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RE: that old 24/25 feeling

Mike Most, Encore Video, L.A.wrote:-

>Just my opinion, but I do believe that cutting without a work picture of some
>sort, be it film or video, is an extremely dangerous practice.

Michael, it's good to hear a depth of understanding of the negative
cutting issues on this list - and from a video voice too!.  Certainly a
picture reference is immensely valuable, but really it is best if it's
on film. Try matching negative to video in a doco full of talking heads
- every frame looks the same.  The great strength of a film work print
is that you are truly negative _matching_.  Film to film.  It's not just
the image that looks the same, but the dots and squggles and edgeprints
that come through from the negative.  Video with burnt-in Keykode is
pretty damn good too . . . but I've come across enough tapes with the
wrong Keykodes burnt in (and no-one has picked it until it's too late)
to make me distrustful.  

Here in Australia, the "pos conform" method has some adherents: there's
no work print up front, but after picture lock-off, the neg cutter pulls
all the complete takes that are used in the final cut and prints them,
then they are cut to match the edl by an assistant editor or the neg
cutter.  If approved (there's a bonus for the director who gets to see a
projected film print before the negative is fine cut), then the neg
cutter has a simple matching job to cut negative to a cut work print.
There's a slight cost saving over work printing up front (but not much).

This would be a good method for <socon at indigo.ie> who started this
thread. The extra demands of sharpness etc for 16 to 35 blowup make it
imperative that s/he sees a print of the material before committing to a
fine negative cut. 

Can you guess a raw nerve has been touched with me on 24/25 neg cutting?
 It's the bane of my life. Have a look in the Australian Screen Editors'
Newsletter for more outpourings on the same subject. It's online at:-


            Dominic Case   
            Atlab Australia   

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