FCP to DI Workflow Advice

hi FAX.

you are lucky with your timing,
because the answer is YES there is now what seems to be a good solution.

there is new software Matchback Magic that promises to:
A. embed metadata into your source files
so that
B. those files can be tracked easily though post.

one application of this, according to the makers, is that you can now edit with the mix-down track only,
then easily re-build the sound edit using the multitrack BWF files.

you could also, i'm guessing, (and if you've set up the project just-so),
edit with telecine synced audio,
then create a 2tk off-line sequence via Cinema Tools,
and then use that and Matchback Magic to re-build your multitrack timelines.

i haven't used it yet as it's only just come out.
check it out here:
[assistedediting.com]

oh, the same people also make something else (Sync-n-Link) that may also help with this:
[assistedediting.com]

this has been out for a while, so maybe i missed out on a solution when i needed one.
anyway check them out.


cheers,
nick

Looking forward to reports Matchback Magic in real projects, especially features. Potentially very helpful.

- Justin Barham -

You can download a trial version of matchback magic and sync and link

Michael Horton
-------------------

Nick Meyers Wrote:
...
> you could also, i'm guessing, (and if you've set
> up the project just-so),
> edit with telecine synced audio,
> then create a 2tk off-line sequence via Cinema
> Tools,
> and then use that and Matchback Magic to re-build
> your multitrack timelines.
...


Hi Nick and everyone
Thanks for your answer.
I just gave Matchback Magic a look.
A promising tool, I just wonder if it just repeats what the telecine has done before:
producing an ale (or flx) file.

In the demo video, they are talking about handling (hand)-merged clips while keeping metadata.
My goal is: I don't want to merge any more, because telecine already did so,
resulting in a synced offline version with new TC.

My question is now: Have you Nick or anyone, who is editing feature movies, experience
in the conforming process based on telecine synced audio using Cinema Tools (pre matchback magic era!)?

Basically, I want to figure out the EASIEST AND SAFEST way to deal with in a double system workflow.
(Maybe this would best be subject of a new thread).
Any reports are very appreciated!!

Best wishes
FAX

P.S.
Nick Meyers Wrote:
> oh, the same people also make something else
> (Sync-n-Link) that may also help with this:
> [assistedediting.com]

I assume, this is very useful for TC-synced audio and video.
Less so in the 35 mm field, I guess...?
Cheers

i was thinking that once you got your 2tk audio EDL back from Cinematools,
that you might be able to re-connect to the original media.

that would still be 2tk only,
but from there, you'd be able to re-build the multitrack version using MatchBack.

but thinking more, it probably wouldn't be possible to reconnect.
you'd have to try it out.

Quote

My question is now: Have you Nick or anyone, who is editing feature movies, experience
in the conforming process based on telecine synced audio using Cinema Tools (pre matchback magic era!)?

yes.
i think i said that before in this post.

as i said we got an audio EDL back,
and then had to use that as a reference to re-buid the audio edit.
that was a fairly time-consuming process.
took about a day per spool.

the guy who did it said that sometimes the EDL wasn't correct, and he had to do a bit of manual spotting.
i dont know what happened in detail, i was in another city by then. (And it was 18 months ago)

i asked around at the time, but no-one had a particularly good solution to re-building the audio edit based on an audio EDL.



as the post house had rolled the cost of syncing (and batch capturing) into their deal,
that saved us on assistant time during the shoot,
so we may have saved in the end.

having said that,
syncing is not a terribly time consuming or taxing task for an assistant if the camera crew have done their job well.
on my latest job, i developed some quickeys macros that made the job even easier.
so maybe actually doing the syncing in the cutting room is the way to go.

after you've cut with the mix-down use matchback to re-build the multitrack version.

on this job the sound crew only ever shot a maximum of 4 tracks, so that didn't seem to hard to deal with.
if they were regularly going up to 8 i would have asked for a mixdown and cut with that.


nick