Stumbling blocks brought to light in the film workflow by the new ProTools 7.2

[Ron Scelza]

Stumbling blocks brought to light in the film workflow by the new ProTools 7.2

The Gotham Show is of great value to gain an understanding of many of the toys in the sand box.  When coupled with the C.A.S. workflow tapes and Scott's PT 7.2 discussions a near complete understanding can be gained to an automated workflow that forces a collaberation to everyone's needs in one way or another.

In my case having missed pieces of "The Gotham Show"; and one very important discussion regarding 23.98/ 48.048K VS 30/48K, for a 24fps film workflow...  I find that all of these NEW major stumbling blocks to this automation are brought to light with Digi's new PT 7.2 identifying specific outpoints of the workflow -- hidden until now.

Below are glaring questions to what appears to be some of the major outpoints.

FLX & EDL:

The FLX file and EDL entry considering  a relation to  IXML "Roll" or "TAPE" number.    This is the cornerstone to compatibility with all the other players in the sandbox. What are the limitations to character use and field length to those two fields? How can accuracy be insured in entry from telecine to the FLX?

How to keep consistent placement of the Track Names when dealing with the Migration of the tracks when transferring to or through other devices and mediums?

Is necessary to change from the old accepted way 30/48K for automating the sandbox when using newer Avids with PT 7.2?

In a 24fps Film / telecine workflow with late versions of Avid and using PT 7.2: The production sound deliverables of (one DVD daily and one Hard Drive at the end of the show). 

Recording sound at 23.98/48.048K without a 1% pull down in telecine to adjust for the Avid native rate of 48.048K (although called 48K by Avid).  Will this 23.98/48.048K gain perfect sync and automation for every player in the sandbox?

That's it for now from me,

A  little light is shining through this quagmire.

Sincerely

Ron Scelza C.A.S.