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Technical process of postproduction work... > Transferring DV and Film Footage - Pg. 418

400 chaPter 19 Postproduction overview and Workflow 2. Capture preset settings. How you want the system to capture your footage--with these two workflows, the capture settings should simply match your source format. However, if you've shot on a high- resolution (storage hungry) format (like 2 K or 4 K) and have limited storage space, you might cap- ture footage with high compression to save space and then relink (or conform) the original footage to the final edit, using only the high-res footage that matches the exact shots in the final cut. Using com- pressed footage for cutting is called offline editing, and editing with footage at its native resolution is called online editing (see page 408). For proj- ects shot on film and destined for one of the 24fps release formats (film or DCP), you should capture with "reverse telecine" to remove the extra frames, Figure 19-4 The audio/video settings window in FCP used to set up allowing you to edit with the original frames at 24 p the editing format workflow. (see telecine later). 3. Sequence settings. The format you'd like to work with in the sequence--again, this usually matches the other two formats. There are exceptions, however. Again, if you've shot film (24 fps) and wish to finish on film (24 fps), you should edit at 24 fps even though the video dailies are 29.97 (see page 413). 4. Output. Determines what format you'd like to output for mastering. For mastering