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Re: ACMED code
- To: <telecine at sun.alegria.com>, "James Mann" <jfmann at worldnet.att.net>
- Subject: Re: ACMED code
- From: "Michael D. Most" <mmost at encorevideo.com>
- Date: Tue, 1 Jul 1997 22:14:50 -0700
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- Resent-Date: Tue, 1 Jul 1997 22:16:01 -0700 (PDT)
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> In closing, I must confess I don't understand Acmed code.
> I mean it really does not help you get back to the OCN.
> You still need the negative cutter to eye match up the workpix
> to the neg. So other that being a nice way to organize the dailies
> for the editor, what so great about it?
Acmade is the name of the manufacturer of a film edge coding machine widely
used in the film industry. It uses coated tape (available in various
colors) as an ink source to print code numbers of the editor's (or
assistant's) choosing on the outside edge of the perfs on both print and
mag. The code numbers used vary greatly between editors, also depending
upon whether they are cutting on upright Moviolas (most common in L.A.) or
flatbeds (more common in Europe and on the East Coast). Usually on the West
Coast, the code numbers refer to daily days, starting with something like
AA1000 on the first day. The main purpose of the code, other than logging,
is for synching. The picture and track are synched and screened (to confirm
that the sync is correct), then both are coded with identical codes. This
allows the editor to instantly sync picture and track after cuts are made
by simply overlaying the edge codes. For negative cutting, well, they get a
work picture with key numbers on it.
Frankly, from a personal point of view, I find it kind of surprising and
somewhat frightening that anyone in the film business doesn't know this
Mike Most, Encore Video, L.A.
thanks to Jim Erickson, Rick Pagliaroli, Drexel Williams, and Dave Grey
at Colorlab (Maryland) for their support of the TIG in 1997
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