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Re: Problem film flats

Dave Corbitt wrote:

> Here's another puzzler for the group.  Client supplies 35 ocn flats for
> dailies transfers for eventual AVID off-line.  Each flat is a continuous
> unspliced camera roll.  Midway through the flat between takes the framing hops
> a perf or two.  We find out this is caused by the cameraman pulling the lens
> off and checking the film path and somehow slipping the film to check
> registration.  We now have a reel of film to transfer with a perf / framing
> change.  Normally the dailies transfer guy would stop the film, slip it in the
> gate to reframe, and do a TLC pick up edit.  The negative cutter calls three
> months later and says we have a big problem, the video dailies don't line up
> with actual film due to the out of frame portions of the film even though the
> colorist took great care to keep the video portion continuous.  Has anyone
> else run in to this and what do you do other than flag the problem to the
> client?  Is the reel untransferable?  Why shouldn't a pick up edit work?
> Thanks

I recently dealt with a negative cutter in New York and it seems they
like to use video time code to identify film frames. On the West Coast,
that is never the case. Everything is ID'd by key number, and as long as
the transfer log properly represents the key at the edit point with the
proper pulldown, this is never a problem. It's only a problem if the
negative cutter is recalculating the key number using video time code
from the beginning of the original camera roll. Why a negative cutter
would ever want to do this, I haven't a clue, but it seems to be common
practice on the East Coast. Go figure.

Mike Most