Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Basic Workfl ow 3
Shooting on 24 P HD low data
(HDV, DVC Pro HD)
Finish on 24 P HD low data
This workfl ow is proper for the HD 24 P (23.98 FPS) low-data format. These formats are extremely
new and may replace Basic Workfl ow 2 just as HD will surely replace SD. Because the data rate is
lower than formats like HD Cam and HD Cam SR, the video can be captured and stored on a FireWire
400 drive. Just as in the NTSC workfl ow, there is no need to online, the off-line edit being full
resolution.
Just as in the NTSC workfl ow, single-system sound is often used with this workfl ow, recording audio
directly on the camera tape but here, too, some projects use double system sound. Here, too, there
will be no audio pull down; the production sample rate should be a video speed sample rate.
The aspect is 16 × 9 anamorphic. HD fi nish will also be anamorphic.
• Set up Final Cut Pro for 24 P HD 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 settings.
If using double-system sound, import or transfer all audio.
Sync all takes using the link or merge 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 end credits.
• Cut in a Cinema Tools head leader (23.98 FPS).
• Organize and split off all sound tracks.
• Export the movie as a QuickTime. (It will be a 23.98 FPS QuickTime.)
• Export the audio as OMF.
• Open the OMF as a Pro Tools session using Digi Translator.
• Import the QuickTime movie and guide track into the Pro Tools session. Pro Tools will support
the 23.98 FPS rate.
• Record and import all sound effects, ADR, Foley, and music.
• Edit the sound tracks and create the automated mix.
• Export the mix with the “bounce to disc” function.
The next four steps can be performed before, during, or after the sound edit and mix. These steps
can be done in any order.
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