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RE: Varispeed dailies transfers



 
Eric Rosen writes: 
>Just wanted to get some ideas about what is the best way to lay out a 
>dailies transfer for material shot at speeds other than 24,30,25? Is there

>some kind of industry standard for laying out these kinds of transfers or 
>do individual editors have particular prefrences for dailies transfers for

>this particular type of material? Also whether anyone is familiar with how

>the TLC Flex list or Aaton data files deal with running at varispeeds? 
 
 This is a very interesting question because it bears on our technology's
current capabilities as well as the precise roll that the Flex file plays
in the chain that stretches from the production to the final product. 
 
First, it is important to distinguish between footage that is intended for
film finish and that which will only be used for creating a video product. 
 
If the footage is being transferred as work picture for a non-linear
editing system, such as for a feature film,  where the film will be cut to
conform to the cut list generated by the Avid or Lightworks, then it is
important that you do _not_ transfer the film at any speed other than 24 or
25 (for PAL) fps. The reason is that Avids and Lightworks cannot do the
arithmetic required to produce an accurate cut list (KeyKode for negative
or Acmade for print) for footage transferred at varispeeds. They have their
own mechanisms for varying the speed of the digitized images and then will
generate instructions for creating the necessary step printed opticals in
their optical list. 
 
If the footage is for video finish, such as for commercials, then basically
the answer is don't worry about it. As Kay Seivert points out: 
 
 >The flexfile for the varispeed xfr will contain inaccurate keycode... 
 
The Flex file will contain the varispeed that was used for the daillies
transfer for a later color corrected transfer and they won't be able to
accurately reproduce the time code and pull-down at a varispeed anyway so
some fudging will have to be done in the on line edit. 
 
(For that matter, all accuracy goes out the window if Metaspeed was used.) 
 
It is worth knowing that Jim Lindelien was aware of these issues when he
was designing the Flex format. In the document that he distributed when
Flex was introduced he talks about the "length" of a film clip as opposed
to its "duration" . Length is a fixed value while duration is variable.
This is why the film's duration is expressed in feet and frames in the Flex
file. 
 
By the way, perhaps we can pursuade Gary Adams to post the Flex document on
the web site. It is something that everyone who uses any form of logging
software should be familiar with.

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