the finished negative for distribution.

Cinema Tools tracks all of the individual elements that go into the creationof the final film. The application manages the relationship between theoriginal camera negative, the transferred videotapes, and the capturedvideo clips on the editing computer. In order to understand why an



application like Cinema Tools is needed, you need to understand the finerpoints of the frame rates typically used for the film and for video.

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Film Workflow Steps

How exactly does the process of editing a film with Cinema Tools and FinalCut Pro happen? A typical Cinema Tools film workflow is outlined below.

1. Creating the Cinema Tools Database The main feature of Cinema Tools is its database, where therelationships between all of the various the elements of your movie(the film, video, and audio) are established and tracked. While it isn'trequired that the Cinema Tools database be established before editingbegins, Cinema Tools does feature several useful tools to help withcapturing clips and planning the edit.

2. Using Final Cut Pro to Capture Your Source Media You must capture the video and audio from your film on your FCPsystem. How you do this depends in large part on the actual mediaused for the transfer of your film elements to videotape or files.

3. Connecting the Clips to the Cinema Tools Database Once you have captured the source media, you can connect it to theCinema Tools database (also known as linking the clips to thedatabase). Connecting a clip to the database gives Cinema Tools theability to access a record's clip while creating the cut list, minimizingthe risk of timecode errors.

4. Using Cinema Tools to Prep Clips For Editing Cinema Tools features some powerful tools that can be used on yourclips prior to editing them: the Reverse Telecine feature and theConform feature. More about these features later.

5. Editing the Clips in Final Cut Pro You edit the clips in Final Cut Pro much as you would for any videoproject, but there are a few important considerations to keep in mindas you edit. Remember, you are usually not editing your film; you areusing a digital facsimile of your negative, creating a cut list that willallow a negative cutter to assemble your film. Accuracy in your edit isof paramount importance. Unless you have copied all of your originalcamera negatives, you only have one negative to work with.

6. Using Cinema Tools Create Cut Lists and Other Lists Once you have edited your clips and are satisfied with the digital editof the project, you are ready to generate film-related lists that willdescribe how to cut the negative or workprint.

But How Do You Actually Editthe Film?

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Now that we have outlined thebasic process for using CinemaTools in conjunction with FCP forediting your film, let's exploresome of the finer points aboutexactly how Cinema Tools isused. For many of you under theage of 30, or if you cut your teeth strictly in the video world, you mayhave never shot motion picture film so you may not be familiar with theprocess of how film-originated projects are edited. In comparison to film,digital video is amazingly simple to edit. You ingest either a tape or solid-state media and begin editing. Not so with film. Motion picture film istypically shot at 24 frames per second (fps). Film cameras have a crystalsync generator that ensures that the camera will expose 24 frames persecond exactly. In order to edit film with a digital non-linear editing systemlike Final Cut Pro, the 24 fps film must be transferred to video so that FinalCut Pro (or other editing systems) can be used to capture and edit it.

There should be delineation here between finishing on film and finishing onvideo that should be explained. If you shoot a project on film and the finalend product will be a videotape or file, once you transfer the film to video,you are essentially finished with the film and you really don't need CinemaTools to manage your project. This is the typical workflow for commercials,television and music videos. It is only when your projects final output willbe a film print from your assembled cut negative that using Cinema Toolsbecomes a necessary step.

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Pulling It Down

Once the film is exposed, then processed in a lab, a large and veryexpensive machine known as a telecine converts the film into a recordablevideo signal. NSTC is the video standard used here in North America and inJapan; it runs at 29.97 fps. PAL is the video standard used throughout most




of the rest of the world; it runs at 25 fps. So how is film that wasphotographed at 24 fps transferred to video that is running at 29.976 fps or25 fps? Okay, take a deep breath, this concept is going to be a bitconfusing but I promise that just like Algebra, Trigonometry and Calculus,once you get through it, you either will know it by heart forever or willprobably never have to use it again. If you can read through the next twosections and simply understand the concept of pulldown, it will be the mostimportant takeaway for the remainder of the article.

In the NTSC world: If film is shot at 24 fps, how can it be recorded to video at 29.976 fps?How can an editorial workflow keep track of which film frame is whichvideo frame? In NTSC countries, where television uses the 60Hz verticalscanning frequency, video is broadcast at 29.97 (aka 59.94 in HD) framesper second. For the films motion to be accurately rendered in the videosignal, the telecine must use a technique called the 2:3 pulldown, aka 3:2pulldown, to convert from the 24 fps film into 29.97 fps video.

The term "pulldown" comes from the mechanical process of "pulling" thefilm down to advance it from one frame to the next at a repetitive rate(nominally 24 fps). This is accomplished in two steps. The first step is toslow down the film motion by 1/1000. This speed change is unnoticeable tothe viewer, and makes the film travel at an actual rate of 23.976 fps (or7.2 seconds longer over the course of a 120 minute movie).

Fields/Frames? The second step of the 2:3 pulldown is distributing cinema frames intovideo fields. At 23.976 frames, there are four frames of film for every fiveframes of 60Hz video. These four frames are elongated into five by utilizingthe interlaced nature of 60Hz video. For every frame, there are actually twofields, one for the odd-numbered lines of the image, and one for the even-numbered lines. There are, therefore, eight fields for every four filmframes, which are called A, B, C, and D. The telecine alternately places Aframe across two fields, B frame across three fields, C frame across twofields and D frame across three fields. This can be written as A-A-B-B-B-C-C-D-D-D or 2-3-2-3 or simply 2-3. The cycle repeats itself completelyafter four film frames have been exposed.

A 3:2 pattern is identical to the one shown above except that it is shifted



by one frame. For instance, a cycle that starts with film frame B yields a3:2 pattern: B-B-B-C-C-D-D-D-A-A or 3-2-3-2 or simply 3-2. In otherwords, there is essentially no difference between the 2-3 and 3-2 patterns,other than the terminology about how the two terms are written.

A logical question would be, "why isn't film transferred to 24 frameprogressive video? Wouldn't that void all of these complicated pulldownissues?" More on this later, but suffice it to say, many 24 frameprogressive video codecs are not natively displayed in a 24 frame stream,correct? For example, DVCPRO HD 108024p is actually displayed over 60i,meaning that the 24 frames are flagged for removal in playback orprocessing of the 60i video stream. Also, most video monitors cannotnatively display 24 frames per second content; they usually display 24frames content within a 60i stream.

In the PAL/SECAM world: In countries that use the PAL or SECAM (a PAL broadcast variant used inthe rest of the world that does not use NTSC or PAL) video standards, filmfor television is typically photographed at 25 frames per second. The PALvideo standard broadcasts at 25 frames per second, so the transfer fromfilm to video is simple; for every film frame, one video frame is captured.

Theatrical features originally photographed at 24 fps are shown at 25 fps.While this is usually not noticed in the picture the 4% increase in playbackspeed causes a slight increase in audio pitch by about one semitone. Thissubtle pitch change is sometimes corrected in post.

This pulldown method is sometimes used in order to convert 24 framematerial to 25 frames. Usually, this involves a film to PAL transfer withoutthe aforementioned 4% speedup. For film at 24 frames/s, there are 24frames of film for every 25 frames of PAL video. In order to accommodatethis mismatch in frame rate, 24 frames of film have to be distributed over50 PAL fields. This can be accomplished by inserting a pulldown field every12 frames, thus effectively spreading 12 frames of film over 25 fields (or"12.5 frames") of PAL video. The method used is 2:2:2:2:2:2:2:2:2:2:2:3(Euro) pulldown.



Take a few minutes to process the above concepts, they will becomeimportant as you read on about what exactly Cinema Tools is accomplishingwhen used to manipulate and track frame rates. Although the concepts mayseem somewhat arcane, they have been the basis of working with film onvideo for decades.

Expanding Your Vocabulary: What is the "A" Frame? You may often hear references to "A" frames whenever you are involvedwith 3:2 pull-down video. The A frame is the only one that has all its fieldscontained within one video frame. The other frames (B, C, and D) allappear in two video frames. Because the A frame is the start of the videofive-frame pattern, it is highly desirable to have one as the first frame inall video clips.

What Is the Ultimate End Product? Cinema Tools works with Final Cut Pro to store information about how thevideo clips are being used and generates the cut list required to transformthe original camera negative into the final edited movie. A cut list is usedby a negative cutter to physically cut and assemble the final film negative,which is used to strike all the final film prints.



Interestingly, functions that we take for granted in the Final Cut Pro videoworld become quite a big deal when dealing with a film print. Cinema Toolschecks for problems that can arise while editing the film-based materialusing Final Cut Pro, the most common one being duplicate uses of sourcematerial: using a shot (or a portion of it) more than once. Besides creatingduplicate lists, you can use Cinema Tools to generate other components,such as lists dealing with opticals, titles and effects, the placement oftransitions, motion effects (video at other than normal speed), and titles.

Cinema Tools can also work with the production audio, tracking therelationship between the audio used by Final Cut Pro and the originalproduction audio sources. It is possible to use the edited audio from FinalCut Pro when creating an Edit Decision List (EDL) and process (or mix) theaudio at an audio post-production facility.

In the typical film finish, Final Cut Pro is used only to make the editdecisions-the final edited video output is not typically used, since the videoit is edited from generally is compressed and includes burned-in timecode(window burn) and film information. The final goal of the process is to endup with a negative cut list.

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Doing the DI

Now that you understand the traditional filmmaking post process outlined inthe article so far, you can probably disregard most of the information aboutoptical effects. Few films are being produced with traditional optical titlesand effects anymore. With the advent of more powerful workstations andsophisticated software available at lower costs, the popularity of the DI,also known as the digital intermediate process, has grown immensely. TheDI begins with a high-quality scan of the original film. The scan results invery high-resolution video, usually inthe form of digital picture exchange(DPX) image sequences whose qualityrivals or surpasses that of film. Thevideo clips created during the DIprocess are typically referred to as 2K




video image sequences. An imagesequence is actually a folder containingindividual image files for each videoframe. Because of the large size ofthese video clips, they are not generallyedited directly. Instead, lower-resolution versions of the files are created,usually based on the Apple ProRes 422 codec, and then edited. These DPXsequences can then be manipulated, color corrected and have visual effectsadded. The standard scanning resolution for DPX sequences is typically 2k(2,000 lines), although with the advent of faster computers and better filmscanners, 4k (4,000 line) resolution is becoming more common. I workedon the DVD release of The Wizard of Oz for Warner Bros. which was one ofthe first film restorations done at 4k resolution. Knowing the film so well, itwas a truly amazing experience to see the new 4k transfer projected. Asdrive space, scanning tools and the workflow becomes less expensive, itseems that 4K will be the next big thing in feature films, whether it is aclassic title or a brand new blockbuster.

The big difference between this process and the telecine-based film editingprocess is that the DI process does not actually conform the originalcamera negative. The DI digital output is either printed to film or more andmore commonly, distributed digitally. The benefit of the DI process is thatthe filmmaker retains all of the desirable visual qualities of shooting onfilm, but gains the advantages of computer-based editing, color correctionand visual effects. Once the sole domain of the highest end Hollywoodvisual extravaganzas, the DI has become popular because as costs havefallen, availability of DI facilities has grown.

In the Final Cut Studio workflow, once the edit is finished, the next step isto use Color to apply any needed color correction. This color correction isapplied to the original media. To accomplish this, an Edit Decision List(EDL) is exported from Final Cut Pro. This EDL is used to match the edits tothe original 2K media, allowing Color to conform and color correct the 2Kmedia.

Cinema Tools databases can be used in this workflow to match the EDL tothe 2K media, linking the reel names and timecode of each edit to entriesin a database created from a folder of 2K image sequence clips. Using aCinema Tools database provides tools to diagnose and resolve any issues



that occur, such as non-matching reel names or other media managementissues.

What About 24P Video? Final Cut Pro supports multiple aspects of editing at 24 fps (as we willlearn, generally in HD video, 24 fps is actually 23.98 fps). Film traditionallywas captured and edited at 24 fps, while 23.98 fps is an evolution allowingfilm transferred to video to resolve easier to video frame rates. Final CutPro combined with Cinema Tools provide the following features andcapabilities:

The import and export of 24 fps and 23.98 fps EDLsThe ability to convert NTSC 29.97 fps EDLs to 23.98 fps or 24 fpsEDLsA Reverse Telecine feature to undo the 3:2 pull-down used when 24fps film or video is converted to NTSC's 29.97 fpsThe ability to remove 2:3:3:2 or 2:3:2:3 pull-down from NTSC mediafiles so you can edit at 24 fps or 23.98 fpsThe ability to output 23.98 fps video via FireWire at the NTSC standardof 29.97 fps videoThe ability to match the edits of videotape audio with the originalproduction audio tapes and generate an audio EDL that can then beused to recapture and finish the audio if you intend to use an audiopost facility to finish your audio

Creating The Cinema Tools Database

A Cinema Tools database can contain a singlerecord or thousands of records, depending onhow you decide to utilize it. The intent of thedatabase is to match the edits made in FinalCut Pro so that the cut list for the negativecan be created. A record must have values forthe lab roll, camera, or daily as well as theedge code. In addition, the Cinema Toolsrecord must either have a clip connected to it

or have video reel and video timecode (In point and duration) values.

When you export the cut list after editing the video in Final Cut Pro,Cinema Tools looks at each edit/event and attempts to locate theappropriate record in its database to determine the corresponding keynumbers or ink numbers (edge code). Cinema Tools first looks for a recordconnected to the media file used in the edit. If a record is found, CinemaTools then locates the file, adds a note to the cut list, and moves on to thenext edit.

Cinema Tools allows you to create a record for an entire camera roll, foreach take, or somewhere in between, depending on how you work. Eachrecord can contain:

Scene, shot, and take numbers with descriptionsThe film's camera roll number, edge code, and related video timecodeand reel numberThe sound roll and timecodeA clip poster frame showing a representative frame from the clipBasic settings such as film and timecode format

The records can be entered manually or imported from a telecine log. Thetelecine log from scene-and-take transfers, where only specified film takesare transferred to video can provide the basic information for the database.You can add additional records, comments, and other information asneeded.

The telecine log from camera-roll transfers typically provides informationfor a single record-the edge code and video timecode used at the start ofthe transfer. Assuming continuous film key numbers and video timecodethroughout the transfer, that single record is sufficient for Cinema Tools togenerate a cut list for that camera roll.



Importing Telecine Logs

When film is transferred to video at a telecine facility, in most workflows, atelecine log is generated. The log lists:

Edit numberSceneTakeCamera RollSound RollRecord TCSound TCPrefixKey In

Much like most functions in Final Cut Studio, there is more than a singleway to accomplish a task. You have a choice of importing the telecine logusing Cinema Tools or Final Cut Pro. This is how you enter the informationabout your project into FCP or Cinema Tools so that the software knows allof the details about your transferred film. You can choose either methodaccording to the workflow that you prefer.

Manually Entering Database Information Some film-to-video transfer methods, such as film chains, do not providelogs or you may have to deal with footage that was transferred a long timeago and the telecine log was lost or misplaced. In these cases, you canmanually enter records. Each record in a database should represent amedia file that has continuous timecode and key numbers. With scene-and-take transfers, each take requires its own record since the timecode andkey numbers will not be consistent from take to take.

With camera-roll transfers, because the film roll and video recorder runcontinuously from start to finish, you require only one record for the entireclip, even if you later break it into smaller clips (that retain the originaltimecode) and delete the unused portions. Cinema Tools uses an editsvideo reel number and edit points to calculate the appropriate keynumbers, as long as the video reel and edit point information is part of arecord.

To manually enter database records, you need to know the key numberand video timecode number for a frame of the clip. This is easiest when thetransfer has these values burned in to the video. This is called a window



burn or window dub. You will often see these numbers when behind thescenes footage is shot of the editorial process and various superimposedwindows are scene on the editors monitor screen.

Capturing Your Media When shooting film, typically when new film stock is used, an entire roll offilm is exposed of a single scene or location. Unlike digital video where youcan allow the camera to record for long periods of time, when shootingfilm, this is avoided because of the expense of the process and becauserolls of film typically only allow the camera to run for about ten minutesper roll.

Transferring Camera-Rolls Camera-roll transfers require you either to capture the entire tape or tomanually capture a clip for each take. As long as the tape uses continuousvideo timecode and film key numbers, much like traditional video tapecapturing, Cinema Tools requires only a single database record showing therelationship between the two. It's not necessary to create a databaserecord for each clip, as long as you do not change the timecode.

Transferring Scenes-and-Takes Scene-and-take transfers result in records in the Cinema Tools databasethat are suitable for performing a batch capture. You can export a capturelist from Cinema Tools and import it into the Final Cut Pro Browser. FinalCut Pro can then perform a batch capture, creating clips as specified by theCinema Tools list. These clips can then be easily linked to records in theCinema Tools database.

Finishing with On-line Quality Video If you intend to deliver an on-line quality video output when you havefinished the project, there are several important factors you need tocontemplate.

Depending on the codec used for the video and the amount of video neededto be captured for the initial offline edit, you can capture with relativelyhigh compression and include burned-in timecode and key numbers. Thecompression makes it easier for your computer to work with the video andrequires less hard disk space, allowing you to capture more video to usefor your editing session.

After you have finished the offline edit, you can use Final Cut Pro torecapture just the video actually used in the edits, using the high-qualitycodec and a version of the video without burned-in timecode and keynumbers. This can be a useful workflow when you may need to deliverscreeners for distribution and film festival submission, even if your projectis still destined to output to film eventually.

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Two Important Cinema Tools Features For Editing




Now that we have learned what the Telecine process is, let's talk aboutReverse Telecine. The Reverse Telecine feature (which only works for NTSCtransfers) is a way to remove the extra fields added during the 3:2 pull-down process when the film is transferred to video. You need to invoke theReverse Telecine feature when you want to edit to edit the video at 23.98fps, rather than at 29.97 fps.

The Conform feature is used to correct errors in video clips and to changethe frame rate (timebase) of a clip. This feature is a key tool for workingwith material shot with DSLRs and other video cameras where you need tochange or manipulate frame rates. An example would be if you wanted toturn Canon 5D MKII footage that was shot at 30 fps into 23.98, 24 or 25fps footage. Before the current firmware 2.04 update for the 5D MKII, allvideo was shot at 30 fps and many users wanted to convert the footage to24 (23.98) fps. The Conform feature is one of the tools used foraccomplishing this frame rate change.

In other instances, you may want to change the frame rate of a clip. If youtransferred 24 fps film to video by speeding it up (either to 29.97 fps forNTSC or to 25 fps for PAL-in each case ensuring a one-to-one relationshipbetween the film and video frames), the action during playback will befaster than in the original film, and the audio will need to have its playbackspeed adjusted to compensate. You can use the Conform feature to changethe clip's frame rate to 24 fps, making it play back at the original film rateand stay in sync with the audio.

How to Work With Cinema Tools Databases



To work with the database, you need to know how to open it, locatespecific records, and access information about a record's clip.

Opening an Existing Database

Choose Database > Open Database (or press Command-Shift-O), thenselect the database in the dialog.Drag a database file from a Finder window to the Cinema Toolsapplication icon.All the records in the open database are listed in the List View window,and the Detail View window shows the first record's details.

Viewing Database Properties



Choose Database > Database Properties (or press Command-I)

About the Detail View Window Select any one of the following:

Choose Window > Detail View (or press Command-2).If necessary, drag the List View window to a different screen position.If necessary, click the Detail View window to bring it to the front.

Settings in the Detail View Window The Detail View window includes a number of fields and buttons forcreating a database record. Just a few of these settings are required tocreate a cut list or change list.

Lab, camera, or daily rollKey number or ink number

In ordered to use the timecode-based method for cut list or change listgeneration, these elements are also needed:

Video reelVideo timecode and duration

These settings are required if you intend to export an audio EDL:

Each source clip must be connected to a record, or each record musthave the video reel and video timecode and duration entered.Each record must have the sound roll, audio timecode, and audiotimecode rate (Sound TC Rate) entered.

The List View Window

The List View window displays a list of database records in the opendatabase. It might show a complete list of all database records, or, ifyou use the Find feature, it might show only those records that arefound (the "found set"). The List View and Detail View windows appearwhenever you open a database.

Settings in the List View Window The following controls along the top of the List View window determine thecolumns that appear and allow you to choose the records that are shown.

Display mode pop-up menu: Use this pop-up menu to configure theList View window to show the columns most useful to you.Keycode: Displays information about the film, including key numbersand rolls.Video: Displays video timecode and reel information.Sound: Displays audio timecode and sound roll information.Ink Numbers: Displays information about the workprint, including inknumbers and daily rolls.Show All: Click this button to show all of the records in the currentdatabase.Find: Click this button to open the Find dialog. You can use the Finddialog to choose which records appear in the List View window.

Settings in the Find Dialog The Find dialog contains the following settings:

Scene and Take: The values you enter in the Scene and Take fieldsdepend on what you want to do:To find all the records in the open database: Leave the Scene andTake fields blank and click Show All Records.To find all the records for a particular scene or shot: Enter theidentifier for that scene or shot in the Scene field, leave the Take fieldblank, then click the Find Records button. (The Take field is disabledunless you select the "Show only exact matches" checkbox.) Forexample, if you enter "1" in the Scene field and then click FindRecords, Cinema Tools finds all records associated with scene 1,including the shots 1, 1A, 1B, 1C, and so on. If you enter "1A" in theScene field, only the records for shot 1A are found.To find the record for a specific scene and take: Select "Show only



exact matches," enter the scene and take identifiers in the Scene andTake fields, then click Find Records.Results: Choose one of the following from the Results pop-up menu:Replace Current Found Records: Found records replace the recordsdisplayed in the List View window.Add to Current Found Records: Found records are added to the set inthe List View window. The Add to Current Found Records option isuseful when you want to find records for more than one scene, butnot for all scenes. For example, to see only the records for scenes 5and 6, choose Replace Current Found Records, enter "5" in the Scenefield, then click Find Records. Then, choose Add to Current FoundRecords, enter "6" in the Scene field, and click Find Records. Only therecords for scenes 5 and 6 appear in the List View window.Show only exact matches: Select this checkbox to find a specificrecord that matches the Scene and Take field entries.

Backing Up, Copying, Renaming, and Locking Databases

As is the case with all-important data, it is wise to store backup copiesof your Cinema Tools database files and to lock the database files ifyou want to make sure they are not modified or deleted. If you aregoing to lock a database file, make sure that the database is closedbefore you lock it.You can also use any standard desktop method to rename a databasefile. Changing a database filename (as opposed to a source clipfilename) does not affect the content of the database or any of thedatabase functions.

About the Clip Window To open the Clip window, do any of the following:

Choose File > Open Clip (or press Command-O), locate a clip, andthen click Choose.Click Open Clip in the Detail View window (if a clip is connected to thecurrent record).

Click Connect Clip in the Detail View window, and then select a clip (ifone has not already been connected to the record).Drag one or more (up to 20 total) clips from a Finder window to theCinema Tools application icon. A Clip window opens for each clip.

Settings in the Clip Window

You can play the clip by clicking the Play button (the triangle to theleft of the timeline) or by pressing the Space bar. To play the clip



using the Space bar, you must make sure that an Identify pane textfield is not currently selected-you can press the Tab key as needed orclick the Analysis button to deselect the text fields.mportant: Depending on your computer, high-resolution video, such as2K media, may not play back smoothly.If the clip has audio, you can control the volume by clicking thespeaker icon next to the Play button and then dragging the volumeslider. You can also drag the playhead to scroll through the clip. Youcan click the left arrow and right arrow buttons at the right side of thetimeline or press your keyboard's Left Arrow and Right Arrow keys tostep through the clip one frame at a time.Figure. Clip window.Most of the buttons along the bottom of the window open additionalwindows or dialogs and are also available as commands in the Clipmenu. The two buttons in the upper-right corner determine whatinformation is shown on the right side of the window.

Accessing Information About a Source Clip

The Analysis pane of the Clip window gives you access to specificinformation about a source clip.The Analysis pane displays the full path (location) and name of thefile, along with its size and dates of creation and modification. You canalso see the duration of the movie contained in the clip.

Information is also listed for each track in a clip:

For video tracks: You see the frame size and frame rate, thecompressor used and the compression quality, the average data rate,and whether it is a self-contained or reference media file. See TheDifference Between Self-Contained and Reference Media Files for moreinformation.For audio tracks: You see the sample rate and the number of channelsfor up to two tracks.

Capturing Source Media and Connecting It to the Cinema ToolsDatabase Establishing the relationships between the source clips and the CinemaTools database is an important step in the creating a successful workflowand project.

Source Clips and the Database After capturing, you establish connections between the database recordsand the source clips.

Preparing to Capture

Avoiding dropped frames during the capture process. Make sure thatyou have the dropped frames warning turned on in your FCP prefs.How your hardware is set up for video capture - If you are capturingfrom tape, make sure that your video deck in genlocked and that youhave calibrated the timecode offset.Considerations regarding the capture of audio - if you are capturingaudio from a source that utilizes tape, make sure that you arecapturing your audio at the frame rate it was recorded at.

Generating a Batch Capture List from Cinema Tools To set up a batch capture, you specify the clips you want to capture (afteryour Cinema Tools database has been created) and Cinema Toolsgenerates a list based on the information in the database. After you importthis batch capture list into Final Cut Pro, those source clips appear in theBrowser as offline clips, meaning they are logged and ready to be batchcaptured. When your source media is on multiple tapes, you can still usebatch capture. When you begin the batch capture, you see a list of all thevideo reels needed. When all the clips from one reel are captured, you areprompted to select another reel.



Connecting Source Clips to the Database Because source clips and database records can be created by differentmeans at different times, you may need to establish the link between asource clip and its record after they both exist. This process is calledconnecting a clip to a record. How you connect clips to the databasedepends on how you captured your clips.

If you created your database by dragging a folder of clips to theCinema Tools application icon: All of the records were automaticallyconnected to the clips. You can use the Connect Clips command toconnect the records to a different set of clips later if necessary, or toreconnect the source clips if they are moved to a different disk.If you captured your source clips by using a batch capture list: Use theConnect Clips command to automatically connect all your source clipsto the database. See Using the Connect Clips Command for moreinformation.If you did not capture your source clips by using a batch capture list:You need to individually connect source clips to database records byusing either the Detail View window or the Clip window. These twomethods are equally easy and accessible, so the one you choose maydepend on which window happens to be open. The Clip window ismost convenient if you're interested in selecting a new poster framefor each clip as you go, or if you want to use the Conform or ReverseTelecine feature on each clip immediately after you connect it to thedatabase.

Repairing Broken Clip-to-Database Links When a source clip that has been connected to the database is renamed ormoved, the link between the clip and the database breaks and the clipneeds to be reconnected. For individual clips, clicking the Open Clip buttonin the Detail View window opens a dialog that lets you reconnect the clip tothe database record. If a group (folder) of source clips has been moved,you can use the Connect Clips command in the Database menu to updateany broken links to clips that are in the folder you select.

Determining How to Prepare Source Clips for Editing The steps you need to take to prepare your clips for editing depend on thetelecine speed, whether you have NTSC or PAL video, and which frame rateyou plan to use for editing. The main goals in preparing the source clipsare to:

Set the video frame rate to match the frame rate at which you wantto editMaintain or restore audio/video sync

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Generating All Kinds of Lists

There are a number of other lists that can be generated by Cinema Tools atthe same time the application is generating a cut list. A film list file can




contain any of the following:

Optical list: A list for the effects printer, describing any transitions andmotion effects. Although opticals are not commonly used as much asthey used to be, if you need this list, Cinema Tools can generate it foryou.Scene list: A list of all the scenes used in your program and the shotsused in the opticalsPull list: A list to aid the lab in pulling the required negative rollsDuplicate list: A list of duplicate usages of the same source materialMissing elements list: A list of any required information that could notbe found in the database

Cinema Tools can also export a change list. A change list can be useful ifyour production process involves workprint screenings and modifications.The change list assumes a workprint has been cut to the specifications of acut list (or prior change list) and it specifies further changes to make to theworkprint, based on edits you have made to the sequence in Final Cut Pro.

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Integrating Cinema Tools with Your Final Cut Pro Workflow Final Cut Pro is an editing application while Cinema Tools is mostly adatabase application. So how do the two applications integrate? There areseveral options for each stage of your project's workflow. Should youimport the telecine log into Cinema Tools and export a batch capture listfor Final Cut Pro, or should you import the telecine log directly into FinalCut Pro? You need to examine your project's needs and workflow in orderto determine how to best proceed and how streamline your workflow formaximum efficiency. Like most operations in Final Cut Studio, there areseveral ways to accomplish the same operation. Some Cinema Tools-related functions you can perform directly from Final Cut Pro are:

Importing telecine log filesConforming 25 fps video to 24 fpsReversing the telecine pull-down (using the last settings in CinemaTools)Opening a clip in the Cinema Tools Clip windowSynchronizing a Cinema Tools database to a group of selected clips,film lists and change lists

Cinema Tools is used manually if you need to add information to thedatabase beyond what the telecine log provided, or if you have a uniqueissue with reverse telecine and need to configure its setting.

Cinema Tools and ALE Files? The ALE (Avid Log Exchange) file format was created so that the contentsof film-based databases could be transferred between systems. ALE filesare plain text files that can be opened and edited with any text editor.Cinema Tools supports importing and exporting ALE files, making it possibleto share databases with other systems.

Planning Your Film Workflow Out




One aspect of filmmaking that is often neglected is the process of planningyour entire production and how the postproduction workflow will beimplemented. Before you begin your project, make sure to discuss it withall parties involved in the process:

Rental houses or owner/operators providing equipment or suppliesused during the productionCrew involved in the actual productionThe facility that will develop your film, create work prints, and createthe release printThe video transfer facilityThe editor using Cinema Tools and Final Cut Pro (if it is not you)The negative cutterThe audio post-production facility

Have Foresight About Cutting Corners There are a number of times throughout the film production process whenyou will have to choose between what needs to be done and what you canafford to do. Often your budget or a lack of time drives the decision. Makesure you thoroughly understand your workflow choices before makingdecisions that could end up costing you more, both in time and money, inthe long run. Problems based on choices made early in the process couldtake you by surprise later.

For example, a workprint can be a great idea. A workprint is a printassembled from your negative to "test the edit". Yes, it is an extra expenseto strike a workprint but you only have one original negative. If you mess itup because all of your cuts are not perfect, it can lead to disaster.

The Big One: Conforming Conforming a clip to a frame rate means that each frame in the clip isgiven an equal duration in seconds based on a frame rate that is specifiedby the user. For example, if you conform a clip with 240 frames to 24frames per second, each frame becomes 1/24 of a second, and the totalduration of the clip is 240/24 seconds, or 10 seconds. Use the Conformfeature to change the frame rate of a clip to the frame rate at which youwant to edit. If the clip contains audio and video, the Conform feature alsoadjusts the audio rate so that the audio and video remain in sync.

It is important to note that unlike the database operations that are possiblewith Cinema Tools, conforming modifies the actual source media file. Youmust have read-and-write access to the media file to use the conformfeature. You cannot use the Undo command after conforming to restore thefile to its original frame rate. It is possible to use the Conform feature toreturn the file to its original frame rate though.



To Conform Individual Clips:

1. Choose File > Open Clip, then select the clip in the dialog.2. In the Clip window, click the Conform button.3. In the Conform Clip dialog, choose a new frame rate from the

"Conform to" pop-up menu, then click Conform.

You can conform 25 fps PAL clips to play at 24 fps from within Final CutPro. To conform a clip in Final Cut Pro

1. Select one or more clips in the Browser to conform from 25 fps to 24fps.

2. Choose Tools > Conform 25 to 24.

The clips are conformed to 24 fps.

Batch Conforming Several Clips at a Time

As an alternative to conforming the frame rate of each clip individually, youcan use the Batch Conform feature to conform the frame rates of all theclips in a selected folder.

1. Make sure all the clips you want to conform are in the same folder.2. Choose File > Batch Conform.3. In the dialog that appears, select any clip file in the folder that

contains the clips you want to conform, then click Choose.

In the Batch Conform dialog, choose a frame rate from the "Conform to"pop-up menu, then click Conform. After the batch conform process iscompleted, the following occur:

The clips are conformed to the chosen frame rate and placed in aCinema Tools-created subfolder named "Conformed [frame rate],"where "frame rate" is the new frame rate for the clips. A folder mightbe named Conformed 24.0, for example.If Cinema Tools is unable to complete the conform process for a clip,that clip is moved into a Cinema Tools-created subfolder namedSkipped. (A clip is not processed if it doesn't contain a video track, ifthe frame rate is not supported, or if no codec is found for the videotrack.)A text file named "conform.log" appears at the top level of the folder.This log gives the date and time that the process started and ended,for each clip. If any problems were encountered, such as running outof disk space or memory, an error message describing the problemalso appears in the log.

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How To Use Cinema Tools to Conform a Canon 5D MKII Clip (AnExample)




Use the Conform feature to change the frame rate of a clip to the framerate at which you want to edit or exhibit. If the clip contains audio andvideo, the Conform feature also adjusts the audio rate so that the audioand video remain in sync. Conforming modifies the actual source mediafile. You must have read-and-write access to the media file for the Conformfeature to be available.

As a popular example, in order to convert 30P video from the Canon 5DMKII to 24p (23.98), the following workflow was originally developed bycinematographer Denver Riddle and has been utilized by thousands of 5DMKII users. Keep in mind also that this example illustrates how to change30 fps material to 23.98 fps. The same workflow can also be used toconvert the same 30 fps material to 25 fps for PAL territories by merelysubstituting 25 fps wherever the example calls for 23.98.

There are several questions you must consider that will factor in to exactlywhich parts of the workflow of this conversion will need to utilized for yourparticular situation.

It is assumed that you want the 30 fps footage to still playback in realtime after conversion to 23.98 fps. If you only run the footage throughCinema Tools Conform feature and then edit with it without utilizingthe Compressor portion of the operation, the footage will be overcranked by 6 fps. For some projects, this effect is desirable; it cangive the footage a sort of "dreamy" quality that works for certainprojects.It is assumed that the footage you are converting has sync audio thatyou want to use with the 23.98 fps clipIt is assumed that you are familiar with Final Cut Pro and Compressorand are primarily learning how to use Cinema Tools

1. Edit your 5D MII 30 fps material in a 30 fps FCP timeline. If you clickon any of the clips that comprise the sequence in FCPs Browser, thenclick on item properties > item properties, you will see listed as "VidRate" that the clip is a true 30 fps.

2. Create an identical copy of your finished edited sequence so that you



will have two clips, one to convert to 24 fps and one to preserve theaudio. Make sure to label the copied sequence in a logical way so thatyou will be able to determine which is the original and which is thecopied sequence.

3. Export the 30 fps copy from FCP. Make sure that you export it as aself-contained movie, NOT as a reference movie.

4. Open Cinema Tools, go to File > Open Clip > choose "Conform",specify "23.98" to conform to.

Explanation: This keeps the same number of frames in the clip, it onlychanges the timebase from 30 fps to 24 fps, essentially creates overcranked footage by 6 frames, (desirable on some shots). As a resultthis makes the clip longer and slows the audio down, which isundesirable where audio is important. At this point you've alreadycreated a copy of the original clip therefore preserving the originalaudio, which we'll re-link to later in Final Cut.

5. Open Compressor and specify deliverable format and destination. Nowopen the inspector window so we can do some tweaking. Under"Frame Controls" tab, click the button to the right of "Frame Controls:"to enable this feature. Once enabled, select "On" for "Frame Controls:"Underneath the "Retiming Control" section is where we'll makechanges. For "Set Duration to:" click the radio button where it willallow us to put in a duration.

6. Open the copy of the clip that we created that stills has the 30 fpstimebase and put it into the Final Cut Pro timeline, Delete the videotrack and ensure that the timebase of the sequence is set to 23.98fps. Go to the end of the audio and read that the time displayed is.This way we are making sure that we are retiming (speeding back upthe clip) so that the clip will match the original audio in length. Thisnumber is the timecode you'll put into the duration field, (for example01:08:01:06) then depending on how well you want the footage tolook also taking into consideration the time it will require to compressit. Choose the desired quality under "Rate Conversion". I choose, "Best(High quality motion compensation)" to get superb results, howeverthis increases the compression time.

Important: Make sure that no matter which codec you use that itremains as a 23.98 fps timebase.

7. Now take the treated clip into Final Cut, we've already set up thesequence from step 3. Add the clip to video track 1, re-link and youhave a 30p 5D MKII clip converted to 24p (23.98 fps)

Synchronizing Your Audio with Your Video Since most film cameras don't record audio, production sound for a film isrecorded separately; this is known as dual (or double) system recording.How you synchronize the sound to the picture depends on the equipmentused and when in your post workflow that your syncing is performed. Thereare considerations related to your video standard, how the telecine transferwas done, and the timecode used that make a difference in how you shouldplan on syncing your sound.

There are four situations when audio synchronization is particularlyimportant:

During production - you must use the correct frame rate, slate andkeep sound reports for every take. The better your sound mixer'ssound reports are, the easier time you will have in post syncing audioDuring the telecine transferDuring editingWhile creating the release print

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The Basics of Syncing Your Audio




While shooting, you must provide visible and audible cues to sync on. Themost common method is to use a clapper board (also called a slate orsticks) at the beginning of each take. To make things even easier in post,you can use a timecode slate that displays the sound recorder's timecode.These days, there are even slates that can be ran on an Apple iPad, iPhoneor iPod Touch. To sync the audio with the video, position the video at thefirst frame where the slate is closed, then locate the sound (or timecode) ofthe related audio.

Synchronizing During the Telecine Transfer During production, the sound recorder typically begins recording a slightlybefore the camera rolls and stops recording a little after the camera stops.Because you end up recording more audio than film, you cannot play theaudio recording and the film through several takes and have them stay insync. If you want the telecine transfer to record synchronized audio on thevideotape, you must either use the scene-and-take transfer method,synchronizing each take on its own, or create a synced sound roll beforeperforming a camera-roll transfer.

A large benefit to synchronizing during the telecine transfer, aside fromhaving videotapes with synchronized audio ready to be captured, is that thetelecine log usually includes the audio timecode and sound roll numberinformation. In my opinion, this is the easiest and simplest method to workwith because your audio and picture are locked from the beginning.

For NTSC transfers, it is always necessary to run the film 0.1 percentslower than 24 fps (23.976 fps, typically referred to as 23.98 fps) tocompensate for NTSC video's actual frame rate of 29.97 fps. Because thefilm has been slowed down, audio too must be slowed to maintain sync.

PAL transfers: PAL transfers using the 24 @ 25 method (speeding up thefilm to 25 fps) require that the audio also be sped up if you are syncing theaudio during the telecine transfer or if you intend to edit the video at thisrate.

Synchronizing Your Sound in Final Cut Pro

If you don't synchronize your sound and picture during the telecinetransfer, they can be captured into Final Cut Pro as separate audio andvideo clips. You can then synchronize them in Final Cut Pro, using theclapper board recorded at the head or tail of each shot. This process, whiletedious, is not actually that difficult to accomplish, it just takes time. Oncethe audio and video clips are synced together, it is simple to merge the twocomponents into one clip so that the audio and video elements staytogether when moved or edited. Telecine rooms, per hour, typically costmore money than you would be paying your video editor per hour so manyproductions simply transfer the film to video during the telecine session,



then sync their audio elements later in Final Cut Pro with their editor orwith the assistant editor.

Cinema Tools Installed Easy Setups for Final Cut Pro Unless you are an expert at what all of the sequence, capture and devicecontrol and external video presets settings do in Final Cut Pro, I am a bigadvocate of using easy setups. I have found that the Easy Setups generallyhelp you avoid small errors when you forget to change a certain settingand FCP will then not function correctly. When you install Cinema Tools aspart of Final Cut Studio, Cinema Tools adds several easy setups as listedbelow to help in setting up your Final Cut preferences easily and quicklywhen editing projects that have been managed with Cinema Tools.

23.98 fps from DV PAL: Choose this Easy Setup to capture PAL videoand to set the editing timebase to 23.98 fps. This option assumes youwill conform the captured video to 23.98 fps.24 fps from DV PAL: Choose this option to capture PAL video and toset the editing timebase to 24 fps. This option assumes you willconform the captured video to 24 fps.23.98 fps from DV NTSC: Choose this option to capture NTSC video(in the non-drop frame timecode format) and to set the editingtimebase to 23.98 fps. This option assumes you will reverse telecinethe captured video to 23.98 fps.24 fps from DV NTSC: Choose this option to capture NTSC video (inthe non-drop frame timecode format) and to set the editing timebaseto 24 fps. This option assumes you will reverse telecine the capturedvideo to 24 fps.DV NTSC NDF: Choose this option to capture NTSC video (in the non-drop frame timecode format) and to set the editing timebase to 29.97fps. This option assumes you will not perform reverse telecine on thecaptured video.DV PAL 24 @ 25: Choose this option to capture PAL video and set theediting timebase to 24 fps, but use 25 fps timecode. This optionassumes you will conform the 25 fps video to 24 fps.

All Easy Setups designed specifically for Cinema Tools users, except for "DVPAL 24 @ 25," include the name Cinema Tools in the setup title.

How to Synchronize Final Cut Pro Clips with Cinema Tools You cannot manually update a clip's film information in Final Cut Pro.Because your master database records are contained within Cinema Tools,the information must be imported from a Cinema Tools database. Final CutPro includes the ability to synchronize one or more selected clips with aCinema Tools database. This is especially useful when you have imported atelecine log and captured the clips: synchronizing the clips with theirdatabase automatically connects the clips to their records. You can alsocreate a new database, which adds the information for each clip to itsrecord.

Tracking Duplicate Uses of Source Material When you edit digitally, it is taken for granted that you can easily use thesame shot several times within a project. Remember though, with aCinema Tools project, you are electronically editing your film negative. Ifyou use source material more than once, where will the copies of thenegative that you are using multiple times come from? Cinema Tools allowsyou to track multiple uses of the same source material in your editedsequence. There are two basic reasons to do this:

If you want to use the same source material more than once in yourproject: You can export a duplicate ("dupe") list and give it to your labas a part of a duplicate negative order.If you don't want to or cannot afford to spend the money required tocreate a duplicate negative, you need to be careful not to edit in away that uses the same source material more than once becausethere is only one original camera negative. When editing digitally, it'sso easy to use the same material twice that you may not even realizethat you've done it, but Cinema Tools lets you check for duplicate



usage on a regular basis.

Other Common Items You Can Export from Cinema Tools The main goal of using Cinema Tools is to generate an accurate cut list. Formost projects, you may also it helpful to create additional items from youredited program:

A videotape of the program: This may be useful so that you can showthe program to a distributor or film festival committee or provide avisual guide to the negative cutter.A file containing the program's audio: You usually create this file if youwant to use the program's audio but finish it at an audio post-production facility.An audio EDL: This is required when you intend to recapture the audiousing specialized equipment and re-edit it using the audio timecodefrom the edited program.

The Future of Cinema Tools While it is unlikely that Cinema Tools will ever be anything much more thana tool for filmmakers who are shooting on film, digital filmmakers arediscovering that the conform feature can be a useful tool for manipulatingframe rates with digitally-originated video material as well.

While the film industry continues to expand its use of digital video, film isby no means an outdated workflow. The aesthetics of film are still anundeniably beautiful part of the cinematic art. Kodak and Fuji continue todevelop and introduce new film stocks that are evolving and looking betterwith each new generation. As a still photographer and cinematographer whogrew up shooting film, I still have a preference for the look of images shoton film. We are living in a time where digital and film technology areinteracting and merging in ways that we never knew were possible a meredecade ago. Cinema Tools represents a straightforward and effective wayof bringing the advantages of a digital workflow to the traditional method ofshooting motion pictures. For those of you who need to integrate film intoyour workflow, Cinema Tools is a powerful and elegant solution to filmfinishing.

Dan Brockett is an independent television producer based in Los Angeles,Ca. Dan's most recent project was serving as DP for the 2010 national PBSspecial "The Legendary Bing Crosby". Dan also writes features and amonthly column for www.hdvideopro.com and you can reach him [email protected].

16 CFR Part 255 Disclosure I own all the software I used in this article; I paid market rates for it, withno special deals. I have no material connection to Apple, or any othervendor mentioned. I have received no compensation of any sort to reviewor recommend any of the software procedures discussed.

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