Hello fellow frameworkers, I am in a bit of a workflow predicament:
A year ago I shot 1600' of Double-X 16mm for a 25 minute film of a fellow Artist, Chris Larson, that I assist occasionally. We sent the film out and got a work print and telecine, under the impression that the telecine would be used for previewing and we would cut together the workprint and then get the negative cut from that. We did not get a KeyKode scan with the telecine. Recently, Chris made a master digital cut from the telecine files using Premiere Pro CC and now wants the negative conformed exactly to that. I am in a different place this year and do not have time to physically conform the workprint to the 100 cut digital master. The issue we are running into is that we do not have KeyKode data to send to a negative cutter and the film was telecined as two lab reels rather than four camera reels, so I have not been able to manually change the digital timecode to match the keykode - I am not sure if the manual timecode to keykode change is even possible in Premiere. So here is my question: what is the best next step? Should I send my film back to the lab to get re-telecined with Keykode? And is there a way to easily conform the new telecine+keykode to the original telecine in Premiere Pro CC and generate a frame-accurate cut list? Also, who's a good Negative cutter to use in the US? Thanks much for the help, Alan Gerlach
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