Appendix 1

Index
24PA video
capture settings in Final Cut Pro, 27
mixing with 24P video, 29
output cadence settings in Final Cut Pro,
28
reverse telecine, 27
2 K, 173
2:3:3:2 cadence, see 24PA video
A
A and B roll
A-B rolling, 198–199
fade-in, 205
Adobe Illustrator, title generation and
import, 120–121
ADR, see Automatic dialogue replacement
Alpha channel, titles, 124–126
Anamorphic fi nish, fi lm, 70–71
Anamorphic telecine, overview, 4–5
Answer print, defi nition, 59
Arrifl ex D20, 174–175
Aspect ratio
letterboxing, 183–187
overview, 183
pan and scan, 187–188
Audio, see also Sound design
fi lm pull down, 37
music, see Music
online editing, 87
recorders
analog versus digital, 35–36
digital capture, 41
tape capture, 41–42
Sound Track Pro, see Sound Track
Pro
sound effects, see Sound effects
syncing
Final Cut Pro workfl ow, 47–48
hard lock versus soft lock, 37–38
time code as reference, 36
time code locking to smart slate,
38–41
track management in Pro Tools, 42–47
workfl ow examples, 48–49
Automatic dialogue replacement (ADR)
cueing, 101
editor, 101
mixer, 101
recording in Pro Tools, 101–102
A wind, fi lm, 59–60
B
Background sound
overview, 105–106
walla, 106
Batch list
edit logs, 11–13
importing from Cinema Tools, 8–9
Betacam, 167
Beta SP, 167
Blue laser optical disc, 172
B wind, fi lm, 59–60
C
Checksum error correction, 158–159
Cinema Tools
fi le architecture, 192–193
inked edge code number support, 10–11
Picture Start frame, 98–99
reverse telecine
fi le checking, 15–16
sequence settings, 16
telecine logs and database, 6–10
vertical timeline editing problems,
52–53
Color compression, 160–161
Color grading
defi nition, 133
fi lm or video when fi nishing on
compressed video
Color FX, 137
color rooms, 136
geometry/pan and scan, 138
overview, 134–135
primary out, 139–140
render cue, 141
secondary, 136–137
setup, 138
still store, 140
working with color, 135–136
fi lm or video when fi nishing on
uncompressed video or digital
intermediate, 141–142
Color timing
defi nition, 133
varying red, green, and blue, 133–134
Compression
color compression, 160–161
DVD markers, 148–149
lossless, 159–160
MPEG, 160
spatial versus temporal, 160
Compressor, DVD distribution, 146–147
Conforming
digital intermediate, 74
edit sync, 205
laying out and marking effects
A and B roll fade-in, 205
dissolve, 206
fade-out, 205–206
superimpositions, 207
unintentional splices, 207
negatives
A-B rolling, 198–199
leaders
audio leaders, 204
workfl ow, 203–204
preparation, 201
pulling negative or work print,
201–203
splicing, 199–200
super 16mm, 197–198
zero cuts, 201
work print, 67–69
Contact printing, fi lm titles, 130–131
Cut list, export in Final Cut Pro, 63–64
241