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That old 24/25 fps feeling



I'm a film editor living and working in Dublin, Ireland and would like some
advice from the telecine users group. I have been given advice before and
found the forum a very useful resource in making life easier, not just in
editing, but throughout the final and crucial final stages of post for
everyone including telecine, sound dubbing and mastering.

My latest query is probably no different from many collegues. Although
cutting on Avid for five years, the post route from shooting at 24 fps to
cutting on either a Media or Film Composer, to mixing and then telecineing
for TV, though changing slowly, is varied and vague. Can someone help me ?

Here's the story. Feature film being shot on location in Ireland for PAL TV
release and limited theatrical release (domestic and international festival
circuit). Shooting at 24fps. Cutting on Avid Media Composer. To be neg-cut,
blown up to 35mm and combined with optical neg to produce show-print and
television master.

What I would have done up to now is the following : telecine at 24fps
adding in 2 extra fields (delta fields) to produce that extra 25th frame
for cuting at 25fps. After cutting, have the neg OSCR logged (or equilavent
logging system) and furnish cutters with a video EDL. They calculate where
the delta frames have gone, cut them out of the EDL and cut the neg. A
check print is made to verify accuracy. Then the s16 is blown-up to 35mm. A
print is made from this which can be used to sound edit to or even mix to.
The 35mm interneg (or interpos ?) is graded and optical neg
made...........etc

Is this route still the best way ?

If anyone can shed any light on this whole process, I would be very grateful.

Thanks,

SOC.


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