Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Several problems were found in checking the database. Several slates were mislabeled. These were
noted in the cutting log and database. As the editing moved forward, a major problem was encountered.
When the fi rst fi lm list was exported to check for double uses, several double uses were
reported. Yet these were not double uses, they weren’t even from the same camera rolls. At fi rst it
looked like the almost impossible had happened, that there were two camera rolls with the same key
code numbers. This turned out to not be the case.
Because the camera rolls had been spliced into selects rolls consisting of the circled takes, when the
selects rolls were telecined, a splice had passed through the telecine without the colorist noticing.
The telecine machine cannot read every key code number; many are interpolated from known key
code numbers. When a splice goes through the telecine, if the new number is not entered, it will
continue with the numeric sequence from the previous roll, logging the wrong key code information
into the telecine log.
Close examination of the database showed that four shots had key code numbers from a different
camera roll. Several fi xes were discussed; the consensus was that the shots should be retelecined. As
it turned out the fi x was simple. The negative editor rolled into the selects rolls and found the shots
with the wrong key code numbers. She wrote down the key code numbers for sticks close on the
slates of the four shots. These key code numbers were entered into the Cinema Tools database on
the corresponding sticks close frames. The key code information for the entire shot came online and
the double use reports were cleared up. The window burns remained erroneous, but the database and
fi lm lists were accurate.
Also, because the telecine session was going over the scheduled time, toward the end, some shots
were telecined in groups, slatted as “ser” or series. These needed to be telecined silent as there is no
way to match slates on several shots at the same time. So, some shots needed to be sunc in Final
Cut Pro after the reverse telecine. We cover this workfl ow in Chapter 3 on initial audio workfl ow.
The initial steps in the workfl ow are critical. Small errors can cause major problems and result in
time and money being lost. Plan the entire workfl ow in advance all the way to the fi nished format.
Keep everyone informed of the plan and any changes to the plan. Planning and communication are
the keys to a smother postproduction, saving money, and ensuring a quality product.
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