Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Figure 3.3 Slating a scene from Lost Hope and More using a digital “smart slate”
open. In this case, we know what time is represented; however, what if the number is an 8? It could
be a 7 overprinted with an 8, an 8 or even an 8 overprinted with a 9. So it’s hard to say what time
code this matches. Moreover, notice that the audio time code burn window, (lower left) shows
16 : 17 : 08 : 05 yet the slate shows 22 : 31 : 52 : 12. The reason for this huge difference is not a jamming
problem or an error with the slate or recorder. In this case, the telecine session was running long and
the decision was made to stop syncing in telecine and sync the remaining shots to the clapper later.
On the video, the audio time code is not advancing but is parked on 16 : 17 : 08 : 05. The assistant
editor should make note of this in the cutting log and, after the video is sunc, the actual time code
should be entered into the Cinema Tools database to preserve the accuracy of the audio database.
Such problems are so common as to be considered normal. They are the principal reason for keeping
detailed notes and a cutting log, and for always having a backup system like the clapper sticks.
Partly because of these problems, most telecine facilities use a hybrid workfl ow for syncing in telecine.
First the production audio is transferred to a time code DAT format, often DA88 format. If the
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