Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
not be on 0 time codes. As the edge code window and videotape did contain the proper information,
the time code information in the database was changed to match the videotape. The shots were rereversed
and the problem vanished.
The cut list was carefully compared to the key code window burn and was found to be perfect.
However, because of all the problems, the decision was made to edit a work print to the cut list for
insurance before cutting the negative. This proved unnecessary as the cut list was perfect.
The negative was cut as the titles were put together and shot. The project was delayed waiting for
titles because the producer’s credits were not accurate and ready on time. The title negative was cut
into the negative rolls. A-B rolls were used to avoid opticals, and because the good people at Kodak
were willing to supply black leader as part of the grant.
Finally, Foto Kem pulled the fi rst answer print with no sound. This was telecined and used as a
syncing guide in the errant the Pro Tools session. A temp dub was made and transferred to 35 mm
mag stripe fi lm pulled up to 24 FPS. This was interlocked with the fi rst answer print and projected.
Everything was in sync and the fi rst attempt at color correction was fair. Changes were made to the
color settings in preparation for a second answer print.
The fi nal mix was made at Mix Magic. Machine control was used to lock the Pro Tools session to a
Beta SP videotape with time code matching the Pro Tools session, 01:00:00:00 at Picture Start. The
Pro Tools session was duplicated and all levels and fi lters removed from the tracks so that Mix Magic
would have a clean start.
After the mix, the Dolby LCRS encoded mix was recorded to DA88 at 29.97. The optical sound
was shot to 35 mm by NT audio with pull up as the Pro Tools session had ended up at video speed
after resyncing to the 29.97 video. A second answer print was made with sound. To everyone’s surprise
and joy, the colors looked great, the Dolby sound track was incredible, and it was dead in
sync.
Three release prints were made as well as a low-contrast or “low con” print. This was telecined to
Digibeta, captured, and compressed on Apples Compressor software. This was matched to the original
non-Dolby encoded comp mix audio. DVDs were authored using DVD Studio Pro.
The project was a great learning experience for everyone involved. Even the mistakes proved a great
learning experience. Some of the lessons learned:
• Plan out the workfl ow and discuss it with the entire postproduction crew. Make sure everyone is
on the same page.
• Never put off ordering titles or opticals. Have a schedule and stick to it. Schedule all telecine,
mixing, and transfer ahead of time and then be ready to go at the scheduled time.
• Check the database against the window burns. Don’t assume the logs are correct.
• Check for double usage as you go. Don’t end up reediting after picture lock just because of a
double usage.
• When problems come up, don’t panic. Keep your thinking creative and outside the box. A simple
fi x may be staring you in the face.
214