Andy compares digital to workprint

cutting on workprint

cutting on a
digitial system

preparing your edit

































Cutting on a 30 Fps System

If you cut your film on a digital editing system that cannot produce a 24 fps cut-list, we will convert your 30 fps timecode EDL to a 24 fps KDL. There are two possible ways to approach this: 1) With Flex files and 2) Without Flex files:

With Flex Files
You must provide us with a 30-frames-per-second EDL on floppy disk. This EDL must be in the CMX3600 format. The CMX3600 format is common to many digital non-linear editing systems. Many of these systems vary by model so please be sure the system you have chosen is capable of producing a CMX3600 edit list. Many of the companies producing these systems offer this information on their websites. We are also capable of working with CMX3400 lists, but this will be more complex, as the EDL will have to be edited in greater detail.

Your EDL must also be free of any timecode gaps or overlaps in the record time code (the third and forth timecode columns of your EDL). The record timecode refers to the running timecode for your final edit. Given that this is a continuous running timecode, it is easy to understand how gaps and overlaps are problematic. One common cause for gaps in record timecode is the absence of materials to be added later (such as titles). Please be sure that all such time gaps are accounted for on your list. One simple way to do this is to fill the gap with black "leader", running for the same duration as the missing titles. Any overlaps or gaps in your final EDL can result in cutting errors. Although we are capable of dealing with most errors of this nature, you will certainly save yourself time and money by submitting an error free list.

Next, we need a floppy-disk containing the KeyKode˘ information from the telecine transfer of your dailies rolls. This information relates the video timecode of your video dailies tapes to the KeyKode˘ information on your film negative. It is important that your telecine transfer be of the proper 'A' frame type with field 1 dominance. Please request an 'A' frame transfer! Do not assume the transfer house will automatically do this! In order for Excalibur˘ to deal with this information, this disk can be either a flex file (file name will be suffixed .flx), an Evertz file (.ftl), or an INPS file.

We then take the EDL and Flex file you have provided and use Excalibur˘ to create a frame-accurate 24-frames-per-second KeyKode˘ Decision List (KDL) from which will accurately cut your negative.

Without Flex Files
If for some reason you do not have a useable floppy disk record of your telecine transfer, we can create one for you.

As with the first method, you must provide us with an EDL that conforms to the specifications given above. But in this case you must also provide us with your dailies tapes from the telecine transfer. It is particularly important in this method to be sure that the telecine transfer of your negative was done in a consistent manner. It is important that any stops and starts of the transfer (for example, to change rolls) be accurately marked and documented. This is often done with a punch or some other marking on the negative. Be sure the telecine house writes down the starting timecode for each roll. As mentioned earlier, your transfer should be an 'A' frame transfer with field 1 dominance. The Excalibur˘ system employs a standard film sync block combined with an advanced KeyKode˘-reading sensor. We can then set the timecode for the beginning of each camera roll and build the relationship between the video timecode and film KeyKode˘ as we roll your film through the sensor. We can then use this information to create a Flex file on our Excalibur˘ system. This Flex file can then be used along with your EDL to create the KDL necessary for a frame-accurate negative cut.

Our Excalibur˘ system allows us to produce a frame-accurate 24-frames-per second KeyKode˘ Decision List from your 30-frames-per-second timecode Edit Decision List using either of these two methods. If neither of these solutions are able to fit your needs, please contact us with your problem. If we can't help you, we'll put you in contact with someone who can.

The earlier in your project you contact us, the better. We might be able to save you costly and time consuming re-transferring and re-editing of your materials. We're willing to work with whatever you have. You'd be surprised what we can do to save your film!

Cutting on a 24 fps system

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