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RE: aaton/ARRI code verses doing it by hand
- To: "'telecine at alegria.com'" <telecine at alegria.com>
- Subject: RE: aaton/ARRI code verses doing it by hand
- From: Graham Collett <graham.collett at vtr.co.uk>
- Date: Thu, 22 Jan 1998 18:38:51 -0000
- Resent-Date: Thu, 22 Jan 1998 10:40:13 -0800
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"TtY-O.A.8lB.SJ5x0" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
From my experience, that is not influenced by manufacturers, of those
films that use an audio syncing system,the aaton is used 90% or more
verses arri the rest. We have been requested to do 3 or 4 arri reading
jobs in total , that have warranted getting all the gear to do it. By
the time we had arranged to get the stuff, the job had gone away, so we
never bothered getting it.
We have several keylinks , they work well. we have on several occasions
needed to ask for longer run up's , but once the production people
understand the requirments , the job sails through.(Much quicker than
manual syncing)The longer the job the more time you save.As far as the
editing is concerned , the more documenting that is done in telecine by
means of flex files , the more time is saved in offline.
On very few occasions there have been camera problems.If the production
crew have used slates also, it only makes the job longer but not
impossible.If there are no slates you're in trouble (lipsync).On these
occasion's aaton's agents have been very quick to help both us and the
production crew resolve the problem
Most aaton jobs have been tv prog's/doc's(the bbc love it)however all
features use some other form of keylink use ie keycode,rubber
#'s,footage,flex files etc.
Hope its of interest.
thanks to Aine Marsland and Pandora International in 1998...
no product marketing allowed on the main TIG. Contact rob at alegria.com
TIG subscriber count is 907 on Thu Jan 22 10:39:09 PST 1998
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