Appendix 1

When Shooting on Film
resizes the windows on the computer screen and fl ags of exported video to 16 × 9 for QuickTime or
DVD. The fl ags do not make the video anamorphic, it already is. You are only fl agging it so that Final
Cut Pro recognizes it as 16 × 9. The image on the video monitor is not affected by the anamorphic
fl agging. If a 16 × 9 monitor is used in editing the image will be normal with the fl ags set or not.
Many people who are planning to only record back to tape and not export don’t set the anamorphic
fl ags. The image will look stretched on the computer screen, but it will look normal on a 16 × 9
video monitor.
The fl ag (check) is set in the browser window in Final Cut Pro. Scroll over to a column labeled anamorphic
and check all the anamorphic clips. It is important that the sequence settings match the
fl agging, so in this case you also need to set the anamorphic check in the sequence. There are anamorphic
presets in the capture settings and the sequence settings; however, all this does is set these
fl ags while capturing or creating a new sequence.
Telecine Logs and Databases
A database is necessary in order to cut and print the negative or even go back and retelecine at a
higher defi nition or with better color correction. You need a map to fi nd your way back to the exact
fi lm frame you are seeing on the computer in editing; see Figure 1.4 as an example.
Figure 1.4 Telecine log
Information contained in the telecine log includes: camera roll number, lab roll number, sound roll
number, the time code being read from the audio player (if syncing in telecine), the scene number,
the take number, the format of the video recorder or recorders, the time code recorded onto the
videotape(s), and the key code information from the fi lm. Other information and comments can be
added after the fact and can be used as a cutting log. It is indispensable for a fi lm or 24P fi nish when
shooting on fi lm.
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