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<strong>Appendix</strong> 10: Example Workfl ows<br />
• If scratch titles and graphics were used in the edit, create the fi nished versions and cut them into<br />
the project. Use care to not change the length of the title; it needs to be a straight replacement.<br />
Graphics should be made at 1,080 × 1,920 pixels.<br />
• Go through the project shot by shot and color correct using the Final Cut Pro plug-ins (i.e.,<br />
color corrector three way), or use second-party plug-ins. You are working in an HD color<br />
space; however, it is a very compressed color space. You will have no more control than if you<br />
were in NTSC.<br />
• If cropping to a wider aspect ratio than 16 × 9, crop the project using the motion tab controls.<br />
• Make a copy of the sequence in the timeline and delete all of the sound tracks. Do not use the<br />
original edit, use a copy.<br />
• Import the mix into Final Cut Pro, drag it into the new sequence and line up the 2 pop.<br />
• Print to DVC Pro HD tape.<br />
This workfl ow is similar to Basic Workfl ow 1, and is really being seen as a direct replacement of<br />
that SD workfl ow. But, it will likely also be a replacement for Basic Workfl ow 2.<br />
Basic Workfl ow 4<br />
Shooting on high-bandwidth 24 P HD<br />
(HD Cam, 1080i, 1080p, 720p)<br />
Finish on 24 P HD, optional 35 mm fi lm<br />
This is the classic HD workfl ow. This is not a single workfl ow; there are so many options along the<br />
way, it is almost a family of workfl ows. There are many frame rates and different but related formats,<br />
yet they follow similar workfl ows. There are many options along the way, different ways to accomplish<br />
each step. The results can be fantastic. Many feature fi lms have been made this way, including the<br />
huge-budget Star Wars 2 and 3. In these cases, the reason for using this format was not cost savings,<br />
it was chosen for its ability to seamlessly integrate digital effects and maintain a consistent look.<br />
There are several cameras that shoot these formats. Most commonly used are the Sony Cine Altas,<br />
the HDW-F-900, and the HDC-950, as well as the Panasonic Varicam. While these cameras shoot<br />
several frame rates, the most common is 23.98 FPS. This simplifi es conversion to 29.97 FPS video<br />
and makes a great fi lm out at 24 FPS by simply speeding up the frame rate. By keeping the entire<br />
workfl ow at a 23.98 FPS rate, there are no pull-up or pull-down problems until and unless there is a<br />
fi lm out for 35 mm release.<br />
Double system sound is often used with “video speed” sample rates. As there is no need to pull down,<br />
the playback and transfer sample rate is simply the same as the recorded sample rate.<br />
The video data rate of these formats precludes the use of portable drives. The video can only be<br />
played from an array of drives through a high-speed data bus into the computer. Even capturing video<br />
from tape is a slow process. The data rate is so high that even with a serial digital interface, video<br />
can only be captured in small “chunks” one or two seconds long. The video can then be played from<br />
the array in real time.<br />
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