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code on alternate color rcdgs
- To: telecine internet group <telecine at alegria.com>
- Subject: code on alternate color rcdgs
- From: rob at alegria.com (Rob Lingelbach)
- Date: Wed, 30 Sep 1998 13:51:46 -0500
- Organization: Altruistic Intentions, Hollywood, CA
- Phone-number: +1 214 887 8544
- Reply-To: Rob Lingelbach <rob at alegria.com>
- Resent-Date: Wed, 30 Sep 1998 13:52:39 -0500
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Many jobs these days I'm recording from original negative, and dailies
have been transferred already, meaning I duplicate the original SMPTE
code from the dailies transfer. Many times I'm called on to record a
shot twice, three, or more times to tape, for a commercial in which a
composite will be done of my different transfers.
I have always tried to do these additional recordings at timecode
offsets, e.g. the shot originally at 03:08:20:10 will have its
associated alternate colors at 03:18:20:10 and perhaps at 03:28:20:10,
etc. This is also a good argument for transferring dailies rolls at
one-hour intervals, so in the final I have the 'space' to make these
alternate recordings. In this way the code on the tape is always
ascending, and not repeating.
Some clients are asking, more frequently lately, to have the code
repeat --the pickups (alternate colors) are done at the same code as
the original. My position on this has been that I make sure the
client is very aware that I'm going to record non-ascending code, and
that this is not really a great idea for editing --it can cause
computers to cue in unexpected ways.
I'm finding my "offset" scenario used less often, to my chagrin, as it
is at odds with my desire to provide a clean transfer. What are other
commercial colorists doing with code on alternate transfers?
Senior Colorist, FWC dallas
Rob Lingelbach | 6418 Velasco Ave., Dallas, TX 75214
rob at alegria.com |"I would give nothing for that man's religion whose
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