[Daryl K davis]

A few years ago I took my 2 Jaz drives down to the swamp and shot them… end of story.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

They are for media only so they shouldn’t have to be jounalled.

Someone correct me if I’m wrong on this but I have worked with over 20 different lacie drives and never formatted media drives with journalling. I’ve never had any serious issues working this way.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Funny thing. I just got 2 Lacie 1TB big disk extreme drives yesterday. I reformatted them (extended not journalled), and then proceeded to copy about 1.5 terabytes of media overnight. Woke up this morning and the drives are not mounted on desktop. Try to run Disk Utility and the program won’t even open right away, the wheel just kept on spinning for 10 minutes or so. Finally one of the drives – Drive 02 – mounted. Then the other drive 01 appeared in the Disk Utility window but not on desktop.

When I tried to mount Drive 01 I get message “Mount Failed – The disk

[Daryl K davis]

[Daryl K davis]

I am just a freelancer myself and hire assistants on a project by project or series basis.

I don’t know why my name is red. I thought that was just how it displayed on my own browser and not how the rest of the world sees it.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

2 of the 5 MOW were 35mm transfered to 24p HDCAM, one was 35mm transfer to 29.97 D-Beta and ended with film neg cut and low-con transfer to 24p HD, and 2 were shot 24p HDCAM. For the TV series, two series I did were shot 24p HDCAM, the other was shot super16mm and transfered to 24p HDCAM.

All my inputting into edit system was done off DVCAM tapes – either downconverted from 24p HDCAM or cloned from D-Beta.

I used flx or ALE files for input into Cinema Tools database from telecine facility and creating batch capture list. By the way I request both formats because some anomolies occured at one point with a file from a transfer system (I can’t remember specifically which brand right now) so I think better to be safe. Most telecine also do audio syncing because they also create dailies distribution DVDs which go all over the world to various producers, broadcasters and distributors and it’s much easier that way – more costly mind you.

On 24p HDCAM shot programs my assistants work double hard manually databasing footage and creating batch capture lists for injesting into FCP. They also log audio timecodes and DAT tape numbers into database based on slates so audio EDL can be generated for post audio work. On occasion they post-sync double system shots (eg. steadicam or crane shots where audio can’t be tied into HDCAM. These eventually have to be re-dubbed and sent out as dailies to calm the freaked out producers who think the sky is falling because audio is all crappy from the comsat guide track. Now that is fun.

All in all the problems I’ve had are few and far between – more user error (such as wrong reel number entered) than anything.

Recently have started prepping a 24p HDCAM MOW with backup audio to be recorded by sound recordist as BWF audio files on a computer. This is a new adventure and will see how that goes.

Also have a feature coming up which will be all DI from 35mm telecine to dailies and input files for edit system. Looking forward to that.

[Daryl K davis]

You should also request telecine logs from your film to tape transfer facility- either Flex Files or ALE (Avid log exchange) files. These are imported into Cinema Tools and batch capture lists can be generated. Saves time in capturing your footage and also ensures footage is captured propoerly on the A-frame for proper reverse telecine cadence.

By the way, I’ve cut over 30 hours TV drama and 5 MOW capturing off DVCAM tapes downconverted at 29.97 NDF from 24p HDCAM masters and editing in 29.97 timeline setup and generated 24p EDL and have never had one problem in either 24p HDCAM on-line or audio post. I don’t get whty everyone gets so freaked out about cutting in 29.97 timeline. I have edited both ways – 29.97 and 23.976 – as well. It sure works nicer looking at 29.97 on NTSC monitor and is easier outputting viewing copies and the like.

[Daryl K davis]

I needed to set up an assistant edit bay. An old door on 2 filing cabinets worked in a pinch. Real cheap too.

[Daryl K davis]

Funny thing. At a prep meeting for a TV series and the topic of BWF came up and the sound recordist said to me, “Well don’t you just hit the ‘sync’ command in your edit program and everything syncs up automatically?”

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DK Davis / Editor/ Post Super
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[Daryl K davis]

The first MOW I did that was shot HDCAM24p, we downconverted to DVCAM 29.97 NDF and logged and captured (A-frame), reverse telecined all footage in Cinema Tools and edited in a 23.98 timeline. A bit of a hassle outputting viewing copies and you essentially double your media storage requirements.

Since then – I didn’t reverse telecine andf just cut in 29.97 NDF timeline (dropped sequence in a 29.97 DF timeline to calculate and check program durations), and coverted the 29,97NDF EDL to 24p for HD on-line. Have had no problems whatsoever. Have done 5 MOW and over 45 episodes of TV series this way.