Contents

Cinema Tools 4 User Manual
- Contents
- Welcome to Cinema Tools
  - About Cinema Tools
  - About the Cinema Tools Documentation
  - Additional Resources
- An Overview of Using Cinema Tools
  - Editing Film Digitally
    - How Does Cinema Tools Help You Edit Your Film?
    - What Cinema Tools Does
    - About the Digital Intermediate Process
  - Why 24p Video?
  - Working with 24p Sources
  - Offline and Online Editing
  - Creating the Cinema Tools Database
    - How the Database Works
    - A Detailed or Simple Database?
    - Importing Telecine Logs
    - Manually Entering Database Records
  - Capturing the Source Clips with Final Cut Pro
    - Recompressing the Captured Files
    - Capturing Tactics
      - Device Control
      - Camera-Roll Transfers
      - Scene-and-Take Transfers
      - Finishing with High-Quality Video
  - Preparing the Clips for Editing
    - Reverse Telecine
    - Conform
  - Creating Cut Lists and Other Lists with Cinema Tools
  - How Much Can Be Done from Final Cut Pro?
- Before You Begin Your Film Project
  - An Introduction to Film Projects
  - Before You Shoot Your Film
  - Which Film to Use?
  - Transferring Film to Video
    - Telecines
    - Transfer Techniques That Are Not Recommended
      - Film Chains
      - Recording a Projected Image with a Camcorder
    - How Much Should You Transfer?
      - Camera-Roll Transfers
      - Scene-and-Take Transfers
  - Frame Rate Basics
    - Working with NTSC Video
    - Working with PAL Video
      - 24 @ 25 Method
      - 24 & 1 Method
    - Working with 24p Video
    - Timecode Considerations
      - General Timecode Tips
      - About NTSC Timecode
      - What Happens to the Timecode After Using Reverse Telecine?
      - What Happens to the Timecode After Using Conform?
  - Audio Considerations
    - Choosing a Sound Recorder
    - Choosing an Audio Timecode Format
    - Mixing the Final Audio
      - Finishing the Audio with Final Cut Pro
      - Exporting Audio EDLs
    - Synchronizing the Audio with the Video
      - Synchronization Basics
      - Synchronizing During the Telecine Transfer
      - Synchronizing in Final Cut Pro
  - Working in Final Cut Pro
    - Setting the Editing Timebase for Sequences
    - Outputting to Videotape When Editing at 24 fps
    - Using Effects
- Cinema Tools Workflows
  - Basic Film Workflow Steps
  - Film Workflow Examples
    - If You Used Scene-and-Take Transfers
      - Workflow for a Scene-and-Take Transfer with a Telecine Log
      - Workflow for a Scene-and-Take Transfer Without a Telecine Log
    - If You Used Camera-Roll Transfers
      - Clip-Based Workflow for a Camera-Roll Transfer
      - Timecode-Based Workflow for a Camera-Roll Transfer
  - Basic Digital Intermediate Workflow Steps
  - Digital Intermediate Workflow Using a Telecine
  - Working with REDCODE Media
- Creating a Cinema Tools Database
  - An Introduction to Cinema Tools Databases
  - Deciding How You Should Create the Database
    - Capturing Before You Create the Database
    - If You Have a Telecine Log or ALE File
    - If You Do Not Have a Telecine Log or ALE File
    - A Potential Database Shortcut for Camera-Roll Transfers
    - Additional Uses for the Database
  - Creating and Configuring a New Database
    - Creating a New Database Using Cinema Tools
    - Creating a New Database Using Final Cut Pro
      - Synchronizing a Set of Selected Clips to Create a New Database
      - Importing a Telecine Log File to Create a New Database
    - Settings in the New Database Dialog
- Working with Databases
  - Opening an Existing Database
  - Viewing Database Properties
  - About the Detail View Window
  - Settings in the Detail View Window
  - About the List View Window
  - Settings in the List View Window
  - Finding and Opening Database Records
  - Settings in the Find Dialog
  - Backing Up, Copying, Renaming, and Locking Databases
  - About the Clip Window
  - Settings in the Clip Window
  - Accessing Information About a Source Clip
- Entering and Modifying Database Information
  - About Working with Database Information
  - Importing Database Information
    - Importing Database Information from a Telecine Log or ALE File
    - Assigning Camera Letters
    - Importing Telecine Logs Using Cinema Tools
    - Importing Telecine Logs Using Final Cut Pro
    - Importing Database Information from a Batch Capture List
    - Importing an Existing Cinema Tools Database
  - Entering Database Information Manually
    - Creating a New Database Record
    - About the Descriptive Scene and Shot Data
    - Entering Information in a Database Record
  - Using the Identify Feature to Calculate Database Information
    - Calculating Edge Code and Timecode Numbers
    - About Modifying Data with the Identify Feature
  - Deleting a Database Record
  - Choosing a Different Poster Frame for a Clip
  - Changing the Default Database Settings
  - Changing All Reel or Roll Identifiers
  - Verifying and Correcting Edge Code and Timecode Numbers
- Capturing Source Clips and Connecting Them to the Database
  - About Source Clips and the Database
  - Preparing to Capture
    - Avoiding Dropped Frames
    - Setting Up Your Hardware to Capture Accurate Timecode
      - Genlocking the Deck and Video Capture Interface
      - Calibrating the Timecode Offset
    - Considerations Before Capturing Audio
    - Considerations Before Capturing Clips Individually
  - Generating a Batch Capture List from Cinema Tools
    - About Standard and XML Batch Capture List Differences
    - Using Standard Batch Capture Lists
    - Using XML Batch Capture Lists
  - Connecting Source Clips to the Database
    - Using the Connect Clips Command
    - Connecting Clips Using the Detail View Window
    - Connecting Clips Using the Clip Window
  - Fixing Broken Clip-to-Database Links
    - Reconnecting Individual Clips
    - Locating Broken Links and Reconnecting Groups of Clips
- Preparing the Source Clips for Editing
  - An Introduction to Preparing Source Clips for Editing
  - Determining How to Prepare Source Clips for Editing
    - Choosing an Editing Frame Rate
    - Ways You Can Prepare the Source Clips
  - Using the Conform Feature
    - Conforming One Clip at a Time
    - Batch Conforming Several Clips at a Time
  - Reversing the Telecine Pull-Down
    - Determining the Field Capture Information
    - About A Frames
    - Using Reverse Telecine on a Single Source Clip in Cinema Tools
    - Using Reverse Telecine on Source Clips in Final Cut Pro
    - Using Batch Reverse Telecine
      - Preparing to Use Batch Reverse Telecine
      - Using Batch Reverse Telecine for Multiple Source Clips
      - Using Batch Reverse Telecine a Second Time
  - Making Adjustments to Audio Speed
  - Synchronizing Separately Captured Audio and Video
  - Dividing or Deleting Sections of Source Clips Before Editing
    - Strategies for Breaking Down Source Clips Before Editing
    - Deleting a Source Clip File
- Editing with Final Cut Pro
  - About Easy Setups and Setting the Editing Timebase
  - Working with 25 fps Video Conformed to 24 fps
    - About the Timecode
    - About the Sequence Presets
  - Displaying Film Information in Final Cut Pro
    - Synchronizing Final Cut Pro Clips with Cinema Tools
    - Showing Film-Related Information in Item Properties
    - Showing Film-Related Information in the Browser
    - Showing Film-Related Overlays in the Viewer and Canvas
    - Showing Film-Based Frame Counts
  - Opening Final Cut Pro Clips in Cinema Tools
  - Restrictions for Using Multiple Tracks
  - Using Effects, Filters, and Transitions
    - Special Considerations for Effects in a DI Workflow
    - Including Titles, Supers, and Transitions in a Film Workflow
    - About Interpositives
    - Contact Printing vs. Optical Printing
      - Comparing Quotes
      - Dividing Transitions Between a Contact and Optical Printer
  - Tracking Duplicate Uses of Source Material
  - Ensuring Cut List Accuracy with 3:2 Pull-Down or 24 & 1 Video
- Generating Film Lists and Change Lists
  - An Introduction to Film Lists and Change Lists
  - Choosing the List Format
    - About PDF-Format Film Lists
    - About XML-Format Film Lists
    - About Style SheetBased Film Lists
  - Lists You Can Export
    - Cut List
    - Missing Elements List
    - Duplicate List and Double Usage Warnings
      - Duplicate List
      - Double Usage Warnings
    - Optical List
      - How the List Entries Are Linked
      - Transition Effects List
      - Filter Effects List
      - Motion Effects List
    - Pull List
    - Scene List
    - Optical Scene List
  - Exporting Film Lists Using Final Cut Pro
    - Exporting the Film Lists
    - Settings the Export Dialogs Have in Common
    - PDF Configuration Settings in the Export Film Lists Dialog
  - Creating Change Lists
    - When Are Change Lists Used in a Film Workflow?
    - When Are Change Lists Used in Other Workflows?
    - About Exporting Change Lists
      - Exporting from Final Cut Pro
      - Exporting from Cinema Tools
      - Should You Use XML or Program Files?
    - Exporting Change Lists Using Final Cut Pro
    - Settings in the Export Change List Dialog
    - About the PDF Items and Change Lists
    - Exporting Change Lists from Within Cinema Tools
    - Settings in the Cinema Tools Export Change List Dialog
  - Working with XSL Style Sheets
    - XML Film List Basics
    - Pull List Style Sheet Example
- Export Considerations and Creating Audio EDLs
  - About Common Items You Can Export for Your Project
  - Considerations When Exporting to Videotape
  - Considerations When Exporting Audio
    - OMF Files
    - AIFF Files
    - Audio Speed
  - Exporting an Audio EDL
    - Wheres the Audio Timecode?
    - Using Cinema Tools to Export an Audio EDL
    - Settings in the Export Audio EDL Dialog
    - Audio Track Usage
    - Using the Export Audio EDL Feature from Cinema Tools
- Working with External EDLs, XML, and ALE Files
  - Creating EDL-Based and XML-Based Film Lists
    - Before You Use the Cinema Tools Export Commands
      - EDL Requirements
      - EDL Video Standards
      - XML Requirements
    - Exporting Film Lists from Cinema Tools
    - What Actually Happens to the EDL
    - About Using EDLs with DPX Image Sequence Media
    - Using TextEdit to Make Changes to an EDL
  - Working with ALE Files
    - Supported ALE Fields
    - Importing an ALE File
    - Exporting an ALE File
- Working with 24p Video and 24 fps EDLs
  - Considerations When Originating on Film
  - Editing 24p Video with Final Cut Pro
    - Using a Final Cut Pro System for 24p Offline and Online Editing
    - Using 24p Video with Final Cut Pro and Cinema Tools
    - Using Final Cut Pro as a 24p Online Editor
      - Copying the Project
      - About Importing EDLs
      - Importing 24 fps EDLs
      - Importing NTSC EDLs
    - Using Final Cut Pro as a 24p Offline Editor
      - Using the Reverse Telecine and Conform Features
      - Converting NTSC EDLs to 24 fps
  - Adding and Removing Pull-Down in 24p Clips
    - Working with 2:3:3:2 Pull-Down
    - Removing 2:3:3:2 Pull-Down with Final Cut Pro
    - Removing 2:3:3:2 or 2:3:2:3 Pull-Down with Cinema Tools
    - Pull-Down Patterns You Can Apply to 23.98 fps Video
      - 3:2 Pull-Down
      - 2:3:3:2 Pull-Down
      - 2:2:2:4 Pull-Down
    - Adding Pull-Down to 23.98 fps Video
  - Using Audio EDLs for Dual System Sound
- Appendix A: Film Background Basics
  - Film Basics
    - Frame Size
    - Perforations
      - 16mm Film
      - 35mm Film
    - Film Edge Code
      - Key Numbers
      - 3-Perf 35mm Offsets
      - Ink Numbers
      - Window Burn
    - Speed
  - Editing Film Using Traditional Methods
  - Editing Film Using Digital Methods
- Appendix B: How Cinema Tools Creates Film Lists
  - Film List Creation Overview
  - About the Clip-Based Method
  - About the Timecode-Based Method
- Appendix C: Solving Problems
  - Resources for Solving Problems
  - Solutions to Common Problems
  - Contacting AppleCare Support
- Glossary

Apple Cinema Tools 4 User Manual

Pages 258

Year 2007

Language(s)

of 258

Apple Cinema Tools 4 Specification

Apple Cinema Tools 4 is a comprehensive software application designed primarily for filmmakers and video editors working with film-based media. It is part of Apple's Final Cut Studio suite and caters to the post-production processes involved in film editing, including telecine, editing, and conforming. The software supports a range of frame rates and resolutions, making it versatile for different film formats and standards. Cinema Tools 4 offers advanced database management capabilities, allowing users to track film metadata efficiently. This feature ensures seamless integration between digital and film editing processes, facilitating accurate conforming and managing of timecode information.

A key component of Cinema Tools 4 is its robust reverse telecine feature, which converts 24 fps film into 30 fps digital video, crucial for maintaining high-quality footage during the editing process. The software also includes advanced features for managing keycode and ink numbers, essential for maintaining sync between film and digital formats. Additionally, Cinema Tools 4 supports automatic and manual database reconciliation, ensuring that any discrepancies between the digital edit and the film source are resolved accurately.

The application is optimized for seamless integration with Final Cut Pro, enabling editors to import and export projects effortlessly. Its user interface is designed to be intuitive, providing filmmakers with the tools necessary to manage the complexities of film editing with ease. With its focus on precision and efficiency, Apple Cinema Tools 4 remains an essential tool for professionals seeking to bridge the gap between traditional film and modern digital editing workflows.

Apple Cinema Tools 4 F.A.Q.

How do I import footage into Apple Cinema Tools 4?

To import footage, open Cinema Tools, go to File > Open, and select the video file you want to work with. Supported formats include QuickTime and other common video formats.

What is the process for reverse telecine in Cinema Tools 4?

To perform reverse telecine, open your video file in Cinema Tools, then go to the 'Reverse Telecine' option in the menu. Choose the appropriate settings for your footage, and click 'OK' to apply.

How can I fix a broken database in Cinema Tools 4?

To repair a database, open Cinema Tools, navigate to the 'Database' menu, and select 'Repair Database'. Follow the on-screen instructions to restore your database to working condition.

Can I export an EDL from Apple Cinema Tools 4?

Yes, you can export an EDL by going to File > Export > EDL. Select the sequences you want to export and configure the export settings to your preference.

What troubleshooting steps can I take if Cinema Tools 4 crashes on startup?

If Cinema Tools 4 crashes on startup, try reinstalling the software, updating your macOS, or checking for conflicting plugins. Also, ensure your system meets the minimum requirements for the software.

How do I conform video framerates in Cinema Tools 4?

To conform framerates, open your video in Cinema Tools, select 'Conform' from the menu, and choose the desired framerate. This process alters the playback speed to match the selected rate.

Is it possible to batch process videos in Cinema Tools 4?

Yes, Cinema Tools 4 supports batch processing. Use the Batch Conform feature by selecting multiple files and applying your desired operations to the entire set.

What maintenance tips can help keep Cinema Tools 4 running smoothly?

Regularly update your software, clear cache files, and back up your databases. Also, ensure that other software and macOS are up-to-date to avoid compatibility issues.

How do I change the timecode in a video using Cinema Tools 4?

To change the timecode, open the video in Cinema Tools, go to 'Modify Timecode', and set your desired start timecode. Save the changes to update the video file.

What should I do if I encounter an 'Unsupported File Format' error?

Ensure the file is in a compatible format like QuickTime. If not, use a conversion tool to change the format before importing it into Cinema Tools 4.