_       ______  ____  __ __ ____  ____  _____   ________
| |     / / __ \/ __ \/ //_// __ \/ __ \/  _/ | / /_  __/
| | /| / / / / / /_/ / ,<  / /_/ / /_/ // //  |/ / / /   
| |/ |/ / /_/ / _, _/ /| |/ ____/ _, _// // /|  / / /    
|__/|__/\____/_/ |_/_/ |_/_/   /_/ |_/___/_/ |_/ /_/ v.9    
LE16 - Linear Editor for 16mm     

WORKPRINT (formerly freekode) is a cutlist generator that allows
filmmakers to cut their 16mm film in Final Cut Pro (pre-X) and export a
valid cutlist without the use of Flex files or keykode burn-in.

Instructions:

I. Shoot film. 16mm.

II. Get it processed.

  At this point you can do whatever you want with the footage. Send it to a lab, process it by hand (carefully), whatever. The minimum requirement is that you have a processed negative with legible keykode markings on the edge. Many labs offer prints and transfers of negative moviefilm and you are able to make use of both with WORKPRINT.

III. Log your footage.

  First, a little about keykcode. Keykode on Kodak films (called MR-code on Fuji stock) consists of 12 characters in 3 groups of 4 that run along the edge of the film. Something like: eK65 2322 1201 These can be used to identify single frames by assigning them a unique value. http://en.wikipedia.org/wiki/Keykode

  The markings appear every 20 frames. The notation for identifying single frames looks something like this: eK65 2322 1201 +12. The "+" number after the keykode is always a positive and spans from 00 to 19. Therefore a value such as eK65 2322 1206 +12 would be located 100 frames after the first example.

  If you can identify a frame by its keykode, you can then log your footage. Select and physically mark the earliest and latest frames you can identify on your reels. Use a marker, a holepunch or really anything that will leave a visible mark on the print or negative. These marks are essential to the accuracy of the cutlist. Record the 'in' and 'out' keykode values so they can be associated with each reel.

IV. Digitize the footage. 

  Transfer your film any way you like. If you want, you can project the negative on a wall and record it with DSLR, a miniDV camera, a cellphone, whatever really. Using a crystal-sync projector is recommended.

V. Import your footage.

  Log and capture your footage in Final Cut from the first marked frame to the last marked frame on every reel. Any handles before and after those marks will cause your cutlist yo be innaccurate.

VI. Edit.

  Edit your reels as you would any other video. Make sure it's a single sequence without any nested sequences in it. You can even cut to your sound.

VII. WORKPRINT.
  
  Export an Apple XML Interchange Format version 4 or 5 of your sequence. File > Export > XML. Go to wp.sixteenmillimeter.com and upload your XML file. You will be prompted to enter the logged keykode information about each unique reel the software detects. Once you have entered the values, they are stored to your browser if you ever try to upload a new version of the cut using the same reels.

  Your cutlist is generated, along with a chart of reels used and a measurement of how much clear leader is needed for black space.