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Re: archive help

>Subject	archive help
>From	David Henegar
>To	Telecine group

Q:  My question is:  When editing a commercial where two scenes are 
superimposed over each other, what is the best way to telecine both shots to 
the final color corrected master reel, seeing as how both shots will have 
the same record timecode numbers?  What is the typical way of transferring 
in this situation that would work best for the on-liner who will be 

A:  The film is usually transfered as roll# 1 = 1hr timecode and ascends 
from there.  The editor provides a EDL in a B mode sort, grouping edits 
according to their playback reel number with ascending source in-points.  If 
you do a tape to tape of the spot you need to provide an EDL disk in a A 
mode sort.  Turbo trace the list so there are no gump reel lists.
Q:  Second question is:  When you  telecine a sync sound scene to a final D2 
master, for instance, for reconforming, is it necessary to go back to the 
DAT or 1/4" Nagra in the sound mixing stage for the final conforming of sync 
audio?  Or is it more than adequate to use the sync sound from the D2 on the 
final on-line.

A:  In our market we do the syncing of the commercials directly to DCT and 
don't go back to the original scene tapes.  This is done because the 
commercials don't allow the extra budget.  The audio house usually gets a 
dubbed DAT of the conform to work with.  

These answer may not work for every market as budget will dictated the 
amount of effort you put into a job.  I hope this helps you.  Now do I get 
any free editing lessons for this information?

Lorne Miess
Studio Post & Transfer