Appendix 1

Initial Audio Workfl ow, Importing Production Audio, and Syncing
• All DAT production audio was recorded tape-by-tape into Pro Tools.
• Shots that were not sunc in telecine were split off from the Pro Tools master clips of the DAT
tapes.
• Because the DAT tapes were recorded at 48,048 Hz, no pull down was necessary. Subclips were
exported from Pro Tools at 48,000 Hz.
• These audio clips were imported into the Final Cut Pro project.
• The audio clips had their clapper sound marked with an in point.
• The corresponding video shots were marked with an in point on sticks close.
• The shots were paired and merged with the merge clip function.
On Success and Son, audio was recorded on a Nagra 4.2. This analog audio was captured into Final
Cut Pro by transferring all of the one-quarter-inch tape to DV Cam tape. This allowed for direct
capture and provided a time code reference for the audio. The transfer to DV Cam was critical as
this would be the fi nal audio; however, the one-quarter inch was still available for recapture when
necessary. The audio was sunc to the clapper sticks using the merge clip function.
All three projects used a form of soft lock, yet there were no sync issues with any of the three. Even
the transfers for Son and Success were soft locked, which is defi antly not best practice, yet here too
there were no sync problems. Many practices that are routinely used in production and syncing are
unique to production and syncing and should not be used for fi nal output. Understanding the type of
recorder and sync system will help maintain a smooth cost-effective workfl ow in postproduction.
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