Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Cinema Tools can export a change report referenced to the edge code information. This way, any
work print conformed to the cut list can be recut to match the changes. Changing the negative cut is
also possible, but may result in even more changes due to lost frames.
To create a Cinema Tools change report:
In Final Cut Pro, select the new version of the edit.
From the fi le menu, select export, Cinema Tools Change List.
When the dialogue box opens, select the Cinema Tools program (pgm.) fi le that you saved with
the cut list for the previous version.
In the change list window, confi gure any settings and select any or all of the four options for
change lists.
The list can also include any of the standard Cinema Tools lists normally exported with an “export
fi lm list” command.
Change lists are only supported in 4 perf 35 mm referenced to the exact same Cinema Tools database.
If you add any dailies, this will throw the change list off. If you are adding any new footage, reexport
the original fi lm list referenced to the new database containing the new footage before opening the
changed version and exporting the change list. This change list can be used in Pro Tools to automatically
change the sound edit to match the changed picture. (For more on this, see Chapter 7 on sound
edit workfl ows.)
Editing Lost Hope and More to a Locked Cut
All of the shots were arranged into various bins and several sequences were created at 23.98 in the
Final Cut Pro project. Different scenes were assembled in these sequences and slowly tightened
toward a fi rst edit. Early in this process, various pieces of temp music were imported from audio CD
and used to help fi nd the pace and feel of the scenes.
From the earliest edits, there were strong disagreements between the editor, the directors, and the
producers. Often, the creative process is one of disagreement. At times, this disagreement becomes
a matter of ego, and this can be totally destructive to the process and the end result. Often the disagreement
is one of opinion on the best interest of the project. In the case of Lost Hope and More,
there was a bit of both. But, in the end, everyone truly wanted to see the best fi lm on the screen, no
matter how that came into being.
This raises an important workfl ow issue: Who will be directing the edit and what will be his or her
needs at different points as the edit goes forward? There may be a director’s cut, then the project
may be turned over the producer, the distributor, the network, and any of these people may be in the
decision loop along the way. They may want test screenings, changes, new titles, new sound mixes,
or even new footage.
While the outright wars among these people are part of Hollywood legend, and many fi lms have
been said to be ruined by the process, most of the time, the process works fi ne. Everyone stays amicable
and focused on making the best possible fi lm.
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