Apple M8728Z/A User Manual - Page 239

Stage 7: Editing the Video and Audio You can now edit the project using Final Cut Pro. For the most part, you edit your film project the same as any video project. If you captured the audio separately from the video, you can synchronize the video and audio in Final Cut Pro. Any effects you use, such as dissolves, wipes, speed changes, or titles, are not used directly by the film. These must be created on film at a facility specializing in film opticals. It can be helpful for the negative cutter if you output a videotape of the final project edit. Although the cut list provides all the information required to match the film to the video edit, it helps to visually see the cuts. Stage 8: Exporting the Film Lists After you've finished editing, you export a film list that can contain a variety of film-related lists, including the cut list, which the negative cutter uses to match the original camera negative to the edited video. Additional lists can also be generated, such as a duplicate list, which indicates when any source material is used more than once. Stage 9: Creating a Test Cut on a Workprint Before the original camera negative is conformed, it is strongly suggested that you conform a workprint to the cut list to make sure the cut list is accurate (some negative cutters insist on having a conformed workprint to work from). There are a number of things that can cause inaccuracies in a cut list: • Damaged or misread key numbers entered during the telecine transfer process • Incorrect timecode values • Timecode errors introduced during the capture process • With NTSC video, 3:2 pull-down problems In addition to verifying the cut list, other issues, such as the pacing of a scene, are often hard to get a feel for until you see the film projected on a large screen. This also gives you a chance to ensure that the selected shots do not have unexpected problems. If your production process involves workprint screenings and modifications, you can also export a change list that describes what needs to be done to a workprint to make it match a new version of the sequence edited in Final Cut Pro. Stage 10: Conforming the Negative The negative cutter uses the cut list, the edited workprint, and the edited video (if available) as a guide to make edits to the original camera negative. Because there is only one negative, it is crucial that no mistakes are made at this point. As opposed to the cutting and splicing methods used when working with the workprint, the cutting and splicing methods used for conforming the negative destroy frames on each end of the edit. This makes extending an edit virtually impossible and is one of the reasons you must be absolutely sure of your edit points before beginning the conform process. Appendix A Film Background Basics 239