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Timecode
A timecode (alternatively, time code) is a sequence of numeric codes generated at regular intervals by a timing synchronization system. Timecode is used in video production, show control and other applications which require temporal coordination or logging of recording or actions. Video and film In video production and filmmaking, SMPTE timecode is used extensively for synchronization, and for logging and identifying material in recorded media. During filmmaking or video production shoot, the camera assistant will typically log the start and end timecodes of shots, and the data generated will be sent on to the editorial department for use in referencing those shots. This shot-logging process was traditionally done by hand using pen and paper, but is now typically done using shot-logging software running on a laptop computer that is connected to the timecode generator or the camera itself. The SMPTE family of timecodes are almost universally used in film, video and audio prod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
SMPTE Timecode
SMPTE timecode ( or ) is a set of cooperating standards to label individual frames of video or film with a timecode. The system is defined by the Society of Motion Picture and Television Engineers in the SMPTE 12M specification. SMPTE revised the standard in 2008, turning it into a two-part document: SMPTE 12M-1 and SMPTE 12M-2, including new explanations and clarifications. Timecodes are added to film, video or audio material, and have also been adapted to synchronize music and theatrical production. They provide a time reference for editing, synchronization and identification. Timecode is a form of media metadata. The invention of timecode made modern videotape editing possible and led eventually to the creation of non-linear editing systems. Basic concepts SMPTE timecode is presented in ''hour:minute:second:frame'' format and is typically represented in 32 bits using binary-coded decimal. There are also ''drop-frame'' and ''color framing'' flags and three extra ''bina ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
CTL Timecode
Control track longitudinal timecode, or CTL timecode, developed by JVC in the early 1990s, is a unique technique for embedding, or ''striping'', reference SMPTE timecode onto a videotape. Similar to the way VITC timecode is embedded in the vertical interval area of a video signal, CTL timecode embeds SMPTE timecode in the '' control track'' area of helical scan video recordings. The advantage of both VITC and CTL timecode is that an audio track does not have to be sacrificed for linear timecode. Though a very effective technology, and still probably in limited use today, CTL timecode never really caught on. JVC is apparently the only manufacturer that included CTL timecode capability in their video products, and this was limited to select professional S-VHS equipment. When it was introduced, there was much negativity about CTL timecode, because people misunderstood how it worked. Many incorrectly assumed that CTL timecode was nothing more than a ''control track pulse'' signal. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Burnt-in Timecode
Burnt-in timecode (often abbreviated to BITC by analogy to VITC) is a human-readable on-screen version of the timecode information for a piece of material superimposed on a video image. BITC is sometimes used in conjunction with "real" machine-readable timecode, but more often used in copies of original material on to a non-broadcast format such as VHS, so that the VHS copies can be traced back to their master tape and the original time codes easily located. Many professional VTRs can "burn" (overlay) the tape timecode onto one of their outputs. This output (which usually also displays the setup menu or on-screen display) is known as the ''super out'' or ''monitor out''. The ''character'' switch or menu item turns this behaviour on or off. The ''character'' function is also used to display the timecode on the preview monitors in linear editing suites. Videotapes that are recorded with timecode numbers overlaid on the video are referred to as ''window dubs'', named after the "w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
MIDI Timecode
MIDI time code (MTC) embeds the same timing information as standard SMPTE timecode as a series of small 'quarter-frame' MIDI messages. There is no provision for the user bits in the standard MIDI time code messages, and SysEx messages are used to carry this information instead. The quarter-frame messages are transmitted in a sequence of eight messages, thus a complete timecode value is specified every two frames. If the MIDI data stream is running close to capacity, the MTC data may arrive a little behind schedule which has the effect of introducing a small amount of jitter. In order to avoid this it is ideal to use a completely separate MIDI port for MTC data. Larger full-frame messages, which encapsulate a frame worth of timecode in a single message, are used to locate to a time while timecode is not running. Unlike standard SMPTE timecode, MIDI timecode's quarter-frame and full-frame messages carry a two-bit flag value that identifies the rate of the timecode, specifying it a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Linear Timecode
Linear (or Longitudinal) Timecode (LTC) is an encoding of SMPTE timecode data in an audio signal, as defined in SMPTE 12M specification. The audio signal is commonly recorded on a VTR track or other storage media. The bits are encoded using the biphase mark code (also known as ''FM''): a 0 bit has a single transition at the start of the bit period. A 1 bit has two transitions, at the beginning and middle of the period. This encoding is self-clocking. Each frame is terminated by a ' sync word' which has a special predefined sync relationship with any video or film content. A special bit in the linear timecode frame, the ''biphase mark correction'' bit, ensures that there are an even number of AC transitions in each timecode frame. The sound of linear timecode is a jarring and distinctive noise and has been used as a sound-effects shorthand to imply ''telemetry'' or ''computers''. Generation and Distribution In broadcast video situations, the LTC generator should be tied int ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rewritable Consumer Timecode
The Rewriteable Consumer Timecode (RCTC, RC Timecode, or RC Time Code) is a nearly frame accurate timecode method developed by Sony for 8mm and Hi8 analog tape formats.Sony CCD-V801 Manual Page 9 covers RC Timecode and Data Code formats. The RC timecode is written by the video camera directly to analog tape tracks and records the hour, minute, second and frame for each frame of video recorded to tape. Officially, RCTC is accurate to within ±2 to 5 frames. The RC timecode information is written in a separate area of the track so as to not disturb the audio or video information recorded on the tape. The RC timecode was used in conjunction with the datacode to record date, time and frame information directly to the 8mm tape tracks. On several video camera models, |
IRIG Timecode
Inter-range instrumentation group timecodes, commonly known as IRIG timecode, are standard formats for transferring timing information. Atomic frequency standards and GPS receivers designed for precision timing are often equipped with an IRIG output. The standards were created by the Tele Communications Working Group of the U.S. military's Inter-Range Instrumentation Group (IRIG), the standards body of the Range Commanders Council. Work on these standards started in October 1956, and the original standards were accepted in 1960. The original formats were described in IRIG Document 104-60, later revised and reissued in August 1970 as IRIG Document 104-70, upgraded later that year as the IRIG Document to the status of a Standard, IRIG Standard 200-70. The latest version of the Standard is IRIG Standard 200-16 from August 2016. Timecodes The different timecodes defined in the Standard have alphabetic designations. A, B, D, E, G, and H are the standards currently defined by IRIG S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vertical Interval Timecode
Vertical Interval Timecode (VITC, pronounced "vitsee") is a form of SMPTE timecode encoded on one scan line in a video signal. These lines are typically inserted into the vertical blanking interval of the video signal. With one exception, VITC contains the same payload as SMPTE linear timecode (LTC), embedded in a new frame structure with extra synchronization bits and an error-detection checksum. The exception is that VITC is encoded twice per interlaced video frame, once in each field, and one additional bit (the "field flag") is used to distinguish the two fields. A video frame may contain more than one VITC code if necessary, recorded on different lines. This is often used in production, where different entities may want to encode different sets of time-code metadata on the same tape. As a practical matter, VITC can be more 'frame-accurate' than LTC, particularly at very slow tape speeds on analog formats. LTC readers can lose track of code at slow jog speeds whereas VITC ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Show Control
Show control is the use of automation technology to link together and operate multiple entertainment control systems in a coordinated manner. It is distinguished from an entertainment control system, which is specific to a single theatrical department, system or effect, one which coordinates elements within a single entertainment discipline such as lighting, sound, video, rigging, or pyrotechnics. A typical entertainment control system would be a lighting control console. An example of show control would be linking a video segment with a number of lighting cues, or having a sound cue trigger animatronic movements, or all of these combined. Shows with or without live actors can almost invariably incorporate entertainment control technology and usually benefit from show control to operate these subsystems independently, simultaneously, or in rapid succession. Show control networks Show control networks have largely supplanted older show control typologies. This is primarily due to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Radio Clock
A radio clock or radio-controlled clock (RCC), and often (incorrectly) referred to as an atomic clock is a type of quartz clock or watch that is automatically synchronized to a time code transmitted by a radio transmitter connected to a time standard such as an atomic clock. Such a clock may be synchronized to the time sent by a single transmitter, such as many national or regional time transmitters, or may use the multiple transmitters used by satellite navigation systems such as Global Positioning System. Such systems may be used to automatically set clocks or for any purpose where accurate time is needed. RC clocks may include any feature available for a clock, such as alarm function, display of ambient temperature and humidity, broadcast radio reception, etc. One common style of radio-controlled clock uses time signals transmitted by dedicated terrestrial longwave radio transmitters, which emit a time code that can be demodulated and displayed by the radio controlled clock ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shot-logging
In filmmaking and video production, shot logging is the process by which shoot metadata is captured during a film or video shoot. During the shoot, the camera assistant typically logs the start and end timecodes of shots, and the data generated is sent on to the editorial department for use in referencing those shots. At the same time, information such as scene/slate number, camera ID and take is noted. Where there are other technical systems producing metadata, their timecodes and settings are also noted. At the same time, non-technical information such as continuity and take selection information is usually recorded as part of the same process. This shot logging process was traditionally done by hand using pen and paper, and is now typically done using shot-logging software running on a laptop computer that is connected to the time code generator or the camera itself. Modern digital cinema cameras, film cameras, professional video cameras, and 3D rigs typically have some form ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
AES-EBU Embedded Timecode
AES3 is a standard for the exchange of digital audio signals between professional audio devices. An AES3 signal can carry two channels of pulse-code-modulated digital audio over several transmission media including balanced lines, unbalanced lines, and optical fiber. AES3 was jointly developed by the Audio Engineering Society (AES) and the European Broadcasting Union (EBU) and so is also known as AES/EBU. The standard was first published in 1985 and was revised in 1992 and 2003. AES3 has been incorporated into the International Electrotechnical Commission's standard IEC 60958, and is available in a consumer-grade variant known as S/PDIF. History and development The development of standards for digital audio interconnect for both professional and domestic audio equipment, began in the late 1970s in a joint effort between the Audio Engineering Society and the European Broadcasting Union, and culminated in the publishing of AES3 in 1985. The AES3 standard has been revised in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
