| I'd like to add that in Europe the proceedings are slightly different.
First of all, DMU can lock to 25 fps TC, while running at 24 fps film speed, which is a very common situation in Europe (all VTRs worked with 25 fps TC, while the recorded program was running at 24 fps true speed, 1 frame pulldown every second or one field pulldown every 12 frames).
You cna choose to display feet/frames or TC. You can sync to bi-phase or TC.
We record tones in a tonefile, which is a separate "reel" on a MO disc. Tones are 1K@ -20dbFS for 5 channels and 80 Hz@ -20 dBFS for LFE. For analog, we usually shoot 1K@-20 followed by pink noise from DMU.
Dolby SR noise reduction has 3 positions: OUT, CAL (pink noise) and IN. OUT position is interesting for recording a stereo mix e.g. for TV.
2ch mix can be routed to MO or External out (outs 7&8) and recorded to an external unit or (if you have a DMU inserted in ProTools, for "Mixing in the Box" situation) record it back into ProTools.
You can monitor the line input in discrete mode, or listen through AC3 encoder/decoder chain (with 2 frames delay)
You can configure the meters in LtRt or Discrete modes, PK or VU, line in or Monitor output. The metering has a different scale than the good old DS-IV remote box meters. -20 is Dolby Level, which was -6 on DS-IV meters, and is referenced as 50% of modulation. Therefore, 0dB on DS-IV will correspond to -14 on DMU meters. Confusing.
You can record both Digital and Analog masters at the same time. You need to listen to Analog after that, in a second pass.
The container on Analog tracks can be trimmed during the recording. Values are referenced to 100% modulation (-14dBFS).
Anyway, you can always hop over to Concept Films in Belgrade and take a closer look.
Branko
p.s. great thread, Geo! |