About the Digital Intermediate Process
As movies become more sophisticated and the demand for digitally generated special effects grows, the digital intermediate process, also known as DI, has become increasingly important to filmmakers. This process often starts with a high-quality scan of the original film. This scan results in extremely high-quality video, often in the form of digital picture exchange (DPX) image sequences whose quality rivals or surpasses that of film. This high-quality video can then be edited, manipulated, and color corrected digitally. The big difference between this process and the telecine-based film editing process described previously is that the DI process does not actually conform the original camera negativeinstead, the final digital output is either printed to film or distributed directly. The term DI is also used to describe the editing, digital manipulation, and color correction processes used when the source of the video is a high-resolution camera system that does not use film at all, such as the RED ONE camera. The video clips created most often during this process are referred to as 2K video image sequences. An image sequence is actually a folder containing individual image files for each video frame. Because of the large size of these video clips, they are not generally edited directly. Instead, lower-resolution versions of the files are created, usually based on the Apple ProRes 422 codec, and then edited. Once the edit is finished, the next step is to use Color to apply any needed color correction. This color correction is applied to the original 2K media. To accomplish this, an Edit Decision List (EDL) is exported from Final Cut Pro. This EDL is used to match the edits to the 2K media, allowing Color to conform and color correct the 2K media.
Cinema Tools databases can be used in this process to match the EDL to the 2K media, linking the reel names and timecode of each edit to entries in a database created from a folder of 2K image sequence clips. Using a Cinema Tools database provides powerful tools to diagnose and resolve any issues that occur, such as nonmatching reel names. See Basic Digital Intermediate Workflow Steps and Digital Intermediate Workflow Using a Telecine for details about this workflow.

How Much Should You Transfer?
Deciding how much of your film to transfer to video depends on a number of issues, the biggest one probably being cost. The amount of time the telecine operator spends on the transfer determines the cost. Whether it is more efficient to transfer entire rolls of film (a camera-roll transfer), including bad takes and scenes that wont be used, or to spend time locating specific takes and transferring only the useful ones (a scene-and-take transfer) needs to be determined before starting. Camera-Roll Transfers Cinema Tools uses a database to track the relationship between the film key numbers and the video and audio timecode numbers. The database is designed to have a record for each camera take, but this is not required. If you transfer an entire roll of film continuously to videotape, Cinema Tools needs only one record to establish the relationship between the key numbers and the video timecode. All edits using any portion of that single large clip can be accurately matched to the original camera negatives key numbers. A drawback to this transfer method is the large file sizes, especially if significant chunks of footage will not be used.
Additionally, because of the way it is recorded, audio is difficult to synchronize at the telecine during a camera-roll transfer. During a production, the sound recorder typically starts recording before film starts rolling and ends after filming has stopped. You also will often shoot some film without sound (known as MOS shots). This means you cannot establish audio sync at the start of the film roll and expect it to be maintained throughout the roll. Instead, each clip needs to be synced individually. The Cinema Tools database includes provisions for tracking the original production sound rolls and audio timecode. Once captured, a single large clip can be broken into smaller ones, allowing you to delete the excess video. Even with multiple clips, it is possible for Cinema Tools to generate a complete cut list with only one database record. Another approach is to manually add additional records for each clip, allowing you to take advantage of the extensive database capabilities of Cinema Tools. See Creating the Cinema Tools Database for a detailed discussion of these choices. Scene-and-Take Transfers Scene-and-take transfers are a bit more expensive than camera-roll transfers, but they offer significant advantages: Scene-and-take transfers make it easier to synchronize audio during the transfer. Because the telecine log contains one record per take, it establishes a solid database when imported into Cinema Tools. With an established database, Cinema Tools can export a batch capture list. With this list (and appropriate device control), Final Cut Pro can capture and digitize the appropriate takes with minimum effort on your part. Maintaining an accurate film log and using a timecode slate can help speed the transfer process and reduce costs.

As is the case with all important data, it is wise to store backup copies of your Cinema Tools database files and to lock the database files if you want to make sure they are not modified or deleted. Do this by using any of the standard desktop methods for copying and locking files. You can back up your files on your computers hard disk or on separate removable media. If you are going to lock a database file, make sure that the database is closed before you lock it. You can also use any standard desktop method to rename a database file. Changing a database filename (as opposed to a source clip filename) does not affect the content of the database or any of the database functions. Important: Changing a source clip filename (by editing it in the Finder) is not recommended because it breaks the link between the source clip and the database. However, you can reconnect clips to the database using the Reconnect command.

About the Clip Window

You use the Clip window to play the selected clip, identify the timecode and key number of a specific frame, view general information about the clip, and process it with the Reverse Telecine and Conform features. To open the Clip window Do one of the following:
Choose File > Open Clip (or press Command-O), locate a clip, then click Choose. Click Open Clip in the Detail View window (if a clip is connected to the current record). Click Connect Clip in the Detail View window, then select a clip (if one has not already been connected to the record). Drag one or more (up to 20 total) clips from a Finder window to the Cinema Tools application icon. A Clip window opens for each clip. Note: If you drag a folder containing clips to the Cinema Tools icon, a new database is created. See Creating a New Database Using Cinema Tools for more information.
You can have multiple Clip windows open at one time. They are dynamically added to and removed from the Window menu as you open and close them.
See Settings in the Clip Window for information about the buttons and settings in the Clip window.
Settings in the Clip Window
You can play the clip by clicking the Play button (the triangle to the left of the timeline) or by pressing the Space bar. To play the clip using the Space bar, you must make sure that an Identify pane text field is not currently selectedyou can press the Tab key as needed or click the Analysis button to deselect the text fields. Important: Depending on your computer, high-resolution video, such as 2K media, may not play back smoothly.
If the clip has audio, you can control the volume by clicking the speaker icon next to the Play button and then dragging the volume slider. You can also drag the playhead to scroll through the clip. You can click the left arrow and right arrow buttons at the right side of the timeline or press your keyboards Left Arrow and Right Arrow keys to step through the clip one frame at a time.

4 To assign a camera letter to the imported records, select the Append a camera letter checkbox (the camera letter is dynamically determined by the first letter of the camera roll value, if present, and is appended to the Take entry of each record). 5 Click Open. The data in the log is entered in the open database, and each new record is displayed in the List View window. When Cinema Tools has finished creating the records from a telecine log, it tells you how many events there were in the log and how many of those events were imported into the database. Sometimes events in a telecine log refer to edits in which no film was transferred. For those events, no record is created in the database. After the records have been imported, you can export a batch capture list from Cinema Tools that you can import into Final Cut Pro to automate the clip capture process. See Generating a Batch Capture List from Cinema Tools for more information.
Importing Telecine Logs Using Final Cut Pro
When you import a telecine log using Final Cut Pro, you choose whether you want to import it into an existing Cinema Tools database or whether a new database should be created. When records are added to the selected Cinema Tools database, each record creates an offline clip in the Final Cut Pro Browser so that the clips can be batch captured. Each of these clips also has the film-related information contained in the log file added to it. To import a telecine log using Final Cut Pro 1 Create a new project or open an existing project. This project will contain the offline clips created when the telecine log file is imported. 2 Select the project in the Browser. 3 Choose File > Import > Cinema Tools Telecine Log.
The Import a Cinema Tools Telecine Log dialog appears.
Select the telecine log file to import.
Choose to either create a new database or import the file into an existing database. Choose a camera letter to append to the imported takes (if needed). Lists the currently selected database.
4 Use the top half of the dialog to select the telecine log file to import. 5 To assign a camera letter to the imported records, select the Append a camera letter checkbox (the camera letter is dynamically determined by the first letter of the camera roll value, if present, and is appended to the Take entry of each record). 6 Do one of the following: To create a new Cinema Tools database to import the telecine log file into: Click New Database. This opens a new dialog where you can enter a name and location for the database, as well as configure its default settings. See Settings in the New Database Dialog for information about these settings. Click Save when finished.

Calculating Edge Code and Timecode Numbers
If you know the edge code (key number or ink number) and timecode values for any frame in a clip, you can use the Identify feature to determine these values for the first frame of the clip, and that information is automatically entered in the database. This feature is especially useful if you are working with video that does not have window burn, because without window burn you have to track the timecode and edge code by physically marking one frame in each clip. If the frame that is marked is not the very first frame of the clip, the Identify feature can calculate what the values are for the first frame, and those values are automatically entered in the database.
To enter the edge code and timecode values in the database 1 If it isnt already open, open the clip in the Clip window in one of the following ways: Choose File > Open Clip (or press Command-O) and use the dialog to select the clip. Click Open Clip in the Detail View window of the clips database record. 2 Click Identify in the Clip window to display the settings for the current frame. 3 Locate the marked frame in the clip playback area. Tip: Use the arrow keys on your keyboard to move forward and backward frame by frame. The Identify settings update to show the information for each frame as you move through a clip, so you can locate the marked frame. 4 Enter the edge code and timecode values for the marked frame (the frame showing in the Clip window) in the appropriate fields. Note: You may be using ink numbers instead of key numbers, or vice versa. If so, you can leave the field you arent using blank.
Enter the key number or ink number for the marked frame. Enter the video timecode value for the marked frame.
Note: If you decide you want to reset the values to what they were when you opened the clip in the window, click Revert. 5 When identifying a 3-perf 35mm clip, you must also choose the offset (3-perf1, 3-perf2, or 3-perf3) from the Film Std pop-up menu. Note: You should not need to change the Film Std setting if you are using any of the other film formats. 6 Click Save. The clips database record is immediately updated with the values for the first frame of the clip. Additionally, the clips duration is calculated and entered.

Restrictions for Using Multiple Tracks
Final Cut Pro allows you to edit in multiple video tracks and multiple audio tracks. Although there are advantages to using numerous tracks, there are some restrictions to keep in mind when you are using Final Cut Pro with Cinema Tools: When you export your film lists, you specify the video track to base the list on. If you have included titles and superimposed images on a second video track, you must export a second film list to include that information.
If you are going to export an audio Edit Decision List (EDL), you need to limit the audio to the first eight tracks in the Final Cut Pro Timeline. See Exporting an Audio EDL for more information.
Using Effects, Filters, and Transitions
Final Cut Pro and other Final Cut Studio applications provide extensive effects capabilities for video, including common film effects such as dissolves, wipes, motion effects, titles, color correction, and compositing. If your final output uses standard broadcast SD or HD resolutions, these effects can often be included directly in the final output. However, if your output is going to be higher-resolution video for digital projection (such as a 2K DPX image sequence), if the output will be converted to film using a digital film printer, or if you intend to conform the original camera negative, these effects will generally be used only to preview the final effect, which will be created at a visual effects facility. Effects and transitions are usually created for digitally edited film in the following ways (because of the changing and diverse nature of the industry, your actual experience may vary): Basic transitions, titles, and motion effects for DI workflows: These effects are typically re-created by a digital visual effects facility. The facility uses a Cinema Toolsgenerated film list to either pull the already scanned DPX image sequences for the required video or have high-quality scans of the original film made, providing final-resolution video clips to work with. See Special Considerations for Effects in a DI Workflow for more information. Basic transitions, titles, and motion effects for film workflows: These effects are typically re-created by a facility specializing in optical or contact printing, which uses the instructions given in a Cinema Toolsgenerated film list. Certain types of transitions can be created through contact printing (sometimes called A/B roll printing), where the emulsion sides of the original camera negative and the print stock are in contact as the original film is projected onto the print stock. Transitions, titles, and motion effects can be made through optical printing, where effects are created via a process of manipulating and projecting the original camera negative onto print stock through the lens on an optical printer. This process is often called creating opticals. See Contact Printing vs. Optical Printing for more information about factors to consider when choosing whether to use optical printing or contact printing. Complex effects that involve compositing for all workflows: Effects such as chroma-keying, animation, and repositioning can be re-created digitally at high resolution at a digital visual effects facility. If you are using a DI workflow that uses low-bandwidth versions of the programs clips, draft versions of the effects are made and edited into the program, replacing the temporary placeholder effects (if present). The original high-resolution effects are used during the finishing process.

If you are using a traditional film workflow, the effects must be output back to film using a digital film recorder. This is sometimes called the film-digital-film method. First, the original camera negative is scanned digitally; then the scanned digital copy is imported into a digital film workstation, and your special effects are created there before being recorded back to film. There are digital effects labs that offer this service, using your film list as a guide in determining the location and duration of motion effects and of superimposed compositing effects such as blue-screen effects. Although the film-digital-film method can produce wonderful effects, be aware that it can be more expensive than optical printing. Effects involving filters and color correction: Digital film restoration and artifact removal are other types of digital manipulation that commonly occur with the film-digital-film method. This kind of digital manipulation is tracked by the filter effects list, which is part of the optical list. In a DI workflow, you can use Color to perform many of these types of digital manipulation. Color is capable of outputting DPX image sequences, which can be used to print back to film. In a film workflow, any color correction or filterlike effects in your finished film are created by a specialist at a film-printing facility or via the film-digital-film method. You can work directly with a color specialist (often known as a color timer) to include color correction in your film.
Special Considerations for Effects in a DI Workflow
There are a wide variety of approaches to working with effects when you are using a DI workflow. There are also an increasing number of third-party applications available that specialize in the various aspects of the process, such as tracking effect revisions. Following is a list of issues that you need to be aware of while working on your project: If you have not already created high-quality film scans of the parts of the video involved in the effect, you must do that first. You can use the optical list section of a film list to identify the film rolls and frames that need to be pulled and scanned. There are many methods you can use to generate that film listfor example, you can place all effects in their own track and specify that track when exporting the film list. The digital visual effects facility generally provides the final effects using your final output video format and resolution. Make sure to retain all original metadata such as key numbers and timecode so the effects can be tracked back to the original film frames. Otherwise you must manually verify that the correct frames were used to create the effects, which can be time-consuming. You need to create temporary versions of the effects to use in your offline edit of the program. In some cases, the visual effects facility may provide these. If so, make sure the facility knows which codec to use and your sequence settings so that the clips will not have to be reencoded or rendered. These temporary versions of the effects clips also need to have the same timecode as the original video clips.

Transitions: Choose how transitions should be listed in the film list. See Contact Printing vs. Optical Printing for more information. Note: Cinema Tools identifies the set of standard lengths for 24 fps or 23.98 fps media as 16, 24, 32, 48, 64, and 96 frames in duration. Cinema Tools identifies the set of standard lengths for 29.97 fps media as 20, 30, 40, 60, 80, and 120 frames in duration. (Make sure to check with your contact printer about the standard lengths required for different frame rates.) There are three choices for how transitions are listed in a film list: All are cuts: All transitions are represented by a cut in the middle of the transition, regardless of whether or not the transitions are of standard length. Choose this option if you are exporting a list for use in conforming a workprint. Cinema Tools also inserts notes to indicate where the start and end of the transition should be for both the outgoing and incoming clips. These notes can be used as a guide in marking the transitions on the conformed workprint. Std are cuts: Those transitions that are of standard length are listed as cuts, and those that are of nonstandard length are described as opticals. This is the option that you choose if youre going to have your transitions printed on a contact printer. If you choose this option, standard-length transitions appear in the cut list, not the optical list, and are shown as a cut in the middle of the transition. The starting and ending points of the transition also appear in the cut list as three lines for a dissolve and two lines for a fade. The cut list contains all of the information that the negative cutter requires to prepare the A and B rolls for these transitions. All are opticals: All clips that are part of a fade or dissolve are listed in the optical list. Choose this option if you want all of your fades and dissolves to be printed optically, regardless of their length. Handles: Your negative cutter or optical printer may want to have some spare frames on either side of a transition. These extra frames are called transition handles. Enter a number between 0 and 32. When checking to see if any frames are used more than once, Cinema Tools adds this number of frames plus one-half to the head of the incoming shot and the tail of the outgoing shot for each transition. (The setting you choose for cut handles does not apply to transitions.) Cut Handles: In determining whether or not any frames have been used more than once, Cinema Tools assumes that at least one-half of a frame is destroyed at both the In point and the Out point of each cut. Some negative cutters may want to use more than a half-frame on each side of a cut. You can specify up to five and one-half frames of cut handles. If you inadvertently include, in a sequence, frames that are needed as cut handles, Cinema Tools reports them as duplicate usages in the duplicate list and the double usage warnings. Track: You can choose the video track to base the exported list on.

Using 24p Video with Final Cut Pro and Cinema Tools
Final Cut Pro and Cinema Tools give you the ability to handle various situations related to editing 24p video: Importing 24 fps EDLs: Use for performing an online edit of 24p material that has been offlined on another system. See Using Final Cut Pro as a 24p Online Editor for more information. Exporting 24 fps EDLs: Use for performing an offline edit of 24p material with a 24 fps editing timebase. See Using Final Cut Pro as a 24p Offline Editor for more information. Converting an EDL to or from 24 fps: Use for performing an offline edit of 24p material using an NTSC editing timebase or for doing an online edit of 24p material that has been offlined on an NTSC system. See Using Final Cut Pro as a 24p Offline Editor for more information. Removing 2:3:3:2 or 2:3:2:3 pull-down: Use if you are capturing your source clips from a digital video camcorder that applied 2:3:3:2 or 2:3:2:3 pull-down to 24p video. This feature cleanly eliminates the redundant frame fields created by the pull-down, without any recompression, so you can edit at 23.98 fps or 24 fps. See Working with 2:3:3:2 Pull-Down for more information. Adding pull-down: Use to output 23.98 fps video in a format that you can play on an NTSC device, such as an NTSC monitor, and to record it as 29.97 fps video. This feature lets you output 23.98 fps video via FireWire at the NTSC standard of 29.97 fps video. See Pull-Down Patterns You Can Apply to 23.98 fps Video for more information. Creating an audio EDL when using dual system sound: Use if you intend to recapture the audio elsewhere for final processing. See Using Audio EDLs for Dual System Sound for more information.
Using Final Cut Pro as a 24p Online Editor
An important consideration when using Final Cut Pro as your online editor is how to import the offline edit information. When using a separate system as the offline editor, there are three methods you can use to get edit information from the offline system (presented in order of preference): Copy the project: Can be used when a separate Final Cut Pro system is the offline system and you used a 24 fps editing timebase for the offline edit.
Import a 24 fps EDL: Can be used when your offline system supports exporting 24 fps EDLs. Import an NTSC EDL: Can be used when your offline system can only edit downconverted NTSC versions of the 24p video and export an NTSC EDL. Copying the Project Copying the project from an offline Final Cut Pro system to the online Final Cut Pro system provides not only the edit In and Out point information but also all other information related to the project, such as filter and effects usage. To use this method, you must have edited using a 24 fps timebase on the offline system. About Importing EDLs When using nonFinal Cut Pro offline systems (or a Final Cut Pro system editing downconverted NTSC versions of the 24p video), you must import an EDL. Final Cut Pro provides both 24 fps EDL import and NTSCto24 fps EDL conversion.

Same (faster): Modifies the current clip files so that the extra frames are not visible to the editing system, but the data is not removed from the files. This process is faster but does not reduce the size of the files. The resulting files are self-contained if they were originally self-contained, or reference if they were reference.
If you select New, the file will be smaller. If you select Same, the processing will be faster.
For Same, you can deselect Check for cadence discontinuities to speed up processing. For New, selecting Keep Originals saves the original clips in a folder.
If you selected Same (faster), you can choose whether Cinema Tools checks for cadence discontinuities. While removing the pull-down, Cinema Tools looks for breaks in the pull-down cadence. If any breaks are found, it adjusts the processing to accommodate those discontinuities. A cadence discontinuity might occur if a recording was stopped and then started again at another point in the five-frame sequence. Checking for cadence discontinuities is more time-consuming for the Same file option than it is for the New file option, so if you select Same (faster), you can deselect the Check for cadence discontinuities checkbox for the fastest possible processing. Note: If this checkbox is deselected and cadence discontinuities exist in the clip, or if the cadence changes from 2:3:3:2 to 2:3:2:3 (or any other pattern) in the middle of a clip because the settings were changed during the recording, reverse telecine cannot be properly performed on the clip. 6 Click OK to start the pull-down removal. After the process is complete, the following occur: If you selected New (smaller), for each clip in the folder, a new clip with the same name is created and placed in a Cinema Toolscreated subfolder named Reversed. If you selected Keep Originals, the original files are placed in a Cinema Toolscreated subfolder named Originals. If you selected Same (faster), the new versions of the clips replace the old versions, in their original folder.
If Cinema Tools is unable to complete the reverse telecine process for a clip, that clip is moved into a Cinema Toolscreated subfolder named Skipped. A clip is not processed if it doesnt contain a video track, if the frame rate is not supported, if the clip does not contain cadence information, or if there is no codec found for the video track. A text file appears at the top level of the folder you started with, named reverse.log. This log gives the date and time that the process started and ended, as well as a start time for each clip. If any problems were encountered, such as running out of disk space or memory, an error message describing the problem also appears in the log.

Stage 4: Creating a Cinema Tools Database The key to using Cinema Tools is its database. The database is similar to the traditional code book used by filmmakers. It contains information about all elements involved in a project, including film key numbers, video and audio timecode, and the actual clip files used by Final Cut Pro. Depending on your situation, the database may contain a record for each take used in the edit or may contain single records for each film roll. The film-to-video transfer process provides a log file that Cinema Tools can import as the basis of its database. It is this database that Cinema Tools uses to match your Final Cut Pro edits back to the films key numbers while generating the cut list. There is no requirement that the database be created before the video and audio are captured, or even before they are edited. The only real requirement is that it must be created before a cut list can be exported. The advantage of creating the database before capturing the video and audio is that you can then use it to create batch capture lists, allowing Final Cut Pro to capture the clips. The database can also be updated and modified as you edit. Stage 5: Capturing the Video and Audio The video created during the telecine process must be captured as a digital file that can be edited with Final Cut Pro. The way you do this depends on the tape format used for the telecine transfer and the capabilities of your computer. You need to use a third-party capture card to capture files from a Betacam SP or Digital Betacam tape machine. If you are using a DVCAM source, you can import directly via FireWire. To take advantage of the batch capture capability of Final Cut Pro, you should use a frame-accurate, device-controllable source. As opposed to the captured video, which is never actually used in the final movie, the edited audio can be used. You may decide to capture the audio at a high quality and export the edited audio as an Open Media Framework (OMF) file that can be imported at a Digital Audio Workstation (DAW) for finishing. Another approach is to capture the audio at a low quality and, when finished editing, export an audio EDL that can be used by an audio post-production facility, where the production audio can be captured and processed at a very high quality. Stage 6: Processing the Video and Audio Clips Depending on how you are using Cinema Tools, the captured clips can be linked to the Cinema Tools database. They can also be processed, using the Cinema Tools Reverse Telecine and Conform features, to ensure compatibility with the Final Cut Pro editing timebase. For example, the Cinema Tools Reverse Telecine feature allows you to remove the extra frames added when transferring film to NTSC video using the 3:2 pull-down process.

Stage 7: Editing the Video and Audio You can now edit the project using Final Cut Pro. For the most part, you edit your film project the same as any video project. If you captured the audio separately from the video, you can synchronize the video and audio in Final Cut Pro. Any effects you use, such as dissolves, wipes, speed changes, or titles, are not used directly by the film. These must be created on film at a facility specializing in film opticals. It can be helpful for the negative cutter if you output a videotape of the final project edit. Although the cut list provides all the information required to match the film to the video edit, it helps to visually see the cuts. Stage 8: Exporting the Film Lists After youve finished editing, you export a film list that can contain a variety of film-related lists, including the cut list, which the negative cutter uses to match the original camera negative to the edited video. Additional lists can also be generated, such as a duplicate list, which indicates when any source material is used more than once. Stage 9: Creating a Test Cut on a Workprint Before the original camera negative is conformed, it is strongly suggested that you conform a workprint to the cut list to make sure the cut list is accurate (some negative cutters insist on having a conformed workprint to work from). There are a number of things that can cause inaccuracies in a cut list: Damaged or misread key numbers entered during the telecine transfer process Incorrect timecode values Timecode errors introduced during the capture process With NTSC video, 3:2 pull-down problems In addition to verifying the cut list, other issues, such as the pacing of a scene, are often hard to get a feel for until you see the film projected on a large screen. This also gives you a chance to ensure that the selected shots do not have unexpected problems. If your production process involves workprint screenings and modifications, you can also export a change list that describes what needs to be done to a workprint to make it match a new version of the sequence edited in Final Cut Pro. Stage 10: Conforming the Negative The negative cutter uses the cut list, the edited workprint, and the edited video (if available) as a guide to make edits to the original camera negative. Because there is only one negative, it is crucial that no mistakes are made at this point. As opposed to the cutting and splicing methods used when working with the workprint, the cutting and splicing methods used for conforming the negative destroy frames on each end of the edit. This makes extending an edit virtually impossible and is one of the reasons you must be absolutely sure of your edit points before beginning the conform process.

original camera negative Also known as OCN. The negatives from the film shoot; the original source film. The original camera negative is what the negative cutter cuts after all the edits have been finalized in the digital editing system. There is only one original camera negative. (Duplicate negatives can be made, but they are expensive.) PAL Acronym for Phase Alternating Line. A video format used by many European countries and other countries outside North America. The PAL video standard is 25 fps, 625 lines per frame, and interlaced. progressive video A video frame format that progressively scans all lines in a frame. See also interlaced video. pull list A film list Cinema Tools users can export, which list shots in the cut list in the order in which they can be found on the negative rolls. The lab refers to a pull list when going through your negative rolls to pull shots for a workprint or original camera negative cut. release print A positive print of a finished movie; the final product for distribution. reverse telecine The process that removes the extra frames from 3:2 pull-down video, returning it to its original 24 fps frame rate. Reverse telecine creates a one-to-one relationship between the video and film frames so that the cut lists are accurate. Reversing the 3:2 pull-down can be accomplished with hardware in real time during capture, but if you do not have the proper equipment, you can use the Cinema Tools Reverse Telecine feature. See also 3:2 pull-down. scene In filming, a time and place setting for one or more shots, typically tied together by a common story line or certain characters. scene list A film list Cinema Tools users can export, which lists all the shots that are in the cut list with each shot listed only once. Scene lists are typically used to order prints of the shots in a program so that a workprint can be conformed prior to cutting the original camera negative. SD video See standard definition video. shot A continuous film recording that does not have any cuts. A shot is a subset of a scene. slug Blank (fill leader) or substitute footage used to fill in spaces where footage is temporarily missing, in order to maintain sync between the picture and the soundtrack. SMPTE Abbreviation for Society of Motion Picture and Television Engineers. The standard-setting organization that established the SMPTE timecode standard for video. SMPTE timecode is the most commonly used timecode format.

New Features in Cinema Tools 4
This version of Cinema Tools includes a number of new features and enhancements that make it easier than ever to generate film lists, including extensive customization capabilities and more detailed optical lists. Additionally, there is an improved user interface that streamlines the database management process. The most significant of these new features are introduced below. All of these features are fully documented in the Cinema Tools User Manual, available from the Help menu.
An Improved User Interface
Cinema Tools 4 introduces an improved user interface that helps streamline the film database management process.

List View Window

The List View window now includes a Show All button as well as the Find button that used to be in the Detail View window.
Use the Show All button to quickly show all database records. Use the Find button to show only the records you need.

Detail View Window

The Detail View window has been reorganized to make entering and viewing information easier.
Telecine session information is now easier to see.
A tooltip shows a clips location, which is useful when a clip is missing.

Clip Window

The Clip window now includes two panes that used to be separate windowsIdentify and Analysisreducing clutter on your desktop and making it easier to get at detailed clip information. The Clip window also now includes Previous Clip and Next Clip buttons, making it easy to jump from one clip to the next in the List View records.
Click the Identify button to verify and enter clip information in a database. Click the Analysis button to see clip file and format details.
Click the Previous Clip and Next Clip buttons to jump from one clip to the next.
Export Film Lists Dialogs
The Export Film Lists dialog has been updated to allow you to export PDF-format film lists and choose which track to base an exported film list on. A new dialog, the Export XML Film Lists dialog, lets you export XML-format film lists. For more information about these features, see New Film List Formats, next, and General Film List Improvements on page 5.
For exporting PDF-format film lists
For exporting XML-format film lists

New Film List Formats

Cinema Tools 4 now supports two new formats for your exported film lists: PDF and XML. PDF file: A format for easy viewing that contains only the information that you specify XML file: A format for use with other software that contains all of the film-related information from the sequence Note: Cinema Tools no longer supports exporting plain text film lists.
About PDF-Format Film Lists
Exporting a PDF-format film list creates a file that can be opened in Preview or any other PDF viewer. You are able to choose which items to include in the list and even set their order.
The left column lists all of the possible items that can appear in the PDF film list.
The right column lists the items in the order that they will appear in the PDF film list.
Additionally, you can set the PDF lists orientation and font size, and even save the current settings or load a previously saved settings file. Saving and loading settings files is especially useful when you are using Cinema Tools on multiple systems and want them to export similarly formatted lists.
Note: Change lists are also exported in PDF format.
About XML-Format Film Lists
Exporting an XML-format film list creates a file that contains all film-related information from the Final Cut Pro sequence. Important: XML-format film lists are not related to the other XML files you can export from Final Cut Pro. Unlike PDF-format film list files, XML-format film list files are not intended to be easily printed and read by humans. The XML format is intended to be used to exchange information between software applications. The purpose of XML-format film lists is to provide all of the film-related information about a Final Cut Pro sequence in a format that the user can incorporate into other custom software being used in the film workflow. Note: You can open an XML-format film list in a text editor, such as TextEdit, to see the film lists structure and the information it contains.

General Film List Improvements
Several improvements have been made to the film lists that you generate with Cinema Tools.
Improved Optical Film Lists
The opticals that are tracked by an exported film list now include any filter, transition, and motion effects used in your sequence. An optical list now consists of up to four separate lists: The optical list: This list contains an entry for each cut list event that uses an optical effect. Based on the type of optical effect, each entry links to one of the three effects lists (described next) that are also included with the optical list. These effects lists include the actual details of the optical effect. The transition effects list: This list contains an entry for each optical list entry that contains a transition effect, such as a cross dissolve or wipe. The filter effects list: This list contains an entry for each optical list entry that contains a filter effect, such as a blur or color correction. The motion effects list: This list contains an entry for each optical list entry that contains a motion effect, such as a time remapping speed change.

Track Selection

You can now select the track to use when exporting the film list. All of the lists you choose to include in the film list are now based on the video track you choose from the Track pop-up menu of the Export Film Lists dialog or Export XML Film Lists dialog. You can choose a different track and export a second list if needed. For example, if your sequence contains titles (including any superssuperimposed images or frames) on video track 2, you can export a second film list that includes the edit information for them. This makes it possible for you to configure alternative title tracks and export film lists for each version.
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