Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
the 24 FPS speed of the fi lm projection. You also need a quick-and-dirty telecine of the silent answer
print to check sync. The telecine of the answer print is captured in Final Cut Pro from the Picture
Start frame. Because this telecine is at 29.97 FPS, it should match the sound edit that was cut to the
23.98 QuickTime or the 29.97 videotape that was used in the sound edit. For more information of
these sound issues, see Chapter 7 on the sound edit.
Finally, import this movie into the Pro Tools session and set the frame rate in the Session Setup
Window to 29.97. The sync should match. Always look at sync on the NTSC or video monitor, never
the computer screen.
Anamorphic Film Finish
Anamorphic processes may have little impact on fi lm fi nishing workfl ow, or they may have a signifi -
cant impact. Anamorphic process can be accomplished by shooting in CinemaScope or “scope.” In
scope, anamorphic lenses are used on the camera in production. These are tricky to use and expensive,
making this format often shunned. When a fi lm is shot in CinemaScope, postproduction is affected,
but it’s not that much different than working with full-frame 35 mm.
Because the image is squeezed on the negative, it must be unsqueezed in telecine. Telecine can be
done to 16 × 9, but even so, the image will be squeezed on the video monitor. Normally, scope is
telecined at 2.35 : 1 unsqueezed, letterboxed on 4 × 3 video.
A-B rolls must be used in negative conforming because the squeezed image is full frame. The A-B
rolls are used to hide the splices.
The CinemaScope workfl ow is not all that problematic. But there is another anamorphic process
often used. Super 35 mm is usually fi nished as an anamorphic print. Shooting super 35 mm is not all
that much different than shooting standard 35 mm. The super 35 mm frame is a little wider than
standard 35 mm, but the production lenses are not anamorphic, and so, production cinematography
is no different than standard 35 mm. The only difference is that a 2.35 : 1 ground glass is used in the
camera viewfi nder so that the operator sees a 2.35 : 1 image in the viewfi nder.
The big difference with super 35 mm is fi nishing. The wider negative is squeezed to anamorphic
35 mm in printing. After the negative is conformed, it is printed to an interpositive on an optical
printer through an anamorphic lens. Much of the original image is masked off and never seen, but
the print is now full frame. The interpositive is printed to several print internegatives to make release
prints.
There is another system for making this interpositive: T and T effects’ Analogue Intermediate or AI.
As of this writing, this process is not widely known or used. This system is closer to digital intermediate,
but it’s totally photochemical optical printing. In AI, the Cinema Tools cut list is loaded
into a computer controller on an optical printer. Raw, interpositive stock is loaded into the camera
of the optical printer and lab rolls of negative are loaded one by one on the projector side. The automated
system then rolls back and forth building the show from the cut list directly from the camera
or lab rolls to the interpositive. Color correction is added in this optical printing, as are optical effects
such as slowing or speeding up the image, reframing, title superimpositions, and anything else that
can be done on the optical printer, including anamorphic image. It can also be used to blow up 16 mm
or super 16 mm to 35 mm, all with no negative conforming or splicing required.
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