Appendix 1

Appendix 9: Deconstructing Several Films’ Workfl ows
The HD titles and graphics were made, also on the laptop, using Photoshop at 1,920 × 1,080.
The online HD editing and color correction were done at Digital Film Tree. Media Manager was
used in Final Cut Pro to eliminate all of the footage not used in the edit and to create an off-line
sequence. The project fi le and HD tapes were taken in and all of the media recaptured at
1,920 × 1,080 to the online drive array. The laptop was connected to the online system and the titles
and sound mix transferred to the array.
Color correction consisted of stripping away all the color to monochrome and crushing the blacks.
Each shot was adjusted to get a consistent look. The transitions and “color” correction were rendered,
and the project recorded back to HD Cam tape, still at 23.98 FPS. There is a plan to shoot the HD
to black-and-white fi lm in the future. This will be a simple process if the audio is encoded only to
Dolby® LCRS. As this is an analog audio process, the optical sound can be shot at 23.98, sync will
match, and when projected, even though it will be playing .1 percent faster at 24 FPS, it will look
and sound fi ne. If the projection prints will use digital audio (i.e., DTS), the sample rate will need
to be converted so that the sample rate is correct at 24 FPS.
Figure A9.2 Help Wanted poster
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