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RE: L.Miess - Keylink and sound
To: Lorne Miess, Studio Post Transfer
In regards to my posting on the Time-Life documentary series
"Lost Civilizations", you had a question on how we handled tracking
timecode for production sound. If I understand the question
correctly, you are asking what system we used for matching back
to original production sound for final audio conform.
During the telecine sessions all sound was transferred to
Digital Betacam. Even the wild sound. All of the audio for final
mix was conformed directly from the Digital Betacam Telecine Masters.
The production sound elements were never used in any sessions other than
telecine. Following the final audio mix, we created digital multi
tracks of the domestic and international versions that could be used
for layback to either video tape or a final cut negative.
This method of creating one master audio element for either video tape
or negative conform is a tried and proven technique. However, it
does place a great deal of responsibility on the telecine operators
who must ensure the quality of sound transfer.
In the case that we would ever need to go back and conform from the
production sound elements, the Aaton Keylink was used to create both
a data base for Keycode information and Production Sound Timecode.
At some point, Time-Life may conform the Super 16mm negative for a
16:9 version. With digital multi-tracks and stem masters created for
each episode there is no reason to ever go back to the production
( CHeyl at Crawford.com )