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<strong>Appendix</strong> 10: Example Workfl ows<br />
and captured. Because of the low-data rate, capture can be done in real time. This is slower and,<br />
therefore, more expensive than down-converts to tape, mostly because of logging time. If the batch<br />
capture list is made by logging blind from the camera reports before going in to capture, this can be<br />
almost as cost effective as tape-to-tape down-converts. And because capture is done at 23.98, there<br />
is no need for matching time codes, dual window burns, or reverse telecine.<br />
Just as with the other workfl ows, if the project is destined for fi lm-out, split the edit into ten-minute<br />
or less reels, and slug for missing titles or effects. After the off-line edit, when the edit is locked, the<br />
project is ready for sound and online edit. Sound is handled exactly like the other workfl ows.<br />
• Cut in a Cinema Tools head leader (23.98 FPS) on every reel.<br />
• Organize and split off all sound tracks.<br />
• Export the movie (reels) as a QuickTime (they will be 23.98 FPS QuickTimes).<br />
• Export the audio for the reels as OMF.<br />
• Open the OMF as a Pro Tools session using Digi Translator.<br />
• Import the QuickTime movie and guide track into the Pro Tools session. Pro Tools will support<br />
the 23.98 FPS rate.<br />
• Record and import all sound effects, ADR, Foley, and music.<br />
• Edit the sound tracks and create the automated mix.<br />
• Export the composite mix with the “bounce to disc” function.<br />
• Export the stems.<br />
• Create the fi nished HD titles and graphics. Graphics should be made at 1,080 × 1,920 pixels. If<br />
you are using Final Cut Pro titles, they will automatically be rendered at high defi nition in the HD<br />
render.<br />
You are now ready for the online HD edit and color correction. There are a few steps in getting ready<br />
for the online.<br />
• Make sure that all of the video is in V1 unless it is a superimposition. Many people edit by layering<br />
shots simply to facilitate moving shots around. This becomes extremely confusing in online.<br />
Keep all of your shots in V1.<br />
• Use “Media Manager” in Final Cut Pro to make an off-line sequence of the locked cut. Media<br />
Manager will eliminate all of the footage not used in the edit. All of the edited footage needs to<br />
be recaptured, but there is no reason to capture footage not used in the edit.<br />
The project fi le is very small, only a few hundred K, yet this is the map to the fi nished online. Have<br />
your online facility check the project fi le before going in. They can load it in onto the HD online<br />
Final Cut Pro system and look for problems. And, as it is very small, you can simply e-mail it to<br />
them as an attachment.<br />
What you should bring with you to the online:<br />
• Your mix, on a portable drive<br />
• Any HD titles or graphics that will be replaced<br />
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