Appendix 1
Appendix 1 Appendix 1
Figure 5.9 The optical list Finishing on Film If you have any superimpositions in V2, these will show up in a foreground cut list. These are easy in AB rolling and can be done optically, too. Many other effects used often in Final Cut Pro can be optically printed and used in the fi lm. But the database may not enter them into the cut list or understand them. They may come up as blank or missing. They can still be done, only you will need to communicate with the optical house and they can tell you how it’s done and make the shot. Save and print the list. Don’t be too intimidated by the optical list. Between your videotape, optical list, dupe, and cut list, the optical house will know how to handle the opticals. Pulling and Conforming Work Print Not all fi lm fi nishes conform a work print; many don’t even make a work print. It’s entirely possible to simply deliver the fi lm lists to the negative editor and have them conform the negative. Many editors don’t feel comfortable doing this; if there is a problem in the cut list or if they don’t like the edit once they see it projected on the big screen, it’s diffi cult to make changes. The negative has been cut and spliced and can’t simply be put back together. 67
- Page 126: Initial Audio Workfl ow, Importing
- Page 130: Initial Audio Workfl ow, Importing
- Page 134: Initial Audio Workfl ow, Importing
- Page 138: Initial Audio Workfl ow, Importing
- Page 142: Initial Audio Workfl ow, Importing
- Page 146: 4 Editing Picture to Lock Beginning
- Page 150: Editing Picture to Lock the monitor
- Page 154: Figure 4.1 Lost Hope and More poste
- Page 158: 5 Finishing on Film Film Editing Ba
- Page 162: Prints, Film Wind, and Printers Pri
- Page 166: Finishing on Film gate of the proje
- Page 170: Finishing on Film Some people think
- Page 174: Figure 5.6 The information and doub
- Page 180: The Filmmaker’s Guide to Final Cu
- Page 184: The Filmmaker’s Guide to Final Cu
- Page 188: The Filmmaker’s Guide to Final Cu
- Page 192: The Filmmaker’s Guide to Final Cu
- Page 196: The Filmmaker’s Guide to Final Cu
- Page 200: The Filmmaker’s Guide to Final Cu
- Page 204: This page intentionally left blank
- Page 208: The Filmmaker’s Guide to Final Cu
- Page 212: The Filmmaker’s Guide to Final Cu
- Page 216: The Filmmaker’s Guide to Final Cu
- Page 220: The Filmmaker’s Guide to Final Cu
- Page 224: The Filmmaker’s Guide to Final Cu
Figure 5.9 The optical list<br />
Finishing on Film<br />
If you have any superimpositions in V2, these will show up in a foreground cut list. These are easy<br />
in AB rolling and can be done optically, too.<br />
Many other effects used often in Final Cut Pro can be optically printed and used in the fi lm. But the<br />
database may not enter them into the cut list or understand them. They may come up as blank or<br />
missing. They can still be done, only you will need to communicate with the optical house and they<br />
can tell you how it’s done and make the shot. Save and print the list. Don’t be too intimidated by<br />
the optical list. Between your videotape, optical list, dupe, and cut list, the optical house will know<br />
how to handle the opticals.<br />
Pulling and Conforming Work Print<br />
Not all fi lm fi nishes conform a work print; many don’t even make a work print. It’s entirely possible<br />
to simply deliver the fi lm lists to the negative editor and have them conform the negative. Many<br />
editors don’t feel comfortable doing this; if there is a problem in the cut list or if they don’t like the<br />
edit once they see it projected on the big screen, it’s diffi cult to make changes. The negative has been<br />
cut and spliced and can’t simply be put back together.<br />
67
Change language