Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Shooting Standard Defi nition Digital Video at 24P (23.98)
The 24P format was created in an effort to make digital look more like fi lm and be more compatible
with fi lm. The 24P workfl ows are also derived from fi lm workfl ows, so it is necessary to understand
the workfl ows from Chapter 1 before moving on to a 24P workfl ow. A 24P camera mimics a fi lm
camera and telecine. The 24P camera shoots approximately 24 (23.976) digital still pictures every
second. Rather than record these pictures, the camera applies the same 3 : 2 cadence and interlacing
that the telecine machine applies when transferring fi lm to digital video. Unlike 24 FPS fi lm, there
is no need to pull down 24P because the actual frame rate is already video speed, 23.98. There are,
therefore, no pull-up, pull-down issues with standard defi nition 24P.
This introduces the same step-frame look of fi lm transferred to video. While many fi nd this look
distracting and less appealing than 29.97 interlaced video, 24P advocates feel it evokes a “fi lm
feel.”
In postproduction workfl ow, the 24P video can be treated like any other 29.97 video. The 24P look
is achieved entirely in the camera and no special workfl ow is required. However, just as fi lm that
has been telecined can be reversed back to the original frames, 24P can also be reverse telecined
back to the original 23.98 digital still pictures. There are several reasons you may choose to reverse
the footage and edit at 23.98:
• To “up rez” the standard-defi nition video to high-defi nition 23.98 or 24 FPS HD digital video: It
is much more diffi cult to change this frame rate after the project has been edited.
• To copy the project to fi lm for projection, also known as “fi lm out”: By reversing the video to the
original digital still pictures captured in the camera, each digital frame can now be shot onto
individual fi lm frames, creating a high-quality fi lm transfer.
• To make 23.98 FPS DVDs: All of the newer DVD players can play 23.98 video and add the 3 : 2
cadence sending 29.97 FPS to the video monitor. This allows for better compression and longer
program material on the DVD.
If you are not planning any of these fi nishing workfl ows, there is no reason not to treat these formats
as 29.97 video and follow that workfl ow.
Reverse telecine is achieved exactly as it is in fi lm workfl ow. However, there are a few differences
from the fi lm workfl ow when working with 24P. As you don’t have a negative, you don’t need a cut
list. And, you don’t have a telecine log. You don’t need a database either; however, the database is
the easiest way to reverse telecine.
To create a database from 24P footage, begin the process in Final Cut Pro. Log and capture all of
the shots. Then export the Final Cut Pro batch list, go to File > Export > Batch List. Now open
Cinema Tools. Create a new database. Import the Final Cut Pro batch list. Link the media. You can
now batch reverse telecine just as with a fi lm project.
24PA “Advanced” Video Capture
Many of these cameras can also employ an “advanced” or “24PA” 2 : 3 : 3 : 2 cadence that makes
reverse telecine real time and part of the capture. The advanced 2 : 3 : 3 : 2 cadence is set in the
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