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Index 355<br />
DupeList/Preread section (EDL Manager),<br />
65–66<br />
DVDs for backups, 310<br />
EBU. See European Broadcasting Union<br />
Edge numbering, 9<br />
Edison, Thomas, 5–7<br />
Edit decision lists. See EDLs<br />
Edit groups, 339<br />
EditDroid editor, 54<br />
<strong>Editing</strong> workspace. See Workspace setup<br />
Editorial reels, 40<br />
EdiTrace utility, 245<br />
EDL Manager program, 65–68<br />
EDLs (edit decision lists), 17, 59<br />
for alternate takes, 205<br />
for autoconforming, 36<br />
cleaning, 64–70, 72<br />
components of, 59–63<br />
defi ned, 339<br />
fi nding end of shots, 63<br />
importing, 72<br />
need for, 51<br />
NTSC and, 20<br />
printing, 63–64<br />
saving, 70<br />
Eisenstein, Sergei, 8<br />
Electrical clicks, 192, 195–199<br />
Electronics, as noise source, 189<br />
Embedded fi les, 57<br />
Emotional separation, perspective for,<br />
178–179<br />
End of shots, fi nding, 63–64<br />
EQ RTAS plug-in, 112–113<br />
Estimating editing time, 96–100<br />
Ethical restrictions, for documentaries, 294<br />
European Broadcasting Union (EBU), 339<br />
25 fps timecode, 30<br />
nonlinear editing standards, 55<br />
Evaluation forms, 89, 92<br />
Evenness, in shot balancing, 140<br />
Events<br />
for alternate takes, 205<br />
EDL, 59–63<br />
Excitement, sounds for, 171<br />
Exhibition prints, 339<br />
Exporting OMF from Avid, 56–58<br />
Fairlight MFX, 246<br />
Fast Fourier Transform (FFT), 223–224, 228<br />
FFOA. See First frame of action<br />
File formats, for ADR, 265<br />
File names<br />
for ADR, 268–269<br />
guidelines, 84–85<br />
for room tone, 152<br />
Files, backing up, 85–86<br />
Film Composer, 16, 121<br />
Film lab process, 13<br />
Film Log EDL Exchange (FLEx) fi le<br />
protocol, 339<br />
in negative cutting, 16<br />
in telecine process, 35–36<br />
Film shoot and edit, workfl ow, 11–15<br />
Filters<br />
in monitoring, 102<br />
for noise reduction, 218, 222, 224<br />
Final Cut Pro (FCP)<br />
and metadata, 78<br />
OMF preparation in, 57<br />
Final mix, 339<br />
workfl ow, 318–321<br />
Final editing pass, overview, 332<br />
Finding<br />
alternate takes, 203–210<br />
end of shots, 63–64<br />
noises, 189<br />
wild sounds, 123–126<br />
FireWire drives for backups, 310<br />
First answer prints, 339<br />
working with, 14<br />
First assembly in picture editing, 38<br />
First frame of action (FFOA), 339<br />
leaders, 121<br />
sync pops, relation to, 119–120<br />
First editing pass, overview, 330<br />
First reels, special issues 99–100<br />
Fish pole noises, 192<br />
Fix Sync utility, 104<br />
FLEx. See Film Log EDL Exchange fi le<br />
protocol<br />
Focus control, replacement lines for, 248<br />
Focus groups, 339<br />
infl uence of, 39<br />
Focus on one character, 177
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