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aaton/ARRI code verses doing it by hand
- To: <telecine at alegria.com>
- Subject: aaton/ARRI code verses doing it by hand
- From: "Phil Budden" <Phil at das-werk.de>
- Date: Thu, 22 Jan 1998 15:31:46 +0100
- Resent-Date: Thu, 22 Jan 1998 09:54:05 -0800
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"jsMG4B.A.1MB.4d4x0" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
Without wishing to stir up a hornetīs nest...
I would like to know some information on how much aaton/ARRI code is used
in the world and on what scale of projects.
It seems that most TV projects are filmed here using a normal clapper then
some assistant loads the film into an AVID and then syncs in the sound at
time overnight. The cutter comes in the next day and works on it. Iīve
questioned producers about this and they say that this is cheaper than
renting the extra
equipment for time coding and also the extra film needed.
For a DAT recorder to chase properly one needs about 5 seconds preroll and
I have never seen this on a film. Also it seems that the film people are
ignorant of the technical requirements necessary to put sync the sound
automatically. What is your experience?
What is the breakpoint between "doing it by hand" on AVID and doing it with
AATON/ARRI? Is it done with large films or small ones or is it country
What is used in USA, London, Germany etc.
Also, do some clients only take their films to places that can read
AATON/ARRI and bypass others? What is the proportion?
What proportion use AVID with the Media Reader, and are their similar
Look forward to your answers, and remember..
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thanks to Aine Marsland and Pandora International in 1998...
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