Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
If you have included a tail pop in the mix, which is a good idea, the pop should be 48 frames
from the last picture. Place the last frame of picture in the synchronizer and roll forward 1 foot 8
frames (48 frames). Write POP on this frame.
Many people cut 2 feet of black leader on after the white as a very noticeable indication that this
is the tail and not the head.
Working with 35 mm work print is virtually the same as 16 mm with a few exceptions. The head
leaders remain the same; however, the lengths are different, as shown in Figure A8.6. The 6 feet of
white before the edit-sync and printer start marks stays the same. The length between edit sync and
the 2 frame on the SMPTE leader is now exactly 20 feet (19 feet, 15 frames between the frames).
The distance from the 2 frame to the fi rst frame of picture is 3 feet exactly (2 feet, 15 frames between
the frames). In other words, with the counter set at 0 feet, 0 frames on edit sync, the 2 frame will be
20 feet, 0 frames, and the fi rst frame of picture 23 feet, 0 frames.
Figure A8.6 Leader layout in 16 mm
Also, 35 mm has 4 perfs per frame. Care must be taken to not cut into the frame but on the frame
line.
Audio Leaders
Depending on your audio workfl ow, you may or may not have the optical sound when building the
negative print rolls. With many workfl ows, the sound is not mixed until after the fi rst answer print
is made from the negative rolls. In this case, it is best to let the lab lay out the leader for the optical
sound and put it in sync. If you have already mixed and have the optical sound when conforming,
you can make your own optical sound leaders and set the 26-frame offset for sync. Once you have
the head leaders built, you can remove the optical sound from the synchronizer and place it on the
shelf. You will not be using it again until you are building the tail leaders.
204