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The Filmmaker’s Guide to Final Cut Pro Workfl ow<br />
D<br />
D-1, 171<br />
D-5, 171<br />
Dailies<br />
adding to picture edit<br />
digital, 52<br />
fi lm, 51–42<br />
virtual negatives, 75–76<br />
DI, see Digital intermediate<br />
Dialogue<br />
automatic dialogue replacement,<br />
101–102<br />
clean-up, 102–105<br />
splitting off production tracks, 99–101<br />
stems, 111–112<br />
Digital Beta, 171<br />
Digital intermediate (DI)<br />
capture and preparation examples<br />
Son from the Ocean, 34<br />
Success, 33–34<br />
dailies adding to picture edit, 52<br />
Digital S, 167<br />
Digital video (DV)<br />
fi nishing<br />
workfl ow overview, 71–72<br />
titles, 72<br />
scanning, 72–74<br />
resolution, 73<br />
color correction, 74<br />
virtual digital intermediate workfl ow,<br />
76<br />
ProRes 422 capture, 31–32<br />
Redcode, 33<br />
shooting guidelines and workfl ows<br />
high-defi nition video, 29–31<br />
standard defi nition video at 24P, 26<br />
standard defi nition video at 29.97<br />
FPS, 23–25<br />
tapeless capture, 32–33<br />
24PA video capture, 26–28<br />
Digital video<br />
fi nishing<br />
high-defi nition video, 87–88<br />
off-line edit, 82–83<br />
online edit<br />
audio, 87<br />
color correction, 87<br />
edit decision list export and uses,<br />
84–85<br />
historical perspective, 83<br />
Media Manager, 85–87<br />
printing to tape, 87<br />
time base matching, 87<br />
XML export, 85<br />
overview, 81–82<br />
standard defi nition conversion to<br />
high-defi nition, 88–91<br />
titles, see Titles<br />
workfl ow examples<br />
ProRes 422 HD or SD video formats,<br />
240<br />
tapeless data recorder, 238–240<br />
24P HD high bandwidth, 231–234<br />
24P HD low data, 230–231<br />
formats<br />
overview, 154–155, 168–171<br />
tape cassettes, 169–170<br />
242<br />
Digi Translator plug-in, 96–97<br />
Dissolve, 206<br />
Distribution<br />
digital media, 144–145<br />
DVD, 145–149<br />
fi lm, 143<br />
videotape, 145<br />
Web, 150<br />
Dolby<br />
fi lm fi nishing, 112, 114<br />
LCRS encoding on fi lm, 113<br />
Double use list, 64–65<br />
DV, see Digital video<br />
DVCam, 168, 170, 172<br />
DVC Pro 50, 168, 170<br />
DVC Pro HD, 168, 170<br />
DVD distribution<br />
burned DVD playability, 149<br />
compression markers, 148–149<br />
Compressor, 146–147<br />
duplication, 149<br />
DVD Studio Pro, 146<br />
mastering, 149<br />
player options, 145<br />
E<br />
Edit decision list (EDL), export and<br />
fi nishing, 84–85<br />
Edit log, batch lists, 11–13<br />
EDL, see Edit decision list<br />
Emulsion, fi lm, 58<br />
F<br />
Farnsworth, Philo T., 151–152<br />
Files<br />
architecture<br />
Cinema Tools, 192–193<br />
Final Cut Pro, 190–192<br />
Pro Tools, 189–190<br />
backing up, 195<br />
FireWire fi ling structures, 193–195<br />
Film<br />
anamorphic fi nish, 70–71<br />
audio pull down, 37<br />
composition, 58<br />
costs, 1<br />
cut list export in Final Cut Pro, 63–64<br />
cutting of negatives, 69–70, 76–77<br />
dailies adding to picture edit, 51–52<br />
distribution, 143<br />
editing historical perspective, 57–58<br />
fi nishing with digital intermediate<br />
color correction, 74<br />
resolution, 73<br />
scanning, 72–74<br />
titles, 72<br />
virtual digital intermediate workfl ow,<br />
76<br />
workfl ow overview, 71–72<br />
formats<br />
IMAX, 178–179<br />
70mm, 178<br />
16mm, 177<br />
65mm, 178<br />
35mm 3 perf, 178<br />
35mm 4 perf, 178<br />
super 16mm, 177<br />
super 35, 178<br />
inked edge code numbers, 10–11<br />
key code, 61–62<br />
Lost Hope and More capturing and<br />
preparing, 20–22<br />
negative editing of Lost Hope and More,<br />
77–79<br />
optical printers, 60–61<br />
print types, 59<br />
projection print components, 113–114<br />
recording, 74–75<br />
reel length, 62–63<br />
resolution, 1<br />
speed, 4<br />
telecine transfer, see Telecine<br />
titles, see Titles<br />
virtual negatives, 75–76<br />
wind types, 59–60<br />
work print pulling and conforming,<br />
67–69<br />
workfl ow<br />
basic workfl ow, 17<br />
examples, 234–238<br />
fi nishing step<br />
fi lm fi nish, 19–20<br />
fi lm-to-digital, 18–19<br />
overview, 17–18<br />
historical perspective, 16–17<br />
Final dub, 110–111<br />
Finishing<br />
digital video<br />
high-defi nition video, 87–88<br />
off-line edit, 82–83<br />
online edit<br />
audio, 87<br />
color correction, 87<br />
edit decision list export and uses,<br />
84–85<br />
historical perspective, 83<br />
Media Manager, 85–87<br />
printing to tape, 87<br />
time base matching, 87<br />
XML export, 85<br />
overview, 81–82<br />
standard defi nition conversion to<br />
high-defi nition, 88–91<br />
fi lm<br />
anamorphic fi nish, 70–71<br />
cut list export in Final Cut Pro, 63–64<br />
cutting of negatives, 69–70, 76–77<br />
digital intermediate<br />
color correction, 74<br />
resolution, 73<br />
scanning, 72–74<br />
titles, 72<br />
virtual digital intermediate<br />
workfl ow, 76<br />
workfl ow overview, 71–72<br />
double use list, 64–65<br />
negative editing of Lost Hope and<br />
More, 77–79<br />
optical list, 66–67<br />
pull list, 66<br />
recording, 74–75<br />
virtual negatives, 75–76<br />
work print pulling and conforming,<br />
67–69
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