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Re: aaton/ARRI code verses doing it by hand
Phil Budden <Phil at das-werk.de> wrote
>Without wishing to stir up a hornetīs nest...
>I would like to know some information on how much aaton/ARRI code is used
>in the world and on what scale of projects.
In Australia a few of the more interesting recent projects were or are:
MURDERCALL - a multicam film drama, shot with 3 x AatonCoded cameras, 2 on
television pedestals TV style.
There is no time or budget for manual syncing here as the turnaround time
is so tight.
Rushes arrive at telecine early morning with the DATs and the SCRIPTLINK
disc for auto logging. The film is transferred in sync - basically non stop
in sync with the DAT - in a best light mode directly to AVID (using 3 line
VITC) with a back up SP and a master DigiBeta.
A 6 second pre roll is allowed on the A camera only especially if the B&C
cameras are on late rolls.
It all worked so well on the first series they're going for another now,
but this time with the new 800' magazines from AATON.
If anyone would like more info on this I presented a paper at SMPTE 97 in
Sydney on it and have the tape on it I presented
HALIFAX - Single camera TV Telefeatures x 3
The original series was shot traditionally in standard 16's on Arris - now
All rushes sync in telecine.
VIOLENT EARTH - TV Drama Mini Series
The production company owns all its own Arris - but after using AatonCode
on a previous show
they tell us they'd never go back - it saves too much time and money.
The DON 87 & not out - TV doco on Sir Donald Bradman (a famous cricketer
here in Australia)
Originally slated as a tape production - it went SUPER16x9 with AatonCode
and 3 cameras for the master interview so that we could have continuous
running and without the interuption of slates. Unfortunately this was befor
the advent of the 800' mag.
All sync in telecine.
Declaration for Rob
I'm a working cinematographer who runs and owns a rental company that rents
both AATON and ARRI - and even video cameras (wouldn't use them myself)
Also we have facilities including
NLE and telecine.
Being an ex film editor - timecode never frightened me as a
cinematographer, but it does other crew members. So education of the entire
crew on it benefits and proceedures is essential - Directors, Producers and
Production Managers need to learn this not so new technology too.
I am not employed by AATON - I am employed by Lemac as Cinematographer /
we have a staff of 30.
Hope this helps
John Bowring ACS
In the late '90's only technical troglidites and those with plenty of
money, sync film
manually - sorry I couldnt resist it!
Lemac Film & Video, Australia
jbowring at lemac.com.au www.lemac.com.au/~lemac
Phone +61 3 9429 8588 Fax +61 3 9428 3336
thanks to Aine Marsland and Pandora International in 1998...
no product marketing allowed on the main TIG. Contact rob at alegria.com
TIG subscriber count is 907 on Thu Jan 22 17:07:29 PST 1998
complete information on the TIG website http://www.alegria.com/tig3/