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Timecode A User's Guide, 3rd Edition

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

  1. Cover
  2. Half Title
  3. Title
  4. Copyright
  5. Contents
  6. Dedication
  7. Preface to the third edition
  8. Preface to the second edition
  9. Preface to the first edition
  10. Acknowledgements
  11. 1 Basic video and magnetic theory
    1. Introduction
    2. The video signal
    3. Video source synchronization
    4. Video bandwidth requirements
    5. Adding colour to the signal
    6. Colour difference signals
    7. Component analogue video systems
    8. Magnetic recording
    9. Magnetic replay
    10. Implications for video recording
    11. Use of frequency modulation for video recording
    12. Use of helical scan to improve write/read speeds
    13. Control track
    14. Timebase correction
    15. Dropout compensation
  12. 2 Digital processing
    1. Introduction
    2. The denary (decimal) system
    3. The binary system
    4. Binary-coded decimal
    5. 2's complement coding
    6. The hexadecimal system
    7. Bit rate requirements
    8. Simple digital codes
    9. Organization of digital data
    10. Causes of errors in digital systems
    11. Error detection
  13. 3 The timecode word
    1. The original quadruplex cue track
    2. The development of a longitudinal timecode (LTC) word
    3. The biphase mark code
    4. User bits
    5. The form of the LTC word
    6. LTC byte arrangement
    7. The detail of the 625/50 LTC
    8. The detail of the 525/60 LTC
    9. The requirement for vertical interval timecode (VITC)
    10. The form of the VITC word
    11. The cyclic redundancy check bits
    12. The detail of the 625/50 VITC
    13. The detail of the 525/60 VITC
    14. Timecode and MPEG-2
    15. The time address and the associated colour TV signal
    16. The 525/60 drop-frame code (M/NTSC)
    17. M/PAL drop-frame code
    18. Digital VITC
    19. Timecode and 1125/60 television systems
    20. 24 frame film timecode
    21. Timecode in ancillary data
    22. Timing and synchronization within MPEG-2 Transport streams
  14. 4 Recording formats and timecode
    1. The U-Matic format
    2. The 1in C-format
    3. Betacam, Beta SP and MII formats
    4. D-1 component digital format
    5. Audio sector timecode and equipment type information
    6. D-2 composite digital format
    7. D-3 composite digital format
    8. D-5 digital format
    9. Digital Betacam
    10. DV
    11. The Hi-8 video format
    12. Domestic and professional R-DAT
    13. Timecode in the R-DAT system
    14. DASH and Prodigi
    15. Nagra D
    16. ¼in centre-track analogue audio
    17. The Nagra IV-S TC
    18. Audio analogue multi-track
    19. Recording levels
  15. 5 Timecode and film
    1. Introduction
    2. EBU/IRT and EBU/TDF timecodes
    3. SMPTE film codes
    4. DataKode®
    5. Aaton and Arriflex timecode systems
    6. Machine-readable film timecodes
    7. Film transfer to PAL video
    8. 3-line VITC
    9. Film transfer via 3/2 pulldown
    10. Control of 4:3 scanning for the presentation of wide-screen films
  16. 6 Timecode and MIDI
    1. Introduction
    2. Channel messages
    3. System messages
    4. MIDI synchronizers
    5. MIDI and IEC timecode
    6. Quarter-frame messages
    7. Full-frame messages
    8. Synchronization between IEC, MTC and MIDI clocks
  17. 7 Working with timecode
    1. LTC characteristics
    2. LTC crosstalk
    3. Regeneration of timecode
    4. Adjusting for the decoding delay
    5. Machine-to-machine operation
    6. Using VITC
    7. Timecode corruption
    8. Dealing with LTC corruption
    9. VITC corruption
    10. Record-run and time-of-day codes
    11. Power supply back-up
    12. Setting the timecode
    13. Multiple machine continuous jam-sync
    14. Multiple machine momentary jam-sync
    15. Control tracks and tacho pulses
    16. Digital audio synchronization
  18. 8 Timecode on location
    1. Synchronization of video and audio machines
    2. Radio links
    3. Logging for non-linear editing
    4. The playback shoot
    5. Self-resolving of timecode
    6. Resolving to video
    7. The use of R-DAT for field recording
    8. Remote timecode generation
    9. Record-run and time-of-day codes
    10. The problem with midnight
    11. Cassette changes
    12. Setting the VITC lines
    13. Shooting without a slate
    14. The Global Positioning Satellite (GPS) system and timecode
    15. Terrestrial time and data code sources
    16. Genlocking and jam-syncing
  19. 9 Timecode and linear post-production
    1. The transfer suite
    2. Off-line editing
    3. Assembly editing
    4. Insert editing
    5. Pre-roll requirements
    6. The edit decision list
    7. Editing and the colour frame sequence
    8. Audio post-production
    9. Synchronizers
    10. The ESbus
    11. Synchronizer features
    12. Synchronizer problems
    13. DAT in digital postproduction
    14. Timecode and stereo pairs
  20. 10 Timecode and non-linear post-production
    1. What timecode to record
    2. Basic organization of film production using non-linear editing
    3. Label options
    4. Syncing options for sound and pictures
    5. Maintaining labels
    6. 24 fps pictures in PAL
    7. 24 fps pictures in NTSC
    8. Digitizing without timecode
    9. Creating logging databases externally
    10. Working with external databases
    11. Doing away with the external database
    12. The future?
  21. 11 Timecode and the AES/EBU digital audio interface
    1. Introduction
    2. AES/EBU digital interface
    3. Alternatives for timecode in AES3 channel status
  22. Appendices
    1. 1 The colour frame sequence and timecode
    2. 2 LTC and VITC specifications
    3. 3 Timecodes conversion
    4. 4 The use of binary groups with film
    5. 5 The extended use of binary groups
    6. 6 AES/EBU interface channel status data
    7. 7 EBU recommendations for the recording of information in the user bits
    8. 8 3-line VITC for fiim-to-tape transfer
    9. 9 Global standard frequency and time transmissions
    10. 10 Nagra IV-S TC multifunction keypad facilities
  23. Bibliography
  24. Index