Book description
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.
Table of contents
- Cover
- Half Title
- Title
- Copyright
- Contents
- Dedication
- Preface to the third edition
- Preface to the second edition
- Preface to the first edition
- Acknowledgements
-
1 Basic video and magnetic theory
- Introduction
- The video signal
- Video source synchronization
- Video bandwidth requirements
- Adding colour to the signal
- Colour difference signals
- Component analogue video systems
- Magnetic recording
- Magnetic replay
- Implications for video recording
- Use of frequency modulation for video recording
- Use of helical scan to improve write/read speeds
- Control track
- Timebase correction
- Dropout compensation
- 2 Digital processing
-
3 The timecode word
- The original quadruplex cue track
- The development of a longitudinal timecode (LTC) word
- The biphase mark code
- User bits
- The form of the LTC word
- LTC byte arrangement
- The detail of the 625/50 LTC
- The detail of the 525/60 LTC
- The requirement for vertical interval timecode (VITC)
- The form of the VITC word
- The cyclic redundancy check bits
- The detail of the 625/50 VITC
- The detail of the 525/60 VITC
- Timecode and MPEG-2
- The time address and the associated colour TV signal
- The 525/60 drop-frame code (M/NTSC)
- M/PAL drop-frame code
- Digital VITC
- Timecode and 1125/60 television systems
- 24 frame film timecode
- Timecode in ancillary data
- Timing and synchronization within MPEG-2 Transport streams
-
4 Recording formats and timecode
- The U-Matic format
- The 1in C-format
- Betacam, Beta SP and MII formats
- D-1 component digital format
- Audio sector timecode and equipment type information
- D-2 composite digital format
- D-3 composite digital format
- D-5 digital format
- Digital Betacam
- DV
- The Hi-8 video format
- Domestic and professional R-DAT
- Timecode in the R-DAT system
- DASH and Prodigi
- Nagra D
- ¼in centre-track analogue audio
- The Nagra IV-S TC
- Audio analogue multi-track
- Recording levels
- 5 Timecode and film
- 6 Timecode and MIDI
-
7 Working with timecode
- LTC characteristics
- LTC crosstalk
- Regeneration of timecode
- Adjusting for the decoding delay
- Machine-to-machine operation
- Using VITC
- Timecode corruption
- Dealing with LTC corruption
- VITC corruption
- Record-run and time-of-day codes
- Power supply back-up
- Setting the timecode
- Multiple machine continuous jam-sync
- Multiple machine momentary jam-sync
- Control tracks and tacho pulses
- Digital audio synchronization
-
8 Timecode on location
- Synchronization of video and audio machines
- Radio links
- Logging for non-linear editing
- The playback shoot
- Self-resolving of timecode
- Resolving to video
- The use of R-DAT for field recording
- Remote timecode generation
- Record-run and time-of-day codes
- The problem with midnight
- Cassette changes
- Setting the VITC lines
- Shooting without a slate
- The Global Positioning Satellite (GPS) system and timecode
- Terrestrial time and data code sources
- Genlocking and jam-syncing
- 9 Timecode and linear post-production
-
10 Timecode and non-linear post-production
- What timecode to record
- Basic organization of film production using non-linear editing
- Label options
- Syncing options for sound and pictures
- Maintaining labels
- 24 fps pictures in PAL
- 24 fps pictures in NTSC
- Digitizing without timecode
- Creating logging databases externally
- Working with external databases
- Doing away with the external database
- The future?
- 11 Timecode and the AES/EBU digital audio interface
-
Appendices
- 1 The colour frame sequence and timecode
- 2 LTC and VITC specifications
- 3 Timecodes conversion
- 4 The use of binary groups with film
- 5 The extended use of binary groups
- 6 AES/EBU interface channel status data
- 7 EBU recommendations for the recording of information in the user bits
- 8 3-line VITC for fiim-to-tape transfer
- 9 Global standard frequency and time transmissions
- 10 Nagra IV-S TC multifunction keypad facilities
- Bibliography
- Index
Product information
- Title: Timecode A User's Guide, 3rd Edition
- Author(s):
- Release date: April 1999
- Publisher(s): Routledge
- ISBN: 9781136029530
You might also like
book
Panaflex User's Manual, 2nd Edition
The Panaflex User's Manual, Second Edition, provides detailed instructions and illustrations on how to use Panaflex …
book
Newnes Guide to Digital TV, 2nd Edition
The second edition has been updated with all the key developments of the past three years, …
book
Understanding MPEG 4
The Practical Guide to MPEG 4 offers an up to date introduction to this important interactive …
book
A Broadcast Engineering Tutorial for Non-Engineers, 3rd Edition
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.