71
Chapter 50: Working with Synchronization 1119
External Time Code Offsets
In the External Time Code Offsets section,
Pro Tools lets you compensate for devices that
are consistently offset by a fixed number of
frames (such as some color–corrected video mas-
ters), or for material that starts at a different
time than the session.
Pro Tools provides four different types of Exter-
nal Time Code Offset settings. These offsets in-
clude:
• MMC (MIDI Machine Control)
• 9-Pin (Deck Control)
• Synchronization peripherals such as the
SYNC HD, SYNC I/O, or other peripherals
(such as MIDI interfaces that provide MIDI
Time Code).
• Satellite (Pro Tools with Satellite Link or
Video Satellite)
Unique values can be defined for each of these
types of offsets, or you can link all to adjust in
unison.
Positive and negative offset values can be en-
tered to offset Pro Tools time code display later
or earlier, respectively.
If you are using the MachineControl option, ad-
ditional options for External Time Code Offsets
are available. See the MachineControl Guide for
more information.
To redefine the External Time Code offsets:
1
Choose Setup > External Time Code Offset.
2
In the Redefine External Time Code Offset di-
alog, enter the offset you want in the Desired
Time Code Position field.
3
Click OK.
Sample Offset (Sync Offset)
This field lets you set a trigger offset for incoming
MIDI Time Code (anywhere from –100000 to
+100000 samples). This lets you create a perma-
nent offset to fine-tune the point at which
Pro Tools synchronizes relative to incoming
time code. For example, a value of –50 makes an
event in Pro Tools occur 50 samples before the
same event in the incoming MIDI Time Code.
Use this to compensate for timing differences
between various SMPTE-to-MIDI Time Code
converters or analog-to-digital/digital-to-analog
converters.
Time Code Settings
Freewheel
The choices in the Freewheel section let you
configure how Pro Tools will freewheel, or con-
tinue playback if time code is interrupted or cor-
rupted. Use these options to protect against er-
rors that can occur if your SMPTE time code
source has “drop outs” or temporary lost signals.
None No freewheel is applied.
Frames Sets a number of frames to freewheel,
from 1 to 120 frames. This value defaults to 8
frames, which is the recommended setting for
most applications.
Jam Sync Lets Pro Tools trigger synchronization
to incoming time code, and continue to play
back even if time code input is completely inter-
rupted. It can be useful if time code is damaged,
or has been accidentally erased from your source
tape.
Redefine External Time Code Offset dialog
55
Pro Tools Reference Guide
1120
Pull Up/Down
When Pro Tools is used in conjunction with a
Synchronization peripheral, or a qualified third-
party peripheral that supports pulled sample
rates, this option lets you “pull up” or “pull
down” the current sample rate.
For general information, see the Pro Tools Sync &
Surround Concepts Guide. For more information
on applying pull factors in Pro Tools, see “Pull
Up and Pull Down” on page 1123.
Preparing to Work with SMPTE
The first step when preparing to work with
SMPTE is to choose an appropriate SMPTE frame
rate. Pro Tools supports all standard SMPTE
frame rates. If you are working with SMPTE
striped tape, it is important to know the frame
rate. In some cases, a SYNC peripheral can be
used to do this.
Configuring Pro Tools for
SMPTE
Synchronization and MachineControl system
settings are enabled in the Pro Tools Peripherals
dialog (Setup > Peripherals). These settings are
system settings, and remain constant regardless
of the particular session you are working on.
Configure these settings before opening a ses-
sion.
Other settings are configured in the Session
Setup window, such as the session Time Code
rate, the Feet+Frames rate, the session start
frame, and time display format. These settings
are session-specific settings. These settings can
only be configured when a session is open.
Selecting a SMPTE Format
To choose a SMPTE format:
1
In Pro Tools, choose Setup > Session.
2
Choose a frame rate (SMPTE format) from the
Time Code Rate selector.
3
Enter the Time Code Freewheel frames (if any)
in the designated box (see “Freewheel” on
page 1119).
Remember, pull up and pull down are ap-
plied differently in different workflows.
Make sure you check each project’s specific
workflow before you begin your work.
For a full explanation of SMPTE frame
rates, see the ProTools Sync & Surround
Concepts Guide.
MachineControl is supported on
Pro Tools|HD systems only.
69
Chapter 50: Working with Synchronization 1121
Setting a SMPTE Session Start
Time (Start Frame)
The Session Setup window also allows you to set
a SMPTE Start Frame for your session. Video
work tapes are rarely striped beginning at a
SMPTE frame address of 00:00:00:00. You can
quickly enter a start time for your session based
on an appropriate frame number from your
project tape. The Pro Tools SMPTE-related func-
tions (such as Spot mode) will then use this
value as their reference for the session’s start
point.
Start Time When Striping Tape
If you are generating time code, it is a good prac-
tice to stripe your time code beginning at
01:00:00:00 (subtracting time for the head for-
mat, such as initial black, bars and tone, or lo-
gos). This prevents problems that can occur with
some synchronizers when the striped time code
crosses from 23:59:59:29 to 00:00:00:00 (com-
monly referred to as the “midnight” boundary).
To set a SMPTE Start Time for your session:
1
Choose Setup > Session.
2
Enter a SMPTE frame number in the Session
Start field.
To capture an incoming SMPTE address as the
session start time:
1
Click in the Session Start field.
2
Begin playback of the time code source.
3
At the location where you want to capture the
incoming value, press Equal (=) in the numeric
keypad.
4
Press Enter to accept the value. You can then
edit the captured address. The session uses the
frame number you enter as its SMPTE start frame
when online.
• If there are existing regions on the tracks
and you are changing the original SMPTE
start frame to a later time (from
00:00:00:00 to 01:00:00:00, for example),
all existing regions on tracks will remain in
their relative positions, but will start later
by the time value added to the start frame.
• If you are changing the session start time in
an open session in which tracks already ex-
ist, a warning dialog appears when you
press Enter. Choose from one of two op-
tions:
Maintain Time Code Places the additional ses-
sion time at the start of the session, and keeps
existing regions in their original time code loca-
tions.
Maintain Relative Position Places the additional
session time at the start of the session, and
maintains the relative position of existing re-
gions to the new start frame. For example, if you
change the session start frame from 01:00:00:00
to 00:59:00:00, Pro Tools adds one minute of
session time to accommodate the new start
frame, and moves all existing regions earlier in
time to maintain their relative position to the
start frame.
54
Pro Tools Reference Guide
1122
Redefining a Feet+Frames
Position
Use the Current Feet+Frames command to rede-
fine the Feet+Frames position at the current in-
sertion point. The session start time is recalcu-
lated based on the new, relative Feet+Frames
location.
Typically, this command is used for integrating
test tones, pre-roll, Academy leader, and similar
pre-program material into Pro Tools sessions.
Redefining Feet+Frames does not redefine the
session start time.
To set a relative frame position for a session
(Feet+Frames):
1
With the Selector tool, click in a track (or
make a selection) where you want to redefine
the position.
2
Choose Setup > Current Feet+Frames Position.
3
Enter a Feet+Frame position to correspond to
the time code shown in the dialog.
4
Click OK.
Redefining a Time Code Position
Use the Current Time Code Position command to
redefine the current time code position and ses-
sion start time. By creating an insertion point
(or selection), and then entering the new time
code position for that location, the session start
time will be recalculated based on the new, rela-
tive Time Code location.
To redefine a current Time Code code position:
1
With the Selector tool, click in a track (or
make a selection) where you want to redefine
the position.
2
Choose Setup > Current Time Code Position.
3
Enter a new SMPTE frame number in the dia-
log to correspond to the time code shown in the
dialog.
4
Click OK.
If your insertion or selection is not on a grid
boundary, it will round to the closest
boundary.
If your insertion or selection is not on a grid
boundary, it will round to the closest
boundary.
C# HTML5 Viewer: Deployment on ASP.NET MVC under Views according to config in picture above. RasterEdge.XDoc.PDF.HTML5Editor. dll. Open RasterEdge_MVC3 DemoProject, copy following content to your project:
copy image from pdf; copy image from pdf to pdf
46
Chapter 50: Working with Synchronization 1123
Displaying Time in SMPTE Frames
In Pro Tools, you can set the Main Time Scale to
Time Code (SMPTE) and this will be displayed in
the Main Counter. Though Pro Tools will still
synchronize to incoming SMPTE time code if
the Time Scale is displayed in Bars|Beats, Min-
utes:Seconds, or Feet.Frames, it is usually more
useful to use SMPTE time code as your reference.
To set the Main Time Scale to SMPTE Time Code,
do one of the following:
ɸ
Choose View > Rulers > Time Code.
– or –
ɸ
Click the Main Counter selector in the Edit
window and select Time Code.
Pro Tools displays time code values in the cur-
rently selected SMPTE frame rate.
Sub Counter and Sub Time Scale Display
You can display a Sub Time Scale in the Sub
Counter. For example, if the Main Time Scale is
set to Time Code, and you want to compare
SMPTE time to “wall clock,” when you are using
29.97 Non-Drop frame rate, click the Sub Coun-
ter selector and select Min:Secs as the Sub Time
Scale.
Pull Up and Pull Down
Pro Tools supports up to 4% pull up and pull
down, with support for an additional 0.1% up or
down. Separate rates can be set for session audio
and video (when video has been imported or
captured into the session).
When referring to 4% pull up and pull down,
the precise percentages used in pull ups is
4.167%.
While a Synchronization peripheral is not re-
quired in order to use the extended pull up and
down options provided in Pro Tools, a Synchro-
nization peripheral is the only device that can
be controlled from within Pro Tools, and that
recalls and restores pull factors automatically
when a session opens. Other synchronization
peripherals must be configured manually.
Pull up and down settings do not affect time
code generated by a SYNC peripheral.
61
Pro Tools Reference Guide
1124
Configuring Pull Up and Pull Down
To pull up or pull down audio or video:
1
Choose Setup > Session.
2
From the Time Code Settings section of the
Session Setup window, select a Pull Up/Down
Rate.
Audio Rate Pull Up/Down Controls the audio
sample rate. See “Audio Sample Rate Pull Up and
Down” on page 1125.
Video Rate Pull Up/Down Controls the video
rate. See “Video Frame Rate Pull Up and Down”
on page 1126.
The choices available in these menus are deter-
mined by the session frame rate. Combinations
can be applied by choosing from both menus.
The choices available in these menus are also de-
termined by the Preferences and the Auto Match
Pull Factors option in the Time Code Rate menu.
See “Extended Pull Up and Pull Down Prefer-
ence and Session Setup Controls” on page 1124
and “Auto Match Pull Factors” on page 1124.
Extended Pull Up and Pull Down
Preference and Session Setup
Controls
The Audio Rate Pull Up/Down setting offers all
possible combinations of pull ups and pull
downs for the audio sample rate, regardless of
the session frame rate.
In addition, if there is a QuickTime movie in the
Timeline, the video rate can be pulled up or
down by 0.1%, regardless of the session frame
rate. Though not a recommended workflow, ear-
lier versions of Pro Tools also enabled pull down
of QuickTime video clips when audio was pulled
down, so this option is included in Pro Tools
5.3.1 and higher to maintain compatibility with
earlier sessions.
Auto Match Pull Factors
The Auto Match Pull Factors option is available
from the session Time Code Rate menu in the
Session Setup window. When Auto Match Pull
Factors is enabled, Pro Tools adjusts audio and
video playback rates as needed to match any
changes to the current session Time Code Rate.
Auto Match Pull is applied relative to the current
pull up setting. While enabled, if the session
frame rate is changed in such a way that the
video would have to be pulled by an unsup-
ported amount, the video remains unaffected.
This setting is latching, is not enabled by de-
fault, and its state is stored with the session.
Press Control+2 (Windows) or Com-
mand+2 (Mac) to open the Session Setup
window.
Session Setup window
4% pull factors are not available in 176.4
and 192 kHz sessions.
30
Chapter 50: Working with Synchronization 1125
Example of Auto Match Pull
Factors
The Auto Match Pull Factors option links audio
and video pull factors when changing session
frame rate.
For example, assume a Pro Tools session is set to
a frame rate of 25 fps, the audio and video are
both playing with no pull ups, and Auto Match
Pull Factors is enabled.
If you then change the session Frame Rate to
24 fps, both the Audio and Video Rate Pull set-
tings would change by –4.0% (the appropriate
pull setting required by the change in frame
rate).
Auto Match-enabled pull factors are applied to
any existing Audio Rate Pull Up/Down or Video
Rate Pull Up/Down settings.
For example, if audio was already being pulled
–0.1% when you changed the session Frame
Rate from 29.97 to 24 fps, then the Audio Rate
Pull Up/Down menu would switch to None.
Audio Sample Rate Pull Up and
Down
The Audio Rate Pull Up/Down setting applies pull
up or down factors to session audio record and
playback. All pull rates are available, regardless
of session frame rate.
See also “Auto Match Pull Factors” on
page 1124.
98
Pro Tools Reference Guide
1126
Audio Rates and Pull Up/Down Options
The following table lists actual sample rates of each pull up and pull down option and combination
(rounded to the nearest whole Hz):
Video Frame Rate Pull Up and
Down
The Video Pull Up/Down setting lets you change
the frame rate of QuickTime movie playback in-
dependently from the audio pull-up/down rate.
The choices available for Video Rate Pull
Up/Down depend on the file format and frame
rate of the QuickTime movie. Video pull rates
are saved with the session.
Effect of Using Pull Up or Pull
Down
This topic describes how related Pro Tools fea-
tures are affected by pull up and down rates.
Video Pull Up and Pull Down and
Time Code Ruler
Video pull up and down does not affect the Time
Code ruler. Be sure to set the session Frame Rate
to the correct frame rate for your project. For ex-
ample, if working with 24 fps video and you pull
the video up by 4%, switch the session Frame
Sample Rates at Pull Up and Pull Down Settings
Pull Up/Down
Sample Rate
44100
48000
88200
96000
176400
192000
+4.1667%
and +0.1%
45983
50050
91967
100100
n/a
n/a
+4.1667%
45938
50000
91875
100000
n/a
n/a
+4.1667%
and –0.1%
45892
49950
91783
99900
n/a
n/a
+0.1%
44144
48048
88288
96096
176576
192192
–0.1%
44056
47952
88112
95904
176224
191808
–4.0% and
+0.1%
42378
46126
84757
92252
n/a
n/a
–4.0%
42336
46080
84672
92160
n/a
n/a
–4.0% and
–0.1%
42294
46034
84587
92068
n/a
n/a
Avid video tracks cannot be pulled up or
pulled down.
See also “Auto Match Pull Factors” on
page 1124.
58
Chapter 50: Working with Synchronization 1127
Rate to 25 fps to keep the Time Code ruler
aligned. Similarly, if working with 24 fps video
that is pulled down by 0.1%, switch the frame
rate of the session to 29.97.
When working with 25 fps Avid media and the
video is set to pull down by 4%, set the session
Frame Rate to 24 fps.
Plug-Ins and Pull Up and Pull Down
For proper operation at larger (4%) pull rates,
plug-ins must utilize sample clock instead of an
absolute time clock. All Pro Tools audio plug-ins
are based on sample clock.
Higher Sample Rates and Pull
Factors
4% audio pull rates are not available in 176.4
and 192 kHz sample rate sessions.
No Video Recording with Pull Up or
Pull Down
(Avid Video Peripheral Required)
Since Avid video cannot be pulled up or pulled
down, video cannot be recorded to the Timeline
if a video pull up or down is selected. If the video
track is record-enabled while video pull ups are
enabled, or if you attempt to set a video pull up
rate while the video track is record-enabled,
Pro Tools posts a dialog and disallows video re-
cording. To proceed with digitization, reset the
Video Rate Pull Up/Down setting to None.
Putting Pro Tools Online
To trigger playback or recording from an exter-
nal source, the Pro Tools Transport must be
placed online. This tells Pro Tools to listen for in-
coming time code.
To put the Pro Tools Transport online, do one of the
following:
ɸ
Choose Options > Transport Online.
– or –
ɸ
Click the Online button in the Transport.
The Online button flashes while Pro Tools waits
for a SMPTE frame to trigger playback. When
time code is received, playback begins and the
Online button becomes highlighted. The Edit
Selection indicators in the Edit window, and the
Incoming Time field in the Session Setup win-
dow display the incoming time code.
To take Pro Tools offline, do one of the following:
ɸ
Deselect Options > Transport Online.
– or –
ɸ
Deselect the Online button in the Transport
window.
Press Command+J (Mac) or Control+J
(Windows) to put the Transport Online.
Clicking the Online button in the Transport
63
Pro Tools Reference Guide
1128
Recording Online
The Operation Preferences page contains two
options that affect how Pro Tools initiates re-
cording when online.
Record Online at Time Code (or ADAT)
Lock Makes online recording begin as soon as
Pro Tools receives and locks to time code or
ADAT sync. In this case, you do not need to
make an insertion or selection in a track to des-
ignate a start point.
Record Online at Insertion/Selection Makes on-
line recording begin wherever you have placed
the insertion point in a track. Recording then
continues until Pro Tools stops receiving time
code. If you make a Timeline selection,
Pro Tools will record online only for the length
of the selection.
Generating Time Code
Using a SYNC peripheral, Pro Tools can generate
SMPTE and MIDI Time Code (MTC). Without a
SYNC peripheral, Pro Tools can only generate
MTC. This lets Pro Tools function as a master
synchronization source with other devices slave
to it (chase).
To generate MIDI Time Code from Pro Tools:
1
Choose Setup > Peripherals and click the Syn-
chronization tab.
2
From the MTC Generator Port setting, select the
MIDI output port on which you want to trans-
mit MIDI Time Code (MTC).
3
From the Transport Window menu (or the
Edit Window menu), select Synchronization.
4
Click the Gen MTC button so that it highlights.
5
Start playback.
To generate time code using a SYNC peripheral:
1
Connect the SYNC peripheral LTC Out to the
SMPTE in connector on the devices you are slav-
ing. If you are slaving a device that recognizes
MTC, connect the MTC OUT connector of the
SYNC peripheral to the MIDI IN connector of
the slaved device.
2
Make sure your SYNC peripheral is powered
on.
3
In Pro Tools, choose Setup > Peripherals and
click the Synchronization tab.
4
In the Synchronization Device section of the
Synchronization page, select Enable SYNC Periph-
eral.
5
Click OK to close the Peripherals dialog.
Selecting the MTC Generator Port
Transport, Gen MTC enabled
Documents you may be interested
Documents you may be interested
