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As one of the walking wounded in the great audio sync battles, I take
time out to dream about a better way...
Any audio material that comes into a session gets mounted up on the
reproducer of choice and setup for optimum playback. The lineup tones on
the head of (every) roll would be clearly identified and have a known
relation to my reproduce level.
(As you can see from this, I am really into fantasy.)
The playback material is now resolved and sampled into an audio server
that logs the timecode and catalogs the material under the job and roll
categories becoming available for immediate random access playback. This
resolving, sampling and logging takes place at (at least) real time rate
and happens in the background.
As the picture is ready for sync point lockup, the material in the
server is accessible to scrubbing and locked playback. The virtual clip has
no pre-roll problems as the timecode is extended on either side of the clip
as much as needed. The reference in all logging is to the clip name plus
timecode location so we are no longer dependent on timecode alone as a
unique locater. If sample rate conversion and/or pitch correction is
required by the playout rate, it just happens. Audio playback is available
in the recorder's native format (analog or digital) along with timecode and
a character generator control stream.
Audio stays "in the system" either in the server's real time access
storage or automatically spooled to archive. Stages later in the post
process have the same access to audio material as the telecine session. If
the audio sweetening or on-line session is off site, the material is
packaged and shipped out on the digital post network (and an invoice
... Gotta go now. Telecine 7 is screaming that the ! at #$% DA-88 won't lock
--- David Tosh dlt at earthlink.net (CIS 72167,1376)
--- Video Engineer, Complete Post, Hollywood
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