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RE: Aaton Code - dailies



>>What they want to do is to be able to record the audio / Aaton code 
and the camera assist output and use this video to input into their 
Avid.  <<

Don't forget your editor won't be seeing what's on the film. Fogged,
under-exposed or scratched neg won't be detected until the daily
transfers are checked. 

As for the technique itself, it sounds OK as long as everything is kept
simple (!) and the obvious problems are addressed. There are variations
in the ways different software resolves the DF/NDF and 3:2 pulldown
conflicts. The people who have a clear understanding of exactly how
every timecode conversion and correction should work are few and far
between.   If you go to pull negative for a film finish (you can never
never rely on assurances that this will never never happen), be assured
that you _will_ have frame discrepancies at most cuts, and guard against
it by printing the pulled takes and conforming them first before
fine-cutting the negative.

Or better still, weigh up the attraction of a few hours "saved" at the
frontend against the potential delays headaches and confusion
downstream, and ask yourself: "why do it?".

-=+=-=+=-=+=-
  Dominic Case
  Atlab Australia
-=+=-=+=-=+=-

>

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