Chapter 1: Tools of the Film Editor
A Tour of the Film Cutting Room
Film Gauges and Shooting Formats
Soft Mattes versus Hard Mattes
Chapter 2: Post Production Workflow
The Medium-Budget Film Workflow
The Ultra-Low-Budget Film Workflow
Chapter 3: Telecine Demystified
Chapter 4: Conforming a Workprint
Creating and Balancing the Reels
Adding SMPTE Leader on the NLE
Marking Workprint for Motor Start and Changeover
Chapter 6: 24 fps versus Matchback
PAL 25 at 24 fps Projects (Telecine B)
1:1 PAL Frame Correspondence (Telecine A)
PAL Sound and Picture Digitized Together
PAL Sound and Picture Digitized Separately
Chapter 7: Editing Film on Avid NLEs with FilmScribe
Combining Events Based on Scene Number
Combining Events Based on Camera Roll
Merging Events with Known Sources
Mislabeled or Duplicate Numbered Tapes
Unique Items for Individual Types of Cut Lists
Some Important Notes about Saving EDLs
Chapter 8: Editing Film on Media 100 NLEs with Slingshot Pro
About Slingshot and Trakker Technologies
Synching Picture with Sound in Media 100
Flag and Match Unknown Tape Names
Use Feet + Frames vs. Absolute Frames
Chapter 9: Editing Film on Final Cut Pro NLEs with FilmLogic
A Word about Backing Up and Undo
Working with FilmLogic’s Database
Importing the Batch Capture Log
Chapter 10: Cutting DV for a Film Release
Video-to-Film Transfer Methods
Chapter 11: HDTV, 24p, and the Future
1:1 Frame Correspondence with Film
24 fps Nondrop Frame Time Code
Issues of Cutting and Placement