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SDDS Print Master
Guidelines
R evision 2, October 2001
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1 SDDS Print Master Format Contents 1 SDDS Print Master Format 4 1.1 Media 4 1.2 Track assignments 4 1.3 Synchronisation 5 1.4 Audio and levels 5 1.5 Media labelling 6 1.6 Checking 6 1.7 Test tapes 6 2 Notes, Hints and T ips 7 2.1 Setting up the studio 7 2.2 Striping and syncing 7 2.3 Multi-format print masters 8 2.4 Foreign language print masters 8 2.5 The importance of checking SDDS masters 9 3 DASH Machines – Care and Use 10 3.1 Models 10 3.2 Head cleaning 10 3.3 Pre-striping 10 3.4 Number o
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1 SDDS Print Master Format 5 Akai DD8 machines – Care and Use 14 5.1 Models 14 5.2 Media 14 5.3 At the optical camera transfer facility 14 5.4 Track assignment 14 5.5 Synchronisation at the dubbing theatre 14 5.6 Levels 15 5.7 Problems with MO drives 15 5.8 Drive servicing 16 6 SDDS - T he industry's best sounding format 17 Hear the Difference 17 6.2 System Basics 17 SDDS Products 17 6.4 Big Sound for the Big Screen 17 6.5 Further details – Why is it the best sounding system? 18 6.6 Testimonial
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1 SDDS Print Master Format 1 SDDS Print Master Format 1.1 Media T he following are examples of the types of media suitable for delivering an SDDS Printmaster. However, facilities vary from site to site as do customers’ preferred delivery requirements, it is therefore advised that you check with both the customer and the negative recorder site which format is required. For negatives made in:- Use:- USA DT RS Hi8 DASH 6 track magnetic film Akai DD8plus MO UK DT RS Hi8 Akai DD8plus MO T he rest
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1 SDDS Print Master Format 1.3 Synchronisation Sampling frequency 44.1kHz. i.e. 44100 samples for every 24 frames of picture. 48kHz can be used, but this will be sample-rate-converted in the camera. Make sure the box is CLEARLY marked if the master is at 48kHz. T imecode 25 frames per second, referenced to 50Hz, film speed 24 fps Or 30 frames per second, non drop frame, referenced to 60Hz, film speed 24fps NOT E: For NT SC referenced mixing, the master tape must be pre-striped at 30fps/60Hz, th
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1 SDDS Print Master Format 1.5 Media labelling T he tape or disc should be labelled with: T he name of the film § T he reel number § T he words “SDDS master” § T he language version § T he date § T he box should be labelled with the above things and also: T he sampling frequency § T he timecode frame rate § T he film speed § T he track assignment § Details of tones § T imecode start time § T otal footage § 1.6 Checking It is strongly recommended that all SDDS masters are played back
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2 Notes, Hints and Tips 2 Notes, Hints and Tips 2.1 Setting up the studio T he dubbing theatre monitoring system should be equalised to the industry standard I SO-2969 “X” curve, as used in cinemas. T he method used to achieve this is beyond the scope of this text, but details can be found in the DFP-3000 Quick Start Guide, available from Sony Cinema Products (SCP) office, details on page Error! B ookmar k not defined.. T his is usually carried out before the project is begun. It is important t
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2 Notes, Hints and Tips in the dubbing theatre and digital audio is used when the negative is made. Extra care must be taken. If NT SC video sync is used in the dubbing theatre, it is very important that the master tapes are pre-striped with 30 non-drop frame timecode at 60Hz. T his will then mean that the timecode track, control track and A/D converter are all running at the same speed, second for second. 30 frames of code for 44100 samples and 24 frames of picture. During recording of the mas
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2 Notes, Hints and Tips 2.5 T he importance of checking SDDS masters Digital machines are usually reliable in use. However they are still prone to errors such as: Head errors – age or dirt § Alignment problems § Losing sync § Slipping sync on playback § Faulty patch leads § T ape drop outs § Weird noises from faulty converters or aliasing § It is therefore vital to listen back to all masters with picture. T his will avoid costly reshooting of negatives. T he master may not be monitored w
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3 DASH Machines – Care and Use 3 DASH Machines – Care and Use 3.1 Models T here are five models in current use Sony PCM3324 § Sony PCM3324A § Sony PCM3324S § Sony PCM3348 § Sony PCM3348HR § T he top two machines from this list can be used but are not recommended. T he others have easy provision for Fs shift pull down and have a useful 0.2dB per segment calibration mode. 3.2 Head cleaning Ensure the utmost care when cleaning heads on these machines. Move in a side to side direction only. Mo
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4 DT RS Machines – Care and Use 4 DTRS Machines – Care and Use 4.1 Models DT RS machine are semi-professional machines designed for “large” home studios. T hey became quickly adopted as a standard 8 track digital tape machine in European dubbing studios. It is still often the format of choice for moving material between studios. T here are two makes and several models, the most important of which are listed below. T ascam DA88 – the original § Sony PCM800 § T ascam DA98 § At present the SDDS
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4 DT RS Machines – Care and Use 4.5 Compatibility Note that there is no difference in line up procedure between the T ascam DA-88 and the Sony PCM-800. Both machines use the same Sony Hi-8 transport, and both machines are manufactured by T EAC. 4.6 Maintenance Check the head hours regularly (see below). Every 250 hours the unit should be cleaned manually and the tape path alignment checked. T his should be performed by an experienced engineer with the correct tools and test tapes. Every 1000 ho
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4 DT RS Machines – Care and Use 4.11 Hints for making print masters on DT R S machines If possible play back the master in a different machine to which it was recorded. If a DA98 is available. T his can be used in “confidence” mode. T his plays back the audio off tape whilst recording using read after write heads. Bear in mind the following T he audio output of the DA98 is delayed by 6 frames. T he projector must be § advanced to compensate for this. T he tracks are armed in pairs in this mod
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5 Akai DD8 machines – Care and Use 5 Akai DD8 machines – Care and Use 5.1 Models T here are two models of the DD8. Camera sites have the most recent model, which is the DD8 plus. 5.2 Media Masters should be supplied on 2.6Gb MO cartridges, with 1 reel per side. Note: please check with the optical transfer facility and the film distributor before using Akai DD8 MO discs for SDDS masters. Not all optical transfer facilities have Akai machines. It is not a standard requirement. If you’re not sure,
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5 Akai DD8 machines – Care and Use If a PAL sync is used, this is set up as follows Press SYST EM – DIGI § Set Sample Rate to 44.1kHz § Set Digital Sync to PAL Video sync § Press SYNC § Set Ext. time source to 25FPS § Please note that if NT SC sync is used in a “pulled down” set up, the sampling frequency must also be pulled down to 44.056. T his is set up as follows. Press SYST EM - DIGI § Set Sample Rate to 44.056 § Set Digital Sync to NT SC 29.97 § Press SYNC § Set Ext time source
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5 Akai DD8 machines – Care and Use 5.8 Drive servicing T here are no official service intervals for drives, but servicing at least once a year is recommended. Servicing can only be performed by a specialist MO drive servicing company. Moreover, it is absolutely vital to have no smoking in the same room as these drives. T hey are incredibly susceptible to airborne dust and dirt. Cigarette smoke combines the worst of all environments, as it is also sticky. If you have problems with MO drives and
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6 SDDS - The industry's best sounding format 6 SDDS - The industry's best sounding format Sony Dynamic Digital Soundâ (SDDSâ) is the motion picture industry's most advanced digital sound format, designed exclusively for cinema presentation. In developing SDDS, Sony applied decades of innovative experience in professional and home audio to deliver the highest quality sound presentation. SDDS has been engineered to give filmmakers increased creative freedom and ultimately to preserve the integrit
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6 SDDS - The industry's best sounding format 6.5 Further details – Why is it the best sounding system? In normal operation the SDDS playback equipment uses both sides of the film for playback. However, if one side is damaged, the unit will play in “digital concealment mode”. T his uses extra back up tracks for the lost information. T here is a backup centre and subwoofer. T he left and right channels are mixed to create left mix backup and right mix backup. T hese are played through the appropr
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6 SDDS - The industry's best sounding format 6.6 T estimonials “Eight channel SDDS is awesome! It makes a huge difference on Pearl Harbor. I’ve never heard a movie sound so real. By all means, seek out a theatre featuring SDDS 8 to experience Pearl Harbor the way we intended it.” Michael Bay, Director, Pearl Harbor “T he sense of being totally enveloped in high-detail sound was particularly noticeable on this (SDDS 8) soundtrack” François Groult, chief sound mixer, “T he Messenger: T he story o
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7 Dolby level versus operating level. Historical notes. 7 Dolby level versus operating level. Historical notes. T he current standard for digital cinema sound has a headroom of 20dB above the studio reference level. T his is usually 0VU in USA/France/Spain/Italy and 0dBu in the UK. If you look closely at a VU meter, 0VU is also marked as 100% . It now seems ludicrous that –20dB should be marked as 100% . However, when the meter was first invented, it was decided, for safety that there would be
