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Production Tips

Sound Timecode -- Make sure that all production sound is recorded with Non-Drop Frame (NDF) timecode on the DAT or Nagra 1/4" tapes. Without timecode, your audio conforming will take a painfully long time. If you've already shot your film without timecode on your sound rolls, you can still have them transferred to new sound rolls with timecode. This does cost extra money, however. Then, use these new sound rolls for your telecine and your final mix.

Recording Production Sound -- 1/4" Nagra tape vs. DAT tape: Most telecine operators will recommend that you use 1/4" Nagra tape for your principle sound tapes, and use DAT for your backup tapes. In general, DAT is harder to work with during telecine. If you request 1/4" Nagra for your principle tapes, most production sound mixers will be glad to oblige.

Picture Slates -- It is a good idea to make sure that each and every take is being visually slated with a unique scene and take number to avoid duplicate slating. Duplicate slating can cause confusion not only for the negative cutter, but for yourself as well. A gentle reminder to the person assigned to the clapper usually assures this.

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NTSC

When the production day is over, your film goes to the lab and is developed. After development, the film and the sound rolls are sent to the telecine transfer facility for the film-to-tape transfer. They should generate a telecine log for you during the transfer.

  • The telecine log must be one of the following formats:
    1. Flex (<tapename>.FLX)
    2. Keyscope (<tapename>.KSL)
    3. Evertz KeyLog (<tapename>.FTL)
    4. Avid Log Exchange (<tapename>.ALE)
  • The telecine log should contain the following information:
    1. Video Tape Timecode In
    2. Video Tape Timecode Out (or duration)
    3. The Film Key Code In
    4. The Camera Roll number
    5. The Sound Roll number
    6. The Sound Timecode In
    7. The Pullin Frame (most transfer facilities will give you the pullin on the "A" frame, and you should always INSIST ON IT)
  • The telecine tape must be Non-Drop Frame timecode.

  • WINDOW BURN-INs:
      For all film to tape transfers, certain time and key code windows should be burned-into the picture. This enables you to complete the second stage of error correcting. It may seem like a lot of windows, but it is best to think of this as cheap insurance. Just tell your transfer facility to make the windows as small as possible without being illegible.



        - Film Key Code numbers in the lower right hand of the picture
        - Video Tape timecode in the lower left hand of the picture
        - Sound Timecode in the upper right hand of the picture

      It is recommended that the window burn-ins exist for the entire length of each shot.
 PAL

IMPORTANT: Your film negative should be transferred at 24 fps!

By doing your telecine at 24 frames per second, you are assured of a frame accurate edit with no audio sync problems.

  • VIDEO TAPE:
      The film should be transferred to High Band U-matic or Betacam PAL video with continious timecode. It is suggested that each day of rushes are transferred to a separate tape with matching timecode (i.e. Day 1 starts with timecode 01:00:00:00; Day 2 starts with timecode 02:00:00:00, etc.) and labeled accordingly.

      NOTE: Labeling your telecine video tapes: Ask the telecine transfer facility to label your tapes as simply as possible, e.g. use three digit numbers starting with 001, then 002, 003... etc.
  • HOLE PUNCH:
      Before the telecine process, your telecine transfer facility must hole punch the film at the head and tail of every camera roll or uncut piece of film, preferably at an exact Key Number. The Key Number of these frames must be carefully noted, and after telecine, the timecode of the punched hole and the corresponding Key Number will be entered into Slingshot for the film matchback. This allows Slingshot to calculate the Key Number for each frame in your movie.

      At the start of every uncut piece of film, a double hole punch (or single hole punch for 16mm film) must be made on a frame where a Key Number is readable.

      This Key Number must be carefully noted. A single hole punch can be made at the end of each uncut piece of film, and the corresponding Key Number can be noted as well. This is an additional safety check to make sure that there are no breaks in the film being transferred.

      HOT TIP: Every Key Number has a dot on the film, either before or after the Key Number. This is the frame to which the Key Number refers. Also, watch out for lab joints and framing errors. If the roll of film has lab joints or framing errors, then you must hole punch each bit of film.

      REMEMBER, EVERY UNCUT PIECE OF NEGATIVE MUST BE PUNCHED!

      NOTE: If the hole punched frame does not fall on an exact Key Number, then you would note the Key Number and the number of frames offset from the Key Number (if the punch is 3 frames from the Key Number KQ 47 6532-4009, it would be expressed as KQ 47 6532-4009+03). Count the Key frame as the zero frame, and then count the number of frames offset from there.

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Before You Edit

Digitizing -- Keep your Audio and Video media segregated. We recommend that when you digitize your dailies, you should put the video and audio on separate drives. You can use your slower drives for audio, and your faster drives for video. This way, you may avoid some playback problems like stuttering video or dropped audio and at the same time it will help with your media management.

Cross-Referencing Information -- Telecine log files may contain mistakes which can cause problems if not caught early enough. The following procedures will help you catch and correct most of these errors before they become a problem and can save tremendous time later.
  1. Print the Dailies Log created with Slingshot's Telecine Log Converter.

  2. Cross-reference each shot digitized to make sure all of the reports and notes match the burned-in window and slate information. The Dailies log, the Camera Reports, the Sound Reports and the Script Supervisor's notes should all agree with the slate and the burned-in information.
    1. Load the clip into the Edit window and go to the first frame of picture.
    2. Advance the picture frame by frame until the "Vid Start" timecode on the Dailies Log matches the Video Timecode window burn-in.
    3. Check to make sure that the "Clip Name" on the Dailies Log matches:
      • the Scene and Take on the picture Slate
      • the Circled Take in the Script Supervisor notes
      • the Cirlced Take in the Camera Reports and
      • the Cirlced Take in the Sound Reports
    4. Check to make sure that the "Key Number Start" on the Dailies Log matches the KeyCode window burn-in.
    5. Check to make sure that the "SND Start" timecode on the Dailies Log matches the Sound Timecode window burn-in.
    6. Check to make sure that the "Cam(era) Roll" on the Dailies Log matches:
      • the Slate on the picture
      • the Circled Take on the Camera Reports
    7. Check to make sure that the "S(ou)nd Roll" on the Dailies Log matches:
      • the Slate on the picture
      • the Circled Take on the Camera Reports
If You Find a Descrepancy --

  • SLATE:
      You can consider the information on the picture slate to be correct, unless the camera person or script supervisor noted otherwise. This is what the negative cutter will use when he or she is cutting your film. You should correct your converted TLC file to reflect the correct slate. See "Correcting your TLC Files" below for details on how to do this.
  • CIRCLED TAKE:
      The Script Supervisor is in charge of double-checking all camera reports and sound reports to make sure the circled takes match his/her notes. If there is a discrepancy as to what should be circled, call the Script Supervisor. If that's not possible, then go by the Script Supervisor reports for the final decision as to what take should have been telecined.
  • KEYCODE NUMBER:
      95% of the time the KeyCode number in the window burn-in is the correct one. It is not 100% of the time, however. IF there is a discrepancy between your Dailies Log and the key number burn-in window, the only way to guarantee that the key number is correct is to have someone visually check the negative at the frame in question.
      • If a mistake was made on the key number burn-in, then it will be necessary to re-telecine the shot with the correct window burn-ins. For more details, see "Regarding Re-Transfers" below.
      • If you find that after having someone visually check your negative and the key number burn-in on the video is correct, you must correct your converted TLC file to reflect the correct key number, and should correct your Dailies Log as well. See "Correcting your TLC Files" below for details on how to do this.
  • SOUND TIMECODE:
      99% of the time the window burn-in is correct (do not use the timecode on the smart slate, if one was used - it is not always accurate). Also, look at your sound mixer¹s reports. If there is a discrepancy between the Sound Timecode burn-in and the Sound Timecode number on the Dailies Log, the only way to guarantee that the Sound Timecode burn-in is correct is to have someone check the timecode on both the production audio tape and the telecine tape at a common reference point.
      • If a mistake was made on the sound timecode burn-in, it will be necessary to re-telecine the shot with the corrected window burn-ins and a new telecine log. For more details, see "Regarding Re-Transfers" below.
      • If a mistake was made in the Telecine Log, it will be necessary to correct your converted TLC file to reflect the correct Sound Timecode. You should also correct your Dailies Log. See "Correcting your TLC Files" below for details on how to do this.
      • HOT TIP: Regarding discrepancies, if a problem can't be answered by investigating all the paperwork, checking the video and checking the actual film, sometimes it is necessary to contact the Script Supervisor who should have the answer for you. Always try to get to the bottom of a film discrepancy to avoid costly problems down the line.
Regarding Re-Transfers -- If you have to re-transfer a shot because of incorrect telecine data , the telecine facility should do this for you at no charge. Make sure they label this with a new tape name.
Once you get the new transfer tape:
  1. Digitize the new clip from the new converted telecine log.

  2. Cut the new clip into your film, being sure to replace all instances of the re-transferred shot(s).

  3. Delete the old clip and it¹s media.
If you do it this way, there is no need to change your TLC files, since the integrity of your files are not affected.

Correcting Your TLC Files -- If you do find errors, be sure to update all of your TLC files with the correct information.
  1. Find the ".TLC" that you want to change.

  2. Open it with any text editor (MacWrite, Word Perfect, MS Word, etc.). For better viewing:
    1. Format your document page setup as 'landscape.'
    2. Set your font to any monospaced font (i.e. Courier).

  3. Find the Vid Start that matches the clip to be corrected.

  4. Find the data that needs to be corrected.

  5. Make the corrections, being careful to retain the original formatting!!

  6. Save the corrected file as a text only document.

During The Edit

Tips & Techniques --

  • Never use the first or last frame of a shot when you make your cuts. Be sure to leave yourself at least one or two extra frames for safety.

  • For WYSIWYG editing, set your editing system to stop at the first field of video when in "park mode".

  • Whether you are editing a 16mm or 35mm show, ask your optical house for their "preferred lengths" for dissolves, fades and wipes. Convert the film durations to the closest video durations, and try to keep your dissolves, etc. to those lengths. This can save you quite a bit of money when creating your opticals for your film finish.

  • Keep your audio tracks segregated
    1. Use tracks 1 & 2 for dialog and other production sound.
    2. Use tracks 3 & 4 for sound effects.
    3. Use tracks 5 & 6 for your music.
    4. Use tracks 7 & 8 as overflow.
    If you setup your audio tracks this way, you will only have to export EDLs for tracks 1 & 2 and any applicable overflow tracks for the final mix.


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Prepping Your Movie

Divide And Conquer -- If you are editing anything that is longer than 10 minutes (or 30 minutes in 16mm), you will have to split up your movie into 'reels'. In the world of film, the 'reel' size is equivalent to how many feet of film can easily be handled and worked with at any one time. These reels are usually 1000 ft. long. It is roughly equivalent to either 10 minutes for 35mm shows, and 30 minutes for 16mm shows.

Be careful to choose where you place the breaks between reels. You don't want to have to change reels where a music cue may go, or in the middle of a scene (if possible).

Ask your negative cutter what size reels they want to work in, and use that as your guideline for dividing your show.

As a matter of habit, and to facilitate the ease of editing a long show, I generally build my program, early in the editing process, in no longer than 10 minute segments (or 30 minutes for 16mm shows).

Time-Stamping Your Reels -- Each reel that you divide your show into should have it's very own start timecode.
    Reel One = 1:00:00:00
    Reel Two = 2:00:00:00
    Reel Three = 3:00:00:00
    Reel Four = 4:00:00:00
    ...Etc.
This will help you, the negative cutter and the sound mixer all keep track of each segment of your film.

Checking For Dupes (Using Dupe Lists to save you both time and money) -- When editing on film, in order to use any portion of a shot more than once, you must order a duplicate (dupe) of that shot from your lab. This entails making a copy of both the negative and the print. You would keep a running log of all dupes ordered, and keep both pieces of negative (the original and its copy) for your final cut. Dupes can be very expensive, and if you have a lot of them, the cost can add up quickly.

When editing on a non-linear editing system, it is easy to use the same shot more than once: you just cut it in. If you don't check for dupes and have them made before cutting your negative (when your editing is complete), this can cause problems. Horrible, nasty, expensive problems.
  • Making a Dupe List with Film Trakker:
    1. You must load one EDL from each reel of your film in the "From these EDLs" list; it will automatically check for dupes across all EDLs, including extra frame(s) needed by the negative cutter for splicing.
    2. Select film format (16mm or 35mm) and check the "Dupe List" switch.
    3. In the Dupe List drop-down window, keep handles set to "0", and set your preferences for sorting the dupes.
    4. Click on "Generate".
    5. Print the Dupe List.


  • Check your list to see if you can make any trims that will minimize the amount of dupes needed, AND won't effect the integrity of your cut.

  • If any trims were made, export new EDLs and remake the Dupe Lists.

Ordering The Dupe Negative --
  • Order the dupes from your lab, supplying them with your final Dupe Lists.

  • Make sure that they print the original key numbers through to the dupe negative.

  • NOTE: You must have all dupes completed before you advance to cutting negative.

Dealing With Opticals --
  • Order your opticals from your vendor, supplying them with:
    1. The Optical Lists generated by the Film Trakker
    2. A video tape of JUST the opticals they will create


  • Once the opticals are finished:
    1. Transfer them to video tape via the telecine process; this can usually be done all at once with a minimum of charge.
    2. Digitize the opticals and, in your final cut, replace the shots that made up the optical with the newly created optical.
    3. Generate new EDLs.
    4. NOTE: You must have all opticals completed, digitized, and cut in before you make your Cut Lists and advance to cutting the negative.

Cutting Negative --
  • Your negative cutter will need the following:
    1. A Pull List
    2. A Cut List
    3. A video tape of your film; this tape is your final piece of insurance that the negative cutter will use to prevent miscuts (NOTE: The negative cutter may have specific requirements for this video tape. Ask them what their specs are before the tape is made and it will save you a lot of hassle, time, and money)

Making A Print -- After your negative is cut, have your lab make your first Answer Print. This is the print that you will use both as a reference for mixing your sound, and to start the process of 'timing' your film.

NOTE: 'Timing' your film has nothing to do with time itself. It is a process (with your colorist at the lab) that enables you to make some adjustments to the brightness, contrast and color/hue of each shot in your movie. You may have to go through two or more timing sessions before your film looks the way you want it to look.

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Preparing For Your Sound Mix

After your picture is cut and an answer print has been struck, you need to mix your sound.
  • Preparing your Production Sound (also known as Dialog tracks):
    1. Generate the EDLs for each Dialog track.
    2. Trace each track back to its original source using the Sound Tracer.
    3. Create a Video Tape of each reel in your film according to your Dialog Editor's specs for them to use as a guide for cutting dialog; each reel should have a separate time code hour start (i.e. Reel One starts at 01:00:00:00, Reel Two at 02:00:00:00 and so on).
    4. Give the Traced EDLs, the Video Tape and the original Production Sound Reels to the Dialog Editor; they will auto assemble your dialog tracks for the final mix.


  • Preparing for your Sound Effects and Foley:
    1. You should sit with your Sound Effects/Foley Editor and 'spot' the show for whatever effects you require; a good Sound Effects Editor will take copious notes of what you want for each reel of your movie.
    2. Create a Video Tape of each reel in your film according to your Sound Effects Editor's specs for them to use as a guide for cutting the effects; each reel should have a separate time code hour start, i.e., Reel One starts at 01:00:00:00, Reel Two at 02:00:00:00 and so on (if your Dialog Editor and Effects Editor are the same person, you may only need to make one set of tapes).


  • Preparing for your Music/Composer:
    1. You should sit with your Composer and Music Editor and 'spot' the show for whatever music you may want; be specific as to the placement of the music and how it should 'feel.'
    2. Create a Video Tape of each reel in your film according to your Composer's specs for him/her to use as a guide; each reel should have a separate time code hour start, i.e., Reel One starts at 01:00:00:00, Reel Two at 02:00:00:00 and so on.


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