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The Filmmaker’s Guide to Final Cut Pro Workfl ow<br />
• After the negative is conformed and answer prints are made, telecine the conformed negative to<br />
a high-quality video format and capture this to drive and tape. This is problematic if the negative<br />
has been A-B rolled.<br />
• If an interpositive is being made, it can be telecined rather than the camera negative. However,<br />
this does not look as good as telecining the negative.<br />
• A low-contrast (or “lo con”) print can be made just for telecining for broadcast and DVD. This is<br />
a very common workfl ow yet, here, too, this does not look as good as going back to the negative.<br />
The lo-con is telecined, captured, and exported.<br />
• During the original telecine a HD or Digibeta tape can be made and used for onlining after the<br />
fi lm is fi nished. This requires more meticulous color correction in the initial telecine and an online<br />
edit. It also requires that all opticals and titles added to the movie be telecined from the conformed<br />
negative. The results, however, can be excellent.<br />
Stereo audio and broadcast surround sound will be added from the original comp mix media in the<br />
online and DVD surround audio added in DVD authorship. In all four of these workfl ows the captured<br />
video will need to have all markers added as part of the compression or DVD authoring.<br />
The digital media contains metadata which, as mentioned in Chapter 8, is additional data “embedded”<br />
in the video. This data contains time codes, but also “markers.” These can be chapter markers or<br />
compression markers. Many of these markers are embedded as the project is edited. The beginning<br />
of every shot has a compression marker, for example. Chapter markers can be added in the edit or<br />
they can be added in the DVD authoring.<br />
For video only projects that are being onlined, the fi nal fi lm should be exported in its native format<br />
as part of the online. This may be too expensive or simply not possible depending on the online<br />
facilities capabilities. For example, they may not be able to export to a Mac-formatted drive. Also,<br />
if color correction is being preformed tape-to-tape, it is not possible to export the movie. In this case,<br />
the project can be recaptured later from the master tape or a submaster. This will likely strip all<br />
compression and chapter markers so your workfl ow should include placing all markers later either<br />
in Final Cut Pro or in compression.<br />
Compression markers are necessary to achieve clean compression. While the author designing the<br />
compression will likely be adding new markers, they will also assume that there are markers present<br />
from the editing. Moreover, all markers can be added here in the edit before exporting the QuickTime,<br />
if that is the workfl ow you choose to follow. If the fi lm is printed to video and recaptured, this will<br />
strip the markers and alter the metadata. While it is fi ne and even necessary to export the movie as<br />
a QuickTime, if the project is printed to tape, the markers may need to be replaced. It is also possible<br />
to strip all markers from the QuickTime on export if the workfl ow being followed is to add all markers<br />
manually in authoring.<br />
Compression markers tell the compression to record a complete frame. This is called an “I frame.”<br />
Oddly enough, most DVD-compliant video codices only record around two complete frames<br />
per second. The rest are interpolated. If an edit occurs inside this interpolated section, the edit<br />
will change from one shot to the other over time as each new frame is interpolated. This looks<br />
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