Book Review Two Useful Technical Books Understanding Zeroes And Ones Helps When Troubleshooting reviewed by Scott Burnette In my experience with electronic editing equipment, I have seen that just knowing what buttons to push does little to satisfy my curiosity about how video and audio formats work. More importantly, as I've learned about the technology, I've become better prepared to deal with problems (inevitable, it seems) and to describe them for engineers (who can be skeptical of our assessments). My interest has led me to several books; among them are two that I recommend, not only for the general information provided, but also for their specific treatment of digital audio. Timecode: A User's Guide Focal Press, second edition 1996, $47.95. Author John Ratcliff outlines the history of videotape and the subsequent development of timecode in the various formats used today. This is the kind of information that can be put to good use by assistant editors using non-linear editing systems, who must sift through dailies looking for any problems in the data that will eventually be used for cut lists and EDLs. The descriptions of KeyKode and the telecine process, complete with appendices for 3-line VITC and other technical standards, will provide information for the way things should be done. While many assistants know how the telecine works, relatively few understand the relationship of timecode and digital audio. "Timecode" explains that digital audio was first brought to the market as a consumer format. The new digital quality came with its own frame rate of 33 1/3 fps, but broadcasters liked the consumer format, and out of this version, a professional format evolved. With frame rates for film and video already established, the addition of the DAT rate to post production required a new arrangement for the use of timecode. Pro-R timecode was designed to allow DATs to operate with video machines; accommodating the different frame rates requires a flexibility that users should understand to ensure that digital audio runs at its proper speed. Because of the significance of this application, it would be more helpful if Ratcliff spent more time explaining it in simpler terms. Although there is plenty of detail on the specifications Pro-R timecode, the subject can make for difficult reading. Nonetheless, time with this book will be well spent. The Digital Interface Focal Press, Second edition 1995, $49.95. For those who would like to know still more about digital audio, "The Digital Interface" is an excellent book by Francis Rumsey and John Watkinson. Intended for an audience with a technical background, this book details the characteristics of digital information (video and audio) as it is sampled, coded and transmitted. The dual development of professional and consumer digital audio formats has been a blessing and a curse. Similar enough to be considered interchangeable, in the past there have been instances of incompatiblilty - depending on the manufacturer of the equipment involved! "The Digital Interface" describes the effort to standardize digital audio, and how compatibility has been elusive. To understand why, you must realize that a digital signal is discrete; like film it is recorded in frames, and like film it is necessary to identify the beginning of the frame. Consider how a projectionist looks for the start mark on the film and how he looks for the picture ratio and other written information necessary to properly screen the film. Now imagine a projectionist so fussy he won't screen the footage unless he receives this info presented exactly as he wants it. DAT machines can be like that. Because the book is targeted for engineers, the discussion of problems is limited to rather abstract scenarios; the potential for problems is described but few "real world" solutions are offered. The strength of this book is its detailed descriptions of digital signals, particularly in their structure. When you understand how a continuous stream of zeros and ones can be used to convey information in the cutting room, you get an insight into trouble-shooting problems and an appreciation for the effort that goes into developing digital formats. I purchased my copies of these books at Op-Amp Technical Books in Hollywood, although I have also purchased Focal Press books at Samuel French. Either store will gladly order a book that is not in stock.   Scott Burnette just finished assisting on the feature 'Black Dog'.   Reprinted from The Motion Picture Editors Guild Newsletter Vol. 19, No. 3 - May/June 1998   Guild Home | Newsletter Home | Top of Page   Copyright © 1998, All Rights Reserved by The Motion Picture Editors Guild, IATSE Local 776