book

Timecode A User's Guide, 3rd Edition

by J. Ratcliff

April 1999

Intermediate to advanced

276 pages

7h 42m

English

Routledge

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IntroductionThe video signalVideo source synchronizationVideo bandwidth requirementsAdding colour to the signalColour difference signalsComponent analogue video systemsMagnetic recordingMagnetic replayImplications for video recordingUse of frequency modulation for video recordingUse of helical scan to improve write/read speedsControl trackTimebase correctionDropout compensation
IntroductionThe denary (decimal) systemThe binary systemBinary-coded decimal2's complement codingThe hexadecimal systemBit rate requirementsSimple digital codesOrganization of digital dataCauses of errors in digital systemsError detection
The original quadruplex cue trackThe development of a longitudinal timecode (LTC) wordThe biphase mark codeUser bitsThe form of the LTC wordLTC byte arrangementThe detail of the 625/50 LTCThe detail of the 525/60 LTCThe requirement for vertical interval timecode (VITC)The form of the VITC wordThe cyclic redundancy check bitsThe detail of the 625/50 VITCThe detail of the 525/60 VITCTimecode and MPEG-2The time address and the associated colour TV signalThe 525/60 drop-frame code (M/NTSC)M/PAL drop-frame codeDigital VITCTimecode and 1125/60 television systems24 frame film timecodeTimecode in ancillary dataTiming and synchronization within MPEG-2 Transport streams
The U-Matic formatThe 1in C-formatBetacam, Beta SP and MII formatsD-1 component digital formatAudio sector timecode and equipment type informationD-2 composite digital formatD-3 composite digital formatD-5 digital formatDigital BetacamDVThe Hi-8 video formatDomestic and professional R-DATTimecode in the R-DAT systemDASH and ProdigiNagra D¼in centre-track analogue audioThe Nagra IV-S TCAudio analogue multi-trackRecording levels
IntroductionEBU/IRT and EBU/TDF timecodesSMPTE film codesDataKode®Aaton and Arriflex timecode systemsMachine-readable film timecodesFilm transfer to PAL video3-line VITCFilm transfer via 3/2 pulldownControl of 4:3 scanning for the presentation of wide-screen films
IntroductionChannel messagesSystem messagesMIDI synchronizersMIDI and IEC timecodeQuarter-frame messagesFull-frame messagesSynchronization between IEC, MTC and MIDI clocks
LTC characteristicsLTC crosstalkRegeneration of timecodeAdjusting for the decoding delayMachine-to-machine operationUsing VITCTimecode corruptionDealing with LTC corruptionVITC corruptionRecord-run and time-of-day codesPower supply back-upSetting the timecodeMultiple machine continuous jam-syncMultiple machine momentary jam-syncControl tracks and tacho pulsesDigital audio synchronization
Synchronization of video and audio machinesRadio linksLogging for non-linear editingThe playback shootSelf-resolving of timecodeResolving to videoThe use of R-DAT for field recordingRemote timecode generationRecord-run and time-of-day codesThe problem with midnightCassette changesSetting the VITC linesShooting without a slateThe Global Positioning Satellite (GPS) system and timecodeTerrestrial time and data code sourcesGenlocking and jam-syncing
The transfer suiteOff-line editingAssembly editingInsert editingPre-roll requirementsThe edit decision listEditing and the colour frame sequenceAudio post-productionSynchronizersThe ESbusSynchronizer featuresSynchronizer problemsDAT in digital postproductionTimecode and stereo pairs
What timecode to recordBasic organization of film production using non-linear editingLabel optionsSyncing options for sound and picturesMaintaining labels24 fps pictures in PAL24 fps pictures in NTSCDigitizing without timecodeCreating logging databases externallyWorking with external databasesDoing away with the external databaseThe future?
IntroductionAES/EBU digital interfaceAlternatives for timecode in AES3 channel status
1 The colour frame sequence and timecode

Overview

Recent radical changes in timecode technology, location shooting and post-production working practices have been brought about by the fragmentation of the television programme making industry and by a dramatic increase in affordable digital transmission and editing equipment and systems.
With the expansion of non-traditional television service producers (cable, satellite and video-on-demand) almost anything hoes as far as shooting and editing formats are concerned.

Timecode: A User's Guide is an indispensable reference for anyone needing to get to grips with the many aspects of timecode, whether in-house or on location.

Taking into account these changes this book has now been brought completely up to date to include:

* timecode and DVD, LTC & VITC in HANC packets in the serial digital TV interfaces
* timecode in IEEE1395 (Firewire)
* timecode and digital video cassettes
* new recording formats of DVD, DV mini cassettes and D6 are included
* 4:3 scanning for wide-screen films - standards updated
* new material to cover new working practices
* new appendices to cover the global LF time data transmissions and time data embedded in BBC transmissions

Advice is also given on avoiding and remedying faults and errors.