Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
The Filmmaker’s Guide to Final Cut Pro Workfl ow<br />
Several problems were found in checking the database. Several slates were mislabeled. These were<br />
noted in the cutting log and database. As the editing moved forward, a major problem was encountered.<br />
When the fi rst fi lm list was exported to check for double uses, several double uses were<br />
reported. Yet these were not double uses, they weren’t even from the same camera rolls. At fi rst it<br />
looked like the almost impossible had happened, that there were two camera rolls with the same key<br />
code numbers. This turned out to not be the case.<br />
Because the camera rolls had been spliced into selects rolls consisting of the circled takes, when the<br />
selects rolls were telecined, a splice had passed through the telecine without the colorist noticing.<br />
The telecine machine cannot read every key code number; many are interpolated from known key<br />
code numbers. When a splice goes through the telecine, if the new number is not entered, it will<br />
continue with the numeric sequence from the previous roll, logging the wrong key code information<br />
into the telecine log.<br />
Close examination of the database showed that four shots had key code numbers from a different<br />
camera roll. Several fi xes were discussed; the consensus was that the shots should be retelecined. As<br />
it turned out the fi x was simple. The negative editor rolled into the selects rolls and found the shots<br />
with the wrong key code numbers. She wrote down the key code numbers for sticks close on the<br />
slates of the four shots. These key code numbers were entered into the Cinema Tools database on<br />
the corresponding sticks close frames. The key code information for the entire shot came online and<br />
the double use reports were cleared up. The window burns remained erroneous, but the database and<br />
fi lm lists were accurate.<br />
Also, because the telecine session was going over the scheduled time, toward the end, some shots<br />
were telecined in groups, slatted as “ser” or series. These needed to be telecined silent as there is no<br />
way to match slates on several shots at the same time. So, some shots needed to be sunc in Final<br />
Cut Pro after the reverse telecine. We cover this workfl ow in Chapter 3 on initial audio workfl ow.<br />
The initial steps in the workfl ow are critical. Small errors can cause major problems and result in<br />
time and money being lost. Plan the entire workfl ow in advance all the way to the fi nished format.<br />
Keep everyone informed of the plan and any changes to the plan. Planning and communication are<br />
the keys to a smother postproduction, saving money, and ensuring a quality product.<br />
22