on a 24 fps System
Cutting on a 24 fps system is akin to driving a Cadillac.
These systems offer the most frame-accurate edit of any of
the digital editing systems. This eliminates the extra fields
generated by the 3/2 pulldown in the video transfer. Currently
the two systems that work in that arena are the Avid Film
Composer (or Media Composer with Film Composer Software),
With these systems you are able to edit in a one-frame-of-video
to one-frame-of-film relationship. This system will also allow
you to create an 'A roll' only, or an 'A/B roll' assemble
list. With the 'A/B roll' assemble list, the systems take
into consideration those effects that can be accomplished
with A/B roll printing (standard length fades & dissolves-16,
24, 32, 48, 64, 96, &128 frames). This creates an optical
list that has only true opticals, ie. unusual lengths of fades
or dissolves, freeze frames, slow motion, fast motion, reverse
You should provide us with a ‡-inch video that has a visible
key number burn, and an assemble list in either 'A roll' or
'A/B roll' form--the 'A roll' assemble list if you are having
all effects done optically, or the 'A/B roll' assemble list
if you want the standard effects done on a contact printer.
Along with this we need a pull list, an optical list, an optical
pull list, an optical scene pull list, and a dupe list. The
dupe list will indicate those shots that are either totally
or partially used more than once in the final edit.
The assemble list could include running footage, duration
footage, key number in, key number out, scene/take, camera
roll, and lab roll.
It should also contain the timecode in and out. The two pull
lists and the dupe list should be created with key number
in, key number out, scene/take, camera roll, and if available,
The optical list will give key number in, key number out,
scene/take, camera roll, the type of effect, length, and center
points for all shots used.
on a 30 fps System
requirements | Download