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The Filmmaker’s Guide to Final Cut Pro Workfl ow<br />
Once the edit was locked, the edit was printed to video with the window burns visible. This was<br />
transferred to VHS and used as a reality check. All key code numbers were checked against the video<br />
as the fi lm was assembled.<br />
• Film lists were exported including<br />
Double use list<br />
Dupe list<br />
Pull list<br />
Cut list<br />
Optical list<br />
Work print shots were pulled to the pull list and conformed to the cut list by the assistant editors<br />
working at the negative editor’s facility in Burbank. An audio temp dub was made at the Brooks mix<br />
room in Ventura and transferred to DA88 tape with 29.97 NDF time code. This was interlocked at<br />
fi lm speed to the work print and screened at the Foto Kem screening room. Everything looked fi ne<br />
and sync was good. Next,<br />
• The negative editor, Chris Webber, pulled negative for the optical effects using the pull list and<br />
the optical list.<br />
• The negative for the opticals was printed to IP.<br />
• Titles and opticals were made at T and T effects using the IP. The title workfl ow is examined in<br />
Chapter 8 on titles for digital video and fi lm. After the title negative was delivered to the negative<br />
editor, the negative cut was ready to go forward.<br />
• Negative was pulled to the pull list from the selects rolls.<br />
• Camera negative was conformed using the cut list. The edited work print was lined up in the fi lm<br />
synchronizer and also served as a guide to conforming the negative.<br />
• The conformed negative was spliced into A-B rolls.<br />
• Color was timed and a silent, fi rst answer print was made. The cinematographer and directors sat<br />
with the colorist at Foto Kem as the fi rst color correction was recorded into the automated printing<br />
system.<br />
The silent answer print was interlocked to the temp dub DA88 tape and screened several times,<br />
looking for color correction and sound problems. Adjustments were made in the color settings in<br />
preparation for the second answer print. The fi rst answer print was telecined to DVCam and Beta SP<br />
for use as the dubbing picture. Everything was now ready for the fi nal dub and Dolby encoding (see<br />
Chapter 7 on the sound edit and dub).<br />
After the sound dub and Dolby encoding, the encoded DA88 tape was printed to optical sound at<br />
NT audio.<br />
• By combining the optical sound and the A-B rolls, a second answer print was printed with sound.<br />
Again, everything was screened and examined for color or any other problems.<br />
• Final color corrections were made and a third answer print was printed. Everything looked<br />
good.<br />
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