one of my jobs in Telecine was to keep it in sync with the VTR so they
could cut to it when VTR failed (often). The Stancel Hophmans that ran
the 16mm sprocketed tape had a small handle that you would rotate to
keep sound sync with the Kine, but the only way you would get the
projector in sync was to start and stop it. On the times we had to cut
to it, there would be a huge drop in quality and the sound would often
be out of sync, but nobody ever complained. When tape came back up,
they would have to try and sync back to the Kine. We might do that 4
or 5 times in an hour show, what fun, as type this on my iPhone
sitting on a pier at Mordialloc beach where I live. There is not a
cloud in the sky, I may Twitter a still from my iPhone.
Ian Wilson
Colortape Productions
Ian@colortape.tv
0418 327 082
Via iPhone
On 09/10/2009, at 2:52 AM, Dennis Degan <DennyD1@verizon.net> wrote:
>
> On Oct 8, 2009, at 11:14 AM, gfurlow wrote:
>
>> I'll add one memory... We moved from manual 2" Quad editing to an
> early form of electronic editing with Ampex 2000s, a marks-a-lot (to
> mark the cue point) and the editor had to be at least 6 ft tall to hit
> the Rx/Pl button on one machine and the Pl button on the other.
> Preview the edit... if it was off, go back to the mark on the tape...
> move it a few inches (depending on how many frames you wanted to move
> it) and preview again. When it looked right (everyone could see a 1
> frm flash if the edit was off) cue 'em up again and "Roll In
> Record"...
> a :10 pre-roll in "automatic". When 'Editec' and gang-rolling came
> along, we thought we had died and...
>
> I point out:
>
> It probably looked sorta like this room:
>
> <http://www.flickr.com/photos/dennisdegan/557631348/>
>
> Dennis Degan, Video Editor-Consultant-Knowledge Bank
> NBC Today Show, New York
>
>
>
> ------------------------------------
>
> Search the offical complete Avid-L archives at:
>
> http://archives.bengrosser.com/avid/
>
> Avid L2, Where the Answers are.Yahoo! Groups Links
>
>
>
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