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re< Positional Hum


Referring to your E-mail of 2nd June :-

>>* Do you know if the telecine facility was using the 24 at 25 process, i.e. 
+4% acceleratrion,  or the 24+1 one,  i.e.  one field repeat twice per 

We were using the telecine in +4% acceleration mode - i.e. the 24 at 25 process.

>>* What is the type of list you received ? Is it FleX or ATL.<<

The problem was that we did not get any type of list at all.   I was looking for
an ATL list but when we called up the lists from the hard disk there was no
information in them at all.

>>* Do you see some burned in ATC windows in the pictures? <<

There were none on the BETA tape since the client did not wish any such
information in frame.

>>* Do you find *3Line Vitc* in the retrace area ? That is the best place 
to read an AatonCode -exact- whatever happens.<<

I did not check at the time and the tapes have now gone to the client.

The telecine was certainly reading a good Aaton timecode signal since it was
recorded on Chan. 1 & 3 of the BETA tape and this I did check at the time.

I reckon that the telecine lads had omitted to make some particular setting in
the software but we could not work out what that setting might be.    We have
had successful ATL lists from the software when doing straight 25-25 transfers
but this was the first time we were using it for 24 at 25 transfers.

>>[if you want to write your own extraction software to help you sync the 
SADIE we recommand you to use the ATL list <<

I agree!!!   I had a look at the Flex file and couldn't believe how cumbersome
it is although it would be possible to parse all the required information out of
it.    The ATL list is much more compact and holds sufficient information for my

>>We will send you a Keylink V 6.0 user manual  (much more complete and 
tutorialized (?) than the V 5 you have in hands) for you to know our 
latest tricks.<<

That would be much appreciated - the tutorial element would be most welcome.
The V.5 manual assumes a fair bit of knowledge of the software.

>>Something should be of interest to you : we are able to sync the sound 
from the very first image of the take by introducing the audio cartridge 
disk into the Keylink itself (the cartridge could be a ProTools recorded 
SYJET or a SADiE recorded JAZZ).<<

I can see that this would be quite possible although I think my colleagues in
the telecine areas prefer that I do the sound synching well away from their

>> In the UK we should certainly work with 
SADiE as they seem  really serious about the *film* industry. 
Can you give me your thoughts about that.<<

At first,  SADiE was designed for music mastering and sound editing and these
were the interests of the majority of early users.   Their SMPTE timecode
interface appeared about nine months after the original release and I was one of
the first users to use it for film and TV audio post production.    There has
been a steady growth of users in this area and the staff at Studio Audio have
responded to this by including a lot of features specifically for this market.
The facility to record sound from discontinuous timecode tapes in one continuous
pass arose out of the demand by sound synching users and I believe it is one of
the very few machines which will do this without any loss of sound.    Their new
machine - "Octavia" is really geared to the post-production market - I'm due to
get one of the first any time now.

I think that they are worth working with.   They do take intelligent proposals
seriously and are honest enough to tell you when something is not feasible.
They do all their programming "in house" therefore you can get access to the
people who are actually writing the code.    All the management have,  at some
time in their lives,  worked in the operational side of the sound and video
industry so they have the advantage of this experience being applied to their
products - this makes a very big difference.   I have experience of talking to
some suppliers who have never actually worked for their living using their
equipment and it can take a long time,  if at all,  to get them to understand
some problem in operating that equipment.

Two people to approach are Ted Heyton (100303.1141 at compuserve.com) and Steve
Penn (100031.1401 at compuserve.com).    They deal with the sales and support,  and
Ted is particularly interested in film applications.    The Managing Director is
Joe Bull but I do not have his E-mail address to hand at the moment.

The SADiE equipment is very reliable.   I use seven machines at the moment and
we have very few problems - most of them are Windows/PC related.    It is very
rare to get a problem with their hardware or software.    We do BETA testing for
them and we normally load the BETA software straight on to a machine and use it
for real and we rarely get any major problems although we do expect to get a few
- they don't release anything (including BETA's) unless they are sure it is
funcioning properly.

I hope this has been of some use to you.

All the best



  E-mail from: Jim Guthrie, 07-Jun-1996