Appendix PREPARING FOR LINEAR ONLINE 325 between the EDL and the digital cut. Any time they see a flash of color bars they know something is a frame or a field off and they can make adjustments. It sure is better than squinting all day to tell the difference between one frame of 10:1 and the original! The other way that the captured audio without timecode from Avid can be used is when you make an OMFI export of the audio and the sequence for use on a digital audio workstation. But if the original sound was captured with a little distortion or mono instead of stereo, then the sound mixers have to recapture it on their workstation and match it back by ear. This is not too much trouble if it is just a few cuts, but if the music comes from a five- minute cut and is used at every transition, then you are costing your client money. How do you think the sound guys will justify their higher bill? When you are dubbing everything to timecoded sources, it is up to you (or your assistants, dubbers, etc., but really you) to make sure the quality is not degraded. Dub to higher formats--digital formats--and monitor the levels very closely. There is nothing worse than being forced to recapture a distorted media file and finding that the dubbed source is also distorted! Some facilities