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(Fwd) Question for all.

------- Forwarded Message Follows -------
Date:          4 Jun 1996 17:07:26 -0500
From:          "Dave Henegar" <dave.henegar at qm.fallon.com>
Subject:       Question for all.
To:            "Telecine group" <telecine at xyzoom.alegria.com>

                                          3:18 PM             6/4/96

>When an off-line editor prepares a
>telecine list for a final film-to-tape color correction that has sync sound,
>is it absolutely necessary to have corresponding nagra (or DAT) timecode
>numbers for every scene of sync dialog.  It is my understanding that timecode
>from the nagra or the DAT is printed on the film negative at the time of
>shooting.  Wouldn't this mean that the nagra or DAT would chase and sync to
>the film during transfer?  Or am I wrong.  If it does keep up with the film,
>is there any reason to give sound timecode numbers, in addition to video
>timecode and keycode numbers, to the telecine operator? 

Here is a simple solution to avoid re-syncing sound for a "Selects" 
transfer session.  A common practice during the "1-Lite" session is 
to sync sound directly to the video cassette and create a DAT with 
original production sound and matching Dailies Timecode generated 
during the film-to-tape session. (this is not simply an audio dub of 
the 1-Lite telecine tape)  Through the entire process of 
1-Lite transfer, Off-line, On-line, and Audio Post this DAT will have 
timecode that references to your EDL.  There is no need to reference 
back to the original production sound rolls from this point on.  
Also, with an Avid system set up with digital audio inputs and 
outputs, using the new simul DAT,
the Off-line editor can output a finished 48K digital cut on 
DAT that can be used during On-line or Audio Post.  Many of our 
commercial/agency Off-line editors prefer this method.
It is important to note that the DAT must be created properly during 
the original syncing session.  This DAT can be generated in a 
telecine suite during a transfer/sync session or in an audio suite 
during a syncing dailies session.

We use this method even when Aaton or Arri timecode is on the 
negative.  Why tie up extra gear and add more work for the colorist 
during the Selects session? 99% of our transfers involving sync 
sound are done this way.  I can't remember the last time we had to 
sync a Selects transfer.

I would suggest calling your telecine facility and make sure they are 
set up to generate this DAT if you choose to try this method.

Craig Heyl
Crawford Film Transfer