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Re: code on alternate color rcdgs
- To: flight4 at ibm.net, telecine internet group <telecine at alegria.com>
- Subject: Re: code on alternate color rcdgs
- From: DCFWTX at aol.com
- Date: Thu, 1 Oct 1998 03:17:05 EDT
- Resent-Date: Thu, 1 Oct 1998 02:18:40 -0500
- Resent-From: telecine at alegria.com
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In regard to duplicate vs ascending code on alternate color recordings (or
matte passes), as an editor working with this material I always prefer
ascending code over duplicate code. Any auto assembly of layered material, or
even hand entry of timecodes in a more manual process, will go better if the
machine is not confused with duplicate time codes. Even the editor can get
mixed up as to what transfer is which duplicate code. Best preference for me
is duplicate material spaced close to each other (this helps with limited
space in the non-linear world), on one reel, in ascending time code, non-drop,
slated if possible (if not, a log is nice). Sometimes supervising producers
don't know what the colorist did in what order, so it's nice to have first
hand information in the bay, rather than fishing for the shot. I always like
similar material to start on an even time i.e. 01:00:00, 01:00:10, 01:00:20
etc. This makes life much easier when layering with mattes. And, of course,
3:2 sequence has to match for each scene of similar material (525/NTSC). Many
colorists may be shocked to hear that I still encounter many transfers with
mis-matched 3:2 sequences that are suppose to line up on top of each other.
How many drawings have I made for clients trying to explain 3:2 problems !
And I don't usually have access to box to delay video one field.
I hope this sheds some light on the subject of alternate code recordings.
Thanks to Steve Robinson and Phil Voss for support in 1998.
No product marketing allowed on the main TIG. Contact rob at alegria.com
1010 subscribers in 39 countries on Thu Oct 1 02:17:59 CDT 1998
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