Appendix 1

Initial Audio Workfl ow, Importing Production Audio, and Syncing
Just as with captured tape, you will want to set the sample rate to 47,952 in the 48 K pull up/down
settings of the sample rate setting. This will slow your exported audio by the needed .1 percent. Be
careful to export your new audio to a new folder, as shown in Figure 3.8, rather than the folder containing
the original audio, otherwise the new fi les will overwrite the original fi les.
Figure 3.8 Audio fi les
Syncing in Final Cut Pro
If syncing was done in telecine, then there is no need to sync in editing. Some projects are sunc after
the telecine. Either workfl ow works well. Many people like syncing their own dailies to save telecine
time and cost and to make sure it’s done well. As we saw in the telecine section in Chapter 1, problems
often come up. Moreover, when syncing in telecine, the process may be rushed. Careful attention
to detail by syncing after telecine may prevent problems later.
You will sync to the clapper. With all the audio imported and video captured in the browser, open each
clip in the viewer one at a time by double clicking on it. On picture takes, look for the fi rst frame where
the slate sticks are fully closed. If there is motion blur, this is fi ne, as long as you see the sticks closed.
If this is a slate at the head of the shot (head sticks) set an in point. If it is at the tail (tail sticks) set an
out point. Move on to the next clip and continue with the rest of the clips. On audio takes, listen for
the sound of the sticks and set an in point for head sticks or out point for tail sticks.
Now, pair the audio and video takes. Select the video take by clicking on it and then add the audio
take by clicking on it while holding down the command key. With both clips selected, and only the
two clips, go to Modify > Merge clip. Select the appropriate box, in point for head sticks, out point
for tail sticks, and click “OK.” This creates a merged clip in the browser window with a (dot) merged
name. You will edit these clips. The original audio and video can be placed in a bin for future reference.
However, it’s likely you will not need them again.
If you need to manage an audio EDL, you can open the Cinema Tools database and enter the audio
time code into the audio time code area of the database. (For information on audio EDLs, see Chapter
7 on sound edit workfl ows.) You will also want to reexport a batch list into Excel or a Word program
to include the audio time code into the cut list.
47