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DAT & Dailies
I recently finished a film which required DAT Dailies, 3/4", 1", Nagra & the
URSA. We had lots of syncing problems on the first day. I called Gary
Adams as well as the group and what we came up with is as follows;
.1 Do a preview edit with all machines involved in the edit.
Set the DAT's, Park position to "O". It may take a couple of trys
to get the edit to go.
.2 When sync is achieved set the park position of the DAT to
+2 frames. This will move the tape machine 2 frames closer to
the edit so the TSO won't hit so hard. I have been able to get
about 85% of the edits done on the first pass with this set-up.
In regards to you masking posting, I use the maksing on the telecine but
would be happier if I could turn the telecine in a broadcast telecine, as
opposed to a production telecine, to make
an exact copy of what the film looks like?
What I mean is if a client asks you to show them what the film actually
looks like to able to align a telecine to be in unity
and improve the picture from there?
Fred Benedckt at the CBC in Toronto has done a lot of work in this area with
calibrate field test charts and test film for the telecine. DSC Labs in
Toronto make these telecine products which have exact luminance and
chromanice and phase values noted for each colour and grey step. I'm not
sure how other colourists use TAF unless it is calibrate for correct
colourimetry. Any comments anyone?
Studio Post & Transfer