Appendix 1

When Shooting Digital Video
There are two ways to approach this:
• Capture from the HD Cam or Digi Beta shooting tapes at a lower resolution in Final Cut Pro and
recapture at full resolution later in online.
• Capture from DVCam clones of the HD Cam or Digi Beta and recapture from the high-resolution
tapes in online.
In the fi rst workfl ow, you log and capture the shooting format tapes at low-resolution to your drive
in a facility that supports your fi nished format. This can be expensive because you need to log the
tapes at the postproduction facility, and the hourly rate can be rather high. Excellent shooting reports
with time code can greatly reduce this cost. The low-resolution setting is “Off-line real time photo
JPEG.”
The second workfl ow requires making DV copies or “clones” of the shooting tapes. The time code
on these tapes must match your higher resolution tapes. You capture on your own system and on
your own time, so this saves money. Simply capture from your DV tapes and start editing. This
system works well and is the preferred system for most projects.
Because with both of these options, you will recapture in online, it is essential to properly name and
number your tapes in the capture settings, as shown in Figure 2.2. As with the fi lm workfl ows, a
cutting log can be created in Excel or a Word program but with these workfl ows you export a batch
list and open it in Excel or any Word program. This batch list can also be imported into Cinema
Tools for reverse telecine and/or management of media.
Figure 2.2 Off-line real-time photo JPEG setting
25