American Cinematographer - September 1985 - 99

to

this

project. Peyton Place comprised

about 1100 edits and took a little under
11 hours for on line. One hundred edits
an

hour

is

a

slightly better than

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average.

On

Peyton Place, we re¬
ceived a list of changes the day after on
line. This meant pulling a time coded
3/4" tape of the edited master and reediting it. In order to save time we
found it most efficient

to

make the

changes on a Convergence ECS-90 with
a punch tape output. To accomplish the
same end on the Montage would have
required inputting the newly on-lined
show plus the dailies on one load. This
would be very time consuming and
would

tax

the limits of the system.
As these new editing tech¬

niques become refined and producers
grow more familiar with tape finishing,
we will fall into these traps less easily.
It was surprising to all of us as novices
how few pitfalls actually impeded the
schedule and budget. Even with our
setbacks and mistakes, we stayed well
below the budget compared to a pure

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film show and, in fact, came in under
the projected budget for a videotape

show.
As

we

explore

avenues

of

electronic editing, one consideration has
been not to change the shooting tech¬

of the production crew. There¬
special slates, timecode
generators, or formulas are added to the
shoot. Dailies are processed overnight
and transferred to tape the next morn¬
ing. They are usually available for view¬
ing during lunch the next day. In the
case of Peyton Place, the production
team would receive a 1/2" VHS dub of
the material the next day on location.
The process of syncing up
track directly to negative has been ap¬
proached in several ways. For Peyton
niques

fore,

no

Place

we

utilized the

most

obvious but

perhaps not the best technique. We
transferred the location sound to mag

stripe and "popped" the tracks (marked
the claps). The sound was then sunk up
take by take directly on the Rank Cintel.
This slowed down the transfer time

con¬

siderably, but saved the time and cost
of pre-syncing the dailies before trans¬
fer. One disadvantage of this process is
that dailies are not always perfect.
Some shots have

to

be retransferred,

wrong

takes are circled, the framing has

be
blown

changed,

to

out

of

a

or a scratch has to be
shot. This means search-

Precision Film Laboratories, Inc
Subsidiary of Precision Film and Video Corporation

(212) 489-8800
PRECISION FILM LABORATORIES, INC
630 NINTH AVENUE

NEW YORK, NY 10036

97
American Cinematographer - September 1985

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