Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
If the time code matches between the audio and video, for example if you shot digital video with the
time code generator in sync with the audio recorder, then you can proceed to the merge clip function
and merge via time code. It is not possible to set a time code offset in the merge clip function, so
the time code would need to match exactly.
Initial Audio Workfl ow on Lost Hope and More, Success,
and Son
Much of the initial audio workfl ow on Lost Hope and More had been handled in telecine. All of the
production DAT tapes were transferred to DA88 tape. Because the fi lm was shot at 24 FPS, telecined
to 29.97, and the edit was planned for 23.98, the audio needed to be pulled down. However, because
the production DAT was recorded at 48,048 sample rate, the 48,000 Hz transfer to DA88 pulled the
audio down. The production audio could have also been recorded at 48,000 sample rate and the pull
down preformed on the DA88.
The “ser” or series shots that were telecined without sound needed to be sunc. Other production audio
could be useful in the sound edit so all DAT tapes were recorded into Pro Tools. Then, the needed
shots were exported as audio clips. The workfl ow steps were:
Figure 3.9 Lost Hope and More poster
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