Lists You Can Export

You can export a number of useful lists by using the Export Film Lists dialog. When you export a film list, one film list file is generated, and that file contains all the lists you selected in the dialog. Any lists that you did not specifically select are not included in the exported film list file.

Note: All of the lists you choose to include in the film list are based on the video track you choose in the Track pop-up menu. You can select a different track and export a second list if needed. For example, if your sequence contains titles (including any “supers”—superimposed images or frames) on video track 2, you can export a second film list that includes the edit information for them. This makes it possible for you to configure alternative title tracks and export film lists for each version.

Cut List

The first list you can select to export is the cut list. The cut list you export from Final Cut Pro is the list that contains the instructions for cutting the original camera negative or workprint to match the digitally edited program. Cut lists are also known as assemble lists.

Missing Elements List

The missing elements list lists all of the clips in a sequence for which a corresponding database record either was not found or did not contain all of the necessary information. It is important that you export and examine a missing elements list to make sure that there are no elements missing before the negative cutter begins conforming the negative.

For each clip listed in the missing elements list, the element that is missing is specified. The shot number where that clip appears in the cut list is called out on a separate line.

If any of the following are missing, they are listed in the missing elements list:

  • Lab, camera, or daily roll

  • Key number or ink number

Additionally, each source clip must be connected to a record, unless you can use the timecode-based method for cut list generation (see A Potential Database Shortcut for Camera-Roll Transfers). To use the timecode-based method for cut list generation, each record must also include these elements:

  • Video reel

  • Timecode and duration

Resolving Missing Elements

Resolving a missing element means finding the corresponding database record, if it exists, and filling in the missing information, or creating a new database record if none exists. To locate the database record, there are two basic approaches.

If the Name of the Clip Is in the Missing Elements List

You can use the clip name to look for the clip in the List View window. In the List View window, click Clip to sort the records by clip name. Or, if the clip name includes its scene identifier, you can use the Find command to search for the clip by the scene identifier. If no database record is found for the clip, create one and connect the clip to it. Use the Identify feature in the Clip window to enter the required information.

If the Video Reel and Timecode Appear in the Missing Elements List

You can use the video reel and timecode information to look for an existing database record for the clip. In the List View window, choose Video from the pop-up menu at the top of the window. Click Reel or Timecode to sort the records by the video reel or timecode. Look for the missing video reel or timecode value (or a similar timecode value). Keep in mind that the timecode value given in the missing elements list is not likely to match the database record exactly because the timecode value in the database corresponds to the first frame of the clip. You know it’s a match if the timecode value in the missing elements list occurs before the end of the timecode duration specified in the database record.

Note: Remember that the video reel name must appear exactly as it appears in the missing elements list. For example, reel “001” does not match reel “0001.”

  • If you find the timecode value, but the video reel name doesn’t match the one listed in the missing elements list: Update the reel name in the database record or change it in Final Cut Pro.
  • If the reel name matches one or more records in the database, but the missing elements list tells you that the database record is missing: The timecode is incorrect. The best way to resolve this is to create a new database record and connect the source clip to it. Then you can use the Identify feature to determine and enter the edge code and timecode information for the clip. If you create a new database record, delete the incorrect record that the new record replaces. Alternatively, you can update the Video Timecode or the Video Duration field in the database record, but then you also have to update the Key and Ink fields.

Duplicate List and Double Usage Warnings

When editing digitally, it’s easy to include a clip or part of a clip more than once in the edited program. When this happens, you either have to create a duplicate negative or reedit the program to remove the duplicate usages, because the footage exists only once on the original camera negative. But first you have to know where the duplicate usages are, and that is the purpose of the duplicate list and double usage warnings.

Duplicate List

The duplicate list is what you give to your lab if you want the lab to pull specific shots from your negative rolls and make duplicate negatives for you. It documents every shot for which there is one or more duplicate usages.

Note: Content that is part of an optical is not counted as a duplicate usage. However, placing a dissolve transition between two clips that have no other source footage available between them (such as two clips that were originally one clip) results in a duplicate usage.

Double Usage Warnings

If you choose Warn from the Duplicates pop-up menu in the Export Film Lists dialog, a warning message appears where duplicate usages occur in the cut list. The message tells you exactly which frames have been used more than once and exactly where in your editing project they are used. All of these messages also appear in a double usage warning list.

Optical List

The optical list serves as a master list for transition, filter, and motion effects. If there is a series of connected transition and motion effects, the optical list combines them and describes them as a single optical. You give the optical list to the optical house to outline how the effects shots are to be assembled.

Note: Titles, which are another kind of optical, use a second video track and are not part of the optical list. You can export a separate cut list for the track that contains the titles.

See Using Effects, Filters, and Transitions for more information.

An optical list actually consists of up to four separate lists:

  • Optical list: This list contains an entry for each cut list event that uses an optical effect. Based on the type of optical effect, each entry links to one of the three effects lists (described next) that are also included with the optical list. These effects lists include the actual details of the optical effect.
  • Transition effects list: This list contains an entry for each optical list entry that contains a transition effect, such as a cross dissolve or wipe. See Transition Effects List for more information.
  • Filter effects list: This list contains an entry for each optical list entry that contains a filter effect, such as a blur or color correction. See Filter Effects List for more information.
  • Motion effects list: This list contains an entry for each optical list entry that contains a motion effect, such as a time remapping speed change. See Motion Effects List for more information.

How the List Entries Are Linked

If an optical list entry contains multiple types of effects, such as a transition, a filter, and a motion effect, the optical list entry only links to one of the effects lists.

  • If the optical list entry includes a transition effect: The optical list entry links to an entry in the transition effects list. If the optical list entry also includes a filter effect, the transition effects list entry links to a filter effects list entry, which links to a motion effects list entry if a motion effect is also included.
  • If the optical list entry contains only a filter and a motion effect: The entry links to a filter effects list entry, which links to a motion effects list entry.
  • If the optical list entry contains only a motion effect: The entry links directly to a motion effects list entry.

Each entry in the effects lists includes the original optical list entry number and the original cut list event number the entry applies to, making it easy to relate the different lists to each other.

Transition Effects List

The transition effects list contains information about the fades, dissolves, and other transitions from your edited program. Transitions can be treated as cuts or as opticals, based on what you choose from the Transitions pop-up menu in the Export Film Lists dialog. If you choose to treat all transitions as cuts, the transition effects list is empty, and the transitions are listed as cuts in the cut list.

Filter Effects List

The filter effects list contains information, including the actual filter name and its category, related to any filter effects applied to the sequence.

Motion Effects List

If a shot has a speed other than the normal forward speed of 24 fps, an entry is made in the motion effects list, and the optical list refers to the motion effects list for that shot.

A digital editing system can assign almost any arbitrary speed to a clip to create a motion effect digitally, but neither videotape nor film can perfectly reproduce every speed that the digital editing system can assign. Therefore, be aware that the optical negative that is made is not necessarily going to look exactly the way the motion effect looked in the editing system.

Important: Because of the frame rate changes involved in motion effects, key numbers that are reported in the motion effects list are not guaranteed to be accurate. If you have a window burn of the key numbers, you should check to make sure that the key numbers in the motion effects list are accurate and correct them when necessary.

Pull List

The pull list is the same as the cut list, except that the shots appear in the order in which they can be found on the negative rolls. The lab can refer to the pull list when going through your negative rolls to find the shots that will be cut into the film. Each item in the pull list displays the shot number from the cut list.

Scene List

The scene list lists all of the shots that are used in the cut list, with each shot listed only once. You can use the scene list to order prints of the shots in your program so that you can conform a workprint before the negative is cut.

Optical Scene List

If you select “Optical list” and “Scene list” in the Export Film Lists dialog, an optical scene list is generated along with the scene list. The optical scene list is a list of all the shots used in all the opticals and motion effects, with each shot listed only once. The lab can use this list to pull the footage needed to make the opticals.