Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Navigation of the list is strange, but manageable. Use the Database > Find and Replace Existing to
reduce the scope of the list or fi nd one shot. To restore use Find All.
In the list, you can check the accuracy of the telecine. Switch the key code setting at the bottom left
to Video. Because all shots should have a zero A-frame reference, when the key code pull down
cycle identifi er shows an A, the video time code should end in 0 or 5. If not, there is a problem with
the telecine that will cause major problems later if you are reversing the telecine. Call the telecine
people and have them fi x it. (You can’t.) Fortunately such problems are rare.
You are ready to export the batch list and capture video. Select File > Export > Batch Capture. Final
Cut Pro Video. Name and save your batch list (see Figure 1.6).
Figure 1.6 Final Cut Pro batch list imported from Cinema Tools
Launch Final Cut Pro. Make sure you are set up for DV video at 29.97. Go to Final Cut Pro > Audio
Video Settings > Capture settings and confi rm you are in 29.97. Select: File > Import > Batch List
29.97. Find your batch list and click Choose.
All of your shots should appear in the browser off line and ready for Batch Capture, and you should
be in a very familiar place. Go to batch capture and insert whichever tape Final Cut Pro asks for.
New telecine logs can be imported into the existing database. New batch lists can also be imported
into the Final Cut Pro project. This way, daily telecine sessions can be integrated into the edit during
production.
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