01 - FAQ for editing

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01 - FAQ for editing


WHAT IS REVERSE ASSEMBLE AND HOW DOES IT WORK?

  • Reverse Assemble gives you the option to use an EDL to notch a master clip.
  •  If you receive a final mixed-down clip that needs color correction, you can load the clip in a CONstruct; then load a conform (you can use EDL, XML or AAF) and turn on Reverse Assemble.  When you click Start Matching, you should get one match for every event in the database.  The Reverse Assemble only uses the Record Timecode to create the cuts.

WHEN DOING A CONFORM, I CAN'T FIND ANY MATCHES OR CAN'T FIND MATCHES FOR ALL SHOTS.

  • The Assembler gives you the option of finding matches in one CONstruct, one Group, or an entire Project.  Make sure you are on the right CONstruct if you're using From CONstruct, or the right Group, if you're using From You can easily close the Assembler and open it again by clicking Edit Conform.

WHEN DOING A CONFORM WITH RED MATERIAL, NONE OF THE TIMECODE IS MATCHING.

  • This can happen when the wrong code is selected in the FX Controls menu. Keep in mind that r3d footage  has both Edge Code and Time Code. Switching to the proper one (the one used for the offline editing) should make them match.

WHAT IS "MATCH CROSS" ?

  • Certain NLEs, like Avid, sometimes move metadata around different columns when exporting an EDL.  Match Cross is designed to return a result if a match is found in any column, regardless of the column heading.

NEGATIVE VS DOES'NT WORK.

  • As a work-around, you can adjust the outpoint of the shot while looking at your reference in DualView to find the correct end frame.

I CAN'T SEE ALL MY LAYERS IN A MULTI-LAYER TIMELINE.

  • Make sure the Play/Record button is turned on under the View Port controls.

HOW TO CONVERT A 29.97 SHOT TO 23.98.

  • Have your construct @29.97.
  • Load media @ 29.97.
  • Insert retimer on the output.
  • On the retimer FX Crtls, set the FRAME RATE to 29.97.
  • Then on the retimer SHOT CONFIG, set the frame rate of that node to 23.976.
  • On the same page, set the TIMECODE to your desired TIMECODE, 10:00:00:00 (regen will automatically enable - NO need to activate).
  • On the REEL ID field on this same page, enter your desired REEL ID for the render.
  • Exit to Construct /Output view and insert a new output node to the retimer. Set format to DPX and create file name as you wish.
  • This method converts 1 second of footage @ 29.97 to 1 second of footage @ 23.98.
  • In other words, convert a clip with a length of 30 frames into a clip of 24 frames with proper TIMECODE.

HOW TO CONVERT A 29.97 SHOT TO 23.98, BUT WITH SAME DURATION.

  • Have the construct @ 23.98.
  • Load your 29.97 media.
  • Click on GENERATE TIMECODE on the CONstruct /media menu. Then enter your desired TIMECODE start and REEL ID.
  • Go to Output and render.
  • This makes a new clip with your defined REEL ID and TIMECODE start point. @ 23.98 frame count is the same from Source to Output.
  • The key is to have the Construct @ your desired fps before injecting the TIMECODE as that is what "GenerateTC" uses to define the timebase.

HOW TO CONVERT 23.98 TO 59.94i.

  • This is a 2 steps process. First is to convert to 29.97, then from 29.97 to 59.94i.
  • Step1: Add a De-interlacer node to the Output. Select the 3:2 Pulldown; then set the Offset to 4. You can create different pulldown sequences. This is how Offset 4 ensures following the US standard of A1, A2, B1, B2, B3, C1, C2, D1, D2, D3.
  • Step 2: Add a 2nd De-interlacer node to the previous node. Select Deinterlace F2. That will convert the 29.97 to 59.94.
  • We strongly recommend to use a SDI monitor in order to double check the field dominance.

HOW TO CONVERT 29.97 TO 59.94.

  • Add a De-interlacer node to the Output. Select Deinterlace F2. That will convert the 29.97 to 59.94.

I WANT TO ANIMATE A STILL FRAME, BUT IT DOESN'T MOVE.

  • A still frame is essentially one frame long. To set the source length to the slot length, go to Edit, and under Source, make sure to set the Out Point to the same frame numbers (length) as the slot length.

MY PHANTOM SHOTS DON'T HAVE THE SAME TC AS THE EDL I RECEIVED FROM THE OFFLINE EDITOR

  • In SCRATCH, the PHANTOM shots have a TC of 23:59:59:23 and need to be addressed a new TC (see: http://vimeo.com/44929828) to produce the dailies.
  • Meanwhile, if another tool was used to create those dailies for the offline, you might receive an EDL with different timecodes. To get a timecode that match the edit, try to get an ALE from editorial , then in Scratch load all the media into a new construct, load the ALE and do a "Match by name". Set the timecode in point column to "import" , then set all other columns to "Exclude" and Execute. That will inject new timecode from the edit into the raw media in Scratch. Once done, use this construct as source for your conform.


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Last Modified:Tuesday, March 21, 2017
Type: FAQ
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