Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
T
Tapeless capture, digital video, 32–33
Telecine
anamorphic process, 4–5
Cinema Tools database, 6–10
conversion of 24 FPS fi lm to 29.97 FPS
video with 3:2 pulldown, 3–4
logs and databases, 5–6
Lost Hope and More capturing and
preparing, 20–22
playback speed changes, 3–4
principles, 1–3
retelecine, 13
reverse telecine
Cinema Tools
fi le checking, 15–16
sequence settings, 16
frame rate selection, 14–15
rationale, 13–14
take-by-take transfer, 6
window burns, 6
Temp dub, 108–110
Thomson Viper, 175
3 : 2 pulldown
conversion of 24 FPS fi lm to 29.97 FPS
video, 3–4
removal with reverse telecine, 13–14
Time code
drop frame versus nondrop frame,
181–182
linear time code, 182
244
subcode, 182
syncing
locking to smart slate, 38–41
reference, 36
vertical Interval Time Code, 157–158,
182
Titles
digital video
Adobe fi le import, 120–123
alpha channel, 124–126
color formats, 124–125
design considerations, 126–127
Final Cut Pro title generator, 119–
120, 126
moving titles, 125–126
video format size chart, 124
fi lm fi nishing
contact printing, 130–131
digital intermediate, 72
optical printing, 129
photolithographs, 127–128
superimposed titles, 128–129
pixel versus vector-based graphics, 119
U
U-matic, 167
V
Vertical Interval Time Code (VITC),
157–158, 182
VHS, 167
Video speed, defi nition, 4
Videotape
digital video cassettes, 158, 169–170
distribution, 145
historical perspective, 156
metadata, 158
tape transport systems, 157
Virtual track switching, Pro Tools,
103–104
VITC, see Vertical Interval Time Code
W
Walla, 106
Web, fi lm distribution, 150
Window burn, video work copies, 6
Wizard of Oz, The, 133
Work print
defi nition, 59
pulling and conforming, 67–69
X
XML, export in Final Cut Pro, 85
Z
Zero cuts, 201
Zodiac, The, workfl ow deconstruction,
221–223