Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
basic six Final Cut Pro fi les. Six shots have been logged. This logging becomes part of the information
stored in the project fi le. When this logged media is captured, it is written into an automatically
created new folder named for the project in the Capture Scratch folder. In Figure A7.2, there are two
media folders already here for other projects, Brooks Show and Unknown Project (the default name
for an unnamed project). The media for the six shots is captured into this project folder and links are
recorded in the project fi le directing it to look here for these six shots.
Cinema Tools also uses this same architecture. However, instead of having its own media folders, it
links to the same media folders as the Final Cut Pro project.
The Cinema Tools database for Help Wanted has been linked to the media in the Help Wanted folder
in Final Cut Pro’s Capture Scratch folder. In Figure A7.3, there are only three shots in the Help
Wanted folder and both Final Cut Pro (black links) and Cinema Tools (white links) are linked to
them.
Figure A7.3 Cinema Tools fi ling structure
Many of the operations preformed during editing may cause Final Cut Pro or Cinema Tools to break
or change these links. The editor may want to break the links and recapture the media at a higher
resolution. In such a case, the old media would still be present on the drive, and the editor could link
to either the high- or low-resolution media.
Some operations will even cause Cinema Tools to drastically change the fi ling architecture. The
reverse telecine operation not only creates an entirely new set of shots at a new frame rate, it reorganizes
the media and breaks the Final Cut Pro links to the media knocking it off-line.
192