Appendix 1

Appendix 10: Example Workfl ows
and captured. Because of the low-data rate, capture can be done in real time. This is slower and,
therefore, more expensive than down-converts to tape, mostly because of logging time. If the batch
capture list is made by logging blind from the camera reports before going in to capture, this can be
almost as cost effective as tape-to-tape down-converts. And because capture is done at 23.98, there
is no need for matching time codes, dual window burns, or reverse telecine.
Just as with the other workfl ows, if the project is destined for fi lm-out, split the edit into ten-minute
or less reels, and slug for missing titles or effects. After the off-line edit, when the edit is locked, the
project is ready for sound and online edit. Sound is handled exactly like the other workfl ows.
• Cut in a Cinema Tools head leader (23.98 FPS) on every reel.
• Organize and split off all sound tracks.
• Export the movie (reels) as a QuickTime (they will be 23.98 FPS QuickTimes).
• Export the audio for the reels as OMF.
• Open the OMF as a Pro Tools session using Digi Translator.
• Import the QuickTime movie and guide track into the Pro Tools session. Pro Tools will support
the 23.98 FPS rate.
• Record and import all sound effects, ADR, Foley, and music.
• Edit the sound tracks and create the automated mix.
• Export the composite mix with the “bounce to disc” function.
• Export the stems.
• Create the fi nished HD titles and graphics. Graphics should be made at 1,080 × 1,920 pixels. If
you are using Final Cut Pro titles, they will automatically be rendered at high defi nition in the HD
render.
You are now ready for the online HD edit and color correction. There are a few steps in getting ready
for the online.
• Make sure that all of the video is in V1 unless it is a superimposition. Many people edit by layering
shots simply to facilitate moving shots around. This becomes extremely confusing in online.
Keep all of your shots in V1.
• Use “Media Manager” in Final Cut Pro to make an off-line sequence of the locked cut. Media
Manager will eliminate all of the footage not used in the edit. All of the edited footage needs to
be recaptured, but there is no reason to capture footage not used in the edit.
The project fi le is very small, only a few hundred K, yet this is the map to the fi nished online. Have
your online facility check the project fi le before going in. They can load it in onto the HD online
Final Cut Pro system and look for problems. And, as it is very small, you can simply e-mail it to
them as an attachment.
What you should bring with you to the online:
• Your mix, on a portable drive
• Any HD titles or graphics that will be replaced
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