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Re: [A & B roll]



Daniel Goldschlager <drgolds at ibm.net> wrote:
> I have a couple of old long documentaries in 16mmm (70 min. each) I want to
telecine, from which I have only the original negatives in A&B rolls
> (checkerboard). 

Hi Daniel;

Yes, you can go from the A&B rolls directly-but it would not be my first
choice. You say you have the timing numbers, so give them a try. Print the
first 15mins and see if the numbers produce acceptable images, if so, strike a
Master Positive(IP) from the AB rolls. This helps you in four ways, first I
gives you a excellent element to transfer from (same gamma as the OCN). Second
it takes advantage of your original timing numbers that can save you ware and
tear on your colorist and time in the
telecine room. Third, by going to fresh film stock it gives new life and
protection to your show. Fourth, the show is now joined as one element.

Now letís say the timing numbers are NG and you have a small heart attack when
you see the price for the Master Positive. So you decide to go from the A&B
Rolls. First have the rolls prep-ed for transfer. The splices should be
checked and repaired if necessary, extra leader should be added to both rolls
and cleaned to the head. A common mistake made when correcting A&B elements is
to use <Picture Start> as a beginning point. The colorist who does this will
be sad when he/she puts up the second roll and fails to find <Picture Start>
(or the rest of the academy for that matter) on the second roll. When
correcting A&B rolls you must go all the way back to <Printerís Start> for a
common mark. Thatís why the extra leader.

Correcting A&B Rolls is almost never fast and painless. There are a few ways
to tackle the job. Suggestion number one would be to correct the A roll, (with
liberal use of the still store) then the B roll by cutting the shots in with
the TLC. OR Give the rolls to a Neg. cutter and have him create a auto-comform
EDL. Then transfer the rolls to separate
tapes and mate them together in the edit room later OR do a best lite transfer
on the A&B,then mate them in the edit room. Then do a beauty pass back through
the color corrector for the final timing. This method is simular to using an
IP in that it gives the colorist the advantage of seeing all the shots in
there proper order, facilitating better scene to scene color matching.

Jim Mann
Freelance Colorist
570-424-7322


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