Final Cut Studio Workflows

Final Cut Studio Workflows......Page 1
Contents......Page 3
About Final Cut Studio Workflows......Page 5
Additional Resources......Page 6
The Overall Post-Production Workflow Explained......Page 9
Why Design Your Workflow in Advance?......Page 13
Types of Overall Workflows......Page 14
Acquired on Video for Output to the Web......Page 15
Acquired on Video for Output to a Consumer Playback Format......Page 16
Acquired on Video for Broadcast Delivery......Page 18
Acquired on Film for Broadcast Delivery......Page 19
Acquired on Film for Theatrical Exhibition......Page 22
Acquired via Digital Cinema Camera for Theatrical Exhibition......Page 24
What Is Ingest?......Page 27
Importing Information to Aid in Capturing......Page 29
Choosing the Best Ingest Strategy for Your Workflow......Page 30
Ingesting Tapeless Media......Page 32
Ingesting Tape-Based Media......Page 33
Ingesting Film Transferred to Video......Page 35
Ingesting Film Transferred as DPX or Cineon Image Sequences......Page 38
Ingesting Audio......Page 41
Ingesting Individual Still Images......Page 42
Ingesting Animation and Broadcast Design Files......Page 43
Asset Management and Organization......Page 44
Organizing Your Project Within Final Cut Pro......Page 45
When Is Cinema Tools Involved with Media Organization?......Page 47
What Is Editorial Development?......Page 49
Importing Editorial Information from Other Sources......Page 50
Using Design Elements from Motion......Page 52
Using Send To Motion Project......Page 53
Using Graphics and Animation Files from Other Applications......Page 54
Image Sequences......Page 55
Tips for Designing Graphics in Third-Party Applications......Page 56
Sending Specific Clips to Soundtrack Pro for Cleanup......Page 57
Using GarageBand......Page 59
Using a Third-Party Audio Application......Page 60
Arranging for Client Review......Page 61
Local Review Methods......Page 62
Remote Review Methods......Page 63
Finishing......Page 65
What Is Finishing?......Page 66
Finishing Using Compressed Versus Uncompressed Media......Page 67
Format Conversion When Finishing Mixed-Format Sequences......Page 69
Reconforming Media to Online Quality......Page 71
Reconforming Tapeless Media......Page 72
Reconforming Tape-Based Media......Page 74
Reconforming via Telecine Retransfer......Page 75
Reconforming to DPX or Cineon Film Scans......Page 77
Creating Final Broadcast Design Elements and Effects......Page 79
Using Effects in Offline/Online Workflows That Change Resolutions......Page 80
When a Color Roundtrip Changes Sequence Resolution......Page 81
Color Correction......Page 82
Color Correcting a Program in Final Cut Pro......Page 85
Sending a Project to Color......Page 86
Preparing Your Sequence to Send to Color......Page 87
Making Color Correction Changes After Your Project Is Back in Final Cut Pro......Page 88
Delivering a Tape Master for Tape-to-Tape Color Correction......Page 89
Final Sound Editing, Design, and Mixing......Page 90
Organizing Your Audio in Preparation for Mixing......Page 91
Audio Finishing Using Final Cut Pro......Page 92
Audio Finishing Using SoundTrack Pro......Page 93
Audio Finishing Using Third-Party DAW Solutions......Page 95
Marrying the Final Mix Back to Your Video......Page 96
What Is Mastering?......Page 97
Creating Versions of a Program with and Without Titles......Page 98
Format Conversion......Page 99
Subtitling and Closed Captioning......Page 100
Handling Closed Captioning......Page 101
Adding Closed Captioning Using Compressor......Page 102
Adding Subtitles Using Text Generators in Final Cut Pro......Page 103
Adding Text Tracks to QuickTime Movies......Page 104
5.1 Surround......Page 105
Alternative Audio Mixes for International Distribution......Page 107
Outputting to Tape......Page 109
Creating Standard Definition DVDs......Page 110
Exporting Movies for the Web......Page 111
Printing to Film......Page 113
Digital Cinema Mastering......Page 114
Long-Term Archiving of the Finished Project and Media......Page 115