Appendix 1

When Shooting on Film
problems. This alerts production of an obvious technical problem with the footage, but it does not
help with problems with performance, sound, or a host of other issues. Screening dailies is a much
better workfl ow, but it is not always an option.
In order to save on the cost of printing, only “selects” were printed. During production, when the directors
felt they had a good take, they would call “print.” The take was circled on the camera reports and on the
sound reports. Only these takes were printed and screened. (This option is not available on 16 mm fi lm.)
The work print was not sunc before the work print screening; this screening would used to check for
picture problems only. A 35 mm work print screening will show every little problem. Performance
and sound would be evaluated in telecine.
So the initial workfl ow looked like this:
• Foto Kem labs pulled circled takes from the camera negative and spliced them in into “selects”
rolls.
• Work print was printed from the selects rolls.
• Silent work print was projected to look for problems.
• PD4 DAT audio was transferred to DA88 tape by Laser Pacifi c. Clappers were logged by time
code.
• Footage was telecined by Laser Pacifi c to DVCam with zero “A” frame and with fi eld “1” dominance.
NTSC nondrop-frame time code (NDF) was used with burn windows for:
Time code (lower left)
Key code with pull-down cycle identifi er (lower right)
Audio time code (directly above video time code)
• 23.98 FPS HD Cam was also recorded at the telecine for DVD authoring. 23.98 NDF time code
was recorded to the HD Cam, which was a match with 29.97 NDF DVCam time code except for
frame rate.
• Each tape was given a different hour code.
• A telecine log was made.
• DA88 audio was sunc in telecine to the clapper logs.
• The telecine logs were imported into a new Cinema Tools database and a batch list was
exported.
• The batch list was imported into a new Final Cut Pro project at 29.97 FPS.
• A batch list was also opened in Excel to create a cutting log.
• The DVCam footage was captured.
• The shots were linked to the database in Cinema Tools.
• All shots were batch reversed to 23.98 FPS.
• The 23.98 FPS shots were linked to the Final Cut Pro project.
21