Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
In the third case you are telecining all the camera negative without work-printing. In this workfl ow
you will edit digitally and go directly to cutting the fi lm negative.
Be sure to inform the telecine facility if you are planning a fi lm fi nish. Get window burns for time code
and key code. Do not recompose any footage in telecine by zooming or framing up or down. This would
require optical printing when cutting the negative. If you want to recompose any shots, do this in Final
Cut Pro later. There will be more on this in Chapter 5 when we look at Final Cut Pro cut lists and optical
printing. You can telecine full frame or letterboxed (masked) to the fi nal aspect ratio, usually 1.85 : 1.
It is likely the telecine operator will give you what you need as long as you tell them you are fi nishing
on fi lm. You will be reversing the telecine after capturing to Final Cut Pro. In order to perform
this step later, in telecine you need a zero frame “A” frame transfer with fi eld “1” dominance and
NTSC nondrop-frame time code (NDF). Ask for window burns for time code, key code with pulldown
cycle identifi er (for example, “A” frame) following the key number, and audio time code if
any. Start the fi rst tape at one hour exactly on the time code and set different hour codes for each
tape if there are fewer than twenty-four tapes. And get a telecine log.
Capturing and Preparing Lost Hope and More
Let’s take a look at the telecine and capture stages on the Kodak 35 mm project, Lost Hope and More.
Because there was no direct access to a 35 mm screening room, dailies were not screened during this
production. Instead, the fi lm was sent to the lab and the lab reports were checked every morning for
Figure 1.13 Lost Hope and More poster
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