[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]

Re: Pix monitors on a film set

>                      Subject:                              Time:  1:10 PM
>  OFFICE MEMO         Pix monitors on a film set            Date:  6/7/95
>Here's a difficult one.  If a Video Monitor is part of the set during a film
>shoot and that monitor is displaying normal 60 field NTSC video and the film
>camera is recording 24 fps there is a very objectionable Shutter Bar recorded
>in the filmed image of the Video monitor.  I suppose if the shoot used PAL
>equipment for the video display and the film camera were set to 25 fps this
>would be minimized but what do you do when the client then wants to transfer
>his material in NTSC at 25 (24.98) fps with a PAL time code striped DAT as the
>Sync Sound and they want to create Flex Files for AVID also in NTSC?  Send
>those clients back to Production 101?  Any creative ideas on this?
>Just another average day around here.
>Dave Corbitt/MTE/NYC
This dilemma reveals one of the COOLEST things about DAT for telecine.
When faced with wacky transfer rates and the necessity for slewing audio to
a rate other than that which it was recorded at:  I've found that the Sony
7030 (maybe others as well), when placed in varispeed at the required
calculated rate (with internal reference), will be 100% predictable.  For
example, if film was shot at 25 but transferred at 24 (23.98), audio
recorded at 30, the DAT can be set at -4.1% varispeed and transferred to
another at 29.97. (or it can be set at -4.0% and transferred to another at
30.....you get the pull down one way or another).  The new DAT master can be
transferred routinely with the film.
This is but one example....other variations will work just as well.

Phil Mendelson
Hollywood Digital
Phil Mendelson      philm at earthlink.net
"Animals are our friends...............
but they won't take us to the airport."