The pros and cons of using ARRI code?
DaveL
I am scheduled to work a shoot(as AC) that might be using
ARRI code with the SR3. I have not had any experience
with ARRI code and neither has the director but he seems
to be sold on the idea already. We're shooting super16
and are still considering either a DAT or Nagra (non
timecode). The script is VERY dialogue intensive and
obviously important to sync.
I've heard various tips and experiences
about using ARRI code ranging from rolling 5 - 10sec of
lead time before each camera take (Ummm...waste?) to not
trusting it and slating anyway(my big concern)
Can any one who has direct experience with ARRI code
(telecine, sound persons, DoPs, ACs, etc,.) share their
knowledge or advice so I can be prepared for this shoot (in
3 weeks) and relay to the facts to the director.
regards,
Dave L
Camera Assistant
Edmonton, Alberta
Tourtelot
You'll probably get inundated with this reply, but if there is no timecode
on the sound, there is no need to use anything other than clapsticks as far
as camera/sound sync goes. With timecode on the sound and Arri-code in the
camera, there is no reason (allegedly) to use anything but head IDs on the
film as a telecine can automatically sync up the negative and sound.
As far as preroll, there are others here with more experience with TC
"in-camera" but it is my belief that very little pre-roll is needed for
sound and no pre-roll is needed for camera.
Wolf??
D.
John Garrett
In article <6n3ebc$qk...@crash.videotron.ab.ca>, dl...@v-wave.com (DaveL) wrote:
>I am scheduled to work a shoot(as AC) that might be using
>ARRI code with the SR3. I have not had any experience
>with ARRI code and neither has the director but he seems
>to be sold on the idea already. We're shooting super16
>and are still considering either a DAT or Nagra (non
>timecode). The script is VERY dialogue intensive and
>obviously important to sync.
First, you're wasting practically all the advantage to using timecode on
film by not using a timecode sound recorder! My experience with Arri
code has been limited to a couple of features and s few commercials,
but its been unproblematic. I jam-sync the camera whenever I change
sound rolls [using the Nagra, cause I put the sound roll info in the
Ubits] or every 3 hours or so when using DAT. Pretty straightforward,
AFAIK.
>
>I've heard various tips and experiences
>about using ARRI code ranging from rolling 5 - 10sec of
>lead time before each camera take (Ummm...waste?) to not
>trusting it and slating anyway(my big concern)
Who's doing telecine? What kind of dailies are required? If camera
rolls when the AC is reading the slate there's usually enough run-up
before "action" that telecine is happy. You need to know the answers to
these two questions, though.
G. John Garrett, CAS
Senator Mike Michaels, c.a.s.
Now I hate to get off on a filabuster here, but.....as I read the
question, I read between the lines.
The Director and Camera assistant (what about the DP?) want to use a
technique ("he seems to be sold on it"), but they don't seem to know
much about it. I'm already smelling a "wunderkind".
And they plan on using either a DAT, or Nagra, but no Time Code. And
they don't know how much preroll, so they obviously don't know much
about the telecine process, which leads me to wonder why "he seems to be
sold on it"? (Bet "he" thinks it will be cheaper.)
Camera preroll: Film has sprocket holes, very precise. the equipment
moving the film can roll back (and forth!) verrrrrrrrrrrry precisely
using these holes. Audio tape, be it DAT or open reel has (have you
noticed?) NO sprockety holes, and the preroll lays down unbroken Time
code, which is the audio tape (and video tape) equivilent.
With internal camera TC written (by AAton, Arri, Pana---,) the audio
preroll even seems to be less, because it is the unbroken timecode
preceding the actual first utterence of the actor, rather than the
roll-up to the slate displaying numbers!
and of course there is no reason not to use a TC slate, or standard clap
of sticks as well, or is our "wunderkind" set on being too macho to
include such retro-grade backups in his project?
This also will give Wolfie another chance to shamelessly plug his book,
which our "wunderkind" probably is toooooo bnusy to study.
of course that's just my opinion, I could be wrong.
Sandy MacRae
DaveL wrote in message <6n3ebc$qk...@crash.videotron.ab.ca>...
>I am scheduled to work a shoot(as AC) that might be using
>ARRI code with the SR3. I have not had any experience
>with ARRI code and neither has the director but he seems
>to be sold on the idea already
>Dave L
>Camera Assistant
>Edmonton, Alberta
>
>
Hi Dave L
I am curious - why isn't your Sound Person asking this question? And
who 'sold' the idea to your Director? There is no point getting involved
with Arri Timecode unless the Telecine house can actually read it and do
something useful with it - in my experience, very few can since it involves
a relatively expensive 'add-on' to their system. Use sticks and you can't
go wrong and worry not about 'run-up' - this depends again on the syncing up
route. If a hard disk station is to be used to sync dailies, no run up is
require. If Telecine are going to attempt an automatic sync up, ask them
what they want - they alone know - but all this all is the job of the
Production Sound Mixer, isn't it?
Sandy MacRae AMPS
Senator Mike Michaels, c.a.s.
Sandy MacRae wrote: but all this all is the job of the
> Production Sound Mixer, isn't it?
Bet they don't have one. They will get some audiophile trainee type to
run the $350 DAT, an intern to hold the stick with the fuzzy mic, and be
disappointed that it doesn't sound like "The English Patient", or
"Titanic", after all, they used Arri-code.Like I said, and said, and
said, and said: Work on some real productions, and listen, watch,
question, and LEARN!
one should NOT start out, on their first project at the top.......
oops, there I go being Negative again!
Cristian Redferne
>Sandy MacRae wrote: but all this all is the job of the
>
>> Production Sound Mixer, isn't it?
>
>Bet they don't have one. They will get some audiophile trainee type to
>run the $350 DAT
Come again? You can buy a $350 DAT?
Cristian
-------------------------
"You know the one film where I had total control? "Kane"? The studio hated it but they didn't get to touch a frame."
Orson Welles
DaveL
>Bet they don't have one. They will get some audiophile trainee type
to
>run the $350 DAT, an intern to hold the stick with the fuzzy mic,
and be
>disappointed that it doesn't sound like "The English Patient", or
>"Titanic", after all, they used Arri-code.Like I said, and said, and
>said, and said: Work on some real productions, and listen, watch,
>question, and LEARN!
Hmmm, I though it would be a good idea to try and get some 'useful'
advice from people who have had experience with ARRI code. Seems
like it's easier to make snide remarks and silly comments. If
"wunderkind" expects it to sound like "Titanic" or "The English
Patient", he's a moron. Come on, let's be realistic. I
apparently should of kept the original post to just the subject
line and left out the sketchy details of pre-production from a shoot
that I know next to nothing about. If the director (who is financing
1/2 of the $25,000 30min short) wants to shoot with film TC why is it
such a big deal? Either way, I'm going to use the sticks.
Let me clear things up (if I can). First of all, I meant that if
there is ARRI code there will be a TC DAT (probably a PD-4. Which of
course, is just a tad more money than $300), otherwise,it'll be a
Nagra. Secondly, obviously this should be the concern of the DoP and
the sound person. The DoP is up in the artic on a shoot (i.e. not in
contact) and the sound position is yet to be filled. I'm just
personally curious about ARRI code and wanted to hear
some comments from experienced persons. Simple, so I thought.
Finally, I've been on 'real' productions and not one of them used
film TC. No one uses film TC around here mainly because the local
transfer facility is not equiped for it (And, yes, the director is
aware of this) thus no one has any useful info other than educated
guesses. So listening, watching, and questioning is more or less a
moot point when all you 'learn' is to keep asking until you find
someone with experience. After all, am I not asking a question here?
Dave 'I'm happy with my sticks' L.
Senator Mike Michaels, c.a.s.
Cristian Redferne wrote:
> Come again? You can buy a $350 DAT?
Cris wants a $350 DAT, Why am I NOT surprised.....
oops, being negative again.
Yes Cristian, there is a $350 DAT, (and Santa Clause).
A Friend bought one, labeled TEAC, but actually a Casio (like your
watch!)
Crapped out on him second day! needed a special +/- 6 V battery that of
course cannot befound anywhere, and external DC had to be juryrigged
(that Bi-polar voltage thing), but that wasn't the probl;em anyway.
A-D converters weren't much good, not rugged, but there it was, his $350
DAT! ...and hey, if it's digital, it must be better than anything
analog, even a Nagra, right???
Senator Mike Michaels, c.a.s.
DaveL wrote:
> >Bet they don't have one
> .I WIN!
> apparently should of kept the original post to just the subject
> line and left out the sketchy details of pre-production from a shoot
> that I know next to nothing about.
well, you should have gone to anyone of many places and got some Arri
info, sure. Nothing wrong with learnin!
> If the director (who is financing
> 1/2 of the $25,000 30min short
Right again!
> ) wants to shoot with film TC why is it
> such a big deal?
If he only has 12,500 (bet he hasn't got the other half quite yet!) how
about Videotape?? (VT shot film STYLE???) 16 mm????Or as you said, why
IS it such a big deal?????? For someone with no money, he sure has a lot
of demands without purpose, or a local lab to support them!
I've seen these guys spend over $100 (that could have gone to provide
whole bagels for breakfast, instead of having them cut up in quarters!)
for a custom engraved slate, which then never got used, because the
sound mixer brought the TC slate (and refused to engrave it!) which was
the slate they used,as the film was going to telecine! I can give you
the address, as you'll no doubt want to buy an engraved slate for this
guy!
> Either way, I'm going to use the sticks.
A practical idea. The Time code slates are built that way, too!
>
>
> Let me clear things up (if I can). First of all, I meant that if
> there is ARRI code there will be a TC DAT (probably a PD-4. Which of
> course, is just a tad more money than $300), otherwise,it'll be a
> Nagra.
Panavision has free packages, and in addition, they now have several
stages just outside of Hollywood. I advise those who get their free
Panavision packages to also get the stages, which are quiet, and fully
equipped with grip and lighting equipment, for free, of course, and ask
for Panavision's sound package for free, too!!!
> Secondly, obviously this should be the concern of the DoP and
> the sound person. The DoP is up in the artic on a shoot (i.e. not in
> contact) and the sound position is yet to be filled.
so how do you know all this stuff about the camera package, the sound
package, etc???
> I'm just
> personally curious about ARRI code and wanted to hear
> some comments from experienced persons.
Camera group would have been a better first stop.
> Simple, so I thought.
>
> Finally, I've been on 'real' productions and not one of them used
> film TC.
> No one uses film TC around here mainly because the local
> transfer facility is not equiped for it (And, yes, the director is
> aware of this) thus no one has any useful info other than educated
> guesses. So listening, watching, and questioning is more or less a
> moot point when all you 'learn' is to keep asking until you find
> someone with experience.
Let me see, does your "wonderkind" know what he's doing??? based on
what you're telling us, I think NOT ---damn negativity again.He needs
some book learnin', and some practical experience. (He can use part of
that 12.5k to take a trip, get an intern gig, and learn. He doesn't
need to be on a show with Arri code to learn how to make his dream. (He
doesn't need Arri code, either!) You can
call the vendors, read the Mags (how about American Cinematographer?),
visit the web sites, and yes, ask questions.
> After all, am I not asking a question here?
>
Yes, and you presented the question in a context, and that wasn't a bad
idea, because you didn't just want a lot of technical facts, you wanted
contextual information on using it in the context you had in mind.As has
been said here many times, by many of us, (and it applies a lot in
situations like yours) Post will dictate how you want to do things,
(so, like if your post place doesn't do Arri-code, well, duhhh!) If
they don't do DAT, then, well, duhhh! (These really are no-brainer's).
On the other hand, even if they could do Arri-code, but Panavision's
free camera package was non TC, and the Arri pkg was beaucoups
expensive, well, duhhhhh, again!
My last bet is TC Nagra or TC DAT, as those allow semi-automated
transfer to Video, or are "Wunderkind" and "DoP" going to need to see
projected hand-sync'd Dailies???
> Dave 'I'm happy with my sticks' L.
> and I won't tell you how to load and label mag's, or pull focus, but
> tell "wonderkind" about panafocus!
>
>
DaveL
In article <3596F9FC...@earthlink.net>, studi...@earthlink.net says...
>
>If he only has 12,500 (bet he hasn't got the other half quite yet!) how
>about Videotape?? (VT shot film STYLE???) 16 mm????Or as you said, why
>IS it such a big deal??????
The other lump (small lump) of cash is from a film fund grant.
>so how do you know all this stuff about the camera package, the sound
>package, etc???
I volunteer at the film co-op that has the SR3 package (Almost, everything
except a lens. Duh!)and we purchased it just a few months ago. The director
recently moved here from NY and naturally, with his paltry budget, went
straight to the co-op to recruit crew and gear. As for the sound gear, we
also have two Nagras (non TC) and the PD-4 is a common rental (rental house).
Been on a day-call with the DAT but didn't have time to sit and chat to the
sound man.
>Camera group would have been a better first stop.
Been there.
>
>Let me see, does your "wonderkind" know what he's doing???
I have only talked with him on the phone for 5 min. Did go to
NY Film Academy though - sure they learn somethin' there. Although,
maybe they learned just enough about film TC to be dangerous?
You can
> call the vendors, read the Mags (how about American Cinematographer?),
>visit the web sites, and yes, ask questions.
Yes, I have done that. Jon Fauer, Cinematography.net and .com are helpful too,
fair amount of techie info and the like, but I was seeking a little
personal experience. Being an engineering grad, I've had my nose in text books
and specs many times before and am familiar with the "in theory" method,
although I really appreciated the times a senior engineer shared a few friendly
words of advice in addition to the theory.
>My last bet is TC Nagra or TC DAT, as those allow semi-automated
>transfer to Video, or are "Wunderkind" and "DoP" going to need to see
>projected hand-sync'd Dailies???
Won't be Dailies, just the video assist and vcr.
Dave 'hasn't used ARRI code but operated an electron microscope' L
jpe...@ix.netcom.com
: In article <6n3ebc$qk...@crash.videotron.ab.ca>, dl...@v-wave.com (DaveL) wrote:
: I am scheduled to work a shoot(as AC) that might be using
: ARRI code with the SR3. I have not had any experience
: with ARRI code and neither has the director but he seems
: to be sold on the idea already. We're shooting super16
: and are still considering either a DAT or Nagra (non
: timecode). The script is VERY dialogue intensive and
: obviously important to sync.
: I've heard various tips and experiences
: about using ARRI code ranging from rolling 5 - 10sec of
: lead time before each camera take (Ummm...waste?) to not
: trusting it and slating anyway(my big concern)
: Can any one who has direct experience with ARRI code
: (telecine, sound persons, DoPs, ACs, etc,.) share their
: knowledge or advice so I can be prepared for this shoot (in
: 3 weeks) and relay to the facts to the director.
I've followed this thread in rec.movies.production with some amusement.
It seems that for some reason people are more concerned with trashing
DaveL than actualy providing usefull information.
So, in the spirit of actually answering a poster's question, here is
what I know about film timecod.
What is it?
Film timecode is printed on the film in the camera. The actual TC is
a machine readable matrix with human readable (ie numbers) everu second
or so. Aaton Code is the most widely supported film TC format.
What is it for?
Film timecode can serve two functions.
The first, and the one DaveL is probably most interested in, is to
expidite the telecine process. When film TC and (matching) Nagra or
DAT TC are employed in production the dailies can be synched up much
more quickly.
In such a situation, a TC slate should be used and each take marked
as per usual. This way the telecine operator has the sticks to fall
back on if the film or Nagra/DAT TC is screwed up.
The second way film TC can be used is in situations where a traditional
slate is undesirable. The most common example of this is documentary
production.
What special technical requirements are there?
There are only three things you need to properly employ film TC.
The first, and most obvious, is a camera that is outfitted with TC.
The SRIII fits the bill.
The second thing you'll need is a TC DAT or TC Nagra.
The third thing you'll need is a telecine facility that can actually
read the TC on the film. This is the most dificult of the three
components to find. There are less than 6 places in LA that can
read Aaton Code.
Oh, and there is one more thing you'll need. You need and AC who
knows how to operate the camera TC and a Mixer who knows how to
coordinate TC synching issues with the AC. This human component
is extremely important.
Well, I hope the above is helpfull. I should proably say that my
hands-on experience with film TC is limitted to post production; I
make my living as an Assistant Editor.
Of late, however, I've delved more deeply into the realm of film
TC in preperation for a feature I'll be working on, as editor, next
summer. We plan to shoot on an Aaton XTR (with TC) and record
audio on a DEVA. The dailies will be transfered at Fotokem in LA.
They are one of the only facilities that has both Aaton Code, and
experience with the DEVA.
....jeremy pevar
Sandy MacRae
jpe...@ix.netcom.com wrote in message ...
>: In article <6n3ebc$qk...@crash.videotron.ab.ca>, dl...@v-wave.com (DaveL)
wrote:
>
>I've followed this thread in rec.movies.production with some amusement.
>It seems that for some reason people are more concerned with trashing
>DaveL than actualy providing usefull information.
Jeremy makes a good point here - I, for one, will apologise to DaveL if my
comments about the Soundman's Job' offended. Maybe I was guilty of showing
my Soundman's 'Chip on Shoulder'! The chip has a some foundations when you
discover that the Director/Cameraman's Wife/Girlfriend is holding the mike
and doing the sound - it happens - and our skills and experiences are
dismissed. DaveL has explained that this is not the case and indeed
deserves an answer. In my defence, I did make a reasonable answer, but to
give a detailed answer to the very broad question required more questions!
However, having some experience in the subject, I will elaborate further.
The Arri SR 3 has its own proprietary TC connector thus the correct lead is
required - a small but very important detail, often overlooked!
The SR3 will only hold up its internal clock for a few minutes
when changing battery - always jam after a battery change to be sure.
The Arri TC clock is stable for about 5 hours but jam to the TC Source as
often
as practical to be certain.
Nagra TC is normally good for 10 hours but is known to 'jump' on some
self-generated spikes - try operating the Pinch Wheel Engage Lever while
monitoring
the TC against a Deneke GR1 - I've seen both my machines jump several
frames. Nagra know about this and point out that if you switch the machine
off and on again, the TC will correct itself. The moral here is to always
switch the Nagra OFF then ON again before jamming the camera. Also never
attempt to jam with the Nagra running - TC Out is incorrect and only valid
in the TEST position.
PortaDat TC stability was not as good as Nagra before
the latest upgrade. Fostex PD2 is know to be temperature sensitive - jam as
often as possible.
Run-up times are a pain using Arri and Aaton TC if Telecine attempts to sync
up
on the fly and can be as much as 10 to 15 seconds - a long time to wait when
the
sun is going down - and bear in mind that only discontinuous TOD Timecode
can
normally be used, so rolling back into the previous take is not useful.
Hard Disc Editors
do not require run-up but take longer (=money) to first do a real time
transfer of the Sound
Dailies then syncing up and laying back to the Videotape.
I believe that attempting to use Camera TC is only valid if sticks and
normal syncing
up are impossible because it certainly isn't cheaper! Quicker? - well,
maybe if everything
actually works correctly and no 'rules' are broken.
Keeping it all together is a Production Sound Management problem and usually
the
responsibility of the Sound Mixer, at least here in UK it is.....
BTW, Jeremy, Aaton Timecode and Arri Timecode are put down differently
on film and require different readers. I agree that these facilities are
very
hard to find, even here in Europe where the systems were invented!
Sandy MacRae AMPS
Tom Sorlie
Davel,
Just some experiences I've had with Arri Code.
First, remember if you have to change frame rates at anytime, the
systems requires you rejam the camera EVERYTIME you do this. Second, if,
by chance, you are shooting B/W, try not to use a red no. 25 filter. The
system is based on red light, and this can sometimes cause problems with
the reader reading the time code. I have had both of the experiences on
one shoot for NFL Films. What a nightmare Arri code truly is compared to
Aaton code.
Good luck, and don't forget those damm stupid charts you need to
correlate the film stock to the magazines.
DaveL wrote:
> I am scheduled to work a shoot(as AC) that might be using
> ARRI code with the SR3. I have not had any experience
> with ARRI code and neither has the director but he seems
> to be sold on the idea already. We're shooting super16
> and are still considering either a DAT or Nagra (non
> timecode). The script is VERY dialogue intensive and
> obviously important to sync.
>
> I've heard various tips and experiences
> about using ARRI code ranging from rolling 5 - 10sec of
> lead time before each camera take (Ummm...waste?) to not
> trusting it and slating anyway(my big concern)
>
> Can any one who has direct experience with ARRI code
> (telecine, sound persons, DoPs, ACs, etc,.) share their
> knowledge or advice so I can be prepared for this shoot (in
> 3 weeks) and relay to the facts to the director.
>
> regards,
Senator Mike Michaels, c.a.s.
jpe...@ix.netcom.com wrote:
> It seems that for some reason people are more concerned with trashing
> DaveL than actualy providing usefull information.
Not really, but I certainly took note of the fact that there are camera
groups, that there is literature to obtain, and read, and that for some
reason this no budget Director (from a NY film school) insists on using
Arri-code, but doesn't seem to know why!
> In such a situation, a TC slate should be used and each take marked
> as per usual.
I'd have said TC slate may be used. Ive wroked on many projects,
including network and syndicated programs, where standar slate or even
no slate was used. and in Documentaries, the camera may start and stop,
as may sound, with no slate at all!Hey, it really does work!
> This way the telecine operator has the sticks to fall
> back on
true!
> if the film or Nagra/DAT TC is screwed up
which is rarely, if ever. mostly the sticks get used as backup when
non-TC camera is used, and the TC is unreadable (too small, or "blown
out", or even "burned in")
>
>
> The second way film TC can be used is in situations where a
> traditional
> slate is undesirable.
again, choice of words, I'd say "less practical".
> The third thing you'll need is a telecine facility that can actually
> read the TC on the film. This is the most dificult of the three
> components to find. There are less than 6 places in LA that can
> read Aaton Code.
and DaveL is in Alberta! I believe there are no labs there to handle.
>
>
> Oh, and there is one more thing you'll need. You need and AC who
> knows how to operate the camera TC
a good thought, and he'll find that help on a camera group!
> and a Mixer who knows how to
> coordinate TC synching issues with the AC.
Amen!
Glenn Berkovitz
Dear Dave "Sticks ARE good" L. --
Just a cheer from a member of the peanut gallery to say - I think you
began this thread with a GOOD QUESTION. Many folks on many newsgroups
attach their own baggage to the inquiries that we see posted; I happen
to like the fact that the A.C. on a shoot is interested enough to prep
himself on as much pertinent technical info as possible.
If I could give any firsthand ARRI code stories, I would. All I've ever
done is give a SMPTE feed to the A.C. to jam the camera. Apparently,
transfer thought we did that well enough.
There are NO bad questions. Thanks for asking around, for all of us.
Glenn Berkovitz, C.A.S.
DaveL
Well, I've been a listenin' and a learning' to all the good, bad, and ugly
posts regarding Arri code and anything else that had nothing to do it. (It's a
good thing I didn't mention what kind of car I drove ;) )
Thanks for those who shared their useful info. And for any one out there that
knows absolutely everything about Arri code or film timecode in general, please
write a book.
Dave "not using film TC on my own film " L.
In article <359A62DC...@earthlink.net>, studi...@earthlink.net says...
Wolf Seeberg
Top bars: Kodak's keycode, inside the sprockets: Arri timecode.
ARRI TIMECODE
Arriflex has a system by which they write SMPTE TC to the negative as it
gets exposed. Panavision has a similar but incompatible system which was
developed by Aaton. In telecine a reader can read this TC and tell the Sound
Playback machine where to go. This makes syncing of dailies totally
automatic and with DAT very fast. This technology is said to save 1/3 of
the cost of transferring double system sync sound to videotape. SMPTE TC can
be written to all new ARRI cameras (535, 535B, 435, 16SR 3). Please note
that the 535, 535B and 435 need a special TC exposure module installed (ask
your rental house), and that, even though the 16SR 3 can use all previous SR
style magazines, TC can only be recorded with the 16SR 3 magazines. The 16
SR 3 record TC in the magazine, all the other cameras (535, 535B and 435)
record TC in the camera.
ARRI records TC in the mag. The position of the TC in the 16SR 3 is
determined by a sensor in the camera that looks through a small window in
the bottom of the magazine and measures the loop size with an infrared beam.
The film will not record this particular wavelength. This sensor ensures
that the distance between image and TC is constant on the film. The
recording intensity is set via a TCS (Timecode sensitivity) number. This is
almost like ASA, but not quiet, since the LED is only one color (red), and
ASA gives the sensitivity for white light. Setting a special sensitivity
number for each film stock ensures that the TC is recorded at exactly the
proper intensity. A table of TCS numbers is distributed with all ARRI
literature. and is also available on the web http://www.arri.com in the
Technical Information pages.
ARRI's Laptop Camera Controller (LCC) can record the TC in and out times for
each take automatically in a camera report. These cameras reports can
contain other automatically recorded information (userbits, fps, shutter
angle, feet per take, total footage run, frame in, frame out, time of day,
name of speed/exposure program run ) and some manually entered information (
including: scene, take, focal length, MOS, INT/EXT, lighting and lab notes,
filters, etc).
TRANSFER HOUSES THAT CAN HANDLE ARRI FIS:
As of March 1998:
LA: Steve Vananda at Foto Kem (818) 846-3101, CFI, Video Craftsman, Digital
Post, NY: Du Art, and Crawford in Atlanta, Georgia.
Arri publishes a nifty informative brochure which you can get from ARRI's TC
guru
Marc Shipman-Mueller, Technical Representative, Arriflex Corporation; 1646
N. Oakley Ave, Suite #2, Chicago, IL 60647-5319, USA, Tel: 773 252 8003,
Fax: 773 252 5210
Email: msmu...@arri.com, Web: http://www.arri.com, and also Roger Reddy
(engineering tech) 914/353-1400, at 61 Rte. 303, Blauvelt, NY 10913.
ARRI home address: Türkenstr. 89, D-80799 München, Tel.: (089) 3809-1
Westcoast contact: Wolfgang Reigl, Technical Manager 818/841-7070
Interesting general ARRI info and specific TC info for the camera assistant:
http://www.cinematography.net/cinefile.htm
ARRI SR3 AND TIMECODE
You need a cable to connect the Origin C to the SR3. The rental house you
get the camera from should provide this. If they or you have any trouble,
call Marc Shipman-Mueller at 773 252 8003.
To jam sync the SR 3 to any external SMPTE TC signal (like the Origin C, for
instance):
1. Push the mode button until you are in MODE 4, the TC mode. (It is not
necessary but allows you to check whether the code gets accepted.)
2. Plug the TC cable into the ACC connector on the camera.
3. To acknowledge that it is actually seeing TC now, the SR3 will display ec
(external code) on its display.
4. The SR3 will then analyze the incoming signal and jam to it. If the
signal is proper SMPTE TC, and the SR3 was able to jam properly, it will
display cc (correct code) and you are done.
5. You can unplug your cable now, and the SR3 will be in sync with the
external TC signal for 8 hours.
Make sure to set the proper Timecode Sensitivity number (TCS) on each
magazine. You can find a listing of the TCS numbers for all common film
stocks on the ARRI website at http://www.arri.com/product/port/index.htm
Choose Arriflex Technical Note P-1002. This is a pdf document that you can
save to your disk and keep. Setting the TCS number on the mag has the
advantage that you always have the correct number when you switch film
stocks, so you will not have to set anything on the camera when re-loading.
If you want more information, check out the SR3 Manual on pages 80 through
86.
TIMECODE ON FILM:
Marc Shipman-Mueller, Arriflex Corporation writes:
"For ARRI cameras, TC frequencies for TC on film is ALWAYS the same as fps
of camera. TC can be laid on film at the following rates: 23.976, 24, 25,
29.97, 30 fps. If the film camera runs at 24 fps, there is one TC number per
frame, thus we record 24 fps TC. Just as the 24 fps images are converted to
30 fps video in telecine, so is the 24 fps TC in post converted to 30 fps
TC. This is taken care of by the so called "ARRI" upgrade to the Evertz 4025
box. It works basically based on a look-up table.
I just talked to Michael Bergeron from Abel CineTech in NY, and he confirmed
that the ARRI TC and the Aaton (=Panavision) TC system work the same in that
respect. Here is what happens:
Say you use 24 fps on your film camera. You set your audio recorder to 30
fps TC. You then connect the audio recorder to the camera (ARRI, Aaton or
Pana, works all the same in concept). The camera's TC generator will jam on
the second, disregarding the TC frequency. So each second on the film camera
TC will occur exactly at the same time as that second turns over in the
audio recorder. Now the film camera will record this time information (the
first 6 digits of TC) onto the film. It will also record the last 2 digits,
which are a frame count, counting each frame. At 24 fps, these last 2 digits
will count up to 24 before starting over again. The time count (hrs, min,
sec) is separated from the frame count."
===========================================================================
Glenn Berkovitz wrote:
--
Wolf Seeberg
http://www.primenet.com/~wolfvid/ - Sell unique accessories for mobile video
production.
Our e-mail address is: wol...@primenet.com not necessarily what you see in
the header.