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by J. Ratcliff
Timecode A User's Guide, 3rd Edition
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
Introduction
The denary (decimal) system
The binary system
Binary-coded decimal
2's complement coding
The hexadecimal system
Bit rate requirements
Simple digital codes
Organization of digital data
Causes of errors in digital systems
Error detection
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
Introduction
EBU/IRT and EBU/TDF timecodes
SMPTE film codes
DataKode®
Aaton and Arriflex timecode systems
Machine-readable film timecodes
Film transfer to PAL video
3-line VITC
Film transfer via 3/2 pulldown
Control of 4:3 scanning for the presentation of wide-screen films
6 Timecode and MIDI
Introduction
Channel messages
System messages
MIDI synchronizers
MIDI and IEC timecode
Quarter-frame messages
Full-frame messages
Synchronization between IEC, MTC and MIDI clocks
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
The transfer suite
Off-line editing
Assembly editing
Insert editing
Pre-roll requirements
The edit decision list
Editing and the colour frame sequence
Audio post-production
Synchronizers
The ESbus
Synchronizer features
Synchronizer problems
DAT in digital postproduction
Timecode and stereo pairs
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
Introduction
AES/EBU digital interface
Alternatives for timecode in AES3 channel status
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
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Prev
Previous Chapter
Copyright
Next
Next Chapter
Dedication
Contents
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
Introduction
,
The denary (decimal) system
,
The binary system
,
Binary-coded decimal
,
2's complement coding
,
The hexadecimal system
,
Bit rate requirements
,
Simple digital codes
,
Organization of digital data
,
Causes of errors in digital systems
,
Error detection
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 Mil 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
,
1/4in centre-track analogue audio
,
The Nagra IV-S TC
,
Audio analogue multi-track
,
Recording levels
5 Timecode and film
Introduction
,
EBU/IRT and EBU/TDF timecodes
,
SMPTE film codes
,
DataKode®
,
Aaton and Arriflex timecode systems
,
Machine-readable film timecodes
,
Film transfer to PAL video
,
3-line VITC
,
Film transfer via 3/2 pulldown
,
Control of 4:3 scanning for the presentation of wide-screen films
6 Timecode and MIDI
Introduction
,
Channel messages
,
System messages
,
MIDI synchronizers
,
MIDI and IEC timecode
,
Quarter-frame messages
,
Full-frame messages
,
Synchronization between IEC, MTC and MIDI clocks
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
The transfer suite
,
Off-line editing
,
Assembly editing
,
Insert editing
,
Pre-roll requirements
,
The edit decision list
,
Editing and the colour frame sequence
,
Audio post-production
,
Synchronizers
,
The ESbus
,
Synchronizer features
,
Synchronizer problems
,
DAT in digital postproduction
,
Timecode and stereo pairs
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
Introduction
,
AES/EBU digital interface
,
Alternatives for timecode in AES3 channel status
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 film-to-tape transfer
9 Global standard frequency and time transmissions
10 Nagra IV-S TC multifunction keypad facilities
Bibliography
Index
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