Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Figure 2.10 Success poster. Image Courtesy of Glynn Beard and Teresa Steppe
• All of the shots were then batch-reverse telecined back to the original 23.98 FPS frame rate in
Cinema Tools.
• All of the clips in the Final Cut Pro project were then relinked to the new 23.98 FPS footage, a
23.98 FPS timeline was created in Final Cut Pro, and the project was edited at DV 23.98.
Son was shot on the DVX 100 by Panasonic. The production frame rate was 23.98 FPS, which is to
say, 24P. The cadence was 2 : 3 : 3 : 2 or “advanced” 24PA.
• The shots were logged and captured at 23.98 using the advanced pull down removal in Final Cut
Pro.
• The project was edited at 23.98 FPS.
While there are many similarities between these steps used with digital video and the fi lm workfl ows
from Chapter 1, there are also many differences. Overall the digital workfl ows are more streamlined,
especially true with the newest formats, ProRes 422 and Redcode. Many of the problems in digital
video workfl ow come from lack of planning. While a fi lm workfl ow demands pre-planning, digital
video often lulls the editor into a false sense of simplicity, and thinking that anything can be done
at any time. It’s not enough to have a good idea where you are at and in what direction you are
headed, you also need to know where you need to end up before you take even one step on the
journey.
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