Media Specifications for Film Work
Preparing audio tapes for use at the
mix:
1. Stripe all tapes with 29.97 frame timecode referenced to
video. This is very important.
Time code should match that of the video. Timecode should
be 29.97 non drop for all tapes unless otherwise specified
by Soundtrack or the video editor. Any film or other 30 frame
material should be pulled down to 29.97 during the transfer.
The tapes we receive should lock to NTSC without any pulldown
at the mix.
2. Allow at least one minute of preroll at the start of the
tape, and thirty seconds pre and postroll between any discontinuities
in timecode. Tone can be put in that first minute, but no
program material.
3. Record 1k tone at 0VU at the head of all tapes. Please
notate the reference level on the tape. The reference level
is typically -20db=0VU.
4. A sample rate of 48kHz is preferable to 44.1kHz.
Preparing DA88/Timecode DAT tapes for use at the mix:
1. Stripe all tapes with 29.97 non drop or drop timecode referenced
to video. This is very important.
2. Allow at least one minute of preroll at the start of the
tape, and thirty seconds pre and postroll between any discontinuities
in timecode. Tone can be put in that first minute, but no
program material.
3. Record tone at 0VU at the head of all tapes. Please notate
the reference level on the tape.
4. A sample rate of 48kHz is preferable to 44.1kHz.
Preparing video tape for use at the mix:
1. Timecode should be 29.97 non drop for all film to tape
transfers unless otherwise specified by Soundtrack or the
video editor.
2. Timecode should be on the address track, with matching
burn in on the lower part of the picture, within the picture
frame. This is so it will still be visible when projected
on our system. If there is a guide track, it should be transferred
to track 1 and 2 of the videotape.
3. Allow at least 30 seconds of preroll at the start of the
tape, and thirty seconds pre and postroll between any discontinuities
in time code.
4. There should be a separate tape for each reel of a multi-reel
film. Reel one should have 1 hour timecode, real two should
have 2 hour timecode, etc.
5. Start of picture is either on the hour or eight seconds
after, depending on the editors' preference. We would prefer
that it match with the other work being brought to the mix.
Preparing Avid drives for transfer
to multitrack:
Before bringing in drives to be transferred a little cleanup
work is advisable:
1. First, scan all the drives with Norton Utilities. This
will alert you to problems with the drives. Fix any problems
that are found, but do not optimize or defragment the drives,
as this may cause loss of media.
2. Clean up the media files folder. Cleaning up the media
files folder is important for two reasons: (1) it's easier
to find media or troubleshoot if the folders aren't so full,
and (2) there should be no folder with more than 1200 items
in it. (This is a limitation of the Mac OS, not the Avid.)
Place all fades in a separate folder (within the media files
folder). If there are more than 1200 fades on a drive, use
a second or third folder. All these new folders live inside
the Media files folder.
3. Make a transfer bin. Make a transfer bin for each reel
that has only the sequence that is to be transferred. This
will hopefully keep confusion to a minimum.
4. Backup the media. Make a backup of your media and project
before you bring it in.
5. Use only Avid approved drives. If the drives are not Avid
drives, there may be some difficulty in the transfer process,
or in slaving them to our system. It it's possible, a test
ahead of time may be advisable.
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