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Re: ACMED code (ACMADE)
- To: telecine at sun.alegria.com
- Subject: Re: ACMED code (ACMADE)
- From: Basil96009 at aol.com
- Date: Mon, 7 Jul 1997 10:21:17 -0400 (EDT)
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- Resent-Date: Mon, 7 Jul 1997 07:21:29 -0700 (PDT)
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In a message dated 7/7/97 9:54:40 AM, jp at alpes-net.fr wrote:
<<AatonCode (Aaton/Panavision/Moviecam) brings the many advantages that
Acmade offers, but it eliminates the time consuming rubber
printing, while it automatically syncs the sound.>>
This is a welcome evolution in the telecine audio sync process.
My original comment stemmed from the frustration that many
film editors have with the way audio is synced in telecine.
1 frame errors are common; rarely is the audio field accurate.
The 35mm film/mag process allows for 1/4 frame accuracy, yet
these same rolls sent to telecine commonly come back with 1/2 to 1
frame errors thruout the transfer. I myself have seen
one of the top colorists in NY proclaim "that's close enough".
Close is not good enough. If it's not field accurate, it's NOT ACCEPTABLE.
The data files derived from this out of sync transfer thus follow thru
the entire edit process unless corrected. My hope is that widespread
use of AatonCode and KeyLink will eliminate these errors.
Finally, we will never eliminate rubber printing of numbers in
the film editing room. With all of the digital editing technology
we use, it still is the easiest and most accurate way to track the
individual pieces of film print and mag track in the feature film
thanks to Gary Shaw of Pacific Video Canada for support of the TIG in 1997
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