Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Figure 3.1 The classic analog Nagra recorder. First used in the early 1950s, this recorder is still
preferred by some mixers and fi lmmakers.
for some time by locking everything to its internal clock, there are micro differences between clocks.
And in postproduction it is necessary to maintain sync through the entire program. So, in postproduction
it is best practice to lock all playback and record devices to a common “house” clock. In this
way, even if there are micro errors in the clock rate that cause the playback to run too fast or slow,
all video and audio devices will change speed together in sync.
Time code is also often used, as a database, as a sync reference, and to fi nd sync in the fi rst place.
If you know what audio time code corresponds to what video time code, you can use this information
to quickly pull the two elements into sync. Time code can also be compared to the “house” sync
reference to ensure that the playback speed is 100 percent in sync. And time code can be used to
make a database containing the location of each take on the original recording media as well as its
usage in the fi nal edit. This database can be used to make an audio edit decision list or “audio EDL,”
which can be used to recapture any production audio if the workfl ow requires it. While EDL workfl
ows are quickly becoming a thing of the past, some facilities still prefer that workfl ow.
Many digital recorders do not record time code yet can still be used for sync sound recording. In this
case, sync is held only through playback accuracy; as long as the playback sample rate matches the
recording sample rate, the playback will stay in sync for several minutes.
Digital recorders record to many different media. Some record to Digital Audio Tape (DAT), other
digital recorders record to fl ash memory, or even directly to drive. Flash memory chips can be
removed and used as the recording media; however, it is much more common to download the audio
fi les to a removable drive or burn them to a CD, either in the recorder if it is equipped with a CD
burner, or on a laptop computer.
So, planning your initial audio workfl ow will require several choices. First, the production sound
may be delivered on one-quarter-inch tape, DAT, CD, portable drive, or even fl ash memory. In some
cases, you will transfer this audio to another format before syncing. If you are shooting fi lm, you
can sync in telecine or sync later in Final Cut Pro before editing. And you may need to “pull down.”
Let’s take a closer look at these options.
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