Appendix 1

Basic Workfl ow 2
Appendix 10: Example Workfl ows
Shooting on 24 P NTSC low data
(24 P cameras such as the SDX 900, DVX 100, and XL-2)
Finish on 24 P DVD, HD or Film
This workfl ow is the Holy Grail, the Northwest Passage. The promise of this workfl ow is the cheapest
system ever devised to put a motion picture into theaters. Several fi lms have done this; 28 Days
Later used a similar workfl ow with the XL-1 camera. No doubt if the XL-2 had existed when the
fi lm was made, they would have used that. The fi lm November was shot on the $3,500 DVX 100,
and went on to not only play at the 2004 Sundance Film Festival, it won Best Cinematography.
Developments are happening almost daily with this workfl ow, new cameras, new up-convert systems,
and new ways of thinking. Opinions differ wildly on how to up-convert and fi nish, but the capture
and edit is simple and straightforward.
Just as in the fi rst workfl ow, the shooting data rate is low, so the video can be captured and stored
on a FireWire 400 drive. There will be no real online, but rather some type of up-convert of the fullresolution
off-line edit.
Because we are trying for the best possible result, projects generally use double-system sound. There
will be no pull down, as we are shooting at 23.98, a “video speed.” The aspect should be 16 × 9
anamorphic. HD fi nish will also be anamorphic. Although the cameras can shoot 3 : 2 or advanced,
use the advanced cadence, 2 : 3 : 3 : 2.
• Set up Final Cut Pro for 24 P NTSC anamorphic. This can be done from capture and sequence
settings or with an “easy setup.”
• Log and capture all footage at 23.98 FPS.
• As this footage uses advanced 2 : 3 : 3 : 2 pull down, simply set the capture rate to 24 P in the capture
window.
• If using double-system sound, import or transfer all audio.
• Sync all takes using the link clip function.
• Create fi nished titles and graphics or edit in slug or scratch titles.
• Edit the project to a locked cut, the length and sync must be exact including all credits.
• If you are planning a fi lm-out, divide the show into proper reels. Even if you are not planning a
fi lm transfer, if your fi lm is long, you may want to divide it into ten-minute fi lm reels just to keep
the project more manageable.
• Cut in a Cinema Tools head leader (23.98 FPS) on every reel.
• Organize and split off all sound tracks.
• Export the movie (reels) as a QuickTime (they will be 23.98 FPS QuickTimes).
• Export the audio for the reels as OMF.
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