It's not for neg cut, it's for the scan list I'll divide it into 3 and 4
perf scan lists. while I'm going through doing this I can check the burn in
keycode and tc, against the Avid's and see if that's *another* problem I'll
need to fix.
I'm going to start by going by keycode to separate out the 3 and 4 perf, and
by the time I've done this the Post house across the pond should have woken,
I'll get them to forward the flx files so I can double check my work, belts
and braces
Thats Avid L it's always nice to have what looks like a insurmountable
problem at 8pm turn into a shed load of tedious cross references by the
following morning.
Aidan
-Next time someone says "how exciting" when I say I work in film, I'm going
to clock them right in the eye-
On Mon, May 23, 2011 at 11:51 PM, Rainer Standke <lists@standke.com> wrote:
>
>
> Well, what you should do depends on the type of accuracy you are looking
> for. If you can live with a certain degree of uncertainty, and inaccuracies,
> then just color-coding the reels and crossing your fingers might actually
> suffice.
>
> Seriously, though, a lot depends on the workflow. If negative cutting by
> your list, with no picture reference, is the next step, I'd want to be more
> accurate and certain.
>
> If this is for scanning with with handles and some visual checking is
> provided for, you might be good.
>
> You do know that you'll have to make separate lists for the 3perf and 4perf
> material, right? This, if memory serves, is certainly be true for cut lists,
> since the lengths can only be in one format, and one roll of film can only
> include one format. The same would probably hold true for pull lists.
>
> My inclination would be to check each individual shot, though, because it's
> the only way to be certain that there are no ugly surprises, and because one
> feature film can only have a finite number of shots. And, if one were
> honest, you and your Avid are the cheapest place to deal with the problem,
> even if they'd have to pay you overtime.
>
> Rainer
>
>
> On May 23, 2011, at 13:43, Aidan O'Brien wrote:
>
> > hi Rainer,
> >
> > I had a vague memory of the 4 perf going as far as 15, and 3 perf going
> as
> > far as 21.
> >
> > I'm afraid I'm too tired to follow the later half of you post.
> >
> > The best idea I have is to go through the project shot by shot, colour
> > coding rolls that I identify as 3perf one colour, and then 4 perf
> another.
> >
> > I'm wondering if there is a more elegant and smarter way of doing this.
> >
> > Thanks
> >
> > Aidan
> >
> > On Mon, May 23, 2011 at 9:23 PM, Rainer Standke <lists@standke.com>
> wrote:
> >
> >>
> >>
> >> If you have no other info than what's in the keycode burn in, you can
> look
> >> at how high the frame offset counts. In 4 perf the highest number is 15,
> in
> >> 3 perf it's 21 and 22. (In 16mm it's 20.)
> >>
> >> You can generate the perf info (there is a column for that in the bin,
> if
> >> memory serves, but if there isn't you can append that as a decimal value
> of
> >> .1, .2 or .3 to the keycode column) like this:
> >>
> >> In 35 mm the keynumbers occur every foot, or 16 * 4 = 64 perfs apart
> from
> >> the next one. In 35 3perf there is one left-over perf in each foot of
> film.
> >> (Because 64 / 3 = 21, and 21 * 3 = 63.) Every 3rd foot has accumulated
> >> enough perfs to make a whole frame. By convention the cadence of these
> short
> >> and long feet goes short (21 fr), short, long (22 fr). By the same
> >> convention, you designate the first of the short feet .1, the second
> short
> >> foot .2, and the long foot .3.
> >>
> >> If you don't have that designation in the bin info, then your lists will
> be
> >> in-accurate by 1 frame. This inaccuracy is not a rigid offset, but is
> going
> >> to be potentially be different for each of the 3 phases of the cadence.
> >>
> >> Hope this helps,
> >>
> >> Rainer Standke
> >>
> >>
> >> On May 23, 2011, at 11:16, Aidan O'Brien wrote:
> >>
> >>> Hi everyone,
> >>>
> >>> Another one from this project I've inherited.
> >>>
> >>> I have mixed 3perf and 4perf material in my project, and am about to
> >> start
> >>> pull lists for my reels.
> >>>
> >>> The project doesn't have perf information as part of the ALEs. Is there
> a
> >>> easy way to spot the difference or am I doomed?
> >>>
> >>> Thanks
> >>>
> >>> Aidan
> >>>
> >>>
> >>> [Non-text portions of this message have been removed]
> >>>
> >>>
> >>>
> >>> ------------------------------------
> >>>
> >>> Search the offical complete Avid-L archives at:
> >> http://archives.bengrosser.com/avid/
> >>>
> >>> If you want to donate to Red Cross quake relief, you can do so through
> >> your cell phone. Text redcross to 90999 to make a $10 donation. It will
> be
> >> on your next cell bill.Yahoo! Groups Links
> >>>
> >>>
> >>>
> >>
> >>
> >>
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> > ------------------------------------
> >
> > Search the offical complete Avid-L archives at:
> http://archives.bengrosser.com/avid/
> >
> > If you want to donate to Red Cross quake relief, you can do so through
> your cell phone. Text redcross to 90999 to make a $10 donation. It will be
> on your next cell bill.Yahoo! Groups Links
> >
> >
> >
>
>
>
[Non-text portions of this message have been removed]
------------------------------------
Search the offical complete Avid-L archives at: http://archives.bengrosser.com/avid/
If you want to donate to Red Cross quake relief, you can do so through your cell phone. Text redcross to 90999 to make a $10 donation. It will be on your next cell bill.Yahoo! Groups Links
<*> To visit your group on the web, go to:
http://groups.yahoo.com/group/Avid-L2/
<*> Your email settings:
Individual Email | Traditional
<*> To change settings online go to:
http://groups.yahoo.com/group/Avid-L2/join
(Yahoo! ID required)
<*> To change settings via email:
Avid-L2-digest@yahoogroups.com
Avid-L2-fullfeatured@yahoogroups.com
<*> To unsubscribe from this group, send an email to:
Avid-L2-unsubscribe@yahoogroups.com
<*> Your use of Yahoo! Groups is subject to:
http://docs.yahoo.com/info/terms/
No comments:
Post a Comment