Appendix 1

Editing Picture to Lock
the monitor. In this way, the shots can be easily moved around and arranged making changes simple
and fast. This editing technique is quite problematic when exporting cut lists, EDLs, XMLs, and
projects for online fi nishing. The multiple, overlaid video tracks are seen as superimpositions or, in
some cases, not seen at all.
Cinema Tools looks only to the lowest two video tracks, V1 and V2. It sees anything in V1 as the
actual edit and anything in V2 as an overlay or superimposition. All other video tracks are simply
ignored. Some editors even use V3 for keeping notes with the title generator, knowing they will not
end up in the Cinema Tools cut list. Online editing will reproduce the multiple video tracks, a waste
of time, and a source of problems in the online.
The timeline therefore needs to be collapsed down to only one video track for the actual edit and
one track for superimpositions or overlays on fi nishes involving cutting the camera negative. And
the timeline needs to be collapsed down one video track containing the actual edit and the minimum
number of video tracks to create any actual overlays and superimpositions on projects for online
video editing.
On all but one type of workfl ow, this collapse can be done near the end of the edit as the picture is
nearing picture lock or even after picture lock. The one exception is projects where the camera negative
will be cut and printed. In this case, care must be taken not to use any footage more than once
in the edit unless absolutely necessary. On these projects, the editor should check periodically for
double uses, and this will require editing the project in V1 and V2.
The double-use report is created by exporting it from Final Cut Pro. In the edit menu export a Cinema
Tools cut list. In “include the following,” it is not necessary to select anything, but make sure that
Duplicates is set to “warn.” Also, save a Cinema Tools program fi le whenever exporting a fi lm list.
It can be used to make a change list. Final Cut Pro will ask for the Cinema Tools database, and then
the report will open in text edit. Any double uses will be seen at the head of the report as a warning
of double use. The warning also gives the time code and edge code location of the double uses. (For
more information, see Chapter 5 on fi nishing on fi lm.)
Changes After the Edit Is Locked
Once the edit is locked, many other processes and edits start. Depending on the project, the sound
edit begins, the score may be written, work print or negative may be cut, or the online edit goes
forward. It is assumed that the edit will not be changed, that it is locked. Yet it may be necessary to
make some changes. This should never be the plan; changes after the edit is locked create a major
problem for everyone working on the project.
When changes are made after the edit is locked, everyone on the project needs to be informed of the
exact changes. This is done with a “change memo” or “change list.” This contains the exact location
and nature of the change. This way, sound elements can be moved up or down or even extended.
Often the changes are very small, even one of two frames. They may be caused by errors in the
negative edit or other problems found when the negative is examined. They may be larger changes
to improve the edit or remove some unwanted footage. The change may even add a new shot into
the edit. New QuickTime movies or videotape copies of the edit also need to be distributed to everyone
working on the project.
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