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Index<br />
24PA video<br />
capture settings in Final Cut Pro, 27<br />
mixing with 24P video, 29<br />
output cadence settings in Final Cut Pro,<br />
28<br />
reverse telecine, 27<br />
2 K, 173<br />
2:3:3:2 cadence, see 24PA video<br />
A<br />
A and B roll<br />
A-B rolling, 198–199<br />
fade-in, 205<br />
Adobe Illustrator, title generation and<br />
import, 120–121<br />
ADR, see Automatic dialogue replacement<br />
Alpha channel, titles, 124–126<br />
Anamorphic fi nish, fi lm, 70–71<br />
Anamorphic telecine, overview, 4–5<br />
Answer print, defi nition, 59<br />
Arrifl ex D20, 174–175<br />
Aspect ratio<br />
letterboxing, 183–187<br />
overview, 183<br />
pan and scan, 187–188<br />
Audio, see also Sound design<br />
fi lm pull down, 37<br />
music, see Music<br />
online editing, 87<br />
recorders<br />
analog versus digital, 35–36<br />
digital capture, 41<br />
tape capture, 41–42<br />
Sound Track Pro, see Sound Track<br />
Pro<br />
sound effects, see Sound effects<br />
syncing<br />
Final Cut Pro workfl ow, 47–48<br />
hard lock versus soft lock, 37–38<br />
time code as reference, 36<br />
time code locking to smart slate,<br />
38–41<br />
track management in Pro Tools, 42–47<br />
workfl ow examples, 48–49<br />
Automatic dialogue replacement (ADR)<br />
cueing, 101<br />
editor, 101<br />
mixer, 101<br />
recording in Pro Tools, 101–102<br />
A wind, fi lm, 59–60<br />
B<br />
Background sound<br />
overview, 105–106<br />
walla, 106<br />
Batch list<br />
edit logs, 11–13<br />
importing from Cinema Tools, 8–9<br />
Betacam, 167<br />
Beta SP, 167<br />
Blue laser optical disc, 172<br />
B wind, fi lm, 59–60<br />
C<br />
Checksum error correction, 158–159<br />
Cinema Tools<br />
fi le architecture, 192–193<br />
inked edge code number support, 10–11<br />
Picture Start frame, 98–99<br />
reverse telecine<br />
fi le checking, 15–16<br />
sequence settings, 16<br />
telecine logs and database, 6–10<br />
vertical timeline editing problems,<br />
52–53<br />
Color compression, 160–161<br />
Color grading<br />
defi nition, 133<br />
fi lm or video when fi nishing on<br />
compressed video<br />
Color FX, 137<br />
color rooms, 136<br />
geometry/pan and scan, 138<br />
overview, 134–135<br />
primary out, 139–140<br />
render cue, 141<br />
secondary, 136–137<br />
setup, 138<br />
still store, 140<br />
working with color, 135–136<br />
fi lm or video when fi nishing on<br />
uncompressed video or digital<br />
intermediate, 141–142<br />
Color timing<br />
defi nition, 133<br />
varying red, green, and blue, 133–134<br />
Compression<br />
color compression, 160–161<br />
DVD markers, 148–149<br />
lossless, 159–160<br />
MPEG, 160<br />
spatial versus temporal, 160<br />
Compressor, DVD distribution, 146–147<br />
Conforming<br />
digital intermediate, 74<br />
edit sync, 205<br />
laying out and marking effects<br />
A and B roll fade-in, 205<br />
dissolve, 206<br />
fade-out, 205–206<br />
superimpositions, 207<br />
unintentional splices, 207<br />
negatives<br />
A-B rolling, 198–199<br />
leaders<br />
audio leaders, 204<br />
workfl ow, 203–204<br />
preparation, 201<br />
pulling negative or work print,<br />
201–203<br />
splicing, 199–200<br />
super 16mm, 197–198<br />
zero cuts, 201<br />
work print, 67–69<br />
Contact printing, fi lm titles, 130–131<br />
Cut list, export in Final Cut Pro, 63–64<br />
241
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