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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