[Avid-L2] Re: A plea for Rec run TC on file based shoots, and to introduce 23.976

Semantics aside, my point was to illustrate that both TOD and REC RUN are still used in today's workflows and that both source ID's can be used in an EDL. While I agree that terms like Labroll and Camroll aren't the greatest, I still use Camroll to represent the media that came off a single card from my XDCAM... it's as good as any I guess. Even the RED file name has a section called REEL. There are plenty of custom columns one can create for more comfortable terms, but they could only be used as a source ID via XML at this time.

Back to Bouke's original point about a drop frame 24TC. I think that is a good idea and has been discussed internally before to reflect wall time when working at 23.976 for the production master used in NTSC based television countries. It can be "manufactured" as a display pretty easily. Much like the other manufactured timecode that are in MC and not part of SMPTE standards such as:

25PD: PAL 24fps played out with pulldown (12 frames + 1 field)
30NP: 23.976 or 24 played out as 29.97 with 2:2:2:2 pulldown
60P: 60fps timecode. While the format exists, there is no SMPTE standard for it - all driven by 30fps standards.

And while we're at it, why only have 24 hours in a postproduction process? I am not talking about acquisition for REC RUN - but in post for transfers and selects reels - why not have up to 99:59:59:xx?

Michael

--- In Avid-L2@yahoogroups.com, "Mark" <markraudonis@...> wrote:
>
> "Labroll", "onelight"... seems like the terminology needs to update along with the technology.
>
> Makr
>
> --- In Avid-L2@yahoogroups.com, "phillipsm" <michael_phillips@> wrote:
> >
> > I am not at all referring to film. I am referring to tape based and file based acquired shows and how they are being handled in Amercan primetine television. I did not mention the word film omce.
> >
> > Michzel
> >
> > --- In Avid-L2@yahoogroups.com, "Mark" <markraudonis@> wrote:
> > >
> > > You're assuming that people are still shooting film... I think the discussion started with the assumption that acquisition is FILE BASED.
> > >
> > > Mark
> > >
> > > --- In Avid-L2@yahoogroups.com, "phillipsm" <michael_phillips@> wrote:
> > > >
> > > > In the higher end television workflows you will see a blend of REC RUN and TOD in the workflow. When dailies go through a facility for a basic one light and selects "reel" the START now reflects the selects and the "Tape" - this is the REC RUN version. But each of those clips maintain the original source and TOD timecode from the originals - be it file based or tape. These values get tracked in a variety of columns - TC24, AUXTC24, AuxTC 1-5, etc. Alternate sources are tracked in Camroll or Labroll depending on how may generations need to be tracked. EDL Manager can then output any source TC and Reel combo for online needs downstream. Avid tracks it all. SO it is about getting the best workflow for the production at hand - and while 80% are the same, it can be the 20% differences that kill you! ;)
> > > >
> > > > Michael
> > > >
> > > > --- In Avid-L2@yahoogroups.com, Pierre H <ph@> wrote:
> > > > >
> > > > > Bouke said:
> > > > > > I am thinking that there is no need to shoot Rec Run tc anymore on
> > > > > > file
> > > > > > based shoots / workflows.
> > > > >
> > > > > Definitely. Luckily, I was involved at the early stages of 2 films -
> > > > > before shooting - and that's exactly what I asked for: Free run TC
> > > > > based on Time of day. One of them being XDCam, I asked my assistant to
> > > > > add a 4 digits tape number for each day MMDD (Month/Day) on ingest.
> > > > > That way, there is no confusion possible as a same "tape" can't have
> > > > > the same TC twice.
> > > > > RecRun is very much a tape workflow, but the habit is deeply rooted in
> > > > > most departments.
> > > > >
> > > > > Pierre
> > > > >
> > > >
> > >
> >
>

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