Sync Sound Success

[Pedro]

only to keep realistic and close to the technical facts:

the Elmo and all other projectors that can be slaved to pulses, all they will start up immediately with the first pulse and record the sound. Any mechanical delay while starting the film will be compensated, as we have a closed regulation loop with feedback.

BUT: at the end of each pulse sequence, the projector will run some frames more than it should. With Bauer T610 this positive offset after each scene is about 4 frames, with the Elmo it is even more. You cannot simply stop a moving mechanical mass without any delay, that is impossible.

So, going the traditional way,
that we choose ONLY FOR THE REASON TO GET A PROJECTABLE FILM AND TO STAY WITHIN THAT MARVELOUS MEDIUM, and NOT to beat anybody here,
it is neccessary TO ADJUST THE START FRAME FOR EACH SCENE SEPARATLY.
Only when you first edit the sound file or sound tape, deleting any gap inbetween the pulses, allowing the projector to run without any interruption, you can sync a 50 ft roll in one run.
But this is not realistic at all, as you for shure did some picture editing before, cutting and splicing frames away.

Connecting a camera directly to the ESS input of the Elmo makes no sense at all;
ONLY CONNECT TRUE TTL SOURCES TO THE INPUT, in order not to destroy any of the internal circuits!
The camera, depending on model and quality of regulation, always runs a little bit different when it´s warm or cold, runs slower after triggering until it speeds up etc. So it is not helpful only to tell the projector what type of camera had been shooting the film, you actually must capture the camera pulses along with the audio, on a parallel track of the audio.
In order not loosing any pulses and not bleeding into the audio on the other track, I recommend to use a digital-analog converter that records real beep sounds with a defined volume level, instead of contact clicks.

For this reason I am offering the R1008MD interface, that works with any camera and any stereo recorder (tape, MD, MP3...). This is also convinient for using the pulses in the discussed software.

To feed the sync signal back to the Elmo, you must CONVERT the beep-pulses into digital TTL pulses. This is not possible without an electronic converter box, containing an amplifyer and digital converter with TTL output. For this reason I am offering the P1008GS model, that does that job and powers itself when connecting to the Elmo.

Additionally, the P1008GSQ or the P1008GSU model can force the Elmo to run stricly crystal synced to one of the 4 cine framerates. This is the bridge to any computer based or or video system. (for the cheaper Bauer and Braun projectors, the P1008Q model will do the same job)

So, the hitech freak could do the whole sound editing process with a NLE system. To import the film into the NLE system, the P1008GSQ MUST be used and set to the target frame rate, regardless the flicker that will occure.
Now the dialog could be aligned using the discussed software solution, and any music could be added to the various tracks.
Theoretically, this should work with workprinter transfers, too. In this case, it must be garanteed, that the playback speed of the NLE software is exactly like the master framerate of a crystal (f.e. 24 fps)

The edited sound can be played back and recorded to the Elmo, that again MUST be connected to the P1008GSQ. No sync problems will occure;

I am making all my films that way. Plus, I dubbed the soundtrack of DSHUNGLE BOOK from a video tape to a complete S8 edition of the film I found at ebay, without any sync problems over 2 complete 800 ft rolls!

Pedro