Appendix 1

Appendix 10
Example Workfl ows
Basic Workfl ow 1
Shooting on 29.97 NTSC low data
(Mini DV, DVCam, DVC, DVC PRO 50)
Finish on 29.97 NTSC low data
This workfl ow is proper for all 29.97 low-data formats. Even 24 P, when not reversed and left at
29.97 FPS, follows this workfl ow. Because the data rate is low, the video can be stored on a standard
FireWire 400 drive. And because this is low data, there is no need to online, the off-line edit being
full resolution.
Most often, single-system sound is used with this workfl ow, recording audio directly on the camera
tape. However, some projects use double-system sound, recording sound on a sync sound recorder.
In this case, as there will be no pull down, the sample rate for recording digital audio should not be
a “30 FPS” fi lm speed sample rate such as 48,048 Hz, but rather, a “29.97 FPS” video speed sample
rate. 48 K is ideal.
The aspect can be cropped to any size, but the native aspect ratios are 4 × 3 and 16 × 9. 16 × 9 fi nish
can be anamorphic or letterbox.
Many “basic” projects shot on these formats edit and mix sound entirely in Final Cut Pro. This
example workfl ow uses Pro Tools, which has huge advantages. However the sound can be mixed in
Final Cut Pro.
• Log and capture all footage.
• If the footage is anamorphic, set up the capture and sequence to anamorphic.
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