Matchback is the same process whether it is on a Media Composer or an XpressDV, or with an EDL and MediaMatch or Slingshot. Matchback has been in use for almost two decades, originally developed to allow a film to be cut on video. Early on, the cutlists were made by reading the KNs from the burn-in and using a lock box to have the video follow the syncbloc.

Today, computers do great job of interpreting the difference between the 30 fps video version and the 24 fps OCN. Avids matchback, being built into the same software used for editing, makes it easier than ever to work with this process. Looking at the durations, the TC adress and the pull-in info in the shot logs, Matchback can properly place the adjusted cuts so the entire film is only +/- one frame in duration.

Where trouble usually arises is with the pulldown and audio. Simply put, cut your sound to the 29.97 video version of your film and then when the optical element is made pull the audio up .1%. (i.e, if you mix your audio to the video tape and then lay your mix off to a two track 1/4" tape, stripe the tape with 29.97 TC and then instruct the lab to resolve the TC at 30 fps). The relationship between 23.976 and 24 FPS, and between 29.97 and 30 is identical.

If you have a lot of short cuts in the picture and/or have a lot of key sound effects with picture, do the final mix to a one-light of the first answer print.

Sample Avid Matchback Cut List or Film Cut List.

Back to the Pulldown Explained page.

Link to Avid Technology, Inc. for more technical info regarding Avid products.
Link to
Filmmaker's Home Page/ Editing.
Link to
Zerocut main page.
Alan Stewart.