{"id":97433,"date":"2020-08-05T11:00:22","date_gmt":"2020-08-05T10:00:22","guid":{"rendered":"https:\/\/www.avisualpro.es\/bars-tones-and-timecode\/"},"modified":"2020-08-05T11:00:22","modified_gmt":"2020-08-05T10:00:22","slug":"bars-tones-and-timecode","status":"publish","type":"post","link":"https:\/\/www.avisualpro.es\/en\/bars-tones-and-timecode\/","title":{"rendered":"Bars, Tones, and Timecode"},"content":{"rendered":"<\/p>\n<p><span style=\"font-weight: 400;\">Today we begin a new series of chapters aimed at discussing the setup and operation of <a href=\"https:\/\/www.avisualpro.es\/camaras-de-cine-aprobadas-netflix\/\">digital cinema cameras<\/a>. We&#8217;re going to start with something that, in the 21st century, might seem a bit obsolete. We&#8217;re going to talk about color bars and tone. Although it may seem that these elements are indeed not used today, if you think that, you&#8217;re mistaken. Bars and tone remain fundamental for correctly calibrating the video signal, color, and audio in our recordings. Although it may seem ridiculous, it&#8217;s still good practice to include even a full minute of bars and tone in the first clip so that the post-production team knows where to start with the image and sound of the project. It&#8217;s true that for the image, freezing the bars or having a single frame might suffice, but the same doesn&#8217;t apply to the tone. So it&#8217;s preferable to store 60 seconds for them to work comfortably.       <\/span><\/p>\n<p><iframe title=\"Tutorial - Barras, tonos y c\u00f3digo de tiempo - Julio G\u00f3mez\" width=\"960\" height=\"540\" src=\"https:\/\/www.youtube.com\/embed\/MXAdOgPEIKQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400;\">There are three bar standards that are most widely used worldwide, if not practically the only ones. The first is from the Society of Motion Picture and Television Engineers, known as SMPTE. The second bar is from the EBU, which is the English acronym for UER, or European Broadcasting Union. The third is from the Association of Radio Industries and Businesses of Japan, known by the acronym ARIB.   <\/span><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/www.avisualpro.es\/wp-content\/uploads\/2020\/08\/barras-smpte-1024x538.jpg\" \/><img decoding=\"async\" src=\"http:\/\/www.avisualpro.es\/wp-content\/uploads\/2020\/08\/barras-evu-1024x538.jpg\" \/><img decoding=\"async\" src=\"http:\/\/www.avisualpro.es\/wp-content\/uploads\/2020\/08\/barras-arib-1024x538.jpg\" \/><\/p>\n<p><span style=\"font-weight: 400;\">Let&#8217;s take the example of the first one, SMPTE, although it&#8217;s not the most used in our immediate environment, it serves as a basis for analyzing the others. We&#8217;ll see that there&#8217;s an upper group of seven patches and below there are a series of stripes with two patches each. These SMPTE bars are composed of: a 100% Cyan bar, another small 100% bar, but in this case yellow. Next, there&#8217;s a section that includes a very dark blue patch and another very dark purple patch. These two are used to analyze the modulation frequency of the chrominance in this case, the subfrequency. That is, this was used for chrominance signals in analog broadcasting.     <\/span><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/www.avisualpro.es\/wp-content\/uploads\/2020\/08\/vectorscopio-barras-1024x538.jpg\" \/><\/p>\n<p><span style=\"font-weight: 400;\">They should correspond on a <a href=\"https:\/\/www.avisualpro.es\/tienda\/monitorgrabador-atomos-19-sumo-4k-hdr-60p\/\">vectorscope<\/a> to the diagonal lines of the vectorscope which are -Y, which is the line where the skin line is, and Q, which is the opposite. But normally this type of element is not very useful or practical for a photo line. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Then, two quite wide rectangles that include a 75% white patch and a ramp, which goes from absolute black at 0% to total white at 100%. On the far right, two patches of blue and red, both at 100%. In the last row of bars we find, from left to right, the following: a 15% gray square, a 100% white rectangle, a 100% black rectangle, a series of narrow black bars. These five bars have different levels of black that correspond exactly to -2%, 0%, 2%, 4%. All of this is used to correctly adjust the black level of a monitor. Once calibrated, the rightmost bar should be barely visible and the bars corresponding to -2% and 2% should be identical. Finally, there&#8217;s another 0% black rectangle and lastly, another 15% gray rectangle.      <\/span><\/p>\n<p><span style=\"font-weight: 400;\">In 1967, the Society of Motion Picture and <a href=\"https:\/\/www.avisualpro.es\/en\/rental-equipment\/cameras\/\">Television<\/a> Engineers, SMPTE, established a protocol called SMPTE 12M, and this protocol served and has served since then to establish an individual timecode for each film frame or digital frame. In 2008, this protocol was revised and subdivided into two: SMPTE 12M1 and SMPTE 12M2. Timecode is basically used to synchronize video or film content with audio or music content. Initially, timecode provided a temporal reference for tape editing, which eventually evolved into the current non-linear editing systems to which we owe so much and which save us so much time.   <\/span><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/www.avisualpro.es\/wp-content\/uploads\/2020\/08\/codigo-de-tiempo-1024x538.jpg\" \/><\/p>\n<p><span style=\"font-weight: 400;\">The SMPTE timecode information is displayed as a 24-hour clock with 8 digits. It ranges from 0 to 59 seconds, 0 to 59 minutes, and 0 to 23 hours. The second number is subdivided into a series of frames that varies depending on the part of the world we&#8217;re in, the frequency of the current, and the final destination of the material, whether it&#8217;s film or television, because they have different filming speed standards. When we record video, the timecode is also recorded in the image metadata. This happens even if the audio is recorded independently. We can manually adjust the timecode of each camera to have a basic synchronization, and we can also use clapperboards to synchronize video and audio.     <\/span><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/www.avisualpro.es\/wp-content\/uploads\/2020\/08\/conector-codigo-de-tiempo-1024x538.jpg\" \/><\/p>\n<p><span style=\"font-weight: 400;\">In <a href=\"https:\/\/www.avisualpro.es\/tienda\/mezclador-de-video-roland-vr-4hd\/\">multi-camera recordings<\/a>, it&#8217;s possible to perfectly synchronize all cameras and audio capture devices using a timecode generator, which also phases all devices, meaning it not only synchronizes the timecode but also the signal phase. This device is called a genlock. Normally, this solution requires the use of cables that are exactly the same length for each camera and audio recorder. While this can be practical and is indeed used in television studios, it&#8217;s not advisable for outdoor film shoots. Another situation where genlock is used and necessary is when shooting with two cameras in a mirror rig for 3D, with two simultaneous cameras. In this case, it&#8217;s necessary to synchronize not only the timecode but also the phase, which is why they must be connected by genlock. One of the cameras has to act as the master and the other as the slave. Phase synchronization is necessary for 3D because if only the timecode is synchronized, but the signal doesn&#8217;t have the same phase in both cameras, each eye of the human who has to endure this afterwards will be seeing something different, resulting in tremendous dizziness. Although we can&#8217;t distinguish it with the naked eye, the lack of phase synchronization, even with synchronized timecode, will cause horrible dizziness, so it&#8217;s very important to keep in mind that they must be connected and synchronized via genlock.        <\/span><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/www.avisualpro.es\/wp-content\/uploads\/2020\/08\/generador-codigo-de-tiempo-1024x538.jpg\" \/><\/p>\n<p><span style=\"font-weight: 400;\">Another possible option is to use portable timecode boxes, which have a temperature-compensated crystal oscillator and are incredibly precise. In fact, they allow for a deviation of just one frame in 24 hours during an entire day of shooting. So it&#8217;s much more practical to use these types of boxes, commonly known as Master Lockit, for shoots because we avoid cables and radio frequencies, which often cause many problems in maintaining the necessary synchronization and level of precision when working with multiple cameras in real-time shooting. These units support all SMPTE timecodes.   <\/span><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/www.avisualpro.es\/wp-content\/uploads\/2020\/08\/claqueta-codigo-de-tiempo-1024x538.jpg\" \/><\/p>\n<p><span style=\"font-weight: 400;\">Another fairly common standard in the film industry is the smart clapperboard, which is nothing more than an electronic clapperboard containing a synchronization box that allows perfect synchronization with external audio recording devices for at least 12 hours. As resetting the system takes only seconds, there&#8217;s never a need to wait for those 12 hours, so it&#8217;s not a problem to work with this type of clapperboard consistently during a shoot. Logically, each storage medium is given a sequential number that depends on the order in which it&#8217;s used, and in the case of a multi-camera shoot, also specifying which camera it&#8217;s being used with. As long as the card number, sequence, and take correspond to the numbers noted by the script supervisor, there shouldn&#8217;t be any problem with post-synchronization. Therefore, the timecode should be accurate, regardless of how the data was obtained. The use of timecode is absolutely essential for conforming and editing. When the content of storage media is ingested into any non-linear editing program, this number must also be provided. Most post-production companies have cataloging systems for their cards with 5, 6, or 7 digits, allowing them to work numerous times, even with the same type of cards in different productions, simultaneously in the same facilities. In the particular case of wanting to synchronize a playback, a typical option in a music video, the clapperboard has to receive the exact timecode information from that audio recording. This is done either by connecting a cable to the smart clapperboard or via a wireless transmitter.          <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Current <a href=\"https:\/\/www.avisualpro.es\/tienda\/sony-pxw-fx9\/\">digital cinema<\/a> cameras allow, in all cases, the storage of a vast amount of metadata, which includes, of course, not only timecodes but also lens data, aperture settings, focal length, and in some cases, specific metadata such as geometric distortion, vignetting, etc. All this combined information should be transferred to the storage medium. In some cases, there are monitors that also allow us to store in real-time the lens data, camera information, and all production metadata, if we have added them to the camera before shooting. The combination of all this is very important and essential for making editing fundamentally faster. Because we can use keywords, which we can store in these metadata, and these keywords will separate frames when organizing the entire viewing system. When you&#8217;re making a three-minute music video, it might not seem so important, but when you have 500 hours of footage like in Mad Max, thank goodness for keywords. So, it is crucial to have and be able to establish a precise organization of metadata. For this, the most basic elements are having the right color, the right audio, and the right timecode. That&#8217;s why it&#8217;s necessary to have what we mentioned at the beginning: color bars, tone, and standardized timecodes, in this case by SMPTE.        <\/span><\/p>\n<p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":95411,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"_uag_custom_page_level_css":"","footnotes":""},"categories":[951],"tags":[],"class_list":["post-97433","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tips"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Bars, Tones, and Timecode - AVisual PRO<\/title>\n<meta name=\"description\" content=\"We discuss the setup and operation of digital cinema cameras. 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