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User's Manual

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A guide to Super 8 sync filmmaking techniques

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With sound on SuperS fully coated magnetic film, Super S sync filmmaking is as straightforward as 16mm practice

SuperS Soun'a Recorder /

USER'S I1ANUAL f.

HHRODUCTlOIi

II.

THEORY AIIO OPERATION OF THE SUPER 8 sourm RECORDER A. A CONVERTED QUARTER-INC H TAPE RE CORDER B. C. O. E. F.

Il l.

IV .

SERVO-ELECTRONIC SPEED CONTROL THE ER RO R SIGNAL, NEGATIH FEEDBAC K, MASTER & SLAVE WHAT THE SnlC METER SffOWS HOW TO SET THE SYNC METER AND PRESET THE SPEED MEMORY LOADING THE RECOR DE R WITH MAG FILM

BASIC APPLICATIONS OF THE SUPER 8 SOUND RECORDER A. O~ LOCATI ON - CABLED TO A CAMERA 8. C. O.

ON LOCATION - WITH A CRYSTAL CAMERA IN THE LAB - AS A RES(}LVER IN THE LAB - MAKING A SAFE COPY

ON THE EDIT ING BENCH - AS AN AMPLI FIER

F. G. H. !. J.

I N THE I N THE IN THE I N THE

SCREENING ROOM - OOOBLE - SYSTEM PROJECTION STUDIO - MUL TlPLE SUPER B SOUND RE CORDERS STUDIO - WITH MULTI PL E TRACK TAPE RECORDERS STUDIO -

IN THE LAB IN THE LAB

IN TH E LAB -

FILM

UNUSUAL US ES A. 18fps AMATEUR SPEED B. MANUAL SYNC TRANSf ERS FROM SYNC TAPES WITH SYNC DROP-OUTS C. USE WITH 16rrrn CAMERAS AND PROJECTORS O. USING THE INTERNAL MI CROPfiONE FOR SLAT ES E. START/STOP OPERATION FROM A CAMERA F. MECHANICALLY INTERLOCKING THE SUPER 8 soutm RECORDER G. TRANSFER RIN G MORE TlWt 19 MINUTES OF MAG FlUl

APPENDICES

A. B.

c. D. E. F.

01975

LIST OF COMPATIBLE SYNC CAMERAS LIST OF CIJ'1PATIBLE SYN C RECORDERS SYNC SOCKET SCH EMATIC DIAGRAM ON SUPER 8 MAG FILM " CATI.ONSLI ST. SERVICE PROCEDU RE -1 fOR THE SUPER 8 SOUND RECORDER

SuperB Sound , Inc ., 95 Har vey St., Cambridge, MA

02140

The Super8 Sound Recorder LOCATION RECORDER LABORATORY RESOL VER EDITING BENCH AMPLIF IER SOUND STUDIO DUBBER TRANSFER RECORDER

BU I LT· lN

ElECTRET

COMlEHSER

MICROPHONE

RECORD

II(TERLOC~

LEVER MI CROPHONE INPUT

AUXILIARY I,,"'

SPEAKER/MONITOR LEVEL SWITCH

SYNC REFERENCE

SWITCHES (AUTO/

MAI/UALI CRYSTAL)

PlLOTONK/ LINE)

M1CROPflOHE SELECTOtlI MIXER Sw ITCH

METER fUNCTION

SWITCH (SYNC/'IU)

AC/IX EXTERNAl.

POWER

SOCKET METER ~:i~: 'HER mIT METER

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....

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SuperB Sound, Inc. 9S Harvey Street, Cllmbriclge. Mass.02140

I. Introduction The Suj)l'r 8 Sound ReCOrder is a .. Itiple purpose IIoIch i nl' t hat r Kords on Supe r 8 full ycoated 1Iol9~etlc. (II1II9) HIli ~nd coclolnes tile functions of 10'6tlon rI!'Cord@r. labor~tory resolver , sound s t udio (luober, and t ... nsfer recorder. It is cOIIP<Itlble with all st4nd~rd sync equipo:aent. profession.l or luteu r , pilotone or digital once-pe r -fr 4l!le (l1F) sync pulse . reel-to-~el or cassette.

The Supe r 8 Sound Recorder "" be used w1th about 40 Super 8 came ras , with no camen modific4tions, to shoot ort glna l sync sound. The IMchi ne se rvo-cont rols its own speed to mil t ch t he frame rate of the carroe r a during f ilming. It produ ces a so un d track directly on eUil y e<lited Super 6 fullcou IIIIIgnetlc flh•. For t he fl1nmaker wr.o prefers t o record his sound on ma gneti c tape. quar ter -Ind or cassette. In th e f ield , ttle Super 8 Sound Recorder will ~u tomatieally trans fer ( resolve) the sync sound froon tlpe to ful1coat. The hpe n.lst have a sync pu l st t. ra c~ .. Hh eHhe r one pulse pe r f ral\t (1/ F) or the standard Wlz pilotone si9nal (~z outside t he USA). The Super 8 Sound RKorder brings to Supe r 8 the straigh tfol"olard double-syHeIIl editing techniques of 16nII and 35m fil_Ung . bt<:allse f ullcoa t IIIlgnetic filn can be usily cut fra:llt-for-fra~ alongside pietul't fil •. Super 8 -.JgM' tlc filII lias been cOHed its fu ll width with ~gnetic o~i de in "",eh the sail!! .. ay the edge s tr ipe Is applied to Supe r 8 sound tll.s. Tile ... gnetle o~ide is the tml1s10n. There is no pic ture arn. Since fullcoat IIIoJgnetic til. ha s prKisely the UIIIe width, sproc ket hole s i ze, and dhunce betwen holes IS pi cture f ilII, it will run throu9h the saml! ,;oa th!ne; that accep t f il l'!l, ifICluding projlllCtors . sy nchronizers . and editing tables.

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In the sound s tudio the Supe r B So und Recorder can b.e used in comb in Hl on with othe r Super 8 Sound Recorde r s f or IUl t/ ple track mh es . or for so und dubS on a new full coat track wh il e lhtening In sync t o exi sting trach. Prep~ration of a splice-free raaste r souM t rack .hed down from Blltiph Or191nal t r~ch can also be done .. Ith j~H one Supe r 8 Sound RKordcr and ~ f ou r- ch.nnel qu~ rter- Inch t. pe recorder, .. lth one ch~Me l carrying a sync s i gnal . In t ile laboratory . t rans f er s can be made troll the cOlllPOsite .. ster trick to .. gne t ic edge stripe on any sound nco rd ing projector equipped .. ith a l/ F conuc t switch. Using the s _ pr ojector I n phyb.Jock. sound r eco r ded In the caraera on I:odlk Ektnound sound - on- s tri pe '11. can be tranSferred frOil t ile slngh!-sys t eoa forw t to Super 8 (ullcNt for double - systen editi ng . Th is gives the fillJllilker tile capabili t y of shooting s ingle-sys t tll'l and editing double - system. t he be s t of bot h worlds. The use of Super 8 ful ly - coa ted fI'IIgnetlC fl1m was pioneered by Pro f essor Richard Leacock of MIT and Dr. Robert D. [loyle of Harvard Uni versity. Al Mecklen tlurg and Jon Rosenfeld, CO- desig ners with Leacock of the MIT/Leacod sys tem. no.. ~re work i ng with Dr. Doyle at Super 8 Sou nd .. here t hey have c~1eted t he design of integrated Super 8 film production systeals using Super 8 f ullcon .. g f i l II and the versatile Super B So und Recorder . The cOllPrehensive i nst ruct ions tllat follow include the theory of sfl'Ic operation . deta il ed desc r iptions of how to use the Rt(:order i n ten differen t buic syoe applicati on s . Slll1ge5tiDns for unusllal uses, .1Id several technical appendices. Pluse refer to t he supplied SONY TC800B r../Inual f or i nstructions on no..... 1 rt<:ordl ng and playba ck f unc t ionL

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II. Theory and Operation of the SuperB Sound Recorder II . A A CO~~ERTED QUARTER- INCH RECORD(R The Syper 8 Soynd Recorder j S ~ converted Qu arter- Inch u~e record~r (SONY. TC8IXlB). Its 9uidePO~ts hav e been widened s1ig llt ly to accom<iHe t Ight lIill11!11! te r w,de Supe r 8 magnetic fl1 _, Instead of quar te r . Inc h (6 .35Il10) t.lpe. Its basic runnin9 speed .... s been changed to four inches per st(:ond, which corresponds to 24 frames per second at. the Super 8 til . pitch of si:t fr_s per l och. The Sul'4! r 8 Sound Recorder .150 synchronIzes at the aOll/lle",r speed of 18fps (3Ips). SI<~r

,s.,~nd

fI.'cor<UJr eolltl'O! ~..itr!l

Quart.r_inoh Tap. Ouuu~u

WId

• •

• • • • Sl<p.or 8 1'l4Hcoot ar.d Ouid<lp"u" •

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toqJ l l'~ e l ectronic circuit r y lias been installed in the Super it to ~tch speed predsely wlth.t" outside ",ference sp.eed,

8 Sound Recorder. enabling suc h as the f T11IIe rate of a call1l!r,, or proje<::tor . Thts r eference fr.tllle r ate can cone di rectly fron the c.lIIt ra or fT'Olll a l/r (24Hz) tape recorded sync s ign. l. Tht' s.u!ler 8 Sound Reco r der "Ill .lso -atch its speed to the At 60Hz line frequency, an In t er nal quartz cr ysta l clock, or. 60Hz pl1oto ne sig nal (a 50Hz e ~pOrt model Is avaihble). thus ~ k ln9 it cOO1p ati ble .... lth all 16m and 3511111 sync sound equ i pment. iJ. B

S€RVO - ELECTRON 1C SPEED CONTROL

The Super 8 Sound Recorder -atthes speed by an eleor-elll. ry prinCiple of servo-"lectron i c s~ d control e.lPloying negHIyf' feedback. The ralf' o f wrockf't holes passing the IIIlg· net i c hU d IS sensed pho t O-f' l eclr1cally by a 11ght-em'ttlng diode and pho t ot r.n slstor. This Nh! is compared t o .... ha t eve r uternal 5Y",; reference rat e is desl r e<l (c.me r a . 60Hz pi 1otone, quartz crystal, AC I i ne freq uency , recorded sync s i9na I, proJector, etc . ) . If the Supe r 8 Sou nd Recorde r rue Is too fast, or t oo slo... an error signal 1$ generated th at s low s dOrm or speeds up the Recorder capstan speed (nega t ive fe edback). The changes "",de In the capsta n speed co ntr ibute no de tectabl~ we. or flutte r . Thf' error s i gnal itself is disph.yed on a v isu~ 1 sync In.diCUor IE t er , so tilt operator can .cnitor sync condit ions at any tiOll!. lJn.de rs tandlng .ha t the sync irldicator meter is displaying will help the operato r to achi eve perfect sync r e<ordlngs and aho dl1011 special awllutlons such a s Nnual cont r ol of sync.

I I.C

HO'~

THE ERRO R SIGNAL IS PRODUCED

Synchronis. be t.een the r ate of IIII.g fi 111 sprocket holes and ~ "..aste r " rate set by thf' e~ter ... l sync re f er ence. (".ra. projecto r, etc.) is accompJishe<l by ~tching uo "lIIIste r pulses" from the ~yn( r eferencf' to ·slave pulses· fT'Olll the illig fll. sprat ket holn one by one. For exa~l e, edeh frame of flll11 e.pose<l In the e'Gera nas a correspon.ding ... ster pulse derived froa t he IfF conun swacll In t he cult r a. For each m4ster pUlse t hel'i! .111 be one, 'lid only one, slave PIIlse coming fron a IIIg fll. sprocket hole pusln9 the head of t ne Supe r 8 Souna Recorder ...hf'n th~ Rt'torder Is tn sync.

_._ 5

Theory UQN"

OR "MASTERn PU LSES -

E.G"

lIF

SWITCH SIGNAL FROM CAMERA

-1--\-~\~-\-~\~-\--\--I:--l~-

"OFF" OR "SLAVE" PULSES fI fI fI FLIP/FLOP

aNn

[1d SYNC METER

SPROCKET

HOLES

U U

I I

OFF

FROM MAGNETIC FILM

n n

tEXTRA "ONu

PULSE

[1d

METER SWI NGS

RAPIDLY ACROSS .6.T THIS POINT

In the i1 1 ustr~tion shown. the Cdmera is assumed to be ru nni ng faster than the Super 8 Sound Recorder. Master pulses are coming ear l ie r and earlier in each cycle relative to the s lave pulses from the sprocket holes. This s low speed "error" in the Super 8 Sound Recorder is detected and measured by a digita l 10g1c device known as a "flip/flop". EaCh master puls e turns t he flip/flop to its "on" state , and each sl ave pulse turns the flip/ flop "off" . If the recorder is slow, as assume<!, the nerage time the flip/flop is on will be increasing. The d~erage "on" t i me of this fli p/flop is an error SigMl which can be fed back 1nto the mo tor of the Super 8 Sound Recorde r, creating a closed se r vo " l oop", with the following property of stability at t he correct master pulse rate: If the Reco r der runs slow relative to the master sync pu ls es. the average voltage from the flip/flop inc r eases, speeding t he Recorder up to the correct speed.

IF the Reco rder runs fast relative to the master sync pulses, the average voltage from the flip/flop decreases, slowi ng t he Recorder down to th e co rrect speed.

EACH PIC TURE FRAME TURNS THE FLIP/FLOP NON " I

FLIP/FLOP LOGIC CIRCUIT

EACH MAGNETIC FILM SPROCKET HOLE TURNS THE FLIP/FLOP "OFF" METER READS AVERAGE VOLTAGE

..../

6 _e_

WHEN NEEDLE IS STEADY , RECORDER IS LOCKED IN SYNC

AVE RAGE VOLTAGE FROM THE FLIP/F LOP IS FILTERED AND SUPPLIED TO THE RECORDER'S MOTOR

Theory servo

1 tile negat i ve feedback of t he error

back '"';,

~pr>ea r s,

if any Sound

d~'"" ' error

r un slow

Negative feedback and the principle of servo-control are thus able to replace the brute force synchronhm achieved by mechanical sprocket drives, and without the flutter that results as sprocket teeth POP in and out of sprocket ho l es. A Cl)dlparison with 160m ful1coat magnetic film recorders will reyeal hCIW much simpler ilnd more elegant are the 50called "electronic sprockets" of the Super 8 Sound Recorder, II .D

\.IHAT THE SYNC METER SHOWS

When the Super S Sound Recorder ..eter function switch is set to SYNC, the meter displays the average "on" t ime of the f lip/flop. Sup.,ose the master pulse rate (camera, projector, etc.) should slow down for some reason, Then the master pulses .... 111 corne later in edch cycle, making the slave pulses appear relatively earlier, and reducing the dve r age "on" time of the flip/flop. The meter needle .... ill drift to the left and the average voltage supplied to t he Recorder's motor "ill decrease the III<Ig fl1R1 speed to natch exactly the maste r pulse rate . Thus when the sync needle is drifting slowly to the left, it is because the Recorder (sound) is getting ahead of t he picture. This may be caused either by the Recorder speeding up for some reason, or by the picture (master pulses) slowing down. The result would be the same, in that the sound is relatively runoing fast. It is the convention in fi l m editing to re f er the re l athe error to the sound. and never describe the picture as early or late. ahead or behind . We observe this convention , even though the e~'el1ent speed stability of the Super 8 Sound Recorder insures that if a discrepancy of a small frac t ion of a frame does arise. it ,,111 be the came r a or projecto r 's spe ed variation that causes it.

Table 1.

Interpreting s.... i ngs of the sync meter needle. SOUND GETTING

~EAD

LEFT indicates AHEAD (by a

SOUND GETTING BEHIND A slow needle drift to the RIGHT indicates SOUND is moving slowly BEHIND

and note that

and note that .... ould one full

t he un would inBEHIND one full

If the sync meter needle stays cOOlpletely to the LEfT. this indicates a loss of sync master pulses. The flip/flop is not being turned on. If the sync meter nee dle stays conpletely to the RIGHT, this indicates a loss of slave pu l ses f r om the ~a9netic f ilm sprocket holes. The flip/flop is not being turned off.

_sSouno

Theory I1.E

HOW TO SH THE SYNC METER AND PRESET TIlE SPEED MEMORY

the sync meter, set the

switche~

to AUTOMATIC and dn

~ppropriate

SYNC

you sUrt first with the LINE reference, make svre the Recorder is plugged there \;il1 be no sync signal. Set the METER rUllCTION switch to SYNC, mdg fnm is in the Recorder and start the Recorder. Usually the n sync, with the ~ter needle steady sOOIeWhere in its range. If the

Recorder speed s too high Or too low, the meter needle will drift to one side, then swing rapidly across its full range, then drift back to the same side, etc. Each swing represents one frame gained or lost. To stab1l1ze the needle, check that the SPEED TU:WIG switch

5 on and turn the

SPE ED TU:HNG control. Turn toward fAST if the needle is swinging r:apidly to the left, and to ... ard SLOW 1f the rJpid 5... i"gs are tOl,ard the right. See hble 1 ~bove for ~n expla"Hion. The Super S Sound Recorder i s in ,ym; ~s long as the needle is Heady anywhere, but the needle Should be set Initially by follo ... lng tMe SPEED MEMORV setting procedure belo.... To preset the SPEED MEf>(JRV to remember the speed of a camera. connect the camera's sync cable. s ... ltch the SVIK REFERENCE to MANUAL (and DIGITAL or I'ILOTONE depending on the camera), run the camera, and adjust the SPEED TUNING control to stabtlize the needle. If there i, d significant difference bet ... een your camera's speed ... hen etnpty and ... hen loaded ... ith film, you should set the SPEED MEMORY ... ith film in the camera. Running the camera ... ith an expended cartridge (fully EXPOSED) ... ill usually Simulate the nonnal running speed ... ith film. Since the Recorder is on MANUAL, this setting cannot be as perfectly steady as it is on AUTOMATIC. Just stop the needle from drifting as best you can. No" Switch to AUTOMATlC and proceed "Hh filming. When the camera stops, the Re.:order .. ill keep running at the Sdwoa preset speed. The syne meter needle .,ill drop to the left hand side, since there is no sync signal. Upon restarting the cawoara after reloading "ith film, there occasionally may be a slight wo" in the sound at the start of the new shot, but there "ill be no overall pitch change, so that all sound is usable "ith editing.

I1.F

LOADING THE RECORDER WITH MAG FILM

The Super 8 Sound Recorder will accept Super 8 fulleoaL milg film loaded on ordinary Super 8 Mvie reels, provided a hub adapter is used to fit the normal tape recorder spindle. Regular &rrn movie reels may be used, as the hub size is identical to the tape recorder hub, Quarter-inch tape reeh are too narro". A five-inch diameter reel, \;hich holds 200 feet of acetate Super 8 fllm. and about 400 feet of polyester base fullcoat mil9 fllm, is the ma~imum size. The hub adapter should be inserted from the top side of the reels. so the reels fit as tightly as possible to the spindles. If the reels are not do"n tIghtly. the fulleoat "ill scrape against the outer edge of the reel, Mag film should be threaded nonnally into the head area. It will drop automatically into the photosensor block assembly that reads the passage of the sprocket holes. Check that 1t is engaged correctly into the guidepost visible on the left-hand side. If it drops out of this guidepost, the photosensor "ill not see the sprocket holes, and the recording "ill not be i n the proper track area. If this is the case the sync meter \;ill stay to the extretne right. The fulleoat !IlJst al"ays be loaded "ith the sprocket holes do"n as it is placed on the Recorder ("A wind"). Tllis puts the n:agnetic o~jde position a"ay from the lens "hen the fullcOdt is run through a Super 8 projector, the same ~ide as the magnetic edge stripe. (See Appendi~ 0). It the head cover is fer:JQved from the Recorder to s1mplify 10cHion of start marks H the

record/pldyback head, bright lights should be prevented from shining into the photosensor assembly, IOhen using the Super 8 Sound Recorder outdoors in sunlight, it is best to operate ... ith the cover closed.

III. Basic Applications of the SuperB Sound Recorder II l. A

THE SUPER 8 SOU:fD RECORDER

LOCATIOH - CA8LED TO A CAMERA

S8S Recorder, Camere with l /F Iff voltage burst, or Piloto"e Microphone Cables Needed:

POssi ble Accessories: Sync Switch Settings:

Caller! Sync IAble

•

"-~ HeadPhones,

Carnera Silencer, Ext ensio n Sync Cable, Clapstid/Slate, Fishpo1e l\ooII

AUTOMATIC. DIGITAL or PllOTON£ depending on ca.era

Connect the sync cable t o the Super 8 SOund Recorder's Sync Socket (S·pin DI N 180' ), and tfgllten the loc~ ri ng . Con!leCt t he C&llera end o f the sync cable to tile PC contact . 8 pin Hinl-DIN socket, or other sync socket on the call1e ra, See Appendix A for the type of sync connection used In nrious Super 8 carlerf,S. You should ~ ffer tape the sync cab l e t o t he canera , or ot herwise provide strain relief for t he cabl e. Wit h ftlm (an H pem;$ed cartridge w111 do) in the ,ame r~ ~nd fullcoat n1119 fil .. in the Recorder, turn 1t on and run t he camer~ briefly to preset the SPEED MEMORY circuit (see section 1l.E aoove for the procedure) . Other.rise, you need only IIOnitor tile sync needle occnlonally to insure t hat i t Is holding steady neu the intersection of tile wh ite and red ~ones (zero VU) ckJ r lng filili ng. Be s ure to slate at the beginn i ng or end of each shot. Pos itive i ndica tion of any loss of sync is pro vided by the sync mete r need l e, which swings to the left side and stays t here if cables accidentall y disconnect. see Appendh A for a 11$t of currently available cOllpHlble sync ca.ner as and conne.;ting cabl es. 11 1. B

TH E SUPE R 8 SOUNO RECOROER ON lOCATION - WITH A CRYSTAL-CONTROLLED CAMERA

Supe r 8 Sound Recorder, CaD!ra "Ith Crys t al Caine ra Control Cables Needed;

None

Possible Accessories ;

Additional s.aS Re.;o rde r s, Additional CrysUIControlled C~ras (since all are i n si~lta neaus sync), Radio Renote Contro l, Microphones, Headphones , Camera Silencers, Clapst ick/S l ate, Fishpole 8o01llS , Crystal Cass e t t e Recorders (on person)

Sync Switc h Set t ings ;

CRYSTAl.

The sync reference switches Should be set to CRYSTAL, and either DIGITAl, PILOTONE, Or LINE (t his second switch ~etting , ffects nothing in thi s fJ(lde). With the Recorder runni ng with f ull coat r.ag fi lII the meter need le shou ld be stabi l ized, pre f erably near zero VU. The gr ut adv anta ge of crystal sync , as ide fl"OJl being cable l ess , is t hat any nurrtler of crystal sync ca.e rn can be used . and any numer of c r ys t a l recorders can record sound fTOll different po i nts of view. The Recorde r TUns stead i ly at 24fps between caD!ra shoh, fo r uninter rupted Ilui .... sound quality. Sl ates are still necess ary.

Basic Applications II!.C

THE S8SR IN TH E LAB - AS A RESOLVER FROM SYNC TA PE

Eq~ipment

Needed:

S8S Recorder, Sync Tape Recorder

Cables Needed:

Sync Resolver Cable, Audio Resolver Cable

Possib l e Accessories :

Equa 1 i zer, Compresso r/ Expander , Mon; tor

Amplifier , Speaker

AUTOMATIC or MANUAL, DIG ITAL or PI LOTONE

Sync Switch Settings:

_.The location sync recorder may be any recorder wit h a sync pulse trac k, If F OIGITAL or standard PiLOTONE. It must have provision for pl ayi ng back the sync pulse trac k. (Some provide signal output.) Connection sync signal outp ut and t he sas Recorder SYNC SOCKET is mde with a Sync Standard piloton€' signals (e.g ., Nag ra IV) are connected to Pi n 1 of the incl~des pi l otone ~igna1s recorded on t he ~econd trad of a ~tereo t~pe ~".~. l/F pu l se ~ i 9na l s from typ1cal sync cassette recorders (Poc ketsync , Scipio, 2209 , Uher 124) are connected to Pin 4, where they pass thraugh an extra preon stage. Strang l/ f pulses such as the 1000Hz tone bursts m de by the Nilo 1f recorded on a stereo t ape recorder at zero VU, should be wired to enter on Pi n t hey do not need extra preamplifintion. In the event the signa l is too weak to ~ble needle eve n through Pin 4, the original sync track should be further ; ! ;"i; :stfor by putt ing it t hrough t he lliIgnetic phono preamp of a hi-fi aOllI1fier. ill , Stellavox, Tandberg , Uher. See Appendix C below f or furt her d; •• , . pin connections.

j;;.:::':;:;i;:,::sync recorders do not

async

between

To set t he sync me t er, run t he sync tape reco rder briefly and stabilize the nteter needle on MANUAL to preset the SPEED MEMORY. {See Section lI.E} This will allow you to transfe r sound recorded without t he camera running (wild sound ) . Another way to accomplish this in the lab 1s to do the transfer using the MANUAL Sync Reference. You must monitor t he sync meter throughout the tranSfer, but MANUAL transfer has the advantage that fo r any dropout or loss of sync s l gnal there will be absolutely no change in speed. (See Sec t ion IV.B f or details . ) Sound is carrie d from the sync ta~ recorder to the S8S Recorder via an Aud10 Resolve r Cable, These cables are available wHh a varlety of pl ug ty~s for the tape recorder (RCA phono, I'.ini phone, OIN, Tuc hel, Cannon. etc.) and a 3.m Miniphone pl ug on the S8S Recorder end. This pl ug is connected to the AUX input of t he S8S Recorder, and t he S8S Recorder Mixer switc h should be set t o EXT. TO use an £qualizer or Compressor/Expander, feed the sync tape recorder 's audio signal into the Equalize r or Compressor input, and patc h t he output to the AU X lnp ut of the S8S Recorder. See Append i x B below for a list of currently avai la ble com]1<ltibl e sync reco rders and connecti ng cables.

Basic Applications 111.0

THE S8SR IN THE LAB - MAKING A SAFE COpy OF ORIGIML SYNC SOUND

Equipment Needed:

S8SR, Stereo or 4-channel recorder or a second S8SR QI. a Pilotone Recurner

Cables Needed:

Sync Resolver Cable, Audio Cable

Possible Accessories:

Equal i zer

Sync Switch Settings:

AUTil'IATlC, LINE Pin J of the or to a Front) is to zero VU .

The Sync Resolver Cable RCRCA will carry a IV 60Hz pi l otone sync S8S Recorder SYNC SOCKET to the sync signal input of "chosen sync channel of a stereo or 4-channel recorder. rec()I111Iended as the sync trac k. The sync channel The SBS Recorder will sync to this recorded fer the sound back to fullcoat. The Audio

and'::::;::;;;i;:i;;;i

of Recorder (Mini phone plug), tt.e the tapeS8Srecorder . Choose an intermediate con t rol, and do not change it during the l evel.

A safe copy ntay be made direc t ly onto fullcoat mg film with two SSS Recorders. Sync them both on AUTOOTlC, LINE, afld connect the r~ONITOR out~t of the original recorder to the AUX input of the copy recorder, using a Miniphone-to-Hiniphone cable. III.E

THE saSR ON THE EDITING BENCH

Equi~nt

AS A SI)JAWK BOX S8SR, sas Editing Bench or Single System Edi tor or any Mag Head -

Needed :

Cables Needed:

Possible adapter to to mini phone plug

Possible Accessories :

Headphones

Sync Switch Settings:

Arbitrary

con~ert

mag head output

Sound

Plug the Hiniphone cable from the Sliding Magnetic Head. Assembly into the Ml e input jack of the SSS Recorder . Set the Mle switch to EXT . Check that no fullcoat is in the S8S Recorder, and put it into the Record Mode (pull t he red Record lever forward, and depress the Play key). Set Aut~tic Record Level control to AutOfllatic,or Manual and adjust the Record Level control to an appropriate loudness . The MONITOR/SPEAKER switc h must be set to "2 " (Speaker on). The Playback

~ol u me

and Tone controls have no effect .

~"Soo..-.d 11

Basic Applications Ill. r

IN THE SCREEHltIG R()OH

DOUB LE-SYSTEM PROJECTION

Equlpftmt Heeded:

SSSR. Super 8 Sour>d Sync Projector with 1/F Conta ct Switch, PhotoSUrt or CDfJII"(In Star t BQx

Cables Needed:

None

Possible Accesso r ies:

htenslon Spea ker , Allp l H l er. n.lng Leaders

Sync Sw itch Setti ngs :

AUTOWITlC,

~IGITAL

After rushes are synced up on t he Super 8 Sound Editing Bench. they ~y be prtljec t ed In sync. You shoul d prepa re sound and pictu re strands "Hh appropr iate leaders. At a .. inlmu. you need a set Of leader start .... r h (See Appen(lh. E). For double - systl!lll projection with" C~n Start, you shou ld /\ave your picture leader IIiIrked with a crossed fraDe , and a punched ho l e if possible. You r fulleoat mag fl1l1 leader should have a correspond ing c r oss (no punched hole) on the frame which is "straight acros s" in editorial sy nc . for double-systelll projection wltll t ile Supe r 8 Soun d PhotoSta rt, your picture leader should be Super 8 IIf.gnetic fi l., which 15 "bh.c ker" th~n bl~ck leader. PunCh a hole (or sc r ape away t he eGU1slon) at the start IIf.rk , and put a cross In the f ra -e at t he sane point as a visual guide. H.l.rk the !lag filn as before with a cross at the corresponding editorial sync frame . You need not worry about "prOjec tion sync' and the 18 f r ame advance wHh re gnet ic fil m M t he Super 8 So und Reco r der. Your proj ector ....s t be outfitted with a l/F contac t switch and a cable for connection to the sas Recorder Sync Socht. The Supe r 8 Sound Projector Modification Kit (PKIT) Is ava lhble f or this jlUrpose, or you fWy send your projec t or t o Supe r 8 Sound for n;Jodlflc atlon. Set up pnljector and S8S Recorder , with t he projector's sync cabl e con nected to t he sas Recorder. With Mg filn in the recorder, and pictu re fll" in a warmed-up projector , turn t he.. both on and set the SPHd Tuning to sL!lbilize tile sync lleter needle . (Section Il.ÂŁ)

Position the mag fil. star t frarae exact ly at the playback head of the S8S Recorder. Plug the Pho toStart Into the sas Recorder Rerote socket, or plug th e S8S Recorder into the Connon Start Box, and t urn tile Box off. If I,Isi ng a cc.non Start BoK" :,:; ~::~: the picture f iln sta'''i"f,;',i.~me (cross ~nd punched hole) uact l y in the gate of ~~ This can be done into t he lens If tllere is no s t i1\ plCtll r e t he prtljecto r, or lens dnd direc t ly which f rame i If there is no t he projector with t he the and "hllp reposition and on" . Comon Start SDK In sync .

'i::;;::":

you throw start and

If ~s i ng tile SSS PhotoStart, press t he sas Recorder phy bu tt on , hold t he PhotoStart In front of t ile l ens , dnd turn th e projector to "forward " and " I ~np on", When th e punc hed f rame sta rt IM rk passes the ga t e, t he f lash will energize the Pho t oStart , wh ic h wil l start the S8S Recorde r through the Remote socket. In either cue, I_diately check the sync lle te r needle for s t ability and then proceed with the screening. It Is best if tile f i rst i Nges and sound are from rJa tched projection lead ers (e.g . SMPTE Universal Leader and a "beep tone" on corresponding nIIIg filill is the profess io nal way, but II bri ef shot of II clapst i ck will dol so that exact sync can be confinne<! at tile OlItset of the screening. If for some reason sync Is 51 ightly off, some experimentation with llarking the best position on the Super 8 Sound Recorder for the mag fil m start will se rle to calibrate tile system exac tly , taking I nt o acc oun t slight differences between projectors and S8S Recorders , and pr Ovid e reHable and repe.1table sync starts.

Basic Applications III.G

TIlE SlISH IN THE SOUND STUD IO

MULTIPLE SUPER 8 SOUMO RECORDERS

Equipment Heeded:

Three or -ore Super 8 Sound Recorders

Cables Heeded:

Audio

C~b le s

(Htntphone- t o-Hiniphone).

V-Adapters

Poss ible Accessories:

Mixer, Equa l i zers . Comp ressor/Expander,

Sync Switch Settings:

AUTOMATIC. LINE

Adapter Audio C~b l es. (Min i phone- RCA phono), Corooon St art Bo x, Tilling Lnders, PhotoStart

The pllrpose hen! is generally to pN!pare a sp l ice-free coraposite master sound track f l'Oll two or IOOTt edited mg ( 1111 t rICk s. The edited tracks IIa:f Inc l uo:le A & 8 rolls of original l1p-syoc locat ion IIIo/Iterill, thus j)t!nlltti ng sound dlssolves (se9ues) and SUpeT1Xlslt1ons. Or the extra track s l1li)' illClude sound effects carefully placed (spotted) in sync with the pictuN! strand. This .. st bl done 011 the Editing Bench, with uch _ stra nd lining an appropriate leader and r ecognizable sync start IIolrk. Extra traCks lI'IIIy contain only ·wlld" ~te ria l, Mrratlon, music •• rod background soun.ds . But even wlld ..aterlal should be cut on the Editing Bend to f i t pr ecise ly opposite the corresponding visuals, and then provided with a leader and sta rt IliJrk for t he sync rRix. Sync starts lIldy be III/Ide by plugging all recorders into I Cornnon SUrt Box , aligning all t he sta rt marks, turn i ng tM COlll1lOn Sta r t Box off , pressing the Play key on all the reco rded tra cks, preSSing the Record and Play keys on t he JIIIster trac k recorder, and then tu rn ing the C(lfI1IOn Surt Box on. An al ternative sync Hart is provided by equipping each re<:order with the sas Pho toStart (BeepStar t ) . Th i s device will start a sas Recorder in respOnse to a beep tone (n~inal lOOOKz tone one frllle in length recorded at zero VU) fTOll the tI.lng leader Of anyone of the tracks. All the HOHITOR outputs ca n be tOl"lllected t O<)ether >l i th .... 1tlple V-adapters, fo r connection to the AUX input of the IIIJster t ra ct recorder, and the Playback Volume controls can be used to adjust the relative levels during the .. h. Since the volune controh are unca ll br ated, it is hetter to feed the various tracks through a Mher, especlall)' one with "graphic· (straight-line) volul!I! contro ls. Minipllone/RCA cables are required to conne<:t the A, S, etc . sas Recorder i'(lNlTOR outputs to the Mix er, and an RCA/Mlnl cable is need ed t o connect the Mixer to the AU X Input of the master t r ack SSS Recor der. A ca reful log of vo l ume setti ngs shoul d be prepared . as a result of rehearsing t he ml~, and these settings Shoul d he reproduced care f ully In the fina l mix. One of the S8S Recorder counters can be use d as a log In.de~. An AC operated digital clock would he even nore accurate.

Basic Applications III.H

THE saSR IH THE SOUND STUDIOÂˇ WITH A f OUR-CIlANHEt TAPE RECORDER

Equipment Needed;

S8SR, Moultitrack hpe Recor<ler .. It II Independent Ch<lnnel Controls (e.g. SONV TCSS4-4S, TC188, TEAt 2340 , 3340). PhotoSLlIrl

Cables Needed:

Sync Resolv er Cable (RCRCA), Aud io Resolver

Cables (RCA t o Hinl) Possible Accessories:

[qua 1ize rs,

Sync Switch Settings:

AUTOMATIC, LI ME (for initial transfer of first sync tnc k to four-c ha nnel)

eo.pressor/E~~nder. Hj~er

AUTOHATlC, PILOTOME (for,lI other transfers)

With one sas Recorder and a four-cha nnel tape recorder, three - track sync .. hes can be accompliS hed. This Ny include t hree sepnat e full toat trac ks, each edited in to syochroniSIl with picture on an Ed1ting Bench as described at>ove in Section IIJ.G,s;nce each lIiIy be t ransfe r red to tile qua r ter- inch tape In sync. Note that this process l nvolvn one oore ~ound generation than u~tng JIlIlttple Supe r 8 SOund Recorders.

trac~

lie sugg est you make t rad the same as a stereo safe 3.

Connect an RCRCA cable fro. the S8S Recorder Sync SOcket to the track 3 input on the four-chAnnel recorder. The red lead of thl~ cable supplies a 60Hz s i gnal .. hen t ile S8S Recorder is plugged into AC and ~et to LI NE. Run tile SSS Recorder briefly. put the four -channel recorder in record lIIOde. and sync chlnnel VU to zero vu.

the

Connect an RCA t o Mini cable fNllJl the I1ONlTOR output of t he sas Recorder to the track 1 au ~ iliary level Input (Left Chan nel Front) of t he four-channel recorder. Put the f irst edited fullco.!t tract (t he ~A' roll) on to been pre~red on tile Editing Bench .. ith a ll .. lng ruder beep tone should be about one fraill1 of t one, nomina l ly

S8S Recorder. It should hAve Inc llH1es a "beep' tone. The recorded at zero VU.

Run t he sas Recorder, and set the audio level for tract I of t he four-channel recorder. Ki!ep the Playback Voh_ control of the sas Recorder at a fixed leve l throughout the t ra nsfer procedure. Start the four - channel record er .. ith counter set to zero and tr~c~s I and 3 in record mde. and t he~ sta rt th e S8S Recorder ..el l before t he beep tone. The Sy nc Switches should be set to AUTCllATlC, LIHE. The beep "ill be reco rded on track 1 al ong .. H h the audio, Ind a 6()1l sync tone .. ill be recorded on trac~ 3.

' ..

14 __ _

â&#x20AC;˘ roil .

. ,. ',

Basic Applications 2a.

Transferring the next two ful1coat tracks to

four-ch~nnel

tape.

Before transferring t he next two tracks , you shou l d check the accuracy of t he whQle set up, including your particular four-channel recorder , your S8S Recorder, and your PhotoStart . To dO t his, you must let the S8S Recorder match its speed to the recorded pi l atone sync signal on track 3 . Connect the bhd lead of the RCRCA cable to the t racK 3 output of the f our - cha nne l recorder. This sends the previously recorded pilotone bac k to the sync input of the S8S Recorder. Change the Sync $\fitch Settings of the S8S Recorde r to AUTOMATIC, PILOTONE. Run both four-channel and sas Recorder briefly to confirm that the trac k 3 playback level is providing a reasonable sync sig nal to the S8S Recorder, and t he sync I1Ieter needle is steady. Now rewind the "A" roll of sound to t he beep-tone start I!Idrk, and align the start Ilark with the pl aybac k head. Insert t he PhotoStart in the Remote soc ke t of the S8S Recorder , and connect the "Beep" input of the PhotoStart to the track 1 outpu t of the four-cha nn el recorder . Rewind t he four-channel recorder to just before counter number zero, start the fou r -channel recorder in Playback mode with the volume on track 1 at nonnal level, and depress the Play key of the S8S Recorder (it WQn't run until the beep tone). The beep tone will start the S8S 'Recorder, and the origina l and duplicated sound shou l d play back in precise sync . If there is even a slight difference, repeat the procedure, but with the start m..l.rk offset from the record/playback head as needed to achieve perfect sync. This calibrates the setup f or t rans fer of additional track~. You probably need to perform this procedure only onece . From then on, just a l ways a li gn start m..l.rks at the re calibrat ed position you establ i shed, and Photo(Beep)Starh will always be in sync . You are now rea dy to transfer a second ("B" roll) fullcoat track, say to track 2 . The setup 15 identical to the chec k procedure above, except now the S8S Recorde r MONITOR output should be patched i nto the four-channe l recorder's track 2 input, and track 2 (Left Channel Rear) of the four-channel recorder should be in record mode. Re peat the Photo(BeepjStart procedure, with the beep tone from track 1 aga i n starting t he S8S Recorder. A third track can also be transferred ("C" roll). track 4 and engage trac k 4 i n record mode,

Just patch the MONITOR output into

[luring both these transfer s the S8S Recorder is in pe rf ect sync with the original sound because it is servo-controlling its own speed t o IIIdtch the or i ginal sync (track 3). 2b.

Dubbing new material onto t he ext ra tracks.

Tr ackS 2 and 4 could of course have been used to lay in new wild IIIiIterial (nar rat i on, music) that did not need to be prechely located rela t ive to the pict ure . The f ou rchannel reco rder can easily be rolled bac k again and again to add new sounds precisely opposite origi na l sounds . In this way , unusable lip-sync or i ginal l ines m..l.y be precise l y replaced by new lines recorded in the studiO. To achieve perfec t sync hro nislll with the original , the four - channel recorder Should have "Synchro-track" Or "Simul-sync" capabil i ty, whiCh lleans t he record heads and playbdck heads are "straight across" or "in line". An alternative to "Synchro-track" is to operate t he tape recorder at IS i ps so t he l ag betwee n reco rd he ad and playback head is unnoticeable . 3.

TranSfer (Mix down) back to a composite master fulltoat trad .

The sync wiring setup and Sync Switch Settings are iden tiCd l to section 2a. above . The S8S Rec order is still syncing up to the track 3 or ig inal pilotone. However, now t he output of trac ks 1, 2 , and 4 should be COillbi ned through a Mixer and f ed to the AlJX i nput of t he S8S Reco r der . Put a f res h roll of f ullcoat in t he S8S Rec ord er. Rewind the fo ur cManoe l recorder wit h all channels i n Play mode to j ust before counter number zero . Depre~s the Record and Play keys of the S8S Reco rder . Start the fo ur-channel recorder. The pi lotone signal from trac k 3 will hold t he fresh fu11co at in perfect sync with the ori gina l edited trac ks, and the t hree audio channelS can be ",ixed down to one final sound track. The beep tone will be transferred to the m..l.ster trac k. Ta~e the master track to the editing bench and locate t his short beep se9lllent. />lark it with an appropriate crossed frame and punch a start mark hole at the projector sync posltion 18 frames beh ind (c los er to t he ta il of the f ullcoat) the beep. Thi s pu t s the sound at the standard 18 frame advance position (See Section llI. F) relative to a visual start mark for align ing t he IJIag filll m..l.ster trad in t he S8S [}auble-Band Projector . A pr i nting and protective leader should also be added to the master trac k (See Ap pendix E) .

Basic Applications I[

TIlE SSSR 1M THE

SOU ~ D

STlJ010

SYlt< DUSB1NG AND Ulli REPlACEM(IH

Equipment Neede<J:

Two or n:> re saSR' $

Cab l es Needed:

None

Poss i bl e Accessories;

Mi crophone, Mixer.

Equ~liler. C~re sso rl

Expander, Connon Star t BoA or Pho t o(8eep)·

Stlrt, Headphones. Stereophone SyllC Switd

Y-Ad~pter

AUTOMATIC, UNE

Settln~s:

T~ Idea here Is to pia.)' !».ck the origin.l trac~, whic h t~ preSun/lbly unusable for screason, and dub In a new track sj~lUneoll sly . You can listen to the orjgin~l sync tra ck l<1th he~dpho"e s (Y-adapUr cab les 101111 permit mo re than one speaker and/or the director to lhten, too), I<Ihlle recording a new trdC~ on the second S8S Reco rd er. tIon't try to rKord over a whole track in ont pas s . Do a section at a tllllt, t hen spllee them togethe r on the Editing Bench. You nn use a COIInJn Start to listen to the ort .. !nal and dubbed tracks toqether for trlt! ch•.

You can

u~e

!! I. J

tile Mher, etc. to add

of the or igiMI sound to tIM! new recording.

THE SSSR I N THE tAS - TRANsr(R TO KAGNET!C EDGE STR IPE

[qulc-e<lt Heeded:

C~bles

Need ed;

S8SR. Super 8 SOund-recor di ng Sync Projecto r with IJ F con U ct switth. PhotoStart or ComIOn Start Sex Audio Projecto r Cab l e (tnnSfers fullcoat to stripe)

~ound

from

Comp relso r/ E~pander

Possible Acce sso ri es:

Equalizer .

Sync Switch Sellings:

AUTorATIC , DIG ITAL

The sync ubiI' frOll lhe projec lor 'S l/ F contact switch Should be plugged in l o the SSS Recorder Sync SOc ket, and the MONITOR outpu t of the S8S Recorder patched to the projec t or's Auxiliary level inpyt. u5ing the Au dio Projec tor Cable. Pi c k. conveni ent setting for U1e S8S Recorder Playbac k Vo l ume and do not c hange It during t he transfer . Set t he re co rd level of the projector on the loudest PHSlges to be tran s ferred . ~nd then re ... lnd the fullcoat to the sU rt .ark. The film should be a splice-free pr int with a 1M9netiC edge stripe and balance s tripe app lied by tile la boratory. Kodak's Sonotrad i s recOlll1ll:!nd e.:l . r oll ow the suggestions in Sec t ion II!.F for W4n11i ng ul) t ile I)rojec tor , use of ' wropria te tin ing leadel"S on picture and sound . use of the PhotoSta rt and ton.In Sta rt SOl. et,. The sant' procedu r e as vi41Wing the ruslle s is no ... used. e~,ep t thH the proj ector is now recordi ng the sound on the stripe, as you Vi41W pic ture dnd sound in sync. Multiple 11i19-stril)ed release I)rints 1liiy ~11 hdVC their ~oun d reco rded fr"Olll the compOsi te IIiIster fulleoat tra,k by repeating the above process one print at d time.

16 ~e_

Basic Applications III. ..

TI;[ saSR III THE LAB - TRANSfERS FRI)! SiNGlE-SYSTEM ORIGlliAl FI LM

Equl~o t

Needed:

saSR, Super 8 SOl.lnd Sync Pl"{ljector with If f canuet switch •

C~blM

Needed:

Audio Resoh@r Cable stri!)e to fu11eoat)

(tr~nsfers

sound fTOII1

Possible Accessories:

Equa 1i zer, Compressor/Expander, Hum Fi1 t er

Sync Switch Settings:

AUT~T I C,

DIGITAL

The purpose ller" ls to resohe ( t nos t er) t he sOtlnd froll stngle-systeM .... gnetlc striped tn. to fullcoat..ag ril. for double-syste- editing. The pl"Oct<:lure is sl.llar to transfers to str1pe (sec tion III.J) and is also an extension of viewing tilt rushes in sync (Section '".F). The sync ubiI'! frc. till> projector Is still connected to the sas Retol'der Sync SOcket, but oow an Audio Resolver Cable qoes fl"Olll the Prtljec tor 's audio output {tilt spu~er output on len tllM!nsive projeuors, t he a~IHter output (Ion bfotter Nthines). through a filte r or equalizer to the AUl input of the SSS Recor<ler. RecoNl level on the SSS RecoNler should be set for t he loudest passages to be transfer~d. An equa l izer with 4 sharp 60H! cutoff or a hURl filte r shQl,jld be used. since many Super S sound projecto r s have a conSiderable 60Hz hum C(lmponent in thetr playbac k cin;uits. 5ync starts are unnecessary if a chpstic k has been used. If not, prepa r e the fi l m and sound with ttming l eaders to simpllfy later syncing up. lI!.L

THE SSSR IN THE LAB

TAANSFERS TO VIDEO SSSR. TPleelne Projeetor and COlor Video ' - r a or I:oda~ Yldeoplayer VP- l with l/F sylM; Ql,jtpul. Vtdeo Recorder or Broadcast Equipment

Cables Heeded:

Audio Cable (usually Mini to RC A). Appropriate Vide<! Cables (VP- l to Video Recorde r . usually SNC)

Possible Accnsories:

Eq ualt zer, Compressor/Expander. Video Image Enhanter

Sync Swt t ch Settt ngs;

AUTOMATIC. lINE (AUTOMATIC. DIGITAL i f IfF sync output)

Oouble - syste. transfers to video provide the hi ghest pOutble sound quality since they bypass the sound-on - stripe SUI,Je. The ClMftOn Start or PhotoStart procedures have Deen covered tn Sect ton III.F ,nd III.J. Instead of transferring sound to the projector, t he Audio '-'ble sl\otlld be connetted frathe MONITOR output of tht SSS Recorder. through an Equaltzer. etc. and into the Audio i nput of the Video Recorder. The Ttledne P roj~tor (e.g .• the Kodak TVM100A) ha n AC sy~ch rono ~ s devict . It is t herefore capable of high quality double-syst@Ol trans f ers directly to telcy1sion broadcast cameras. with the composite master ITIIIg film t r~c k on the SSS RecoNle r in AC sync provi ding ~ync \ound . The Kodak Videophyer Vp·l can be ~sed fo r t r anSfers to video UPt recorders , from half.tnch to t wo-1nch quad. provtded H is equipped with I l/F sync outP~t (.val1able t TOll Super 8 SOund). Special versio ns of the Kod.)k Videopl ayer equipped with txternal sta t ion sync wtll be av~ilable for direct t r ansfers to television broadClst. for double-sys t etll sound they ftl,jst aho h,ve the I /F sync outPlolt. SilKe the PhotoStart unflOt be used with the Videopl.yer. a short ~P tO1M' segment should be spliced in to the leader for synchroroous surts of the Super 8 Sound Recorder.

IV. Unusual Uses for the Super 8 Sound Recorder IV.A

IUp s AMATEUR SPEED

The SUf'I!r 8 Sound R~on:le r can be set to 18f ps operation by a djustln~ the Speed Selec tor Sw Uch. The runni n9 Speed is IlOW 3 t nches per second , and f i de lity is sonewh.H poorer. though supe ri or t o IlIOst Supe r 8 projectors. Al 18fps t he SiS Recorder .,1 11 not synch r oniz e to the L1 N{, to CRYSTAL , or to PILOTONf s i gnals . The only se tti ngs of the Sync s..ltc~s which dr e ope rative are AUTCflATlC or MANUAL. and OJ(:'lTAL .

The prin cipal applications are with C411lt r aS (Sec tion III,A). pro-

j ectors (Secti ons III.F, I1I. J , and !lI.K), and as a ru olYer for sync tapes mad e on cassette sync reco rders (Scipio, Phl1ips 2209). t ven Bell to H<)W"ell Fl1mosound-8 ta pes IM~ be re solved if they are played back on a Sei ple or Philips 2209 . Single- SJlHem EktHo und 18fps fil ms may a ho be resolved to full coat f or editin g (Section I1l.K). IY.B

M.\NlJAL SYNC TRANSfERS

When the S8S Retorder 5y", Switch h set to AUTOMATIC, t he servo·con t rol ci r cuitry descri~ i n Section Il.e aoov! is active and the SSS Reco rder's ~peed is determined by the MIIster pulse rate. When the Sy nc Switch h se t to MANUAL, the Recorde r' s speed h free. 1M ad· justable by the Speed Tuning kno b. The Sync Meter continues to display sync condition. ~r.litting the us er to l1a intain sync by cont inu~l\y adJustin9 the Speed Tuning. IIhen! ver the 5ync si9na l sou rce i5 errHi c , no isy, or t\as una ccep table break s in cont inuity , sy", NY be IIIIlnt.lned manually by holding tile sync lifter nee<tle steady anywhere in its range. Tills is acco.pl1shed by very slow and SAlll c ha nges in tile Speed Tuning ~nob pos H ion. lIhen t ne sync s i gnal drops out, till! needle wil l drop t o the le ft hand si de o f i ts ran-ge. i)"ri ng th is tillt, dO oot change Speed Tuni ng at all. Once tile sync slgn.ll reappears , thoe nee dle will jU'llJl ~ck to a new position. Don't attempt to ..ave It to the old posit i on. Just watch it to see if it is drifting. If it 15, s tabiliz~ It wherever it can ~ brough t to a stop. Iv.e

US E WIT H 16m CAAEAAS, PRf)J(CTORS

S<!veral o f ou r customers have used t he S8S Retorder wit h I . c. O! ra s , ..st with pllotone 9'flerato rs . but SOllIe with a If F cont"t s.itch inshlled. are available. H~ve you r l~b prepa r e ~ reduct i on work~ri n t of the 16no ori ginal UJ Super 8 fOT editing on a S8S (diting Bench. or have your lab tran sfer the $o und to 16!lln fulleoal mag fl1m for editin9 on a 16r.m bench or Uble. Simply set the S8S Reco rder to AUTOMATIC, LINE for the t r ansfer. Two edltin9

op t ion~

To synchronize an ~d ited Super 8 fulltoat t rack with a 16m ~rojector, siqJly i nHall • If F conuc t switch in tl>e 161m projector (use a Supe r 8 Sound ProjetUJr J1o.dlflcH l on I: l t).

IV .O

USING THE BU ILT·]N l'1!eI/OPHQtf( AS A SLATI NG DEVICE

lIith the cal:l@Ta aimed a t t he t op surface of the S8S Recorde r, st rHe the silver aT" around the electret condenser .dcrophone with an easily seen object such .s • pencil or pen. The foIi"ophone Selecto r Switc h .... st be ut to foIl X or INTERNAL for thh purpose. The camera ope r a tor should be able to see the striking obj ec t clearl y (an inde~ f inger will do i n a pinch) , . nd the sound person should st rike the obj ect down and he~ it there. Don' t poll it bac~ up or let i t bounce. 1111 s WOuld con fu se t hl"9S u the Editi ng Bench. Re se t tile Mi crophone Selector t o UTERHAL, aM tile camera ope rator ca n swi ng arOUM t o f11 . the sync sce"e. Thls process need not be It all no isy in doc..-entlry Si tua tio ns. To indica te t.ke nllrllbi!r s , a slate Should be used (or the sou nd person can tIold up v.rlovs fi ngers) and the take number can be spoken soft ly into the built·in microphone.

18 _._

IV.E

STARTfSTOP OPERAT ION FROM A CAKERA

To ~on tr ol the start/stop of the recorder f roo the camera, an ext r a cable or a car:Jera sync cable with two extra leads is a~aihble {optional extra}. Many Super 8 cameras Mve tape recorder sun/stop jacks Inter connectf!<.i to the c,wlera trig9tr, and this cable can generally be fitt~ with t he appropriate (amer') cOllnection. CAUTION: Some camer as have their npe recorder SUrt/stop jac~ 9rounde<j to the ca!ll@ra sync socket, and this requires a special cable to avoid a shor t drc uH In the S8S Rec order. The S8S Reco r der sync SOCket is grounded, and the ~(HOTE j ack on the S8S Recorder Is at 12 volts above gr ound. The ROO1E f unctions by inte.-cepting t he 12V power supply. If a connection h III de fl""Oll the REMOTE jack to the S~NC SOCl([ T, a fuse II/Iy be blown in the S8S Recorder, and unfortulllotely It is very difficult to replace. An IJllproperly .wde start/Hop cable mIIy therefore cause a sJ\ort (I.-cuit between the IlV at the Rn~l1E jack, and tne SYNC SOCl([T. Please only use cables II/Ide by Supe r 8 So und. ~te that since 58S RlKorder and cameras gener~lly do not stop dnd sta r t at the same rates, sync is not gua ra nteed 'rOIl shot to Shot when USing ~ st.rt/stop t~b l e. If you n~d ShOtto - shot sync, f1l_ with a Beaulieu SOO8S or ot her sing le - system sound ca.e r~, and transfer to fullclU.t using the Super 8 Sound Recorder (See Section !ILK above).

IV .F

I1ECWHCALlY 1NTERLOCWtG THE SUPER 8 SOOkD RECORDER {wi t h AC synchronous editing tables and other equlpoent)

The Super 8 Sound Recorder can be ~sed for a high - f1delity mechanically - Interlocked mix with pi cture ~y lIIOuntlng t wo or thret. S8S RlKorders alongside a r.lUltiple-str,nd editing table such as t he Super 8 Research Associates POH-Production Console or the Mt:)! Editing Table. A six - plate table allOO1s two sound strandS {~nd an eight - pla te three sound strands} to be I)iud to another SSS Rec(lrder rurning in.l.e synchronhlll with the editing table. W1th tne SilS RlKorders locdted u the left side of the tab le, pull out one o.f the sound stra nd S from the table's supply ree l and thr ead It through a S8S Recorder. Th r ead the fullcoat ~round an er:lPty supply reel (Ill the S8S Recorder to a~(lid a sha r p bend In the fu llcoat path . Repe~t this procedure with the other sound strands . Each fullcOilt strand sl"""ld al$o be t hr Nded In sync through the editing bench sproc kets. leave a few inches of slack between the sas Recorder caps tan and the editing table sprockets. The S8S Recorder "Ill au tomatically ta~e uP the slac~ and establhh the corr ect tension in the fullcon if you folio .. the procl'<.lure below . S.. itch th~ S8S RlKo rders to AUTOMAlI C, LINE. Plug the S8S Recorders into a COII'.ON STAAT outlet {on the editing table if avalhble}. 1bI c~m sta rt the rec(lnlers ar.d edi t ing uble. Tu.... the SPErO TU!Hr;G controls on the S8S Recorder~ to SLOW , and they will lose franes .. lth respect to the At line sync untIl the s hck dislppurs. At t his point the tdbl~ .. nl pull th~ fullco~t along In AC sync , and t he SYNC METER needle .. 111 stabilize . Adjusting t he SPEED CONTROL at this point "ill ch.!nge the SYNC METER needle position and afhct the tenSion in the f ullcOH. Y(lU can set it at a desirable lev ~1.

If you stop the editing uble, the S8S Reco r ders will all stop , producing I SIIall amunt of slack ag~In. Upon resta rt ing. the slaCk .. 111 diuwear and the variou S strands will all be back In sync , IV.G

TRANSFERRING MORE THAll 19 "INurES Of MAli FIU1

Once you h~ye edited I Illig fil_ trac~ thU is 20 _Inutes or l onger, you IlIUst do sync transfers in sepa rate se<)flents short enough to fit on a S路 reel. An alternHi ve suggested by the SutJl,!r 8 Work shop In Cambridge is to use anothe r tape r ecu rd er with la r ge r ree l capacity for t he u~e-up and supply reels, "lt ~ t he S8S R~corder's capstan drive and sync pho t osensor assembly providing the basle sync control.

•

Appendices APPENU !X A.

LIST OF COMPAT!6bE SYNC CAMERAS

Host new Super 8 Clllltrl$ are COOling equippe d with . PC cont.lct in tend~ f or use witil an elect ronic flas n i n tile singl e ·fraM t ille-l apse lIOde . Tilts If F contac t provi des .ppropri,)te fnlle rHe i nforma ti on to tile Supe r 8 Sound Rfiorder . Othe r ca:neru ha ve pquivale nt conucts an.s one l>in

a 1/f Yoltage tone OOrst. The Seau li et.l and Hila , _ra s I re now crys tal - controll abl e, using toe 5upe r 8 Sound Crystal C..e ra Control. AfIY calilf'ra can be mQdi f ied for c rysta l control by custon ci nema engi neering flnns . Aroy st ngle- sys ten ca mera may also be used as t he locati on cane ra .

List of CO!!!pci t ible (anern Call1e r a

Type of Syrw; Conne< t lon

Ag f. Hovexoo. 4000

Sj)«ial Soc ket

Argus 736 . n8 . 731 0

PC Contac t

PCS8SR

Baue r ( - Royal 8E , IDE

S_pin Mi ni -D IN

PC8SSSR

""ble Code llot yet ava il able I n IJ . S.

Has u pe record er startl s t op c.pab ility .

Beaulieu 4008lM2.

EIIl SO!l

4008"'3

Erho n Con tact Switch, Pilotone GenerHor

Beaulieu 5008S

Erl son Contact Switch

ERl SON5

Bole. 4W , 48 0

PC Con tact

PCSSSR

Onon 814( , I014E

PC Con u ct

PCsaSR

Onon osa

Sulxnlnipl ug (2 ,Snn )

OCOSSS8S R

Opta sound

Speci al 4-pin plu 9

CPSeSR

IfF or Pilotone.

Elro Supe r IIOR

Specia l pl ug

EV'.oSSSR

f uj ic' Z800

Pulse - sync Gene rator

f UJISSSR

GAf ST/SOl. 5T/l002

PCsaSR

lei cl na Sup er RTl , Speci al

Spec ial 9- pi n pl ug

CC9seS R

"i nolt.

"u topa ~-8

I f f or Pil otonc . Hal Control available .

• R~ te

speed co ntNlI .

~d i f iCltion .

Generator not needed . Reco rder st ar t /stop . Recorder start/stop .

012

!tikon 118 . RIO

' Spec l al locki ng PC connec -

to r h "utte Mizo 136 , 148 , 156 , 136X l , 148Xl , 156 XL Ni l O 5560 , saoo, 481,

PCS8SR

Tiniest sync cameras .

PC and S_pt n !>llnt - oIt!

PCS8SR or

ccaseS!!

IfF Tont' burst , h pe Recorder s tar t/s top . H . I Con tro l ayllll~le .

ditto plus SOliz Pllotone

NIZS8SR

I fF or Pil otone .

PCS8SR

PCS8S R

561. SOl

Rol let SUl4 San~yo

CH(

44~ ,

CH( 1100 . DME 666

SMPS8SR

Most Optaso"rld -

r.ldlfiecl c.arre r as 16rrln sourld c... eras

20 s-,_

rella ~ le .

IJsua Ily Cannon

CAtlS8SR

APPE NOiX 8.

LIST Of

CO~PATIBLE

SYNC RECORDERS

The Super 8 Sound Recorder h cOOIpatible "ith any existing sync equipment that ytili zes either the standaN! pilotone sync s!gn~l, or t he new s t andard IfF digital sync sigMI . Type of Sync Pulse

Cables (S ym;, Audio)

Rema r ks

standard Pilotone (Neo Pilot)

RCPIl6 and RCLO , ARCBAN

Standard 6- pin OIN soc ~et

Bel l & HO"oIell Fi lmasound 8

IfF 1000Hz t one bur st (J:"IIs)

Oi scant inued

Resol ve 8&H cassettes on the Scipio .

Do l by Sony TCI52S0

60Hz Pi I otone on cassette track 2

RCRCA, RCA to MJlII

Crystal sync on track 2.

1000Hz tone burst

RCFT, ARCMINI

Sync on half- tr aC k 2 , free head.

Sta ndard Pi lotone

RCPIL6 and RCLO, ARCBAN

Sta ndard Pi l otone

RCNIV , ARCBAN

luchel connections, Banana pl ugs.

Phil! ps 2209

IfF vol tage spiKe or 1000Hz tone burst "Ith Nizo cameras

RC2209. ARCOIN

Sync on stan dnd cassette trac k 4 .

Pocketsync 2 (Sony TC55)

IfF yoltage spike derived from internal crystal

RCTC55, ARCTC55

Crystal Sync Recorder, sync on track 4 .

Sc i pio

I/F voltage spi ke or 1000Hz tone burst "i th Nizo cameras

RCSKP, MeD IN

Sync on standa r d cassette track 4, free head.

Stel1avo~1

StandaN! Piloto ne

RCSTEL and RCLO, ARCOtN

Tandberg ll pl

Standard Pl1otone

RCPIL6 and RCLO, ARCMtNI

Standa rd 6-pin OIN SOcke t.

UHER 124, CR210

IfF vo l tage spike or 1000Hz tone bur st "ith Nizo came ra s

RCUl24, ARCOtN

St ereo cass ette plus sync on t ra ck 4 (standard) .

Stan dard Pilotone

RCPIL6 and RCLO, ARCBA N

Recorder Arrivax-Tandberg

UI1( R lOOON , 1200 1

These recorders need additional pr eamplification of the sync signa l. The specified Resolver c~ble allo"s connection to a preamp "H h RCA in puts and ou t Pyts, and t he RCLO cab l e co nnec ts t he preamp to t he S8S Recorde r .

Unde r devel oprr.ent.

The Optasound cassette recorder has the equiv alent of one pulse per frame i n t he f orm of a tiny hole in the cassette tape for each f r ame. Ho"eve r, their cassette recorde r does no t provide a IfF signal on pl ayback . Sorne l ab S offer transfe r s of Optasoynd cassettes to fullcoat . Some other once-pe r- frame sync pul se systems "ith " hic h we ar e compatible, but for whi ch " e do not pr esen tl y offe r resolver and aud i o cables, are Al an Si di Ci ne - Sync IV, Ca r ol Ci nesound, El mo Cinematic Sound, Fuji Puls-Sync, I.C . Audiovisy a l Oi g i-Sync, Inner Space Sys tems and Rivende I I .

_1_

Of co ur se any si ngle - system came r a is a sync location sound recorder. To resolve sound to fu ll coat rmgnetic f i lm fOr doubl e -sys t em editing, see Section tll.k.

Appendices SYNC SOCkET SCHEMATIC DIAGRAM

APP[NDIX C.

GRWHD

LO'~

LEVEL SYNC INPUT -____

0' J

9 ? ______ oJ

HIGH LEVEL SYI/e !NPl/T----

'-_/

SERVO· CONTROL S I G~lAl OIJTPlJT

'-...... -..............

PILOTOtlE SYNC QHPUr ('IOtIen r eeo r der swit(;ht<l to LINE ~nd plugged I ntG At:. OII t let}

l/f SWITCH IN PUT (when recorder switche<l t o DIG ITAL)

The sas Recorder Sync Socket is a DIN S· p1 " 180· fe.llll le con nec tor with lock ring. It is the type cOlTlOOnl~ found i n European audio eq uipl':lf'n t , and adapters are widely avall ab le thH adapt the Soc ket to four RCA phono plugs. Fol100..\ng con~entlonal us e, Pin 2 Is 'Jround. Thh 1$ a chassis gl'{Jijnd Ins ide the sas Recorde r . 6nd Should not be connK ted to the Remote SOcket of the s.as Rec order, _hich Is maintained 4t 12 'I1) l t5. Pins 1 ,00 4 <lre Inputs f or sync signa ls, with Pin 4 having an e~t ra sUS!! of preMlpllfication. lowlevel sig na ls. of th orde~ of 1 .illivol t, will be .ccepted at Pin 4. This is') low Impedance inpuL appro~lmately 1000 ohms. h~TIlples of recorder s with low level signals (free magnet ic head) ar e Sci pi o , Philips 2209 , and Pocketsync . High level slgMls, of t he order of 1 volt , will be acce pte4 at Pin 1. This is a IledIurn/higl1 Im~dance i!lpul, .pp!"l)~ ioaately 15K olns . v.mples of such signa ls are the s tandard pilotone , tile 1000Hz tone burst of the Hi zo clmera, pl <lYb.tck of the S8S Recorder pilotone fM:* ftllt l clwinnel equ lpg.ent, etc. Connecti ons to Pins I llid 4 Illst he .ade wit h shlel de4 cable. with the shie ld connected to Pin 2. When the S8S Reco r der is switc hed to DIGITAL, Pin 3, "hl ch is normally an output. becCMneS an inpu t for If f sw itch closu res. Any frame rate swit ch with a maxin.n 100 ohM r eSista nce through t he uble and switch (when closed) h acceptable. This pe.-.lh the use of lengthy extension c ables. Pins J and 5 are sync out~ts. Pi n 3 prOvides a 60tlz I volt 1111$ pl1otone signal .. hen the S8S Recorder sync swHc hes ar e set to AUTOMATIC, LINE. This signal may be rec orded on professional sync recorders thrllugh th" plloto ne sy nc Input, or on ste reo or four-Channel audio recorden ( prefer~ bly on track 3). With thi s pll otone signal av~ l l ~ble . YOllr fully !'dit!'d So.Iper 8 nIIster t r ack !My be e~ 5 ; ly transferr ed to a quar ter - InC h pilotone Upe fo r use by any IIDtion picture laborat ory. Pin 5 carr1es t he 5ervo·CO!lt r ol wave fol"'Jl as de~crlbed in part II.C. This is the sync signl1 .. hose ave rag e ~alue Is displayed on the sync ....,ter. An e~terna1 sync _te r .... y be driven by this output •• 1Iowing the S8S Recorder litte r to be de<licHed to monitoring of tne record level.

APPENOIX O.

STANMRO TRAC K POSITIONS ON SUPER 8 FULLCOAT I'.AG FILM

Super S fullcoat ma,gne t ic film has the same width, sprocket - hole size, and pitch as S~per 8 pictu r e film {ANS I Standard PH 22 .161-196S}. We recol!lllend that it be used in "An wind so t hat if run throu9h a Super 8 sound projector it .. ould have t he emulsion (.:aglleti c ~xide) position away from the lens, in t he norma l magnetic stripe position .

.c.z';'f ~

EZTR.II'C

•" ~

LOCIlTIOI.j

.JZ1(~

MLAJJa sr,;fe

HEAO

.238'+.0

•

.082:!

;: 'j

• COl.

()()

,, ~

....

c:tI11

Tf(ArK f

.'" 11?1\C.t: 2

- '"

- - - - -

OXIDE THIS SlOE

- - -

(

. 011

~IICK

T!{ACK 3

7/(IICK 4 ~ _ ~ ~ -:..;.16¥

'"•

fR~CK

TAIL -

The location of t he III/Ignetic record on t he mag film is specified wi th reference to the edge opposite the sprocket holes. The dimensions and locations are de f ined to be the sane as the NAB standards for q~a r ter -i nch magnetic upe. There is sliqhtly mo r e than one qua r te r-i nch (.251 Inches} between t he reference edge and the inside edge of the sproc ke t holes. Any recording made on t r ack 1 of a four - track NAB recorde r adapted to fullcOdt, or trdC k I of an adapted two-t r ack IiAB recorder, or an adapted full-t ra ck NAB r ecorder , provides a III/Ignetic record i n the dru of the Super 8 magnet ic e<1ge stripe (.027 inches from the defined edge). Conversely, signals retarded on the III/Ignetic fjllll by a Super 8 recording projector cou l d be read by t r ack 1 of any fOf'll\llt adapted NAB recorder, although .. ith decreased si gnal/noise ratio in the larger 'o'"""'t . The Super 8 So und Recorder is an ~da pted ha l f-track monopoonic reco rder. The recor ding ar ea is located in the a r ea within appro~illl/ltely 0.082 inc he s (2.1rl1ll} of the edge opposite the sprocket holes. The sprocket holes themselves pass below the recor<1/playback head . The upper edge (refe ren ce edge) of the mag film (upper edge of the gu i depost) is at the same absolute l ocation as the upper edge of the quarter-inch tape, following the recorrmendation above . Recordings made on Super 8 fullcoat on the Super 8 Sound Recorde r Oldy be played bac k on any Super S sound projector and vice ver sa. Even the magnetic edge s tri pe of Super 8 sound films may be played bac k or recorded on the S8S Recorder, bu t this is no t recolflJlended since t he pictu re area may be scratc hed.

For additional lnfOlTliltlon on s t andards. write for the draft report on sync sound Super f\ standards prepared by Super S Sound .

Appendices

APPENDIX E.

LEADERS AND LEADER START KARKS

Super 8 magnetic striped fillll~ have the sound recorded at a standard position 18 frarr.es advanced from the corresponding picture. The magne tic sound head of the Super 8 projector is 18 frames farther into the projec tor than the picture gate. When working on editing equipment. it is nOrm/ll to have a picture frame and corresfIOnding sound sprocket hole ilmlediately opposite one another. This Is described as EOITORIAL S¥NC (sound straight acrass) and must be distinguished from PROJECTION SYNC (sound 18 f r ame advance) .

A reconmended pNctice fo r rna rki"g the positions has been proposed by Super 8 the Association of ClnelM laboratories leaders. Schema t ically IMrked leaders

leaders to show bo t h editorial and projection sync Sound. It fol 10..5 closely the recOImJendatlon of for prep~ration Of lab printing and projection are shown in the figure.

___".,c""""""""'~'"'",""~",,._. I ~~"or

,, ,

•

F.~·' ·

,~-~,

U.·.,,·

~-,- ~f;;::;;~-:;:::,.=:j{~== ~

",,'

. . .,

'0] ~ ~,,,,,,,

.;r ~)

Frame "2" 1s the 213th frame of the SMPTE leader . This puts the beep tone at 501 frames from the edit sync n/lrko

IoIhen the mag trac~ is pulled UP into projection sync (punched holes aligned), the beep tone is at the standard 18 frame advance relathe to frame "2",

For deUils of how to prepa~ leaders for lab use with a Beep tone. for PhotoStart use or [louble-Band Projector use, etc., write f or Super 8 Sound's Reconmended Practice for Super 8 Leader Start Marks and Cue Mark s .

â&#x20AC;˘

APPEtiDU F.

TROUBLE-SHOOTING CHEC K LIST

SER~ICE

PROCEDURE

If you are If you a~ you

below .

ha~e

and leave

dear up numbe r ,

TROUBLE-SHOOTING CHART (WITHOUT TAKING THE saSR APART) IF NO SYNC

STEPS TO CHECK

Needle sw;n9S back and forth rapidly,

Check whether SPEED SELECTOR SWITCH on wrong speed, o r Sync Switch In wrong mode (if DIGITAL . try PILIHONE. and

cannot be stabilized with SPEED TUNING control

vice versa). Needle IS not affe cted by SPEED

TUNl~G

con t rol

Needle will approxl"",te ly stab i lize , but does

Check that SPEED TUNING switch is ON . Sync Switch on MANUAL. t r y AUTOfoIA TIC.

not remain steady Needle Hays t;';;,. signals from "

side (No photosensor holes)

CMck that JIIIIgnetlc film Is threaded pro~rly

(sprocket i'Ioles down,

o ~i de

t"",ani head) - and that sprocket holes ~re passing through photosensor assemb ly. Needle

~Uys

to left side (no sync reference) -on LINE

-on CRYSTAL -on DI(;ITAL OR

Check that AC cor d is plugged in fin1l ly - Neon light should ~ppe~r in center of meter. Try stoppi ng

PI LOTO~E

~nd

star ting machine.

Check that sync cables are tight. Chec k for faulty cable.

IF INTERMITTENT SYNC

On OI(;ITAL - while RESOLVIN(; casse t te tape original

fr~

Cassette sync track may hHe dropouts. S\;itch to MANUAL for transferri ng those se.:tions with poo r sync track.

On DIGITAL - \;ith came ra

Check cable - especially PC contact. It is best to t ighten PC connector occa$ion~l1y with pliers 6nd bend t he center pin slightly to\;ard the outer ring. Al ways gaffer tape the cable during filming.

On LI NE

Ched ti ghtness of AC line cord in soc ket.

On CRYSTAL

Check that III(Ig fil m is threaded proper l y into guideposts.

s..-e _

Appendices APPENDIX G.

TECHN1U,L SPECIFICATIONS OF THE

sas

RECORDER

SYNC SECTION

Sync Circuit ElKtron1cs

8 Integrated Circuits (4 CMOS , 2 Dual Op Allps)

LEOfPhototransistor Sensor Assembly sv Voltage RefererH;e Power Supply

IS 0l Gdes. 3 Transistors CrystaIOscf11ator Crystal Speed Accuracy

Sync (1 rcui t Inputs

.. one frame in ten minu tes, -10 to 40"[

PIN 1:

Witn SYNC REFERENCE switch set to DIGITAL , this pin accepts an uter ... 1 Iff pulse n" ratl! between 22.3-25.11115 (lIOIIinal 24fp5) or b@ tween 16.7-19.2rps (nc.inal 18tps). Volta9l! swing .ust be S(lQnV .Inl_. SV .uilDUl:!. Vi rtually any wave for. with" IfF repetition rHe Is acceptable. With SYNC REFERENCE switch set to PILOTI)NE, this pin "i ll accept the shndard pllotone 60Hz sine wave. 1 volt ms, or any 60Hz signa l between 0.7 volts rIIS and 4 volts rms. Input impedance at Pin I is 15K oh.u. PIN 4 : Syn~ signals enteriog Pin 4 go through an e~tra st.ge of aqllificat ion and are then fed to Pin I as above. Min in. acceptable volt,ge Is 500j.1V. InpUt i~ance a t Pin 4 Is 1000 ohms. P IN 3: With SYNC REFERENCE switch set to OIGITAL. this pin acce pts a I/F switch clos ure, at the tra'J\e ntes described above . MIIxi~1II ·on" resistance o f the swit ch and cable conntctlons tha t will produce a guaranteed sync is 100 ohms .

Sync Circuit Outputs

PIN 3: With SY~C REFERENCE swit~hes se t to AUl(lI"lATlC, LINE. and the Recorder plugg!!d i n to ,I 60t!z AC line SlHIl"Ce, tllis pin provides I standard pilotolle sh}n,1 • 6Otiz, 1 vplt I'IIS. suit<lble fo r rfl:ording n a sync track . Output i.pe1Iance 1500 otJns.

sas

PIN 5: Output of tile se rv o·control wave tonn. Thh is the signal whose aver age volhge is disphyed on t he sync meter. Ra nge 0-5V. Can drtve an external sync I1II!te r. PIN 2: Sync Functi(N1 Switches .1Id Controls

GROUhD

SYNC REH R£NCE SWITCHES (Two l - Posltton): AUlOKATI C/I'IANUAL/CRYSTAl

'"'

OIG ITAl f PllOTONt/ lIN( METER FUNCTION SW ITCH (2-Posi t ton): SY~C/VU

SPEED SELECTOR SWITCH (4- PosHion): 24fp s/lBfps SPEED TUNING SIiITCH (Z - PosHlon):

ON/OH SPEED lUMINa Con trOl Knob

AUDIO SECTION AudiO Ci r cu it Electn;miC5

16 Transistors 9 Olodes I Integrated Circuit

Audio Frequency Response

24fp s; 18fps ;

Signal / Hoi se Rat i o

45db at

Bi as Frequenty

55KHz

Built-In

Mi c ro ~hone

Wow '" Flu tter less t han O.ISS WoI! '" f l utte r Ins t han 0.21 24f~s

•

Elect r e t Condenser, Response: SO-12 ,OOOHz - 3db

Speeds

24fps, (4Ips). and I Sfps (lIps) using Super S full coat Ng tilln. Each speed is varhble plus or . i nus 71 . [~por t InOdel Is 2Sfps aM 18f ps .

Track LOutlon

InOnophonlc SuPfr S Sound s tandard for Ngnetlc f U ll

Reco rdin g Ti llie

5 Inc h re e l, 24fps standa r d sync souM speed: 19 R11nutes on polyester base Super S mag film ClllO feet)

Rewind Tlme

30 seconds (3l!0 feet)

Audio Inputs

Microphone InP<lt:

Half·trac~

Unbalanced la.ped aII(e :

600 " nOllllnal (200-1 ,000 0 acceptable) Sensitivity: 72dBs (Oll9r.V) Pl ug type: Mini~ne

Audio Outpu t s

H'"

Aux ilh ry Input:

hlpe<lance: Senslth1ty: 12dBs (Ol19rnV) Plug Gp e: Miniphone

Itlnltor:

ImpNIall(e: Sensi t iv ity: OdBs (O . n!>v) Power Output:l lIa tt RMS ll,ul _ Plug Type: Mlni phone

AudiO F",lI(tion Switches and COnt rols

""b

PLAY and R(IoIIND Keyboa r d WHRLOCK RECORD LEVEL AUTOMAT IC LEVEL

MICROPHONE

thinS):

SPEAKER/MONI TOR

POWER REQU IREMENTS

12V , S she "D" cells (1S ~un recording ti'l!e wit h alka l ine tells) 12V Ca r B.ttery Cord , SONY OCC ·2AW 120 ~olt $ , AC, 60Hz Export Hodel: 120 ~olts, 50Hz (23DV1l20V tran srO l'l'lle r optiona l l

BATTER Y CHECK

Met er reads battery condition by depr essing b-I.ttery chec k button, with INthlne In PLAY IIOde , .nd M(l ER SW IT ClI on VU.

SIZE

12 I n" ~ 4 3/16" x 10 1/4" (32 ). 11 ~ 26 til)

WEIGHT

12 lbS... lth biltterles (5.5 k9ll'l

,..,_ 27

SuperS Souna Recorder

SUMMARY OF FEATURES Reco r ds original sound direct l y on Super 8 fullroat mag netic fil m in sync with IIlOst fine Super 8 cameras and any 16nT!l sound camefa . The camera must have a once - per- frame (IfF) contact switch (e .g . electronic flash PC socket), a pl1otone generator or be

crystal-controlled. Cableless crystal sync operation as a 10ntloo recorder with c rystal sync came r as . Sync transfe r s to Super 8 fu llroat (resolving) fr(lm orlgiMl sync sound a pe recordings. including cassette ta pe or quarter-inch tape SyHe1IIs, tl1at use either digital once-

pe r -fra..e sync pulses or 60Hz piloto ne sync

trac~s.

Sync traf)sfers frOt'll the edited Supe r 8 fullco.J.t to magnetic edge stripe with Super 8 Sound sync projectors equipped with a once-per-frame contac t switch or AC sync moto r adaptation. Sync .",",~,:,~ system Beaulieu

baCK to Supe r S fullcoa t for edit i ng singleas are madewit h the new single - system came ras ;"P,~;;,. i~ and Ektasound, etc.

AC sync operation for transfers to and from 16m mag fil m dubbers, AC synchronous projectors, and te1e~ision film chai ns . "'.ulti ple units can be ganged in sync for mu ltiple track laying . Sync t ransfers t o and from stereo and four-channel Quar ter- inch Upe recorders. One Channel is needed fo r sync, allowing three dubbed tracks and mixing back to a comPQsite maste r rr.ag film trad . Meter i ndicati on of sync condition, r ecord level (VU), and bat tery strength. 24fps standard sound speed plus 18fps amateur speed. 25 f ps, 501lz, 11 OV/2Z0V

e~PQrt

model an il ab le .

Va r iable speed dnd manual sync con t rol f or spech l effects, sound stret ching, tight drop-ins. C(Ml1bines the basic functions of s~nc r ecorder (Nagra) dnd mag fl1m recorder (Magnasync ) in a single machine, at the price of a fine quality tape recorder or a first quality Super S came ra . About t he same she and weight a s the Nagra . Basic mac hi ne is the SONY TCSOOB . widely used In filrrrnaking as a wil d recorde r. Built-in electret condenser microphone . This microphone c.J.n be used as an unobt ruslve slating syste<Tl for documenUry f1]ms. External mIc r ophone input an~ mixing switch . Closed-loop servo - control dr ive

s~ste!ll.

Automatle record level gai n control, wi t h t wo override. Posjtive sync 1ndication: pilotone dro ps ou t , etc.

Ht~ck

speeds - Voice, "'usic.

H<lnual

Sync meter signals loss of sync if cable disconnects,

Batte ry-operated portable (12V) or AC studio opera ti on.

SuperB Sound, Inc. 95 H"' .... V Street. Cambriclge. Mass.02140