[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
RE: ACMED code
- To: telecine group <telecine at xyzoom.alegria.com>
- Subject: RE: ACMED code
- From: Michael Walker <mwalker at hollydig.com>
- Date: Tue, 1 Jul 1997 16:59:04 -0700
- In-Reply-To: <97Jul1.165055edt.17281 at maginot.mte.com>
- Old-Return-Path: <mwalker at hollydig.com>
- Resent-Date: Tue, 1 Jul 1997 17:04:54 -0700 (PDT)
- Resent-From: telecine at sun.alegria.com
- Resent-Message-ID: <"zvM3VB.A.GZE.fsZuz" at sun>
- Resent-Sender: telecine-request at sun.alegria.com
- Resent-To: multiple recipients of <telecine at sun.alegria.com>
>On Tue, 1 Jul 1997 13:50:48 -0400 Dave Corbitt wrote:
>>Can someone explain to me what ACMED code is?
ACMADE code aka "rubber numbers" aka "ink numbers" in the form of a 3 digit
prefix with limited alpha characters as a forth digit and then a 4 digit
footage count, printed every foot, e.g., 111A 1000.
>This is a form of inked-on numbers used mainly for edit logging
>when working with workprints. It provides the same functionality
>of keykode (ability to track elements) but was human-readable only.
Yes, but it also enables one to track sync.
>Once the prints were struck and processed, they were sent through
>edge-inking machines which put a number on the print every foot or
Actually, once the workprint and mag are sync'd, they are then coded with
matching numbers. One way to code is to use the scene number as the prefix,
e.g., scene 22 codes as 022, then takes are combined into 1000 foot rolls
and the footage number starts ascend by multiples of 1000, e.g., first roll
of scene 22 would code as 022 1000, the second reel starting with 022 2000,
>Poor film sudents then did all the syncing and logging using these
>numbers, >keeping vast tomes of manual logs.
Poor (compared to colorists) film assistant and apprentice editors sync and
code all the dailies. Some assistants have developed their own electronic
database to deal with all the information - as a code book is after all
just a database on paper. We have also developed an electronic code book
for use by assistants transferring shows with us. Some of the information
tracked could be scene, take, lab roll, camera roll, daily roll, shoot
date, lights, ink number, key number, sound roll, notes.
>At least, I think that's what this is... perhaps it was all just
>a bad dream.
Maybe, but it's lived every day by anyone working on a show that prints
film and mag. Sometimes to the tune of 20,000+ feet/day - now that's a
thanks to Ricardo Herling at Casablanca in Sao Paulo
mailinglist digest available......posting guidelines on the webpage