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Re: Re Camera Timecode



Just wanted to remark that with both the Aaton and Arri in-camera time code
systems, having the sound follow along with time code from the film works
quite well most of the time.  With material that was properly shot, it is
absolutely dramatic how much it makes life easier during a transfer session.

But you should do whatever is necessary (beg, plead, get violent, etc) to
make sure your clients still throw slates in--a couple on each roll of sound
and film at a minimum.  It doesn't happen very often, but every now and then
you'll get something where the film time code and audio time code don't
match, or run wildly out of sync.  We got a job once where the camera didn't
record time code at all due to a faulty LED, and in a few cases the film was
so dense that it couldn't be read reliably.  Just like everything else in
life, things can go wrong with in-camera time code.  If you let your
customers believe they won't ever need a "plan B" to fall back on, you're
going to let them down sooner or later.

"Merry X" to everybody!

Christopher Bacon
DuArt Film & Video