Polarman
Joined: 24 Jun 2005
Posts: 55
Location: Barbados |
| Week 10 - Synchronization |
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1. Comment on sprocket hole sync.
2. What is 'Pilotone'?
3. What is 'Neopilot'?
4. Do Pilotone and Neopilot contain an address?
'Finger sync' (Example: Music composer working to picture with a MIDI sequencer)
5. Does a music composer need a synchronizer?
6. How is a stopwatch useful?
7. What is 'burnt-in timecode'?
8. Is a domestic VHS deck adequate?
9. Must the video have timecode?
10. Is it important for a composer to be able to record while watching the picture in sync?
11. How can the composer playback and check his/her work in sync?
12. Can audio (as well as MIDI) be recorded in this way?
13. Can dialogue and sound effects be recorded in this way?
Code-only master
14. Must the video have timecode?
15. How would the timecode get onto the video?
16. How is timecode connected to the sequencer?
17. What is MTC?
18. Does MTC come in all the frame rates of SMPTE/EBU timecode?
19. Does MTC contain an address?
20. Does MTC contain a clock?
21. Is MTC useful for synchronizing a MIDI sequencer?
22. Is MTC useful for synchronizing digital audio?
23. Is MTC useful for synchronizing analogue audio?
24. What information does the synchronizer receive from the video?
25. What happens when the video is stopped and rewound?
26. Does this matter in a MIDI-only system?
CTL and direction
27. What is the advantage if the video deck can output CTL (tach) pulses and direction information?
28. Is a more sophisticated synchronizer necessary?
29. Is it now convenient to record onto tape?
30. What happens if the audio machine rewinds more slowly than the video machine?
31. What happens if the audio machine rewinds faster than the video?
System operations
32. Striping
33. Master/slave relationship
34. Chase
35. Offset
36. Play to park
37. Layback
More on burnt-in timecode
38. What is LTC?
39. Can LTC be read in still frame mode?
40. How is burnt-in timecode created?
41. What is a character inserter?
42. What is VITC?
43. Can VITC be read in still frame mode?
44. What advantage does VITC have over burnt-in timecode?
'Digital pulldown'
45. Why is film shot for video at 24fps?
46. Is it easy to convert 24fps to 29.97fps?
47. Is it easy to convert 24fps to 30fps then slow down slightly?
48. If audio is recorded digitally, then slowed down by 0.1%to match the pictures, what will the new sampling rate be?
49. Why is it misleading to refer to this as 'pulldown'?
50. Comment on the Sony 9-pin system of synchronization.
51. Comment on the ESbus system of synchronization.
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Mon May 08, 2006 10:53 am |
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JakoBee
Newbie
Joined: 19 Apr 2007
Posts: 4
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Week 10 - Synchronization
1. Comment on sprocket hole sync.
Is a sync based on the sprocket counter, which counts the sprockets in the film tape to indicate the speed and location of the film.
2. What is 'Pilotone'?
Pilotone is a system that is most often used for 16mm and 35mm film shootings.
The camera motor generates a 50Hz "pilotone" which is sent by the sync-cable to the sound recording device. 50Hz was chosen because of some electricity frequency issues (alternating). When the sound is later transferred to perforated tape the pilotone works as a reference signal to the tape recorder and during this process it will sync up!
3. What is 'Neopilot'?
The sync pulse system used in Nagra mono recorders (such as the 4.2), recording the sync pulse (usually 50 or 60 Hz) twice, out of phase with each other. The sync signal will not be heard when played back on a full-track mono head.
4. Do Pilotone and Neopilot contain an address?
NO
'Finger sync' (Example: Music composer working to picture with a MIDI sequencer)
5. Does a music composer need a synchronizer?
Yes
6. How is a stopwatch useful?
As a simple (not precise) timer. It is only used as a last option, if none other available.
7. What is 'burnt-in timecode'?
It is the On screen readable timecode. See later answers and/or picture
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8. Is a domestic VHS deck adequate?
For what?
9. Must the video have timecode?
Yes, if the tape is to be used as a time code master.
10. Is it important for a composer to be able to record while watching the picture in sync?
Very important! Both when composing and when recording the orchestra. A little monitor is showing the picture while the conductor - along with a synchronized click in every musicians headphones - is responsible for the sync.
11. How can the composer playback and check his/her work in sync?
The DAW or taperecorder is synced with the timecode master, and therefore he is free to record alongside viewing the film. He can also rewind and fast forward as he wishes.
12. Can audio (as well as MIDI) be recorded in this way?
The DAW or taperecorder is synced with the timecode master, and therefore he is free to record alongside viewing the film.He can also rewind and fast forward as he wishes.
13. Can dialogue and sound effects be recorded in this way?
The DAW or taperecorder is synced with the timecode master, and therefore he is free to record alongside viewing the film.He can also rewind and fast forward as he wishes.
Code-only master
14. Must the video have timecode?
If the video is the master, then yes.
15. How would the timecode get onto the video?
Ref. to Q7
16. How is timecode connected to the sequencer?
Via Midi Time Code
17. What is MTC?
Midi Time Code or from the timecode audio output to the highest audiotrack in the sequencer.
18. Does MTC come in all the frame rates of SMPTE/EBU timecode?
Yes
19. Does MTC contain an address?
?
20. Does MTC contain a clock?
No, it is strictly a way of communication between say a sequencer and a video deck.
21. Is MTC useful for synchronizing a MIDI sequencer?
Yes
22. Is MTC useful for synchronizing digital audio?
Yes
23. Is MTC useful for synchronizing analogue audio?
No
24. What information does the synchronizer receive from the video?
Frame counts - The SMPTE timecode
25. What happens when the video is stopped and rewound?
The risk of a few frames being skipped.
26. Does this matter in a MIDI-only system?
No
CTL and direction
27. What is the advantage if the video deck can output CTL (tach) pulses and direction information?
CTL (Control Track Longitudinal) IS SMPTE timecode so you can use it as a master for other devices. CTL has specific digital references for every frame of video. (like VITC)
28. Is a more sophisticated synchronizer necessary?
NO
29. Is it now convenient to record onto tape?
As CTL has references for every frame, I would say it is fairly safe.
30. What happens if the audio machine rewinds more slowly than the video machine?
Doesn’t matter cause when you’re using CTL as a master there is always
References as to where the audio should start back up, when played.
31. What happens if the audio machine rewinds faster than the video?
Doesn’t matter cause when you’re using CTL as a master there is always
References as to where the audio should start back up, when played.
System operations
32. Striping
Is recording the audio smpte timecode to the highest audio track.
33. Master/slave relationship
Well a master is the device that control other devices in the recording chain. (Time Wise that is)
34. Chase
The word for what the slave is doing when locked to the master
35. Offset
Starting position of the counter -. F.ex. 01:00:00:00:00
36. Play to park
Is when a slave is slower than the master. Then it will fast forward/rewind to approximately the timecode position of where the master is parked. Then it plays at normal speed until the exact position is reached.
37. Layback
is the process by which the final sound mixes are transferred onto your Videomaster. This is obviously an extremely important stage and the audio will need to conform to tight technical specifications in terms of levels, phase and of course synchronicity
More on burnt-in timecode
38. What is LTC?
Liniear Time Code, Where timecode is put on the edge of a videotape.
39. Can LTC be read in still frame mode?
No, only when the tape is moving.
40. How is burnt-in timecode created?
Videotapes that are recorded with timecode numbers overlaid on the video are referred to as window dubs, named after the "window" that displays the burnt-in timecode on-screen.Timecode can also be superimposed on video using a dedicated overlay device, often called a "window dub inserter". This inputs a video signal and its separate timecode audio signal, reads the timecode, superimposes the timecode display over the video, and outputs the combined display (usually via composite), all in real time. Stand-alone timecode generator / readers often have the window dub function built-in.
41. What is a character inserter?
Well it’s the function of BITC. On or Off
42. What is VITC? (“vitsee”)
a form of SMPTE TC embedded as a pair of black-and-white bars in a video signal. These lines are typically inserted into the vertical blanking interval of the video signal.
43. Can VITC be read in still frame mode?
Yes, VITC keeps machines locked when in pause mode (still frame)
44. What advantage does VITC have over burnt-in timecode?
VITC can be read at extremely slow speeds. Making editing much easier.
'Digital pulldown'
45. Why is film shot for video at 24fps?
24 FPS is what it takes to make the human eye conceive movement.
46. Is it easy to convert 24fps to 29.97fps?
Yes. If you have acces to a TELECINE. The telecine inserts duplicate frames into the video to make up the difference. This technique is called a 2:3 pulldown.
47. Is it easy to convert 24fps to 30fps then slow down slightly?
Yes by Drop Frame - The first step is to slow down the film motion by 1/1001. Then you have 23.976 frame/s. The do the 2:3 pulldown.
48. If audio is recorded digitally, then slowed down by 0.1%to match the pictures, what will the new sampling rate be?
Well kind of hard to answer when there are unknown factors like say, what SR is it recorded in?
49. Why is it misleading to refer to this as 'pulldown'?
Because you are actually adding more frames, not taking any out.
50. Comment on the Sony 9-pin system of synchronization.
Is a system consisting of two VTR's an one edit controller. When the editor has decided the in and out points, the editor controller takes over and control the VTR's, which copies from one tape to another. The connections were made with a 9-pin cable. therefore the name.
51. Comment on the ESbus system of synchronization.
ESbus is an interface protocol, which controls the communication between the synchronizer and the transport. It recieves the commands from the synchronizer and the answers from the transport. |
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Tue May 22, 2007 3:02 pm |
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