Appendix 1

Appendix 10: Example Workfl ows
For this example, we will assume 23.98 as this is much more common. We will also assume that a
DAT audio recorder is being used in production, sample rate at 48.048 K, 30 NDF continuous time
code, and Smart Slate. Also, 35 mm fi lm is being shot at 24 FPS 1 : 1.85 aspect 4 perf pull down.
• At the end of every shooting day, the camera negative is processed and telecined to DVCam tape,
zero frame A-frame transfer with fi eld 1 dominance and NTSC nondrop-frame time code. Window
burns are made for time code, key code with pull-down cycle identifi er, and audio time code.
Different hour codes for each tape are used and a telecine log generated often as a FLX fi le.
Syncing is done in telecine using the numbers from the smart slate and, therefore, adding the audio
time code to the telecine log and window burn. The playback DAT is set to 48 K, pulling the audio
down to video speed. Little color correction is used as this is only an editing print.
• A copy of the telecine log is made and imported into a new database in Cinema Tools. A batch
list is exported.
• The batch list is imported into Final Cut Pro and the DVCam footage is batch captured. A second
copy of the batch list is opened in Text Edit and used as a cutting log.
• The Cinema Tools database is reopened and the captured footage linked to the database. The
footage is reverse telecined to 23.98.
• The Final Cut Pro project is reopened and the shots in the project are relinked to the new 23.98
footage. A new sequence is created at 23.98 and the picture edited. At the end of each day, a
Cinema Tools fi lm list is exported with only Dupe List and Warn of Duplicates selected to ensure
that no footage is being used twice. Edit only to V1 with any superimpositions in V2.
• When the picture is locked, a complete Cinema Tools fi lm list is exported and checked against
the window burns on the picture. The negative is cut to the cut list. A work print may be cut fi rst
as insurance. Opticals and titles are ordered and added into the negative.
• Just as with the other fi lm fi nish workfl ows, split the edit into twenty-minute or less reels, and
slug for missing titles or effects.
Sound is handled exactly like the other workfl ows.
• 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.
• For those planning to recapture audio from the production DAT, an audio EDL is exported and
used to batch capture audio to the digital audio workstation. Several digital recorders and theater
sound formats now support very high sample rates, 96 K at 24 bit. Pro Tools HD is also capable
of these sample rates. So, rather than convert the OMF derived from the 48 K 16- or 24-bit Final
Cut Pro edit, audio is recaptured from the original production tapes.
• 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.
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