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Re: That old 24/25 fps feeling



 >However, in my experience,  neg matchers prefer to (insist on) cut
>negative from a list that _they_ have generated using their own software
>(osc/r, excalibur etc) rather than a list supplied by any other system.
>Unlike any other process in editing, neg matching gives you no second
>chances. Once cut, the negative cannot be rejoined without losing a
>frame.  And it's _the_ original and only negative. An awesome
>responsibility for the person with the scissors, if they are relying on
>someone else's data.  And there are always weaknesses in the logging and
>the list that have to be checked.  For example, has Avid worked out
>downhill edgenumbers yet (i.e. from rewound camera negative)?  If so,
>does every Avid user have that update?

The "proprietary" software approach seems to be common on the East Coast
and, I guess, Australia. In Los Angeles, the most common practice nowadays
(for low budget and television material) is to use a list generated by the
editing system in conjuction with a video work picture, hopefully with
burned in key numbers, being pulled on a Lokbox or similar device by the
negative cutter's counter. This provides an action match reference so that
the numbers are not the only guide. In the case of features with reasonable
budgets, the dailies are usually printed and the material is logged in the
editing system by edge code. A film assistant "conforms" the work picture to
the electronic cut as it progresses. The negative cutter, in this case,
usually receives a film work picture just as if the show had been completely
cut on film. The lists generated by 24 frame editing systems such as Avid
and Lightworks are very accurate, provided the original entry is just as
accurate. The real weak points are, as you mentioned, optical situations as
well as production practices such as reverse mags. These are usually handled
on a case by case basis. Quite frankly, it's never been as cut and dried as
it was when we were cutting on film and delivering work picture to the
negative cutter, but those days are largely gone and we must make the new
systems work as best they can. Just my opinion, but I do believe that
cutting without a work picture of some sort, be it film or video, is an
extremely dangerous practice.

Mike Most, Encore Video, L.A.



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