Appendix 1

2 When Shooting
Digital Video
Shooting Standard Defi nition Video at 29.97 FPS
The most basic workfl ow in Final Cut Pro involves shooting 29.97 FPS digital video on any DV
format including DVC Pro 50, DVC Pro HD, and HDV(see Figure 2.1). Audio can be recorded
directly to the camera tape. The video and audio can simply be captured to any drive, even a removable
fi rewire drive. Generally, these projects are fi nished right on the editing computer; any color
correction is preformed with Color, Final Cut Pro color-correcting plug-ins or third-party, colorcorrecting
plug-ins. The project is simply printed back to DV tape in the shooting format and/or
QuickTime movies are exported for compression and burning or copying to DVD.
This simple workfl ow can be improved upon with several additions to the workfl ow. Any or all can
be used depending on the demands of the project.
• Audio can be recorded on a separate recorder and sunc in Final Cut Pro to a slate with clapper.
• Audio can be exported to Pro Tools after the picture is edited to a locked cut, and sound edited
and mixed with much more control. It can even be mixed to 5.1 surround sound.
• Improved titles and effects can be realized outside of Final Cut Pro.
• Improved color correction can be realized by taking the fi nal videotape to a post house and color
correcting shot by shot going tape-to-tape.
In the fi rst example, audio can be recorded with or without time code on any sync-capable recorder.
The advantage is simplifi ed production as the recorder and mixer are not tied to the camera in any
way, making it possible to move more freely and perhaps recording improved audio as a result of
this freedom. See Chapter 3 for information on recording and importing audio as well as syncing
audio to the slate.
23