Conforming practices from TK

[Rob_Kraetsch]

Hello fine folks!

 

I'm trying to budget for a short film, and we're not sure whether or not we will be conforming the negative/striking prints (Depends on further post funding/Festival selection etc). Traditionally, I've requested both a clean and a key-burned copy when doing the telecine, but I'm wondering if that's necessary/wise. I started that practice in college, and just never really questioned it. Is it possible to just get the keycode info in metadata, or on disk?

 

If so, how does this play when converting tape formats (DigiBeta, HDCam or D5HD to DV/DVCam)? How would this play with various editing systems?

 

We'll most likely be going to DigiBeta on a Rank/Pogle or Da Vinci set-up, and kicking down to DVCam or (Gulp) MiniDV for editing on FCP 4.0. Shooting Super16 unless I can somehow fenagle a 2-perf 35mm. I'd be interested in hearing what nightmares I can expect in going that route as well. I'm thinking we'd probablly just go to HD in that case, and scan it out. :unsure:

 

Thanks in advance!

-Rob Kraetsch

[Phil Rhodes]

Hi,

 

If you can ensure you get proper timecode on the tape, most software - even quite low-end sofware - will capture that for you. It should then be possible to take a CMX-3600 EDL and the keykode data from a Flex file floppy and produce a neg cutting list. I say "should;" I have never done this, but I'm assuming there's some way to make it happen as it's a fairly obvious route to take. I have read the Final Cut Pro with Film Tools can do it.

 

Also, you can use the CMX-3600 to conform a Digibeta, uncompressed or hi-def online to your DV cut.

 

Phil

[Rob_Kraetsch]

Good sir, I thank you.

 

Now if only I can get the finished script from the writer/director I may actually be able to finish this budget....

 

-Rob Kraetsch