From: 40 Frames (email suppressed)
Date: Wed Oct 22 2008 - 09:23:21 PDT
I second KPR's comment, talk to Gibbs, also talk with Bill Seery at Mercer
Media and Standby in NYC.
On Tue, Oct 21, 2008 at 11:14 PM, Mark Toscano <email suppressed> wrote:
> Howdy all -
> I'm wondering how folks out there who are still making 16mm movies with
> optical tracks are dealing with sound, particularly when it comes to putting
> together your tracks yourselves and giving them to a lab of some kind to
> shoot an optical.
> In particular, I'm wondering how anybody deals with issues of levels and
> EQing for optical, especially as concerns pre-emphasis.
> I'm usually assembling tracks at home on Pro Tools or Audacity or something
> like that, but have always had some trouble making sure I have everything in
> order in terms of the above, and usually have to have someone more savvy
> than I examine my file for possible clashing, going too hot, and to add
> pre-emphasis so the track doesn't sound too muffled once it's gone to
> And for those of you putting together your tracks fully digitally, do you
> have issues with communicating framerate or sample rate to the lab shooting
> the optical? For instance, going at 44100 vs. 48000, or issues of 29.97 vs.
> 30 fps?
> Do most folks tend to give a digital file or a Pro Tools session or (...?)
> to the lab? Do some folks still dump the digital to mag in order to go to
> Curious to hear some varied experiences/suggestions, thanks much!
> mark t
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-- 40 FRAMES Alain LeTourneau Pamela Minty 425 SE 3rd #400 Portland, OR 97214 United States +1 503 231 6548 info(at)40frames(dot)org http://www.40frames.org __________________________________________________________________ For info on FrameWorks, contact Pip Chodorov at <email suppressed>.