Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Figure A9.5 Zodiac on-set data recording. Image courtesy of Thomson
Shake compositing software. This way, the editors could get the feel of the scene by seeing the, more
or less, “proper” look.
The shots had no physical slates. Slates were added into the fi rst and last frames of the shot automatically.
The slate information was also written into the metadata, which even contained the f-stop, focal
length, lens height, and other information that may be helpful to the effects and sound people. It was
estimated that the production saved twenty minutes per day by not needing to slate (see Figure A9.6
regarding on-set recording).
Once the picture is locked, the sound is handled in exactly the same way as other video workfl ows.
The 2 K DPX media is put online with the edited timeline, and the 2 K is ready for color correction.
This is exactly the same process as a 2 K digital intermediate workfl ow. In this case, the 2 K is not
a fi lm scan, but the 2 K camera data.
The fi nished 2 K can be down converted to HD video, SD video or shot to 35 mm fi lm. It can even
be projected with a 2 K digital projector.
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