- 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
-
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