2009

After you edit your sequence using these converted QuickTime clips, you then export an
EDL from Final Cut Pro, which is used to reconform your project to the original DPX or
Cineon media in Color. After your program has been reconformed, you grade and output
your program as a single DPX or Cineon image sequence that can be delivered to a facility
for film printing.
For more information about different post-production workflows involving scanned film,
see the Color documentation.
Ingesting Audio
You can capture audio from analog and digital tape, or import various tapeless formats
directly into Final Cut Pro for placement in your edited program. For the final mix, you
can work inside Final Cut Pro, or you can send your program’s audio to Soundtrack Pro
to finish it there, where you can import additional digital audio files to add to the mix.
For more information about finishing audio, see “Final Sound Editing, Design, and Mixing.”
Popular Formats
Popular digital audio formats compatible with Final Cut Pro and Soundtrack Pro include
AIFF, WAVE, Broadcast Wave Format (BWF), Sound Designer II, and QuickTime audio. You
can also use MP3 and AAC files, but these require rendering, so media in either of these
formats should be converted to AIFF or WAVE prior to import.
Method of Ingest
You can ingest audio into either Final Cut Pro or Soundtrack Pro, depending on the format
of the audio and how you need to use it.
• Analog and digital tape-based formats: You can capture audio from any analog or digital
tape-based format using a compatible audio interface. Final Cut Pro is capable of
recording up to 24 tracks of audio from tape-based formats like DAT, DTRS (which
includes decks such as the Tascam DA-88 or DA-98), or ADAT using serial device control
for timecode sync and control. If you’re using timecode sync, you can capture your
media as QuickTime audio files to preserve the timecode sync data. You can also capture
up to 24 channels of audio directly into Soundtrack Pro, but you can’t capture timecode.
• Tapeless audio formats: Audio files such as AIFF and WAVE files are ingested using the
Import File or Import Folder command in Final Cut Pro or the Browser in Soundtrack Pro.
This includes audio from hard disk recorders, many of which record using the Broadcast
Wave Format (BWF), which supports timecode. If you’re importing audio from a tapeless
device, make sure you mount the recording media and copy all the files you plan on
using to your scratch disk before importing them into Final Cut Pro or Soundtrack Pro;
otherwise, they’ll go offline when you unmount the media. If you’re importing BWF
files into Final Cut Pro, make sure to set the BWF Import setting to Non-Drop or Drop,
as appropriate, in the Editing tab of the User Preferences window. BWF files, with
accompanying timecode, can also be imported into Soundtrack Pro.
41Chapter 2 Ingesting and Organizing Your Media