Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
The key here is not to do too much. You are working in a vacuum, only hearing the clip you are
working on. Most audio decisions need to be made in context with all tracks playing. If the clip is
in clear need of processing, say for broadband noise reduction or to add gain to a very low clip, this
is fi ne. But don’t try to fi ne-tune the clip’s equalization or shape the reverb this way. Wait until all
tracks are built and all sounds are edited in and then add these effects as part of the mixing
process.
The fi nal mix can be preformed right in Final Cut Pro; however, there are several serious limitations.
Most Final Cut Pro systems lack serious audio monitoring. Even if you have professional-grade audio
monitors, speaker placement and room acoustics are an issue. This is also true of a Pro Tools system.
However, many Final Cut Pro edit systems lack good audio monitoring capabilities, yet are still used
for fi nal mixing.
Depending on the speed and memory size of your system, even a few audio tracks can reduce the
real-time playback capabilities. Even with ten tracks, you will likely be rendering every sound you
edit into a track. The slightest change also requires rendering.
The best workfl ow, therefore, looks like this. Edit the entire project in Final Cut Pro, export sound
clips to Sound Track Pro only when processing is required, and keep the number of tracks within
the capabilities of your system. Then, after the picture edit is locked, export the entire project to
Sound Track Pro and fi nish the sound design there.
This is the best workfl ow no matter what sound edit software you are using. Many people prefer
Cubase, Logic, or some other digital audio workstation. And, of course, with Pro Tools this is the
proper workfl ow as well.
Sound Track Pro is a very capable system that can play many more tracks in real time than Final
Cut Pro. This is because, as an audio-only system, its entire processing power is directed toward
audio playback and processing. With Sound Track Pro 2 in Final Cut Studio 2, new features make
this a great sound editing environment. One new feature is Apple’s version of Virtual Katy for Pro
Tools. When the edit is changed in Final Cut Pro, importing the new video into Sound Track Pro
automatically conforms the sound edit to the new picture edit. While this is an expensive plug-in in
Pro tools, it is simply part of Sound Track Pro 2. Apple has also added 5.1 mixing in Sound Track
Pro 2, something available only in the HD Pro Tools systems.
In its basic software-only form, Sound Track Pro lacks an audio interface. While it can use your
fi rewire AV device as an audio interface, this is probably your DV recorder and most of these are
not intended as an audio interface. Most have only basic consumer −10 db audio inputs and outputs
and naturally, no mic preamp or mic input. Sound Track Pro can also use the audio input and output
on the computer, but this is even worse.
Sound Track Pro will interface with a wide variety of audio interfaces, including several of
the Pro Tools LE interfaces. It also interfaces with a lot of other audio interfaces, including
MIDI and many different control surfaces. There is more on control surfaces when we look at Pro
Tools.
The entire sound edit can be fi nished and mixed in Sound Track Pro and then exported back to Final
Cut Pro. The editing interface is simple and intuitive, and it has an automated real-time stereo
mixer.
94