2009

You can focus on being creative, rather than on fixing problems
Lastly, working out your post-production strategy in advance lets you avoid problems
before they come up. For example, if you’re working with film that was telecined to video
as an inexpensive “one-light” transfer, and you know in advance that you’ll be requesting
specific sections of the video to be retransferred at “best-light” settings, you can request
a telecine log file. You can then import the telecine log file into Final Cut Pro to
automatically create a database of the film edge code–to–video timecode correspondences
prior to editing, so that later it’s easy to export a pull list for the retransfer. Neglecting to
do this in advance can result in additional steps and potential hassle down the road (time
that you’d probably rather spend creating an innovative title sequence in Motion).
Types of Overall Workflows
The following sections offer some generalizations about the most typical workflows you
may find yourself pursuing. Whether you’re creating a video for the web or finishing a
feature destined for theatrical exhibition, one of these workflow templates probably
applies to your program.
Each workflow focuses on the most common combinations of acquisition format and
delivery medium. Although the steps between ingest and output may vary in their
specifics, these workflows are meant to give you an overall look at how to organize your
work for any particular program, before sending you to the other chapters in this guide
for more information about particular ingest, editing, and finishing workflows.
The workflow overviews that are provided include:
• “Acquired on Video for Output to the Web”
• “Acquired on Video for Output to a Consumer Playback Format”
• “Acquired on Video for Broadcast Delivery”
• “Acquired on Film for Broadcast Delivery”
• “Acquired on Film for Theatrical Exhibition”
• “Acquired via Digital Cinema Camera for Theatrical Exhibition”
14 Chapter 1 Developing a Post-Production Strategy