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Re: 24P and Avid Editing (was A & B roll]



> Once the project has been conformed the Avid Symphony will be able to output
> realtime in all the relevant formats.....24P  at  1080 ....(NTSC) 30FPS
Interlaced
> 525 with 3:2 Pulldown.....(PAL) 25fps interlaced 625 using a 4.1% speed
offset.

I'm quite aware of all that, but there are 2 major issues with it. First,
work here in Hollywood is and will be based on an offline/online model. This
works for many reasons, not the least of which is that is allows us to work
with a reasonable amount of storage (and speed, and realtime effects, etc.)
in the cutting room, and puts the technical responsibilities for creating a
final master back in the post facility, where there are personnel trained to
do that sort of thing, and at a very reasonable cost. I know Avid has been
pushing this "do your own online" model for quite a while now, but it just
doesn't make a lot of sense for us. And the ability to output multiple
formats, while it sounds good, really doesn't get us much either, because
the online assembly of a program is not the final product. It must go
through scene to scene color correction and other steps first, which is why
the 4:3 and PAL versions are created from the completed NTSC master.

I can see quite a bit of usefulness to the Avid approach in other markets
(local programming, news, sports, even documentaries), but in the Hollywood
market, the Film Composer is what's needed in the cutting room, and the
Symphony is needed in the post facility. I just can't see us paying for an
HDCam and a few terabytes of storage in every cutting room for what is
essentially offline work. Right now, the primary usefulness of the Symphony,
to my mind, is the ability to produce a 3:2 continuous cadence master for
Fox.

Mike Most

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