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Re: 24 F.P.S. and PAL

Dominic Case wrote:

>I thought about working my comments about neg matching to a 24/25 PAL
>transfer into this summary, but it all got too hard. What to do about
>Avid playouts - what speed do they match, will the sound be in sync . .
>. What about the hybrid frames: is the editing system field 1 or field 2
>dominant . . . does the neg cutting system handle the repeated field
>accurately . . . does the telecine insert the repeated field
>consistently . . .does everyone know _exactly_ what they are doing?
>(moral: avoid 24fps PAL transfers for editing).

I was expecting that someone would float these questions; they're an 
obvious extension of the original treatment.

I am fortunate to have had a close professional relationship with the 
respected Avid editor, Basis Pappas, during which time we, as well as 
others, posed similar questions during the beta development of Avid's MRT 
(Media Recorder Telecine).  To compose a such a comprehensive set of 
tools for the Avid which would address the many pulldown possibilities of 
a telecine would be quite usful indeed.  Although daunting (I'm really 
being oversimlifying, I know), it does seem as though it would 
essentially be based upon a table.  I believe that Joel Swan, the chief 
developer of the MRT was addressing this as well as many other issues.

And, of course, your observations about preserving the subtleties of 
someone's composition are entirely relevant, but often a neccessary 

Our work reminds me of the Chinese wish (for better or worse):
"May your life be interesting."

Tim Bond

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