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Re: [A & B roll]



On Aug 19, 11:18pm, John_Sprung at paramount.com wrote:
> Subject: RE: [[TIG] A & B roll]
>
> 24 frame progressive is up and running at one post house in Hollywood.
> One Japanese manufacturer says that it'll be released to the rest this
> november.  D-6 isn't an issue.  Too expensive, like D-1, only more so.
> HDcam and D-5/HD are the formats that will do 24 progressive.  There
> will be no drop frame code at 24 Hz.  At 30 Hz, the dropping algorithm
> repeats every 10 minutes.  For 24 Hz, the shortest thing that works is
> about five hours, so it's more mess and trouble than it's worth.  We'll
> have to keep track of the 1/1.001 rates by hand.
>
> -- J.S.
>
> P.S.:  This rule about never mentioning manufacturers or vendors by
> name is really getting to be a pain.
>
...

On that note, I hear that last June one Silicon Valley computer manufacturer
started shipping multiformat HD hardware that connects up directly to the
native crosspoint switches in their 2 to 8 processor servers to do HD I/O. The
only issue with supported formats for those machines is that the formats have
to exist in conjuction with other manufacturers' release schedules so that
those formats can be tested and released to support those other manufacturers'
devices. It's a classic recursive chicken and egg thing ;-)

Actually, I find this no-name rule kind of refreshing. It makes you think
carefully about what you say. It's a lot easier to stick to it in a short email
like this, than to strip a technical paper that talks about technology of
references to the name of the products that technology is designed into.

I am very interested in the comment: "We'll have to keep track of the 1/1.001
rates by hand." I have been trying to understand the optimal workflow for doing
the transfers. If we presume that mulitformat equipment can be adapted to any
I/O rates, be they 24, 23.98, 25, 29.97, or even dead on 30, what is the
optimal workflow that professionals in this forum would like to see?

Some of the descriptions I've heard haven't taken into account post production
considerations, and eCinema transfers for audio. There's the issue of 1.001 vs.
1.0 vs. 1/1.001 times 48kHz. How does audio best fit into these optimal
workflows with final output resolved to 48.00kHz?

BTW this is my first post to this list. Greetings,

--
Michael Poimboeuf
mkp at sgi.com
---

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