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RE: Problem film flats
If a shot-log (data-base) was included with the transfer,a new event
should have been started at the edit point.Unless your logging system
requires re-calibrating when perf alignment(due to framing changes) is
shifted,this would have given the Avid corrected frame count numbers.
Of course the editor has to use the shot log when loading onto the
systems hard drive.Many editors take advantage of the rule 'Do not add or
delete frames' by digitizing each flat as a single event.As this shows,
3:2 pulldown,Keycode,video time code and audio time code are truly
unique counts,with no continuous relationship to each other.
Let me add that the quality and accuracy of the shot logs created
in telecine must be perfect.Editors have grown tired of the mistakes
recorded in telecine and in many cases abandoned using these
tools.If your equipment is not working perfectly,or if your operators do not
practice proper care these problems will continue.
As far as fixing the problem,re-transfer the scenes in question with
exactly the same time code and the editor can easily re-digitize with
corrected numbers.I wish you luck............
From: Dave Corbitt
Sent: Wednesday, September 04, 1996 8:44 AM
To: telecine group
Subject: Problem film flats
Subject: Time: 11:37 AM
OFFICE MEMO Problem film flats Date: 9/4/96
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?
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