2009

Delivery Specifications
Each network typically has specific required delivery formats, which may include one or
more SD and HD formats. Also, networks usually require separate versions of each program
with and without titles (also called texted and textless versions). Inquire in advance about
what deliverables are required. Programs intended for broadcast invariably are mastered
to a high-end, tape-based format. What this means to you is:
• SD programs are typically output to Digital Betacam.
• HD programs may be mastered to HDCAM, HDCAM SR, or D-5.
Workflow Summary
First, the film negative is transferred to videotape. The facility that does the transfer will
provide you with a telecine log in one of several formats. (FLEx and ALE are common
formats that are compatible with Final Cut Pro and Cinema Tools.) You import this log
into Final Cut Pro by choosing File > Import > Cinema Tools Telecine Log, which creates
a Cinema Tools database of events that establishes the correspondence between the
edge code that identifies each frame of film negative and the timecode that identifies
each frame of transferred video. This is an optional step, but important if you plan to
retransfer any of your edited selects later.
This process also automatically creates offline clips in the Browser. One clip is created for
each event in the database. You then use these offline clips to automate the process of
ingesting the transferred videotapes via the Log and Capture window. If necessary, you
can use Cinema Tools to remove 3:2 pull-down from the imported media, so you can edit
at a true 23.98 fps progressive frame rate. This last step is also optional, depending on
the frame rate you prefer to work at and the frame rate of the master you’ll eventually
be outputting.
Your video is ingested into Final Cut Pro using the Log and Capture window. During
editing, you can use Motion and Soundtrack Pro, along with the video and audio effects
tools that Final Cut Pro offers, to incorporate motion graphics, effects, and sound work
into your program.
After editing, it’s a good idea to send your edited sequence to Color for grading according
to the network’s standards, after which you send it back to Final Cut Pro in preparation
for output. As part of the finishing process, you send all of your program’s audio either
to Soundtrack Pro or to a third-party digital audio workstation (DAW) application for final
sound design and mixing.
When you finish your program, you output it to one or more tape masters, in the network’s
format of choice.
21Chapter 1 Developing a Post-Production Strategy