Appendix 1

FireWire, fi ling structures, 193–195
5 K, 173
Foley, 106–107
4 K, 173
G
Geography of the Imagination, workfl ow
deconstruction, 218–221
H
Hard lock, syncing, 37–38
HD Cam, 172–173
HD Cam SR, 173
HD D-5, 173
HDV, 168, 171
Help Wanted, workfl ow deconstruction,
212–215
I
IMAX, 178–179
IMX, 171–172
Inked edge code numbers, Cinema Tools
support, 10–11
Interleaving, pixels, 159
Internegative print, defi nition, 59
Internet, see Web
Interpositive print, defi nition, 59
K
Key code, fi lm, 61–62
L
Leaders
audio leaders, 204
workfl ow, 203–204
Letterboxing, 183–187
Liths, see Photolithographs
LiveType, title generation, 126
Lord of the Rings, 109
Lost Hope and More
capturing and preparing, 20–22
editing to locked cut, 54–55
negative editing, 77–79
sound design example, 115–117
workfl ow deconstruction, 215–218
M
Media Manager, online editing,
85–87
Metadata, digital videotape, 158
MIDI, 107–108
MPEG, compression, 160
Music
MIDI tracks, 107–108
recording, 107
N
National Television Standards Committee
(NTSC) video
color format and titles, 124–125
frame fi elds, 152
frame rate, 151
historical perspective, 151–154
television lag, 153
workfl ow examples
24P low data, 227–229
29.97 low data, 225–226
Negative
conforming, see Conforming
cutting, 69–70, 76–77
editing of Lost Hope and More, 77–79
NTSC video, see National Television
Standards Committee video
O
O Brother, Where Art Thou?, 134
Optical list, 66–67
Optical printer, fi lm, 60–61
Optical printing, fi lm titles, 129
P
P2 card
features, 172
tapeless capture, 32–33
PAL, see Phase Alternate Line
Pan and scan, process, 187–188
Panavision Genesis 262, 173–174
Phase Alternate Line (PAL)
encoding system, 163, 165
frame rate, 163, 165
sound, 165
Photolithographs (Liths), fi lm titles,
127–128
Photoshop, title generation and import,
120–123
Picture edit
changes after edit is locked, 53–54
dailies adding
digital video, 52
fi lm, 51–52
initiation, 51
Lost Hope and More editing to locked
cut, 54–55
vertical timeline editing problems,
52–53
Picture Start frame, 98–99
Pro Tools
advantages in audio capture and sound
design, 93
audio import from Final Cut Pro
Digi Translator plug-in, 96–97
fi le conversion, 98
formats, 95–96
Picture Start frame, 98–99
sound design, 96
audio track management, 42–47
automatic dialogue replacement
recording, 101–102
control surfaces and automation, 111
fi le architecture, 189–190
fi nal dub, 110
sample rate support, 96
sound design, see Sound design
temp dub, 109
virtual track switching, 103–104
ProRes 422
color grading, 142
high-defi nition video capture, 31–32
standard defi nition conversion to
high-defi nition, 91
workfl ow example using HD or SD
video formats, 240
Pull list, 66
Pulling, work print, 67–69
R
Red Camera, 175–176
Redcode
Final Cut Pro support, 33
Red Camera, 175–176
Reel length, fi lm, 62–63
Release print, defi nition, 59
Reverse telecine
Cinema Tools
fi le checking, 15–16
sequence settings, 16
fi ling structure, 193
frame rate selection, 14–15
rationale, 13–14
24PA video, 27
Index
S
Scanning, fi lm to digital intermediate,
72–74
SECAM system, see System Electronic
Colour Avec Memore (SECAM) system
Slate, time code locking to smart slate,
38–41
Soft lock, syncing, 37–38
Son from the Ocean, capture and
preparation, 34
Sound design
dialogue
automatic dialogue replacement,
101–102
clean-up, 102–105
splitting off production tracks,
99–101
stems, 111–112
elements, 99
fi nal dub, 110–111
Lost Hope and More example,
115–117
music, 107–108
optical sound
prints on fi lm, 113
projection print, 114–115
pull up, 112–114
Pro Tools advantages, 93
sound effects, 105–107
temp dub, 108–110
Sound effects
backgrounds, 105–106
cueing, 15
editing, 105
Foley, 106–107
listing, 105
Sound Track Pro
audio interfaces, 94
loop editing and management, 95
workfl ow overview, 93–95
Splicing
overview, 199–200
unintentional splices, 207
Stereo, export and fi nishing, 112
Success
capture and preparation, 33–34
workfl ow deconstruction, 209–211
Superimposed titles, fi lm, 128–129
Syncing, see Audio
System Electronic Colour Avec Memore
(SECAM) system, 165
243