Have you ever used a computer based street guide and actually followed all the directions? But you should know that's not a fair comparison. In the deck control system the command would be, go to 1615 and stop. It would go to the curb number 1615 and stop. Then it would wait for the next set of commands, which would go something like...
Go back 150 addresses and stop.
Start running.
Check that you are running at the proper speed that you think you should be running.
If no, then start over, if yes, then execute...
At 1615 knock on door and keep running.
Jay
On Jul 7, 2013, at 10:00 PM, Terence Curren wrote:
> So the workaround for conceptual illogic becomes the standard once again. This is as bad as the QWERTY keyboard.
>
> Imagine if street addresses were handled the same way. "Go to 1615 and knock on the door". Other guy, "Is that the first 1615 I come to, or the one next door?" First guy, "Depends upon which direction you are coming from." AAAAARRRRGGGHHH!!!!
>
> --- In Avid-L2@yahoogroups.com, Jay Mahavier <jay_mahavier@...> wrote:
>>
>> The way I always understood video is that in video on tape the timecode for a given frame of video is in the vertical interval which precedes the image information. So when making a tape edit the tape rolls along until it gets to the TC indicated in the EDL and stops. So it stops just after the image of the previous frame, or the last frame you want in the edit. The in point in an EDL is the TC that precedes the image information you want. So in a tape based video editing system in points are inclusive and out points are exclusive.
>>
>> Jay
>>
>> On Jul 7, 2013, at 6:46 PM, Terence Curren wrote:
>>
>>> Not sure I am following you Tony. What were you cutting film on that produced an EDL? I was cutting actual work-print, that had a negative conform at the end. There was not list, the negative cutter matched shots. And the last frame of a shot was the last frame of a shot, not the first frame of the next shot.
>>>
>>> A video edit has the last frame number and the first frame number of the incoming shot at the the same place numerically. That makes no sense in film (or video for that matter, but I went with it). Two frames don't occupy the same place, so how can they occupy the same number.
>>>
>>>
>>> --- In Avid-L2@yahoogroups.com, Tony Quinsee-Jover <tony@> wrote:
>>>>
>>>> "That's the film counting method"
>>>>
>>>> You sure it's not just the 'Avid counting method '?
>>>>
>>>> I too started in film, then linear video, then linear with EDLs and then non-linear. The first time I ever encountered "inclusive Out" was on Media Composers. EDLs are exclusive Out, just like film. So's Quantel, and so's DS - hence the stupid double cursor thingy on DS (to provide 'compatibility' with MC).
>>>>
>>>> Tony
>>>>
>>>> Sent by magic over t'interweb
>>>>
>>>>
>>>> On 7 Jul 2013, at 02:35, "Terence Curren" <tcurren@> wrote:
>>>>
>>>>> That's the film counting method vs. the videotape counting method. I started in film so the video method of counting a frame twice never made any sense, but I lived with it.
>>>>>
>>>>> --- In Avid-L2@yahoogroups.com, "scott_freeman_avid" <scott_freeman_avid@> wrote:
>>>>>>
>>>>>> In an Avid if you are in a 23.976 1080p project and you export a quicktime movie (from the avid) the last frame will not appear in Final Cut Pro or Resolve - After Effects and Avid sees this last frame fine.
>>>>>>
>>>>>> - so the note is - In a 23.976 1080p Avid project, always export a quicktime movie with at least a 1 frame handle at the tail if delivering to Final Cut Pro or Resolve. The last frame is just hidden in those programs.
>>>>>>
>>>>>>
>>>>>> - scott freeman
>>>>>
>>>>>
>>>>>
>>>>>
>>>>> ------------------------------------
>>>>>
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>>>>>
>>>>>
>>>>
>>>
>>>
>>>
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>>>
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>>>
>>>
>>>
>>
>
>
>
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