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re:code on alternate color rcdgs
- To: telecine internet group <telecine at alegria.com>
- Subject: re:code on alternate color rcdgs
- From: Dean Humphus <deanhumphus at yahoo.com>
- Date: Thu, 1 Oct 1998 20:36:46 -0700 (PDT)
- Resent-Date: Thu, 1 Oct 1998 22:38:29 -0500
- Resent-From: telecine at alegria.com
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On Wed, 30 Sep 1998 13:51:46 -0500,
>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,
What happens if the next straight shot from the dailies code is at the
alternate code you chose? Seems like a lot of trouble to make sure
you don't duplicate this code in the alternate if the next straight
shot happens to be at that offset code.
>that this is not really a great idea for editing --it >can cause
>computers to cue in unexpected ways.
Just record enough handle on either side of the alt shot so that
doesn't happen, (I'm assuming you mean cueing over code breaks).
Also E-slate the alternate at the head over black to alert the editor
this is definately repeated timecode duplicated elsewhere and if
applicable, at what speed, composition, color, etc.
Having worked in that market (where you are), I recall the editors in
the area are used to working this way and seemed to be pretty
organized such that it was clear (in their notes, for instance) that
there may be discontinuities in the code. They deal with it.
For instance, if you're matching to an offline cut, they've already
factored in the possiblility of an alt and may make the decision in
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