Appendix 1

Organizing and Editing
Introduction
Historically, the work print was logged as it was syncing (also known as sunc), and the edit logs
were related to the original camera reports, sound reports, and lab reports so that the editor and
assistant editors could tell where the shot they were editing came from, what camera roll, what lab
print roll, what sound roll as well as adding comments into this information about the shot. Such
information as problems (i.e., misslates, scratches, focus problems, printing problems, sound problems,
and any other issues with the footage) were logged. This way, if a problem is seen with the
shot, the editor should be able to tell if the camera original has the problem or if the problem is only
in the print.
Today, this data can be compiled as a database in Cinema Tools and even amended and printed in
other software such as Microsoft Excel or Text Edit. The footage can be organized into bins and
subbins in Final Cut. Computers are defi nitely in their element when managing a database. The hours
once spent fi nding footage, shots, trims, and making reports has been virtually eliminated. But this
data is still critical, especially when fi nishing on fi lm. Good editing has, and always will, go hand in
hand with good organization.
Color Correction
Even the best footage requires major color correction. Historically, this was done by labs like Deluxe
and Technicolor as they printed the camera negative. Today, color correction is done in many different
ways and in many different places in the workfl ow. Some projects will go through several corrections
while some will color correct all at one time.
Color correction may be done in telecine, as the shots are edited, after the shots are edited using
Final Cut’s tools, in online editing, after editing on a tape-to-tape color correction system, as part of
a digital intermediate, or as a fi lm print is being made. Or a project may use several or even all of
these.
Color correction tools within Final Cut have come a long way since the release of Version 1. With
the release of Version 6 and Final Cut Studio 2 with Color, these tools do a truly outstanding job of
color correction and many projects will not need to color correct outside of Final Cut.
Sound Editing and Mixing
While it is entirely possible to edit and mix sound (“sweeten”) in Final Cut, most workfl ows will
require editing and mixing outside of Final Cut. Sound can be edited in Soundtrack Pro, and even
moved seamlessly back and forth between Sound Track and Final Cut. But, the better choice is Pro
Tools. Pro Tools allows for editing and mixing of 32 tracks without rendering, using the LE version,
and virtually unlimited tracks in the HD system depending on the hardware confi guration.
Because sound is always handled as separate media fi les in Final Cut, the steps for separating and
recombining these media are simple and effective.
Finishing
Beyond color correction, there are several aspects to fi nishing the project. This may include conforming
work print and camera negative, online editing, scanning to digital intermediate and conforming
the digital intermediate, bumping up standard defi nition to high defi nition, outputting digital video
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