[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
> The other big question is to monitor in component or composite?
I used to believe that the best policy was to monitor in whatever
format was going to be the next step in the process; e.g. if the
client is taking the material straight to Henry from telecine, and
will be monitoring RGB in Henry, I would monitor RGB as well during
the transfer. I also felt then that all encoding is not equal...
What really changed my mind about this was the Accom encoder's
establishment (at least here on the West Coast?) as the "reference"
encoder. With more and more facilities using the same encoder, I was
able to see my work encoded consistently, at least.
I've done a number of transfers to simultaneous D1 and D2, where it's
important to be certain the encoder clips on the D2 path are going to
be reproduced later when the D1 is encoded... (this opens up another
area of potential discussion [canofworms])
Rob Lingelbach KB6CUN | 2660 Hollyridge Dr LA CA 90068 213 464 6266 (voice)
rob at xyzoom.alegria.com | "I care not much for a man's religion whose dog or
rob at alegria.com | cat are not the better for it." --Abraham Lincoln