Editing Arri Alexa files in an Avid Media Composer

I wrote about this a couple of year ago here...
http://neilsadwelkar.blogspot.in/2010/12/arri-alexa-avid-workflow.html

But now, in 2013, a lot has changed. There are plenty of Alexas in India, and many have RAW recorders - Codex and Gemini. Also, scores of films shot on Alexa have been released and a few have also had commercial success. 

Quite a lot of the workflow has been ironed out, but some holes remain. For a movie that will release tomorrow I did a fair bit of fire-fighting since the 'DIT' had somehow lost the source name while transcoding files for Avid. I really don't understand how these things happen.

Avid has a good set of resources on Arri Alexa workflows on the Avid site.
http://avid.force.com/pkb/articles/en_US/how_to/en387379

As usual, Oliver Peters blog is linked to.

I've put together a more detailed Avid-specific workflow guide...

For a movie shot on Arri Alex as ProRes4444 2k or ArriRAW.

On set DIT converts Alexa ProRes4444 or ArriRAW media to Avid DNxHD36 .mxf files
On set sound mixer provides .wav files of recorded location sound.

DIT sends DNxHD36 .mxf files and .wav files to editor's assistant

Editor's assistant copies .mxf files to Avid Media files folder. 

Sound .wav files are imported into Avid into Audio bins - day wise
DNxHD36 files get populated into bins by dragging the .mdb file to a bin, or
DNxHD36 files get populated into bins by copying them from the media tool to bin

These are video master clips representing camera clips. These will not be renamed.

Editor's assistant then drags all these video master clips to a sequence.
Then he/she syncs each video file to the corresponding audio files. 
Syncing by eye-matching with the clap on screen, or by matching timecode if sound mixer has managed to match picture timecode and audio timecode.

From this sync sequence sub-clips are made to a new bin, one sub-clip per video clip.
These are auto synced to get new autosync sub-clips.
Autosync sub clips are renamed as per shots they represent.
Editor's assistant then makes scene wise bins and populates them with auto-sync sub-clips.

Editor's assistant then puts a watermark on a new layer in the sync sequence and exports this timeline for the director's viewing for dailies. Sometimes, the director visits the edit facility from time to time and views rushes with the Director so he can pass on notes and ideas.

On another system, the editor reviews the assistant editor's bins, builds a cut, and refines it.

Some editors I've met insist that the DIT does all the syncing, naming of clips, making bins and creating dailies - all this on set. Because that's how 'it's done in Hollywood'. No truth in that. Even in Hollywood, a DIT will only sync if TC is matched. And a DIT never names clips, makes bins etc. That's always a competent and non-lazy assistant editor's job. 

The DIT will move on to some other job, after a movie has been shot, but the editor and his/her assistant have to intimately know all the footage, camera files, master clips,  subclips etc since they have to hand over it all to the sound facility and later the DI facility. The DIT doesn't remain on the project till that time. The editor and his/her assistant do.

And by the way, for an Alexa shoot destined for theatrical release. Alexa shoots at 24fps. That is 24.000 fps not 23.976 fps. The Avid project is 1080p24 not 1080p23.976. 

There are a few countries who see TV at 29.97 fps, where 30 means 29.97, 50 means 59.94 and 24 means 23.976.

But In the hundred year history of cinema, 24 fps means 24.000 fps. So unless your film will only be seen on TV and in the US and nowhere else in the world, please do everything at 24fps for release in cinemas anywhere in the world, for prints on film or DCP - 24fps only.

Final Cut Pro X - FCP X - on a full feature film

There is considerable interest in editing new, digitally originated feature film projects with Final Cut Pro X or FCP X. And, according to many this is possible and done. So, if you're still sitting on the fence, check out these articles...

We Make Movies (Better): A Final Cut Pro X/RED feature film workflow, Part 1

http://www.moviemaker.com/diy/movies-better-fcp-x-red-feature-film-workflow-part-1/

We Make Movies (Better): A Final Cut Pro X/RED feature film workflow, Part 2

http://www.moviemaker.com/diy/movies-better-final-cut-pro-xred-feature-film-workflow-part-2-by-sam-mestman/

If you need to self-learn FCP X, Richard Taylor's Final Cut Pro X Master List is an excellent resource…

All Things Final Cut Pro X

http://www.fcpx.tv

But if you need a structured learning course, then head over to Ripple Training's courses…

Apple Pro Video Series - FCP X 2nd Edition

http://www.rippletraining.com/categories/apple-pro-apps-tutorials/final-cut-pro-x-tutorials/apvs-fcpx.html

Its only $50 (about Rs 2,700 at today's $ rates) for the iPad edition, and is a step by step training course with demo material so you can do it yourself along with the training.

If, after all these, you still find yourself a bit at sea, and would like to have some actual face to face guidance, write to me and we could work out some tutoring arrangement.

The new Arri Alexa XT

The new Arri Alexa XT introduces built-in ArriRAW recording and an upgrade for existing Alexa owners.

On Arri's web site, there is a link on the new Alexa XT cameras.

http://www.arri.de/camera/digital_cameras/cameras/camera_details.html?product=253

And at Abel Cine, a short description.

http://blog.abelcine.com/2013/02/20/arri-announces-new-alexa-st-cameras/

The AlexaXT showing the XR module in-camera

and a XR 'magazine'

AlexaXT is a new range of cameras that provide ArriRAW recording within the camera itself. Using new magazines co-developed with Codex. 512 GB in one magazine, which can record about 55 mins ArriRAW. Download is with a new reader which has USB3 and one still will need to use the VFS software to get data off these magazines.

Existing Alexa owners can have their cameras upgraded to the AlexaXT with this XR module which replaces the ProRes card module. So if the camera could record ProRes, it will now be able to record ArriRAW. If you still wish to record ProRes, you need an adapter that permits using SxS cards.

The XR module with the XR adapter for SxS (top right)

and the XR module for ArriRAW (bottom right)

Existing Alexa owners who have invested in Codex ArriRAW recorders, will have a dilemma. Continuing with the Codex recorder, will not fetch any additional rent once the XT Alexas become common. And definitely after existing Alexas without Codex recorders upgrade to the Alexa XT.

Existing Alexa owners who have Gemini444 recorders are in a safer position. Their Alexa can do ProRes or Gemini ArriRAW depending on the production's budget. And they've had a lower expenditure to buy the Gemini which costed nearly half or less compared to the Codex Recorder.

The new Alexa XT or existing Alexas with the XT upgrade also provide high fps shooting as standard and not a priced option as earlier. 

These upgrades coming so soon after the release of the Alexa Studio will mean that anyone investing in any high-end digital movie camera will need to recover their investment in as short a period as possible since manufacturers will introduce newer cameras and recorders in as less as one to two years.

But for users it is a boon as they get access to better means of creating moving images at shorter intervals. Just like the F5 and F55 are an upgrade to the F65 at a lower price… but that's another story.

The complete description of features from Arri's web site...

• Refresh of ALEXA camera family
• ALEXA XT, ALEXA XT M, ALEXA XT Plus, ALEXA XT Studio
• XR Module for faster, more affordable ARRIRAW
• In-camera ARRIRAW up to 120 fps
• In-camera ProRes or DNxHD up to 120 fps*
• Fast 512 GB XR Capture Drives
• Proven, efficient Codex on-set or near-set workflows
• Less weight and easier working with internal NDs
• In-camera Filter Module IFM-1
• Internal filtration reduces reflections, weight and hassle
• New high-tech filters based on white-water optical glass
• Neutral color balance at all densities through absorptive IRND coating
• Accurate infrared cut off
• High image sharpness through precision polishing
• High contrast through anti-reflective multi-coating
• Available in 8 densities from ND 0.3 to ND 2.4
• True anamorphic with a 4:3 sensor
• 4:3 sensor on all XT models
• Anamorphic de-squeeze license included
• High speed license included
• Lens metadata for efficient VFX
• LDS PL Mount on all XT models
• Comfortable, flexible new viewfinder mounting
• Viewfinder Mounting Bracket VMB-3
• Strong and rigid construction
• 15 mm lightweight rods hold viewfinder mount
• Rods can take lens motors, matte boxes, follow focus etc.
• Special hard, low friction anodizing on all moving parts
• Built-in bubble level
• New Viewfinder Extension Bracket VEB-3 (separate accessory)
• New, sturdy VEB-3 design
• Viewfinder rests on camera through VEB-3 fold out arm
• Super silent XT Fan
• XT-spec upgrades for existing ALEXAs
• Separately available upgrades include: the XR Module, In-camera Filter Module IFM-1, Viewfinder Mounting Bracket VMB-3, Viewfinder Extension Bracket VEB-3, XT Fan and the anamorphic de-squeeze and high speed licenses.

Some more links...

Hollywood reporter

http://www.hollywoodreporter.com/news/unfinished-arri-reveals-new-model-422641

Studio Daily

http://www.studiodaily.com/2013/02/arri-announces-new-alexa-xt-camera-line-up/

Creative Cow news

http://news.creativecow.net/story/870623

DIT in India

For a while now I've heard from DoPs and cinematographers in India shooting movies on digital cameras - Alexa, Red, Sony Canon etc - requesting the services of a DIT "just like in Hollywood". Which basically means what they read about on the net, in forums, and in American Cinematographer.

I run a small company that provides data management and workflow guidance services for feature films in India - called Post BlackBox. And we are often asked to provide DIT services in addition to data wrangling and conversion that we do. We would love to.

I've worked on one movie with a 'real DIT' and have shot in the US and conversed with DITs there, so I've examined this in relation to how we make movies and the kind of post services available here for digital workflows.

Incidentally, for an explanation on dailies, video assist, and the 'look' in digital movie-making, check out an earlier post I wrote on this.

What's a DIT

For a definition of a DIT, check wikipedia…

http://en.wikipedia.org/wiki/Digital_imaging_technician

and many debates like these…

http://www.arridigital.com/forum/index.php?PHPSESSID=p6rird78fdt6ndj1kodk52h4b5&topic=6845.0

and a very informative article at the Creative Cow…

http://magazine.creativecow.net/article/a-dit-tells-all

What a DIT does

So let me first set up what a DIT typically does. And how that fits in the general post-production workflow.

On a movie set where a feature (or TV show, docu, ad film etc) is being shot on a digital camera, a DIT…

1. Copies camera footage from camera cards/disks to multiple disks before the card/disk is erased and reused.
2. Verifies that these copies are fine compared to the original which will be erased.
3. Shows the DoP what his material will look like in post. So the DIT carries a good calibrated monitor or can calibrate the monitor that came with the camera.
4. Makes color adjustments to the camera picture either off a live video feed, or on shot material. This is 'setting a look' similar to doing one-light rushes in the film days.
5. Has access to and is knowledgeable about LUTs and conversion of a variety of log an other color spaces to 'normal' color.
6. Has instruments (waveform/vectro/histogram) that can analyze the camera image and hence advice on aperture and exposure setting. The Cinematographer takes this advice seriously.
7. Sets up timecode and sync between camera and sound. 
8. Is knowledgable on menu settings and controls of most digital cameras. Or at least has access to camera manuals and can refer and find a fix if needed. Good DITs do refer to manuals, even in the field.
9. Can do conversions of camera raw formats to editable formats for FCP, Avid, or any other editing platform.

So a DIT is knowledgeable is on digital formats, and also has some sense of how film used to behave in different lighting situations. A DIT also has a good sense of post-production and editing and is often from an editing or post background. 

So, the DIT is also a first step to post-production. So, in that sense he (or she) takes up some of the jobs that the post house would do. This is an area of debate with post houses trying to reclaim some of the tasks.

Cost of DIT services

In Hollywood, a good DIT cart with equipment for all of the above DIT functions, rents out for about $ 1000 per day (equal to about Rs 56,000 per day). And a good DIT charges between $ 500 to $1000 per day (equal to about Rs 28,000 to Rs 56,000 per day) excluding gear.

So, we are looking at about Rs 80,000 to Rs 1 lakh per day for DIT services by Hollywood standards. On a 50 day shoot, this amounts to probably more than what some of the senior members of the crew make in the average budget Hindi movie. 

Clearly this is not affordable in India.

Check out what fully equipped DIT carts look like…

http://bigfootmobilecarts.com/BigFoot%20Mobile%20Models.htm

This one is from Maxx Digital. A complete mobile Scratch solution

Cost, about Rs 27 lakhs. 

The cost of the equipment that goes into a DIT cart if obtained in India, would be in the range of anything between Rs 15-30 lakhs. Which makes it cost about as much as a good digital camera like the Alexa or Red Epic. So, even if one makes up a homegrown DIT system one would have to charge a rental of at least Rs 20,000 per day. 

A trained DIT, of a cinematography or post background, would charge at least Rs 10,000 per day. So that makes the total, DIT services and gear, to at least Rs 30,000 per day. Or, Rs 15 lakhs for a 50 day shoot. Plus assistants, flights, hotel, local travel, hard disks.

So, is even this affordable?

DIT vs post house

In Hollywood and even Europe/UK, post houses charge for post services before edit. Data conversions, file management, backup etc - all before the edit starts. And this charge is pretty hefty. So the cost of a DIT in Hollywood is in comparison to these costs.

In India, the cost of DI is so small in comparison, and competition so fierce between DI studios, that some of the services offered in Hollywood are often thrown for free if the DI is done with them. So, Rs 30,000 ($ 500) per day for a DIT is also probably unaffordable. When the entire DI process costs as less as Rs 5 lakhs ($ 8000) to 'as much' as Rs 15 lakhs ($ 25,000). 

Just $8,000- $25,000 for Spirit 4k scanning, conform, Baselight8 grading, Arrilaser film out, SD and HD-SR tape deliverables... everything, taking up to 3 months of post work. If you push it, then the data conversions are thrown in for free too.

Storage costs

In addition to DIT services, disk storage is borne by the production in Hollywood. This cost is about the same in India. Working out to anything between Rs 5 to 20 lakhs for good quality hard disks, and RAID drives which the production has to bear anyway. 

In India, productions then bring down the services of the data management team. So, for basic data management services, I've found even Rs 8,000 ($ 130) per day is often not accepted. DIT services are nowhere near affordable for these kind of rates.

Workflow

The ideal DIT workflow requires time to set up the cameras, monitors, scopes and timecode. Directors often get impatient as now, apart from lighting and actor delays there are these 'set the look' delays. So they prefer to postpone this to the DI stage. 

DIT in India

But there's still hope for DIT services. Particularly for smaller budget movies where getting the look right in the shoot stage is more crucial as they don't have the time for reshoots, or for an extended DI. Nor do they have time and budget for elaborate lighting setups. So in these situations having some rudimentary DIT services can affect (positively) how the movie turns out.

So, while a full blown DIT cart and fully trained DIT is not affordable (someone please prove me wrong), a more basic setup with capabilities nearly as in a 'proper DIT' can be made possible. If the budget can go up to at least Rs 15,000 per day, a DIT can make a difference. 

He or she can work closely with the editor and colorist so this can be a end-to-end service which integrates DIT, editing, and color grading - the entire post cycle. Then it could make sense, economically and aesthetically. If that makes it look interesting, then one could take a closer look at providing these services.

What's the scene with FCP now?

"what's the scene with FCP now?"
or
"I heard 'they' are stopping FCP". 

These are the commonest queries I get when the topic of an edit system comes up.
So, here's the status on FCP 7 as of Dec 2012. And if the world really ends on the 21st Dec 2012, none of this will matter.

FCP was introduced around the year 2000, and over the past decade has been through version 1,2, 3, 4, 5, 6, and 7. Each time a new version was released, Apple stopped selling the earlier version. So when FCP 6 was released, FCP 5 was discontinued.

Last year, Apple discontinued FCP 7 and released FCP X. FCP X was not the next version of FCP, but a whole new application. It did not support many of the existing editing workflows but instead made an attempt to revamp the entire editing interface and methodology. There were many debates on whether this was good or not. And the debates will never stop.

Personally, I've bought FCP X and use it for some personal projects. With the latest version FCP X 10.0.6, Apple has covered many deficiencies, but a few remain. So I use both FCP 7 and FCP X. And I have apps that can move project from one to the other.

So, FCP 7 and FCP X work and will continue to work. If you own FCP 7 and its working on a system, it will continue working. If you buy a new system, you can install and continue to use FCP 7. Whatever bugs and issues there are in FCP 7, will remain and there will be no updates.

When Maruti introduced the Estilo, they discontinued the Zen. Meaning you could no longer buy a Zen. If you already had a Zen, it did not stop working and you can still drive it around. Eventually, over years, some parts will not be available. And you may need to stop using the Zen and get something else. 

That's exactly how it is with FCP 7. Discontinued from selling, but working if sold earlier.

My earlier blog posts on FCP X

So where are we on FCP X?

http://neilsadwelkar.blogspot.in/2012/05/so-where-are-we-on-fcp-x.html

FCP X cannot (yet) do 24@25 film editing

http://neilsadwelkar.blogspot.in/2011/07/fcp-x-cannot-yet-do-2425-film-editing.html

Apple FCP X remedies?

http://neilsadwelkar.blogspot.in/2011/07/apple-fcp-x-remedies.html

How FCP X will really matter to India

http://neilsadwelkar.blogspot.in/2011/07/how-fcp-x-will-really-matter-to-india.html

Some other interesting links for FCP X…

Philip Hodgetts review

http://www.philiphodgetts.com/2012/10/final-cut-pro-x-10-0-6/

FCP.co review

http://www.fcp.co/final-cut-pro/news/951-apple-release-final-cut-pro-10-0-6-and-motion-5-0-5

Moviemaker take

http://www.moviemaker.com/editing/article/we_make_movies_better_giving_fcpx_another_chance_20121203/#postacomment

Apple knowledge base article on FCP X 10.0.6

http://support.apple.com/kb/HT5550?viewlocale=en_US&locale=en_US

For those who have no clue on the Mac, MacOS X, and the relation to PCs running Windows…

FCP or Final Cut Pro is an editing software, not a complete system. It runs on Mac computers - MacBook, MacBook Pro, iMac, Mac mini, MacPro. Meaning, it will not run on Windows or on PCs running Windows. No, it will not run on your friend's Dell laptop,

MacOS X is an operating system like Windows. But unlike Windows, MacOS X runs only on Mac computers. MacOS X does not run on PCs from Dell, Lenovo, Acer, etc.

MacOS X is needed to run FCP.

EDL check and 'electronic pull list'

Any editor out there (in Mumbai or India), who has a life, friends and family, and is sick and tired of wasting hours and days at a DI place because...

EDLs don't match, Files can't be found, Conform takes hours and days, Eye-matching has to be done, sound doesn't sync (the new 23.976-24-25-29.97 'bhelpuri' effect), a one-day job takes 2 weeks unscheduled...

and other such irritations...

Grieve not. 

I'm offering 'EDL pre-checking' and 'electronic pull-list' for digitally shot movies.

So, only used files are carried for DI, and the EDL is proved to be fine before handing over for DI.

What I do is, from your project (Avid or FCP), I automatically parse (means read and analyze) a list of all Red/Alexa/Canon files needed for each reel. Then, these are copied to a new drive. So that drive has reel-wise folders with selected files for each reel, neatly placed in reel-wise folders. And this is a copy, so your original drive and files are intact.

I then make AAFs (for Avid MC) or XMLs (for FCP) and ensure that this each and every clip on the timeline correctly connects to this new drive. This AAF/XML can then be imported into any Baselight, Lustre, iQ, Resolve, whatever, and within minutes your timeline is ready. No manual connecting, no waiting.

And you need not carry multiple hard disks to the DI place, just this one small drive with all used-in-the-edit rushes. 

This is not a free service. Charges are fixed fee per reel. Mail me.

Video assist, dailies and 'looks' in digital movie-making

I keep calling them movies, not films, and movie-making, not film-making because some new movies in India are being shot on digital mediums - Canon HDSLRs, Red, Alexa, Sony and others. No film used, means new methods, new workflows. The concept of 'video assist' and 'dailies', too assume a somewhat different approach.

Many if not all of these mediums shoot in a 'color space' that's not 'normal', also called 'Log' - LogC, S-log, RedLog etc. And they shoot at a high resolution - at least 1920x1080 HD, going up to 5000+ pixels across, or 5k. While shooting, these cameras output HD video out of HD-SDI or HDMI connectors.

So, for video assist, you need no longer use the old 'clamshell' video recorders, VHS recorders, or DVD recorders. But still, in India many a digital movie camera is rented with a DV recorder or 'clamshell'. This recorder only records SD video, 720x576 DV-PAL. So the camera rental company sends out a set of converters - to convert from HD to SD and SD to composite.

So one of the first irritants in shooting HD is that while the shot is being taken, one sees a beautiful crisp HD image. But afterwards, the playback after the take, comes out as a blurred composite video SD image. Some people on set cannot see any difference so they live with this. But most cinematographers can, and it's definitely bugging.

The other factor is color space. These camera output Rec709 (or, 'normal colour') video while shooting, but on the memory card that records in camera, they record an enhanced dynamic range image called Log - LogC, S-log, Red log etc. And that's what goes for editing. 

A log image is a specially 'adjusted' image with what appears as the contrast turned down. This permits greater adjustments in post. But visually it looks dull and uninteresting to watch. RedMX, Red Epic, Alexa, Sony F3/F23/F35/F65 and some others can shoot Log, while Canon and Nikon HDSLRs shoot normal linear video.

Arri has a good explanation on Log video here...

http://www.arri.com/camera/digital_cameras/learn/log_c_and_rec_709_video.html

So, there are two issues here - one is seeing a crisp image while shooting, on set, and being able to play back that image to review a take. And the other is providing this clean image for editing, so throughout the post, people get to see a good approximation of what the final movie will look like. And they won't freak out when the Cinematographer tweaks color and brightness while doing the color grading.

For the first issue, most of these Log shooting cameras provide a Linearized picture out of their monitoring HD-SDI and/or HDMI ports. So you connect that to an HD monitor and you've got a good clean HD image. To be able to review takes, you can play them back from camera and get a correct image too. But using the camera for playback that means the camera is in use even after the take and cannot proceed to the next shot. 

A better option for HD review is to use a small HD video recorder. Many models exist, and some camera rental outfits have begun sending out a Aja, or Convergent recorder.

For the issue of clean dailies, one needs to engage a person or post house that will take your camera files, process them intelligently, and apply the correct look-up-tables, and output files that are identical to the original as far as file name, timecode and folder structure is concerned. Else you end up with files that look great and can be edited, but after the edit, the color grading cannot relink back to the originals. 

In India, many a camera rental houses have dabbled with the creation of dailies. Since they have no background in post, they often use older systems, pirated software, and improperly adjusted monitors. And worst of all, use untrained FCP newbies to do these conversions. 

I get many such complaints where the converted files have changed names, or timecode missing so the editor edits away and when its time to do DI, EDLs don't match, time is lost, anger, frustration. None of these change the cost of DI, of course, so producers don't bother with this stuff. 

Some of the larger post houses have also dabbled with creating dailies too. They don't make obvious mistakes, but many a post house in Mumbai are using 5-year old systems for this, so they too take time. So dailies get delayed, and sometimes get dropped altogether. And in most post house in Mumbai there are so many commercial bookings that this free fund dailies effort gets shelved back in the calendar.

So, I've been doing daillies for a couple of movies. This began as a help for some friendly cinematographers. But over the past months, it's grown into a full-fledged dailies setup that I have at Andheri in North Mumbai. I create daillies that duplicate the look of the monitor on set. I also have a procedure in place where the cinematographer takes stills with the movie camera, color grades these on his laptop and provides them to me s a template to make dailies with so that the editor, director, and others get to see a cinematographer approved image.

Since I have an editing background, I will ensure complete timecode accuracy with dailies. As a bonus, I make dailies that take up one-third to one-tenth less space than the original camera rushes, and do conversions that are ready to use, with no import time, even for Avid Media Composer. Direct use media files for FCP and Avid.

My company Post BlackBox handles the data wrangling, backup, archive and post workflow for many movies here in India. So it's really easy for us to insert the dailies as part of the workflow. For some of our clients we have also sold full HD, video assist recorders which too, are great for dailies. 

I am now in the process of creating a laptop based, wireless HD video assist cum dailies solution on set. In a way that the cinematographer can adjust colors while shooting but still record uncorrected footage. The dailies will carry this correction and everyone in the chain sees a DoP approved image with few or no surprises in DI.

24fps film master to 25fps DigiBeta tape master

In a film 24fps project, one often has to make PAL outputs, at 25fps.

Here we refer to 24fps as 'true 24 fps' not like 23.976fps which is called 24fps in NTSC countries.

First, on quality... 

If the FCP system is outputting ProRes, then it is of the exact same quality that Smoke on Mac would output. If it were a Smoke on Linux then that would not be able to output ProRes or DNxHD so there is no way to compare.
In my experience, an FCP ProRes (HQ and 4444) or Avid MC output (DNxHD145, 220, 220x or 444) is visible indistinguishable from a Smoke, eQ or Baselight uncompressed source, if the original is a compressed video (for eg. Canon, Sony F3, Ex1/3, Alexa, etc). For an original film source scanned input, it may matter.

For the DigiBeta (or any other 25fps) output, there are two methods.

1. We run the 24fps source as '24+1' or 24@25 where we play the source at 24fps but the video output is 25fps. Only FCP 7 or Avid MC can do this, Smoke cannot. Here one frame is repeated every second. There is a visible judder once per second, just like we see on an external monitor during editing a 24fps project in Avid MC or FCP 7. This is the preferred method in India as it leaves the sound untouched.

2. We run the 24fps source at 104% speed. In this method one's 24fps master is 'conformed' to 25fps, or made 4% fast to be able to play into a DigiBeta. No frames are repeated, and all 24 frames are played every second. This method is possible in Smoke or eQ and is the preferred method in the Eu or UK. But in India we do not make masters like this as the sound runs 4% faster too and this changes the pitch and tempo. No music director would permit this in India.

So, depending on where the DigiBeta tape is headed, one selects any one of the methods above.

HDCam, HDCamSR, D-5can all run at 24fps, so no conversion is needed if your tape/disk is one of these.

For the DVD, if its PAL 25fps, you need to do one of these above two methods. For an NTSC DVD there are established methods of converting 24fps (actually 23.98fps) to 29.97 fps by repeating 6 frames. This is invisible and involves no pitch change. Almost every single English movie DVD one has ever seen, uses this (23.98-24 pull down) method. There are also '24fps DVDs' in NTSC.

Blu-ray DVDs run at 24fps so conversion is needed. 

Web movies can run at any fps from 24 to 60 fps. Most computer monitors, iPhones, smartphones, and iPads on which viewers see movies, have no specific fps, so here too anything will work without conversion.

 

About DCPs and digital cinema

A friend asked me about showing his movie (can't call them 'films' anymore) at a film festival. And the festival asked him for a 'DCP' and something about JPEG-2000 or MPEG-2. This friend and many others, are used to showing their movies at informal gatherings, as DVDs, sometimes even Blu-ray disks, or, showing a movie file off a standalone player like the WD player. Some even connect their laptop to a TV or small projector, and show it.

The WD player is an amazing device. It enables you to connect a hard drive or even pen drive and play a variety of movie files. AVI, MPG, VOB, MKV, MOV, WMV, nearly any type of file can be played off it. And you can connect the WD Player to any HD TV set or projector. It even works with Mac formatted disks. Actually I think every festival and public theatre should have a WD Player, or permit their projector and sound system to be hooked to one.

To return to 'DCP'. This stands for Digital Cinema Package. It's a file format, or rather a bunch of folders with files, which can be read by a device called 'Digital Cinema Server'. Which is a computer with some special software that can play DCPs. Most multiplexes in Mumbai and other Indian cities have one. Connected to a high resolution projector.

The compression used in making a DCP is usually JPEG-2000. And file format is MXF. Picture is compressed, while sound is not. Wikipedia has a complete technical explanation here...
http://en.wikipedia.org/wiki/Digital_Cinema_Package

Without going into a detailed technical explanation about DCPs, I'll touch upon how they are made.

There is usually some software on a PC based system that takes DPX or TIFF files for picture and WAV files for audio, and 'encodes' (nerd word for convert) them to a DCP. These can then be encrypted and locked with a 'key'. The key ensures that the file can only be played at a specific location and on a specific range of dates. So that's a kind of a anti-piracy mechanism.

So where do you get a DCP made?

In Mumbai, Reliance Media Works, Real Image, UFO, Scrabble, and some others make these. But they all need DPX or TIF files as picture, and WAV files as audio. If your movie has subtitles, you can 'burn' these in to the picture. Or, provide them with an ASC file which contains subtitles in a special text format. So these are switchable subtitles. You can also provide subtitles in multiple languages and the theatre where the movie is to be shown can switch the language at will.

What if, like most independent movie makers, you have an output off FCP or Avid. In the form of an Apple ProRes or DV, MOV file? When then you're out of luck. Most of these DCP creation places cannot read anything except DPX or TIF. So you need to convert your MOV file to DPX or TIF first.

I've done these conversions for many of my friends and many have been successfully shown in theatres.

There are even software packages that let you make your own DCP. Even with a key. Qube, Quvis, Fraunhofer and others make such software. I'm thinking of investing in some such software but watching and waiting to see how the demand grows (or not).

But what if you don't want to go through the trouble of making a DCP and you're happy showing it off a WD player? Well then go with it. Most theatres that have a Digital projector have one with either a DVI or HDMI input. You can connect the WD Player to the projector with the appropriate cables.

Sound may be a bit of a problem though. If your sound is stereo, then the theatre sound system will accept a stereo input with the appropriate cables. Theatres usually have such a sound system to play music before the movie begins. If your sound is Dolby 5.1, then the theatre's Dolby processor may or may not have compatible inputs for a WD Player. Though a Dolby processor will have six separate analog inputs. In that case you'll need more than cables, you need a decoder to convert the WD Player's digital output to six analog outputs.

Some months ago I showed a full 3 hour feature at the Cinemax theatre playing Apple ProRes files off my laptop who's video display output was connected to the theatre's projector. And sound system connected to the stereo output of the laptop. At the Pixion theatre (where i used to work, not any more, though) we had a permanently connected MacPro from one of the edit suites to a digital projector. And the six track output to the theatre's Dolby system. So we showed many a movie here off FCP with full Dolby surround. Sadly, the Pixion theatre is no longer operational, I believe.

Lastly, a Blu-ray disks also not a bad choice. They are reasonably easy to make, full HD in resolution, and carry up to 8 tracks of audio for full surround. And you can add subtitles which can be switched or or off as needed.

So these are the choices one has, for showing one's movie or short film at a less endowed film festival or theatre, or if one has a budget that does not permit making a print or a DCP.

Old, 'previously enjoyed' Mac systems for sale

A friend, film-maker of repute, is letting go of his 'previously enjoyed' Mac systems. This is a sale that he does from time to time to refresh his setup, as well as, provide young movie-makers the opportunity to buy reasonably good and capable equipment for their aspirations.

There is a MacPro, 2x 23" Cinema Displays (non-glossy screen), a MacBook Pro 15" matte hires, and a MacBook Air 11"

All systems are in Mumbai and can be picked up against payment. I'm not revealing the identity of this gentleman at the moment. But please write to me and I can hand you over to him.

MacBook Pro 15inch High Res

Custom build for photographers and film editors.

Has High Resolution, Matte Display, Solid State Drive.

Comes included with added THREE year APPLE CARE warranty.

This is a special custom built system with a 1680x1050 display. So, DaVinci Resolve will run on it without the terminal hack.

MacBook Pro 15inch Early 2011

Serial Number: C02G832QDRJM

Thunderbolt

OSX Lion

2.2 Ghz Quad Core i7

AMD Radeon HD 6750M with 1GB GDDR5

8GB RAM

128GB Apple SSD

Backlit Keyboard

High Resolution Display

Anti Glare (Matte) Display

Apple Care included

Under Warranty till August 18, 2014

Machine Condition- Like NEW. In Box

Comes with ALL ORIGINAL PACKING.

This is a top of the line 15inch Pro Custom Configured machine.

Rs 1,40,000

Cheque or Bank Transfer accepted.

Delivery on receipt of payment.

MacBook Air 11inch

MacBook Air 11inch 2011

Serial Number: SC02G1CS4DJYD

Thunderbolt

OSX Lion

1.6Ghz Core i5

4GB RAM

128GB Apple SSD

Backlit Keyboard

Machine condition - Like New. In BOX

Comes with ALL ORIGINAL PACKING.

Rs 65,000

Cheque or Bank Transfer accepted.

Delivery on receipt of payment.

Under 1 year Warranty till September 9, 2012

Extendable by 3 years with Apple Care.

MacPro

This system will work for Avid MC, FCP and Resolve.

To run Resolve faster, you can add a GPU

Mac Pro 2008 Eight-core Intel Xeon

Series 3,1

Serial Number: YM822053XYK

2.8 Quad Core Intel Xeon DUAL PROCESSOR

Processor Name: Quad-Core Intel Xeon

Processor Speed: 2.8 GHz

Number Of Processors: 2

Total Number Of Cores: 8

L2 Cache (per processor): 12 MB

RAM Memory: 16 GB

Bus Speed: 1.6 GHz

16 GB RAM (added 2012)

320 GB 7200 RPM Drive

Super Drive

Warranty Expired.

In perfect working condition

Will install OSX of your choice.

Snow Leopard or Lion

- Rs 1,20,000

Cheque or Bank Transfer accepted.

Delivery on receipt of payment.

Apple Cinema Display 23 inch HD DVI

two pieces

Matte Screen

USB, Firewire connectors at the rear

Warranty Expired

In perfect working condition

In Original box

Rs 35,000 each

Cheque or Bank Transfer accepted.

Delivery on receipt of payment.