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Author Topic: Encoder interface to Digital audio decks for press/workprint screenings Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 10-20-2008 08:48 PM                     Have a very interesting question to throw out to you guys. I have recently completed the installation of a Magna-Tech dubber and encoders (10 pulse/frame) to my screening room at UC Irvine. Obviously the dubber itself is of limited use since mag film is pretty much passe, but my main purpose of the install was to provide encoder outputs for using digital tape or hard drive decks for preview screenings. I have provided a connection that will give access to both encoder's biphase and also a changeover contact to indicate projector #2 active. What I'm seeking is the pinouts/connections to some of the standard decks now used for workprint/advance screenings. I would then make up custom cables to allow this to be a "plug and play" operation. Thanks....  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 10-20-2008 11:39 PM                     The Akai digi dubber will accept biphase at 960hz directly all the rest need a tach to SMPT converter The JSK is good but I gather no longer made CB Electronics makes a good one in the UK  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 10-22-2008 10:23 PM                     I know where there is a used JSK sitting... Let me know if you are interested.... Mark  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 10-25-2008 03:38 PM                     Gordon, thanks for the info. Mark, can you please PM me with info on that JSK? Thanks guys.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 10-26-2008 12:01 PM                     One cautionary note on the JSK is if you do rock and roll it doesn't always track the reverse phase of the pulse  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 10-26-2008 01:52 PM                     Gordon, well I personally rock and roll, but the projectors don't, so that won't be an issue It will be pretty much used for advance screenings and the like.  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 12-19-2008 05:23 PM                     Here are two pics of the install: Encoder mounting: And here's the audio and interlock bus connections from the dubber to the audio rack across the room: I will start an album in the photo warehouse soon of the entire room and booth.  |  IP: Logged Brian Guckian Jedi Master Film Handler Posts: 594 From: Dublin, Ireland Registered: Apr 2003 posted 12-19-2008 05:42 PM                     Great stuff Tony - good to have mag capability as you never know when you might need it (can you do 6-track there?). We had the same facility in a screening room I used to work in and we had a really nice biphase switcher unit built to interface to the (then) anticipated Dolby Drive system believe it or not! But sadly it never saw any action, even with Akai's. Rosendahl of Switzerland made a bi-phase interface ("BIF") that was very versatile and was a good alternative option to the CB Electronics unit where SMPTE t/c conversion is required. I can check to see if it's still available.  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 12-19-2008 06:26 PM                     Thanks Brian. I would like to know if "BIF" is still available. ("hello, hello, think McFly , think.") We can run fullcoat, single track, three track, LT/RT and four track. I have two 363 frames with SR/A cards. I will have a patchbay to route the 4 outputs of the 363's to the input of the CP-65 (soon to be a CP-650). I have built a custom changeover box to switch the outputs of the dubber's preamps into the 363's. Mounting of the pulleys to drive the encoders was done in only a few steps, thanks to a machinist friend: First a stub shaft was made to fit the bore of the FP-20's motor pulley and the bore of the timing belt pulley. My machinist used his trick jig to drill the three holes in the timing belt pulley at exactly 120 degrees apart. Then the stub shaft was used to precisely center the timing pulley into the motor pulley, I drilled and tapped the motor pulley and secured the timing pulley with allen screws, using lock washers and some blue locktite. Works great and runs perfectly true. [ 12-20-2008, 02:42 PM: Message edited by: Tony Bandiera Jr ]  |  IP: Logged Brian Guckian Jedi Master Film Handler Posts: 594 From: Dublin, Ireland Registered: Apr 2003 posted 12-22-2008 04:34 PM                     Sounds great, and look fwd to seeing the pix of the whole booth etc. The BIF unit is still available so I'll PM you with the details. Good to have a couple of options to choose from.  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 12-23-2008 11:55 PM                     Brian, thanks for the info..now if I can get the University to cough up the bucks to get it.. Back to the main point of this thread, and an answer I haven't seen here yet: Does anyone have the pinouts and connector types for various decks like the Akai and Tascam, and other decks I am liable to run into for pic and track screenings? Manufacturer links/manuals/diagrams would be very helpful. I have lost touch with some folks I used to know who did a lot of this kind of work...  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 12-27-2008 01:38 PM                     I have a JSK available for a ton of $$ if anyone needs one. Mark  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 12-28-2008 01:38 PM                     quote: Tony Bandiera Jr I am liable to run into for pic and track screenings When I was based in Los Angeles we did many track and picture type (mag track & digital sound) screenings for the studios. Today they are using and sending out for these types of screenings D-5 or HD-Cam or HD-Cam SR format tapes with their Techs and editors. I'm equipped to run all mag formats and have Akai and Tascam and the Bif boxes to run, but no one is using them for full screenings. The studio rooms here in NYC have or are taking them out. My work print screenings are 99% all video projection (D-5 and HD-Cam SR) from both coasts.  |  IP: Logged

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