Appendix 1

Appendix 9: Deconstructing Several Films’ Workfl ows
Close examination of the database showed that four shots had key code numbers from a different
camera roll. Several fi xes were discussed; the consensus was that the shots should be retelecined. As
it turned out, the fi x was much more simple. The negative editor rolled into the selects rolls and
found the shots with the wrong key code numbers. She wrote down the key code numbers for sticks
close on the slates of the four shots. These key code numbers were entered into the Cinema Tools
database on the corresponding sticks close frames. The key code information for the entire shot came
online and the double use reports were cleared up. The window burns remained erroneous, but the
database and fi lm lists were accurate.
Once the edit was locked:
• The edit was exported as a QuickTime at 23.98 FPS.
• The audio was exported as an OMF.
• The edit was recorded onto DVCam tape for Foley picture.
• The OMF was opened in Pro Tools using Digi Translator.
• Foley and effects were cued.
• Foley was recorded at Film Leaders.
• ADR was cued and recorded.
• The score was recorded at two studios using MIDI and live instruments.
• Sound effects were recorded and edited.
• Film lists were exported including:
Double use list
Dupe list
Pull list
Cut list
Optical list
• Work print was pulled to the pull list and conformed to the cut list.
• A temp dub was made and recorded to DA88 tape.
• The temp dub DA88 was interlocked with the work print and projected.
• Negative was pulled for the optical effects.
• The negative for the opticals was printed to IP.
• Titles and opticals were made at T and T Effects using the IP.
• Camera negative was conformed and A-B rolled.
• Color was timed and the silent, fi rst answer print was made.
• The answer print was telecined to DVCam and Beta SP for use as the dubbing picture.
• All levels and EQ used in the temp dub were removed and the fi nal dub was preformed at Mix
Magic.
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