Let me put it this way. How many folks have a GS-1200? How many folks have a Baur projector with sync capability?
You can add a small magnet and magnetic reed switch to any projector in about 30 minutes or less and you don't even have to me mechanically inclined.
You can get any number of playback devices to lock to the 24hz pulse from a PC contact if you have a device that generates midi time code locked to the 24hz pulse. You could even use a computer to generate the time code. As en example you can get an old midiman syncman device that will lock to the 60hz ac from a transformer. You can create 60 hz from the 24hz using the Film Groups pilotone generator then amp it up to drive the midiman syncman. Imagine using a Roland VS-880 multitrack to playback your audio with 8, 16 bit tracks.
I did not think of this all by my self, I found it out by reading a Japanese web page that was dedicated to the subject of sync sound to a projector. It’s been done and proven to work.
I am not going to tell you it would be simple to do but it is possible.
Regards,
Paul Cotto
Konton wrote:Your just asking for messed up audio. Better to have the projected frames sync to the audio. But if you want it the other way around the Beaulieu 708LE already has a flash contact.
Don't worry about equipment so much and make your movie!
It´s really easy to achieve sync sound with the Elmo GS1200MO. I have 3 rather cheap devices,
that meet the different requirements for syncing.
The interface box P1008GSQ (€ 80.-) contains a high precision crystal time base and can run the Elmo at
4 selectable framerates (16 2/3, 18, 24 and 25 fps). It is really not neccessary to extract the control signal from the time code of the digital audio output of CD players, like the € 399.- side box. A crystal time base is accurate enough even to sync longer films, as the playback speed of CD and DVD is crystal accurate, too.
The P1008GS (€ 80.-) interface accepts master pulses of 1000 Hz, low level as coming from sound heads
of AV equippment or high level as coming from line-outputs like MD, computer soundcards etc.
THis interface is neccessary when working with 1000 Hz pulses, as the Elmo does not accept
1000 Hz pulses direclty, it expects digital TTL pulses! The interface amplifyes and converts
the 1000 Hz pulses to TTL.
The third box (P1008GSU, € 150.-) combines both interfaces in one case: you can either sync the Elmo with the
crystal time base or with sync pulses.
So for what are both solutions any good?
Crystal time base:
When you finish your film NLE and cut your original footage according to the NLE result.
Or if you finish on film and transfer the edited film to nle for sound track work.
Or if you have old feature films and want to record the sound track of a video edition.
In that cases, you simply can run the Elmo crystal synced and transfer the sound of that digital
sources to sound stripe without loosing sync. The Elmo is now as constant and accurate like
any digital device! You can transfer your footage to video (workcopy), edit your soundtrack
on computer and transfer the soundtrack back to film and always keep in sync.
Pulse control:
Thats good when you record lip sync location sound, using the flash contact of your camera and
a recorder. In this case you must record 1000 Hz pulses to the audio recorder. Now, when
you want to transfer the sound scenes back to the striped film, you control the Elmo with that
pulses and make it run in the very same way like the camera had run during shooting -
and everything keeps in sync.
So, for editing a complex sound film with the Elmo, you first could cut your film in the
conventional way, stripe it, transfer all location sound using the pulse control option.
Now you transfer your sound film to computer, using the crystal option and a video or web cam.
Edit your life sound track in nle, add other sound, music, comments to other nle tracks, mix
everything together and transfer it back to the sound stripe (projector running again crystal synced)
Or you burn an audio CD that you play along with the crystal synced projector.
It's good that so many people have looked into this. I must say though it all sounds very complicated but worth the effort if you can get it right.
The system we'll be using tomorrow was first developed in the early 80's by Keith Wilton and later copied by Cresta and other companies. It is simple. The video source drives the projector. That means that you play a VHS, laser disc or DVD and it is each individual video that controls the speed of the projector. As all films end up being transferred to video at slightly different speeds on the face of it this would appear to be the easiest way of maintaining sync' between video source and projector. No messing around beforehand, just change the tape or disc and the projector will match the speed at which the film was transferred.