Appendix 1

Final Cut also exports a variety of audio formats, including open media framework (OMF), making
a seamless transition into the audio edit smooth and problem free. Or for the die-hard audio onliners,
Cinema Tools can manage a complete audio EDL for reimport of time code audio.
Pro Tools
Pro Tools is the old man on the block, a well-respected and widely used audio edit and mixing system.
Like other digital audio workstations, Pro Tools is an audio-only editing system. It does, however,
provide for video playback from either machine control or movie fi les, and supports most video and
fi lm frame rates. The newest versions, 6 and above, support portable fi rewire drives and fi rewire
video playback. Pro Tools always requires a hardware interface, but these are, for the most part,
compatible with each other. Integration with Final Cut Pro requires an expensive ($500) software
plug-in, but then the seam between Final Cut Pro and Pro Tools all but disappears.
Pro Tools comes in two basic versions: the HD systems, which require expensive and often extensive
hardware interfaces, and LE systems that use simpler and more affordable interfaces. The good news
is that the two systems are compatible with each other. As long as the editor avoids using the extreme
sample rates available on the HD systems and keeps to the basic sample rates and bit depths used in
Final Cut Pro, the Pro Tools session can be opened on any Pro Tools system and seamlessly integrates
back into the Final Cut Pro edit. Many of the LE hardware interfaces are also compatible with Final
Cut, and can be used for audio recording or output.
This is great news for editors. It means that for about $900, they can add Pro Tools to their Final
Cut Pro edit system. They are now free to edit their sound design on their own system, with real-time
monitoring of levels and effects. They can take their project on a fi rewire drive to thousands of sound
houses for automatic dialogue replacement (ADR), Foley (a special kind of sound effect), and
scoring, and they can make temp dubs back on their own edit system. And, if they choose, they can
mix at almost any expensive, high-end dub stage in Los Angeles. Or, for the no-budget gorilla fi lmmaker,
they can edit and mix right on their edit system for the cost of coffee and doughnuts.
DigiDesign division of Avid, the makers of Pro Tools, even offers a new Internet solution where the
entire project can live on a server in Los Angeles, voice work can be done in Sidney and London,
effects cut in Bali, and the editor can be temp-mixing right in their own living room, all at the same
time.
Other Software
Introduction
Final Cut Pro also comes with Sound Track Pro and Live Type. In their fi rst version, they were little
more than fun toys. However, Sound Track Pro is perhaps the simplest music loop editor ever created.
New workfl ow design in Final Cut Pro allows a seamless transition between Final Cut Pro and Sound
Track Pro. Sound Track Pro has greatly expanded the audio capabilities of Final Cut Pro with
expanded plug-ins, previewing, and an interactive programmable mixer that can even be interfaced
with many control surfaces.
And, if you have an overwhelming desire to have your titles turn into fl ames and go up in smoke,
Live Type may provide the answer. While it is defi nitely a special effects titler, it makes the wild
and crazy, easy and fun. Graphics and titling can also be greatly improved with the addition of the
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