director of photography, DIT, peter gray, dp, cinematography, dop, cinematographers, lighting cameraman, videographers, dv, high definition, 24p, digital films, HDW-F900, CineAlta, Varicam, AJ-HDC27F, HDC-F950, Pro 35, Viper, SRW-1, HDW-700A, 70mm, independent films, lighting directors, filmmakers, filmmaking
AMBIENT ACL 202CT / ACL 203 LOCKIT BOX SETTINGS AND USER INFORMATION
Plus Settings for the Denecke SB-T Trilevel Syncbox
TABLE OF CONTENTS:
[1] DIP SWITCH SETTINGS FOR SONY F23 / F35 with SRW-1 recorder 23.976
[2] DIP SWITCH SETTINGS FOR SONY F23 / F35 with SRW-1 recorder 24.0
[3] DIP SWITCH SETTINGS FOR SONY F23 / F35 with SRW-1 recorder 25.0
[4] DIP SWITCH SETTINGS FOR SONY F23 / F35 with SRW-1 recorder 29.97
[5] DIP SWITCH SETTINGS FOR SONY PMW-EX3 HQ 1080/24p MODE
[6] DIP SWITCH SETTINGS FOR SONY PMW-EX3 HQ 1080/30p MODE
[7] DIP SWITCH SETTINGS FOR SONY PMW-EX3 HQ 720/24p MODE
[8] DIP SWITCH SETTINGS FOR SONY HDW-F900 AT 23.976 PsF
[9] DIP SWITCH SETTINGS FOR SONY HDW-F900 AT 24.00 PsF
[10] DIP SWITCH SETTINGS FOR SONY HDW-F900 AT 25.00 PsF
[11] DIP SWITCH SETTINGS FOR SONY HDW-F900 AT 29.97 PsF
[12] DIP SWITCH SETTINGS FOR SONY HDW-F900 AT 30.00 PsF
[13] DIP SWITCH SETTINGS FOR SONY HDW-F900 AT 50 Interlaced
[14] DIP SWITCH SETTINGS FOR SONY HDW-F900 AT 59.94 Interlaced
[15] DIP SWITCH SETTINGS FOR SONY HDW-F900 AT 60 Interlaced
[16] DIP SWITCH SETTINGS FOR PANASONIC AG-HPX300 IN ALL SYSTEM MODES
[17] DIP SWITCH SETTINGS FOR PANASONIC AJ-HPX3700 IN 1080 / 59.94 Interlaced MODE
[18] DIP SWITCH SETTINGS FOR PANASONIC AJ-HPX3700 IN 1080 / 23.976 PsF MODE
[19] DIP SWITCH SETTINGS FOR PANASONIC AJ-HPX3700 IN 1080 / 50 Interlaced MODE
[20] DIP SWITCH SETTINGS FOR PANASONIC AJ-HPX3000 IN 1080 / 59.94 Interlaced MODE
[21] DIP SWITCH SETTINGS FOR PANASONIC AJ-HPX3000 IN 1080 / 50 Interlaced MODE)
[22] DIP SWITCH SETTINGS FOR PANASONIC VARICAM IN 59.94 Progressive MODE
[23] DIP SWITCH SETTINGS FOR PANASONIC VARICAM IN 60.0 Progressive MODE
[24] DIP SWITCH SETTINGS FOR PANASONIC AJ-HDX900 IN 1080 / 59.94 Interlaced MODE
[25] DIP SWITCH SETTINGS FOR PANASONIC AJ-HDX900 IN 720 / 59.94 Progressive MODE
[26] DIP SWITCH SETTINGS FOR PANASONIC AJ-HDX900 IN 720 / 50 Progressive MODE
[27] DIP SWITCH SETTINGS FOR PANASONIC SDX900 NTSC (Interlaced)
[28] DIP SWITCH SETTINGS FOR PANASONIC SDX900 PAL (Interlaced)
[29] DIP SWITCH SETTINGS FOR RED ONE AT 23.976
[30] DIP SWITCH SETTINGS FOR RED ONE AT 24.0
[31] DIP SWITCH SETTINGS FOR RED ONE AT 25.0
[32] DIP SWITCH SETTINGS FOR RED ONE AT 29.97
[33] DIP SWITCH SETTINGS FOR RED ONE AT 30.0
[34] DIP SWITCH SETTINGS FOR RED ONE IN 25.0 @ 50FPS MODE
[35] DIP SWITCH SETTINGS FOR RED ONE IN 29.97 @ 59.94FPS MODE
[36] DIP SWITCH SETTINGS FOR RED ONE IN 30.0 @ 60FPS MODE
[37] NOTES ABOUT THE PROPER USE OF LOCKITS
[38] LEMO SOCKET WIRING DIAGRAM
[1] FOR SONY F23 / F35 WITH SRW-1 RECORDER AT 23.976 PsF
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #0 (for 23.976 video), Rotary switch 3 to position #0 (for 23.976 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #4 (for 23.976 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[2] FOR SONY F23 / F35 WITH SRW-1 RECORDER AT 24.0 PsF
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #1 (for 24.0 video), Rotary switch 3 to position #1 (for 24.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #3 (for 24.0 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[3] FOR SONY F23 / F35 WITH SRW-1 RECORDER AT 25.0 PsF
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #2 (for 25.0 video), Rotary switch 3 to position #2 (for 25.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #2 (for 25.0 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[4] FOR SONY F23 / F35 WITH SRW-1 RECORDER AT 29.97 PsF
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #3 (for 29.97 video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[5] FOR SONY PMW-EX3 IN HQ 1080/24P SHOOTING MODE
PLEASE NOTE: ALL OF THE FOLLOWING SETTINGS FOR THE SONY EX3 CAMERA ARE UNTESTED, SO THESE ARE SUGGESTED STARTING POINTS FOR FURTHER TESTING AND VERIFICATION [ESPECIALLY FOR EXTERNAL GENLOCK!!!!].
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #0 (for 23.976 video), Rotary switch 3 to position #0 (for 23.976 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #4 (for 23.976 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
SPECIAL NOTE: In the menus, navigate to Others >>> Genlock >>> and select 24PsF (default is 60i)
In the menus, navigate to TC/UB Set >>> TC Format >>> and set to NDF (default is DF)
Before jaming to external Timecode, navigate to TC/UB Set >>> Timecode >>> Mode >>> and set to Preset (the default).
Also navigate to TC/UB Set >>> Timecode >>> Run >>> and set to Free Run (default is Rec Run)
When external Timecode is plugged in, the message EXT-LK should appear in the display window.
Rebooting the camera (turning off and then back on), will rejam the internal Timecode generator to the external Timecode source.
Rejam frequently to avoid Timecode drift problems (the manufacturer states an possible drift of one frame per hour).
As with most cameras that momentarily jam Timecode to an external source, I recommend just connecting external Timecode only from the Lockit box going to the EX3 camera
(without connecting Trilevel Sync aka Genlock). This prevents a situation where Timecode and Trilevel Sync are generated by physically different crystal oscillators. If you plug both Timecode and Trilevel
Sync cables from the Lockit box in to the camera, then one crystal is generating Timecode (inside the camera) while a different crystal is generating Trilevel Sync (inside the Lockit box). They will
inevitably drift apart over time. When they drift apart by one whole frame, this often causes a "green flash" problem in many (maybe all?) cameras. It is caused by a momentary loss of camera sync
information, a sort of hickup in the system as phase relationships take a brief moment to readjust. Although brief, this "broken frame or frames" can not be repaired in post (or not to my knowledge at
least). On the other hand, if you follow my recommendation and just connect external Timecode only, this initiates a momentary jamming process with the camera's internal Timecode generator. After a few
seconds, the camera ignores the external Timecode feed from the Lockit box, and keep generating its own Timecode, but it is now in step with the external source. Now the camera's own internal crystal
oscillator is generating everything, and phase-relationship problems are unlikely to occur. A happy camera is one generating its on sync, and not receiving it externally. If you keep the Lockit box
connected, this momentary jamming process will occur every time the camera is powered up again. With the EX3, it is recommended to re-jam about once an hour, as the camera's internal Timecode generator
is considerably less stable than the Lockit box. The Lockit box should be re-jammed to the master source every 4 to 6 hours approximately (as they are equipped with much more stable crystal oscillators).
The exception to this rule of thumb, is when two cameras are used in a 3-D rig. In this case, both camera need to be Genlocked, or run from the same external source of Trilevel Sync.
If we leave Trilevel Sync (or Genlock) out of the equation, then the correct Lockit settings for the EX3 can be summarized as follows.
(1). For HQ 1080/24p and HQ 720/24p shooting modes only, set Lockit to generate 23.976 Timecode (must be NDF).
(2). For all other NTSC Area formats, use 29.97 Timecode, either NDF or DF selectable in camera (so for HQ 1080/60i, SP 1080/60i, HQ 1080/30p, SP 1080/24p, HQ 720/60p, and HQ 720/30p shooting modes).
Normally NDF is recommended for production.
(3). For all PAL Area formats, use 25.0 NDF Timecode (so for HQ 1080/50i, SP 1080/50i, HQ 1080/25p, HQ 720/50p, and HQ 720/25p shooting modes).
[6] FOR SONY PMW-EX3 IN HQ 1080/30P SHOOTING MODE
PLEASE NOTE: THE FOLLOWING SETTING FOR THE SONY EX3 CAMERA IS UNTESTED, SO THIS IS A SUGGESTED STARTING POINTS FOR FURTHER TESTING AND VERIFICATION [ESPECIALLY FOR EXTERNAL GENLOCK!!!!].
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #3 (for Video HD 1080P), Rotary switch 2 to position #3 (for 29.97 video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 0 + 0 (for 1080 P Trilevel Sync).
SPECIAL NOTE: In the menus, navigate to TC/UB Set >>> TC Format >>> and set to NDF (default is DF)
Before jaming to external Timecode, navigate to TC/UB Set >>> Timecode >>> Mode >>> and set to Preset (the default).
Also navigate to TC/UB Set >>> Timecode >>> Run >>> and set to Free Run (default is Rec Run)
When external Timecode is plugged in, the message EXT-LK should appear in the display window.
Rebooting the camera (turning off and then back on), will rejam the internal Timecode generator to the external Timecode source.
Rejam frequently to avoid Timecode drift problems (the manufacturer states an possible drift of one frame per hour).
As with most cameras that momentarily jam Timecode to an external source, I recommend just connecting external Timecode only from the Lockit box going to the EX3 camera
(without connecting Trilevel Sync aka Genlock). This prevents a situation where Timecode and Trilevel Sync are generated by physically different crystal oscillators. If you plug both Timecode and Trilevel
Sync cables from the Lockit box in to the camera, then one crystal is generating Timecode (inside the camera) while a different crystal is generating Trilevel Sync (inside the Lockit box). They will
inevitably drift apart over time. When they drift apart by one whole frame, this often causes a "green flash" problem in many (maybe all?) cameras. It is caused by a momentary loss of camera sync
information, a sort of hickup in the system as phase relationships take a brief moment to readjust. Although brief, this "broken frame or frames" can not be repaired in post (or not to my knowledge at
least). On the other hand, if you follow my recommendation and just connect external Timecode only, this initiates a momentary jamming process with the camera's internal Timecode generator. After a few
seconds, the camera ignores the external Timecode feed from the Lockit box, and keep generating its own Timecode, but it is now in step with the external source. Now the camera's own internal crystal
oscillator is generating everything, and phase-relationship problems are unlikely to occur. A happy camera is one generating its on sync, and not receiving it externally. If you keep the Lockit box
connected, this momentary jamming process will occur every time the camera is powered up again. With the EX3, it is recommended to re-jam about once an hour, as the camera's internal Timecode generator
is considerably less stable than the Lockit box. The Lockit box should be re-jammed to the master source every 4 to 6 hours approximately (as they are equipped with much more stable crystal oscillators).
The exception to this rule of thumb, is when two cameras are used in a 3-D rig. In this case, both camera need to be Genlocked, or run from the same external source of Trilevel Sync.
If we leave Trilevel Sync (or Genlock) out of the equation, then the correct Lockit settings for the EX3 can be summarized as follows.
(1). For HQ 1080/24p and HQ 720/24p shooting modes only, set Lockit to generate 23.976 Timecode (must be NDF).
(2). For all other NTSC Area formats, use 29.97 Timecode, either NDF or DF selectable in camera (so for HQ 1080/60i, SP 1080/60i, HQ 1080/30p, SP 1080/24p, HQ 720/60p, and HQ 720/30p shooting modes).
Normally NDF is recommended for production.
(3). For all PAL Area formats, use 25.0 NDF Timecode (so for HQ 1080/50i, SP 1080/50i, HQ 1080/25p, HQ 720/50p, and HQ 720/25p shooting modes).
[7] FOR SONY PMW-EX3 IN HQ 720/24P SHOOTING MODE
PLEASE NOTE: THE FOLLOWING SETTING FOR THE SONY EX3 CAMERA IS UNTESTED, SO THIS IS A SUGGESTED STARTING POINTS FOR FURTHER TESTING AND VERIFICATION [ESPECIALLY FOR EXTERNAL GENLOCK!!!!].
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #1 (for Video HD 720P), Rotary switch 2 to position #6 (for 59.94 video), Rotary switch 3 to position #0 (for 23.98 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #4 (for 23.976 NDF), and Dip Switch to position 1 + 1 (for 720 P Trilevel Sync).
SPECIAL NOTE: In the menus, navigate to TC/UB Set >>> TC Format >>> and set to NDF (default is DF)
Before jaming to external Timecode, navigate to TC/UB Set >>> Timecode >>> Mode >>> and set to Preset (the default).
Also navigate to TC/UB Set >>> Timecode >>> Run >>> and set to Free Run (default is Rec Run)
When external Timecode is plugged in, the message EXT-LK should appear in the display window.
Rebooting the camera (turning off and then back on), will rejam the internal Timecode generator to the external Timecode source.
Rejam frequently to avoid Timecode drift problems (the manufacturer states an possible drift of one frame per hour).
As with most cameras that momentarily jam Timecode to an external source, I recommend just connecting external Timecode only from the Lockit box going to the EX3 camera
(without connecting Trilevel Sync aka Genlock). This prevents a situation where Timecode and Trilevel Sync are generated by physically different crystal oscillators. If you plug both Timecode and Trilevel
Sync cables from the Lockit box in to the camera, then one crystal is generating Timecode (inside the camera) while a different crystal is generating Trilevel Sync (inside the Lockit box). They will
inevitably drift apart over time. When they drift apart by one whole frame, this often causes a "green flash" problem in many (maybe all?) cameras. It is caused by a momentary loss of camera sync
information, a sort of hickup in the system as phase relationships take a brief moment to readjust. Although brief, this "broken frame or frames" can not be repaired in post (or not to my knowledge at
least). On the other hand, if you follow my recommendation and just connect external Timecode only, this initiates a momentary jamming process with the camera's internal Timecode generator. After a few
seconds, the camera ignores the external Timecode feed from the Lockit box, and keep generating its own Timecode, but it is now in step with the external source. Now the camera's own internal crystal
oscillator is generating everything, and phase-relationship problems are unlikely to occur. A happy camera is one generating its on sync, and not receiving it externally. If you keep the Lockit box
connected, this momentary jamming process will occur every time the camera is powered up again. With the EX3, it is recommended to re-jam about once an hour, as the camera's internal Timecode generator
is considerably less stable than the Lockit box. The Lockit box should be re-jammed to the master source every 4 to 6 hours approximately (as they are equipped with much more stable crystal oscillators).
The exception to this rule of thumb, is when two cameras are used in a 3-D rig. In this case, both camera need to be Genlocked, or run from the same external source of Trilevel Sync.
If we leave Trilevel Sync (or Genlock) out of the equation, then the correct Lockit settings for the EX3 can be summarized as follows.
(1). For HQ 1080/24p and HQ 720/24p shooting modes only, set Lockit to generate 23.976 Timecode (must be NDF).
(2). For all other NTSC Area formats, use 29.97 Timecode, either NDF or DF selectable in camera (so for HQ 1080/60i, SP 1080/60i, HQ 1080/30p, SP 1080/24p, HQ 720/60p, and HQ 720/30p shooting modes).
Normally NDF is recommended for production.
(3). For all PAL Area formats, use 25.0 NDF Timecode (so for HQ 1080/50i, SP 1080/50i, HQ 1080/25p, HQ 720/50p, and HQ 720/25p shooting modes).
[8] FOR SONY HDW-F900 AT 23.976 PsF
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #0 (for 23.976 video), Rotary switch 3 to position #0 (for 23.976 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #4 (for 23.976 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[9] FOR SONY HDW-F900 AT 24.00 PsF
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #1 (for 24.0 video), Rotary switch 3 to position #1 (for 24.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #3 (for 24.0 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[10] FOR SONY HDW-F900 AT 25.00 PsF
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #2 (for 25.0 video), Rotary switch 3 to position #2 (for 25.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #2 (for 25.0 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[11] FOR SONY HDW-F900 AT 29.97 PsF
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #3 (for 29.97 video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[12] FOR SONY HDW-F900 AT 30.00 PsF
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #4 (for 30.0 video), Rotary switch 3 to position #4 (for 30.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #0 (for 30.0NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[13] FOR SONY HDW-F900 AT 50 Interlaced
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #2 (for 50i video), Rotary switch 3 to position #2 (for 25.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #2 (for 25.0 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[14] FOR SONY HDW-F900 AT 59.94 Interlaced
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #3 (for 59.94i video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[15] FOR SONY HDW-F900 AT 60 Interlaced
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #4 (for 60i video), Rotary switch 3 to position #4 (for 30.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #0 (for 30.0 NDF), and Dip Switch to position 0 + 1 (for 1080 PsF Trilevel Sync).
[16] FOR PANASONIC AG-HPX300 29.97 NDF Timecode at 1080/59.94i Interlaced
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #3 (for 59.94i video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 0 + 1 (for 1080i Trilevel Sync).
The camera's System Frequency (aka System Mode) determines the correct format (or frequency) of external Timecode to be applied.
Use 29.97 external Timecode when the System Mode is set to any option, namely 1080 / 59.94i or 720 / 59.95p, or 480 / 59.94i. Use 29.97 Timecode for all REC. FORMATS and CAMERA MODES, including 60i, 30P, 24P, 24PA.
[17] FOR PANASONIC AJ-HPX3700 29.97 NDF Timecode at 1080/59.94i Interlaced
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #3 (for 59.94i video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 0 + 1 (for 1080i Trilevel Sync).
The camera's System Frequency (aka System Mode) determines the correct format (or frequency) of external Timecode to be applied.
When the System Mode is 1080 / 59.94i you must use 29.97 external Timecode, even if the camera is recording 23.98PsF internally to the P2 card.
Use these settings for the following 1080/59.94i REC. FORMATS:
(1) DVCPRO HD / 60i
(2) AVC-Intra 100 / 60i or AVC-Intra 50 / 60i
(3) AVC-Intra 100 / 30PN or AVC-Intra 50 / 30PN
(4) AVC-Intra 100 / 24PN or AVC-Intra 50 / 24PN
[18] FOR PANASONIC AJ-HPX3700 23.976 NDF Timecode at 1080/23.976PsF
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #0 (for 23.976 video), Rotary switch 3 to position #0 (for 23.976 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #4 (for 23.976 NDF), and Dip Switch to position 0 + 1 (for 1080i Trilevel Sync).
The camera's System Frequency (aka System Mode) determines the correct format (or frequency) of external Timecode to be applied.
When the System Mode is 1080 / 23.976 you must use 23.976 external Timecode.
Use these settings for the following 1080/23.976PsF REC. FORMATS only:
(1) AVC-Intra 100 / 24PN
(2) AVC-Intra 50 / 24PN
A rule of thumb with this cameras is: If the signal output by the HD-SDI spigot is 1080i / 59.94, then the Timecode in and out is 29.97.
However, if the HD-SDI is outputting 1080PsF / 23.98, then the external Timecode source for jamming needs to be 23.976.
[19] FOR PANASONIC AJ-HPX3700 25.0 NDF Timecode at 1080/50.0i (Interlaced)
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #2 (for 50.0i video), Rotary switch 3 to position #2 (for 25.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #2 (for 25.0 NDF), and Dip Switch to position 0 + 1 (for 1080i Trilevel Sync).
Use these settings for the following 1080/50i REC. FORMATS:
(1) DVCPRO HD / 50i
(2) AVC-Intra 100 / 50i or AVC-Intra 50 / 50i
(3) AVC-Intra 100 / 25PN or AVC-Intra 50 / 25PN
[20] FOR PANASONIC AJ-HPX3000 29.97 NDF Timecode at 1080/59.94i Interlaced
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #3 (for 59.94i video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 0 + 1 (for 1080i Trilevel Sync).
Use these settings for the following Frame Rate / Recording Codec options:
(1) 1080/59.94i to DVCPRO HD recording format (aka Camera Mode: "60i")
(2) 1080/59.94i to either AVC-Intra 100, or AVC-Intra 50, recording formats (aka Camera Mode: "60i")
(3) 1080/29.97p (over 59.94i) with 2-3 to DVCPRO HD recording format (aka Camera Mode: "30P")
(4) 1080/23.98p (over 59.94i) with 2-3 pull down to DVCPRO HD recording format (aka Camera Mode: "24P")
(5) 1080/23.98pA (over 59.94i) with 2-3-3-2 pull down to DVCPRO HD recording format (aka Camera Mode: "24PA")
(6) 1080/23.98p (native) to either AVC-Intra 100, or AVC-Intra 50, recording formats (aka Camera Mode: "24P Native")
(7) 1080/29.97p (native) to either AVC-Intra 100, or AVC-Intra 50, recording formats (aka Camera Mode: "30P Native")
[21] FOR PANASONIC AJ-HPX3000 25.0 NDF Timecode at 1080/59.94i (Interlaced)
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #2 (for 50.0i video), Rotary switch 3 to position #2 (for 25.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #2 (for 25.0 NDF), and Dip Switch to position 0 + 1 (for 1080i Trilevel Sync).
Use these settings for the following Frame Rate / Recording Codec options:
(1) 1080/50i to DVCPRO HD recording format (aka Camera Mode: "50i")
(2) 1080/50i to either AVC-Intra 100, or AVC-Intra 50, recording formats (aka Camera Mode: "50i")
(3) 1080/25p (over 50i) to DVCPRO HD recording format (aka Camera Mode: "25p")
(4) 1080/25p (Native) to either AVC-Intra 100, or AVC-Intra 50, recording formats (aka Camera Mode: "25P Native")
[22] FOR PANASONIC VARICAM AT 29.97 (NDF) (Progressive)
NOTE: When Dip switch 4 is OFF (for Panasonic Varicam) Dip Switch #5 and #6 must be OFF for Trilevel sync to be generated.
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #1 (for Video HD 720P), Rotary switch 2 to position #6 (for 59.94 video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 1 + 1 (for 720P Trilevel Sync).
[23] FOR PANASONIC VARICAM AT 30.0 (NDF) (Progressive)
NOTE: When Dip switch 4 is OFF (for Panasonic Varicam) Dip Switch #5 and #6 must be OFF for Trilevel sync to be generated.
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #1 (for Video HD 720P), Rotary switch 2 to position #7 (for 60.0 video), Rotary switch 3 to position #4 (for 30.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #0 (for 30.0 NDF), and Dip Switch to position 1 + 1 (for 720P Trilevel Sync).
[24] FOR PANASONIC AJ-HDX900 29.97 NDF Timecode at 1080/59.94 Interlaced
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #2 (for Video HD 1080i/PsF), Rotary switch 2 to position #3 (for 59.94i video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 0 + 1 (for 1080i Trilevel Sync).
ADDITIONAL NOTES FOR HDX900 EXTERNAL TIMECODE AND GENLOCK:
1. Set the camera to F-RUN (Free Run) mode before connecting the external Timecode from a "Lockit box".
2. Navigate to: MAIN MENU >>> VTR MENU >>> TC/UB >>> TC MODE >>> (and set to) NDF or DF. (NDF = Non-Drop Frame Timecode, or DF = Drop Frame Timecode). NDF (Non-Drop Frame Timecode) is normal for production. Only switch to DF (Drop Frame Timecode) if there is a specific reason to do so.
3. Check the indicators in the upper left-hand corner of the LCD display on the side of the camera. SLAVE = the Timecode is locked to an external source, NDF = Non-Drop Frame Timecode, DF = Drop Frame Timecode.
4. There needs to be a perfect phase relationship between Trilevel sync and Timecode for smooth operation. This is normally achieved by generating both signals (Trilevel and Timecode) from the same physical crystal (crystal oscillator). In the case of the AJ-HDX900, it jams to the external Timecode source within a few seconds of it being connected to the external source. After that, the internal Timecode generator takes over and continues to generate the Timecode until it is re-jammed again (by subsequently disconnecting and reconnecting the external Timecode source, or the camera is powered OFF and then back ON again.). Since the Timecode is really generated internally, then it is best to have the camera generate its own video sync internally as well, in order to preserve the critical phase relationship between Timecode and Trilevel Sync. So for an application where you are trying to get the same Timecode on all cameras, it seems best to connect the Timecode coming from the "Lockit box" only (and leave the genlock disconnected).
5. Only if using external Genlock, the AJ-HDX900 must be set up in the menus as follows: Navigate to: MAIN MENU >>> SYSTEM SETTINGS >>> GENLOCK >>> (and set to) EXT. (= external). If you set this to INT. (= internal), then the camera generates its own video sync from an internal sync generator. In this case, plugging in external genlock will not make any difference, unless you tell the camera to accept the external source with the correct menu setting.
6. The AJ-HDX900 will genlock to either Trilevel Sync (= analog HD "Y"), or analog Composite Sync (PAL or NTSC). However, the H Phase can not be adjusted if Composite Video Sync is used instead of normal Trilevel Sync as an external reference. While the camera can genlock to NTSC or PAL Black Burst, it really wants to see Trilevel sync for full functionality. Except in an emergency, I don't see any reason to try and Genlock this camera with Composite sync sources. Trilevel Sync is better, and the proper way to do it.
[25] FOR PANASONIC AJ-HDX900 29.97 NDF Timecode at 720/59.94P (Progressive)
NOTE: When Dip switch 4 is OFF, Dip Switch #5 and #6 must be OFF for Trilevel sync to be generated.
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #1 (for Video HD 720P), Rotary switch 2 to position #6 (for 59.94 video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 1 + 1 (for 720P Trilevel Sync).
REFER TO THE ADDITIONAL NOTES FOR HDX900 EXTERNAL TIMECODE AND GENLOCK IN NUMBER [11] IMMEDIATELY ABOVE.
[26] FOR PANASONIC AJ-HDX900 25.0 NDF Timecode at 720/50.0P (Progressive)
SPECIAL NOTE: The ACL 202CT can only generate 59.94P or 60.0P in SMPTE 296 (720P) mode.
Therefore, it can not generate 50.0P Trilevel Sync.
This means the above settings will only produce 25.0 NDF Timecode without any Trilevel Sync.
For all firmware versions up to and including v.8, the above setting will cause the LED indicator to double flash as phase correlation is tested per line. However, later firmware versions (v.9 onwards) does this phase correlation testing at the whole-second transitions, and does not produce the double-flash warning.
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #1 (for Video HD 720P), Rotary switch 2 to position #5 (for 50.0 video), Rotary switch 3 to position #2 (for 25.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #2 (for 25.0 NDF), and Dip Switch to position 1 + 1 (for 720P Trilevel Sync).
ADDITIONAL NOTES FOR HDX900 EXTERNAL TIMECODE AND GENLOCK:
1. Set the camera to F-RUN (Free Run) mode before connecting the external Timecode from a "Lockit box".
2. Navigate to: MAIN MENU >>> VTR MENU >>> TC/UB >>> TC MODE >>> (and set to) NDF or DF. (NDF = Non-Drop Frame Timecode, or DF = Drop Frame Timecode). NDF (Non-Drop Frame Timecode) is normal for production. Only switch to DF (Drop Frame Timecode) if there is a specific reason to do so.
3. Check the indicators in the upper left-hand corner of the LCD display on the side of the camera. SLAVE = the Timecode is locked to an external source, NDF = Non-Drop Frame Timecode, DF = Drop Frame Timecode.
[27] FOR PANASONIC SDX900 NTSC (Interlaced)
Note: Dip Switch #5 and #6 have no function when Composite video is selected (Slide Switch Left).
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #0 (for Standard Definition), Rotary switch 2 to position #3 (for 29.97 video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #6 (for 29.97 NDF), and Dip Switch to position 0 + 0 (for NTSC Black Burst).
or Rotary switch to position #7 (for 29.97 Drop Frame), and Dip Switch to position 0 + 0 (for NTSC Black Burst).
[28] FOR PANASONIC SDX900 PAL (Interlaced)
Note: Dip Switch #5 and #6 have no function when Composite video is selected (Slide Switch Left).
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #0 (for Standard Definition), Rotary switch 2 to position #2 (for 25.0 video), Rotary switch 3 to position #2 (for 25.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #5 (for 25.0 NDF), and Dip Switch to position 0 + 0 (for PAL Black Burst).
SETTINGS FOR EXTERNAL TIMECODE AND GENLOCK FOR THE RED ONE CAMERA
PLEASE NOTE: ALL OF THE FOLLOWING SETTINGS FOR THE RED ONE CAMERA ARE UNTESTED, SO THESE ARE SUGGESTED STARTING POINTS FOR FURTHER TESTING AND VERIFICATION.
Re: Genlock For The RED One Camera........
(A). For all frame rates up to and including 30 fps, the RED One camera accepts SMPTE 274 (1080p) formats of Trilevel Sync (or Genlock). For all frame rates above 30 fps, the RED One camera accepts SMPTE 296 (720p) formats of Trilevel Sync (or Genlock). The RED One Camera always uses Progressive scanning exclusively (no PsF, or Interlaced).
(B). For all frame rates up to and including 30 fps, the format of SMPTE 274 (1080p) Trilevel Sync should match the Timecode frequency in a one-to-one relationship. So 23.98 Timecode together with 1080p/23.98 Genlock, or 24.0 Timecode together with 1080p/24.0 Genlock,or 25.0 Timecode together with 1080p/25.0 Genlock, or 29.97 Timecode together with 1080p/29.97 Genlock, or 30.0 Timecode together with 1080p/30.0 Genlock.
(C). For all frame rates above 30 fps, the format of SMPTE 296 (720p) Trilevel Sync should match the Timecode frequency in a two-to-one relationship. So 25.0 Timecode together with 720p/50.0 Genlock, or 29.97 Timecode together with 720p/59.94 Genlock, or 30.0 Timecode together with 720p/60.0 Genlock.
(D). A single DIN 1.0/2.3 coaxial connector accepts a Tri-Level Sync signal for video genlocking. Connect the camera Genlock input to the ACL202CT VIDEO/WORD output using a BNC cable.
(E). For NTSC environments like the USA, the Ambient ACL 202CT can produce all necessary rates for the RED One Camera. However, the newer model Ambient ACL 203 uses a different chip that can produce all necessary rates for the RED One Camera universally (for both NTSC and PAL environments).
[29] FOR RED ONE AT 23.976 (NDF)
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #3 (for Video HD 1080P), Rotary switch 2 to position #0 (for 23.976 video), Rotary switch 3 to position #0 (for 23.976 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #4 (for 23.976 NDF), and Dip Switch to position 0 + 0 (for 1080 P Trilevel Sync).
Dip-Switch Settings on the back of the AJA GEN10 "Sync Box" for the RED One camera shooting at 23.976 fps:
[30] FOR RED ONE AT 24.0 (NDF)
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #3 (for Video HD 1080P), Rotary switch 2 to position #1 (for 24.0 video), Rotary switch 3 to position #1 (for 24.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #3 (for 24.0 NDF), and Dip Switch to position 0 + 0 (for 1080 P Trilevel Sync).
Dip-Switch Settings on the back of the AJA GEN10 "Sync Box" for the RED One camera shooting at 24 fps:
[31] FOR RED ONE AT 25.0 (NDF)
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #3 (for Video HD 1080P), Rotary switch 2 to position #2 (for 25.0 video), Rotary switch 3 to position #2 (for 25.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #2 (for 25.0 NDF), and Dip Switch to position 0 + 0 (for 1080 P Trilevel Sync).
Dip-Switch Settings on the back of the AJA GEN10 "Sync Box" for the RED One camera shooting at 25 fps:
[32] FOR RED ONE AT 29.97 (NDF)
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #3 (for Video HD 1080P), Rotary switch 2 to position #3 (for 29.97 video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 0 + 0 (for 1080 P Trilevel Sync).
Dip-Switch Settings on the back of the AJA GEN10 "Sync Box" for the RED One camera shooting at 29.97 fps:
[33] FOR RED ONE AT 30.0 (NDF)
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #3 (for Video HD 1080P), Rotary switch 2 to position #4 (for 30.0 video), Rotary switch 3 to position #4 (for 30.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #0 (for 30.0 NDF), and Dip Switch to position 0 + 0 (for 1080 P Trilevel Sync).
Dip-Switch Settings on the back of the AJA GEN10 "Sync Box" for the RED One camera shooting at 30 fps:
[34] FOR RED ONE AT 25.0 (NDF) @ 50 FPS
SPECIAL NOTE: The ACL 202CT can only generate 59.94P or 60.0P in SMPTE 296 (720P) mode.
Therefore, it can not generate 50.0P Trilevel Sync.
This means the above settings will only produce 25.0 NDF Timecode without any Trilevel Sync.
For all firmware versions up to and including v.8, the above setting will cause the LED indicator to double flash as phase correlation is tested per line. However, later firmware versions (v.9 onwards) does this phase correlation testing at the whole-second transitions, and does not produce the double-flash warning.
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #1 (for Video HD 720P), Rotary switch 2 to position #5 (for 50.0 video), Rotary switch 3 to position #2 (for 25.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #2 (for 25.0 NDF), and Dip Switch to position 1 + 1 (for 720 P Trilevel Sync).
Dip-Switch Settings on the back of the AJA GEN10 "Sync Box" for the RED One camera shooting at 50 fps:
[35] FOR RED ONE AT 29.97 (NDF) @ 59.94 FPS
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #1 (for Video HD 720P), Rotary switch 2 to position #6 (for 59.94 video), Rotary switch 3 to position #3 (for 29.97 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #1 (for 29.97 NDF), and Dip Switch to position 1 + 1 (for 720 P Trilevel Sync).
Dip-Switch Settings on the back of the AJA GEN10 "Sync Box" for the RED One camera shooting at 59.94 fps:
[36] FOR RED ONE AT 30.0 (NDF) @ 60 FPS
Equivalent setting for the newer model Ambient ACL 203 Lockit:
Rotary switch 1 to position #1 (for Video HD 720P), Rotary switch 2 to position #7 (for 60.0 video), Rotary switch 3 to position #4 (for 30.0 NDF Timecode).
Equivalent setting for the Denecke SB-T Syncbox:
Rotary switch to position #0 (for 30.0 NDF), and Dip Switch to position 1 + 1 (for 720 P Trilevel Sync).
Dip-Switch Settings on the back of the AJA GEN10 "Sync Box" for the RED One camera shooting at 60 fps:
[37] NOTES ABOUT THE PROPER USE OF MODEL ACL 202CT LOCKITS
Special Note#1: The earlier model ACL 202CT can only generate 59.94P or 60.0P format Trilevel Sync (SMPTE296) when dip switch #4 is UP or OFF. It can not generate any other rates, including 50.0P SMPTE296 Trilevel Sync. However, the newer model Ambient ACL 203 uses a different chip that can generate all SMPTE296 rates, including 50.0P Trilevel Sync. So both the NTSC and PAL shooting environments are catered for with the later model.
Special Note#2: For both Interlaced (I), and Progressive Segmented Frame (PsF), Trilevel Sync signals are identical for Genlock purposes.
OVERVIEW: When jamming to an external Timecode source, only the Timecode (and User Bits) are transferred to the Lockit, and not the framerate. The desired framerate to be generated by the Lockit is determined by the dip-switch settings on the unit itself (via dip switches #1, #2, and #3). The dip switches must be set accurately according to the camera configuration that the Lockit is feeding to, so there are no conflicts. Mismatching usually results in image instability and faulty Timecode. Use the diagrams above to set the dip switches correctly for the camera type and format used.
CHANGES: Any changes made to the dipswitch settings while the Lockit is powered up and running will not be recognized by the Lockit unit (until the unit is re-powered). Changes should be made while the unit is powered down (turned OFF), and then after the settings are completed, the unit can be powered up (turned ON) to register the settings (including any setting changes).
INITIAL START UP:
When the Lockit is powered up, all internal Crystal VCOs must lock in. This may takes up to ten seconds from a cold start. During this time, there is no output of Trilevel / Composite sync. When all oscillators are properly functioning, sync output starts. However, when re-jamming Timecode in a unit that is already turned ON and running, the oscillators are already functioning so sync and Timecode starts almost immediately.
MASTER TIMECODE: All Lockits to be deployed are jammed, in turn, from the one master Timecode source. This can be derived from a particular designated camera, audio recorder (DAT, Hard Disk, Optical Disk etc.), the Ambient Clockit Controller ACC 101, or other master timecode generator. It is quite common to use the audio recorder as the Master Timecode source in double-system set ups.
INITIAL POWER ON: When the lockit box is first powered up with the ON switch, the Timecode will start counting from zero 00:00:00:00 (HH:MM:SS:FR). The Lockit can also be jammed to external Timecode source, as described below.
AT STARTUP: SD Genlock is output almost immediately, but is stopped and re-started with every re-jam which causes picture instability. Trilevel Sync (or HD Genlock) starts after about 10 seconds. This delay always occurs regardless of it being a cold start or a re-jam while running.
LED INDICATORS: The red and green LED lights show the current state or functionality of the Lockit unit.So you need to learn and undertand what the flashing colored light are telling you. The Red LED indicated that Lockit has not been jammed to an external Timecode source, or the unit has lost Timecode. The Green LED indicates the Lockit unit has been jammed correctly to an external Timecode source. When a Lockit that has been previously running green changes to red, the Timecode value has been lost, and you need to rejam.
JAMMING: The jamming process is largely automatic provided the following procedure is followed. As noted above, flashing red and green LED lights on the Lockit box indicate jamming status. Start by connecting to the external LTC Timecode source (Master Timecode) with a suitable cable plugged into the Lemo socket. The Red led will blink three times (onces per second), followed by a green flash. Remove the external Timecode on the green phase only. If the green LED contines to flash evenly, once per second, this means the Lockit has been successfully jammed to the external Timecode source. It is important to remember to always remove the source Timecode during the green light phase. If the external Timecode is left connected, the jamming process will repeat itself every 5 seconds (every red-light cycle).
CROSS JAMMING: One of the special features of the Lockit boxes, is their ability to Cross Jam to dissimilar Timecode sources. This means that framerates in and out, do not have to match. The Lockit units will “cross sync” on the full second. That means you can feed a Lockit that is set up to output 23.976 Timecode with 29.97 code for jaming purposes, or vise versa. It jams to Timecode values and UB numbers on the full second (top of each second).
REMEMBER (for firmware versions up to, and including, v.8): Don't feed Lockits with constinuously connected REC RUN Timecode. Lockits are essentially FREE RUN Timecode devices!!!
HOWEVER, for Firmware v.9 onwards, you can leave the Lockit input connected to a Record Run (RED RUN) device and re-jam it for each take, but this is not normally recommended as it takes 10 to 30 seconds before stable sync is generated again.
IMPORTANT (for firmware versions up to, and including, v.8): The ACL202CT Lockit box automatically re-jams every 5 seconds. So it is important to note that Lockits are not designed to cross jam to continuously inputted Timecode. No attempt should be made to continuously cross jam Lockit boxes, as this will result in frequent breaks in Timecode and Camera Sync for all versions up to firmware v.8. During the process of re-jamming every five seconds, no value code is output, meaning that Timecode will be intermittent, resulting in Timecode breaks every five seconds. This is the reason that you must unplug the Lockit from any source Timecode after it has grabbed the new code. It will then continue to generate highly-stable and consistent Timecode for many hours.
CONTINUOUS JAMMING (with later firmware versions): However, from Firmware version 9 onwards, you can leave the Timecode source connected, as it will only re-jam if the connection is interrupted for more than 3 seconds (for example, unplugging, and then replugging the Timecode jamming cable 4 or 5 seconds later).
WARNING: Whenever a Lockit is re-jammed, the Genlock generator (or Trilevel Sync)is stopped and restarted. If you re-jam while actually shooting with a camera connected to a Lockit box, green flash frames (with HD), or picture instability (with SD), will occur.
DELAY: After the Lockit is jammed, it may take up to 30 seconds for the Trilevel/Composite sync generator to get in step (or sync up) with the Timecode generator, which is running in parallel. During this time, the resonator frequency is being shifted until the Timecode and the first half frame of video line up. The Lockit may show an "out of sync" error until this relationship is being properly established.
CONNECTIONS: During shooting, all Lockits should be permanently connected so they continuously feed their respective cameras with both Timecode and Trilevel (or Composite) sync. If you connect Timecode only, you risk getting periodic glitches known as "green flashes" or "green hickups" as the camera re-establishes the relationship between external Timecode and internal Sync, when the independently generated Timecode and Sync inevitably drift apart from each other by one whole frame. This is because different crystals are generating the external Timecode and internal Sync. A key feature of the Lockit box design, is that the one crystal generates both Timecode and Sync in a fixed relationship making it impossible for them to ever drift apart from each other.
DIP SWITCH #7: This is the only switch whose function can be changed on a functioning unit, where the change becomes effective without a re-start.
FLASHING LED WARNINGS: The warning for flat or failing batteries is a double flash at two-second intervals. Double flashing, or irregular flashing every second indicates the loss of a phase relationship between Timecode and Genlock (which is normally kept in phase by a PLL). If this happens, re-start (or re-power) the unit. If it continues to happen, the unit is most likely faulty and needs to be calibrated.
Likewize, for the newer ACL203 model, rapid / irregular flashing LEDs indicates invalid setting/s.
NOT SURE?: If you are not one-hundred percent sure of anything, just turn the unit OFF, wait a moment, and turn it back ON again. Then start over. If the frequency of the blinking LEDS is ever irregular, something is wrong. Start over, and rejam.
CORRECT MODEL?: There is NO trilevel sync output available in the earlier model ACL-202C. For High Definition applications requiring Genlock, the Ambient model ACL-202CT is needed, which is designed to deliver trilevel sync (or HD Genlock).
BATTERY LIFE:
Fresh AA Alkaline batteries should normally adequately power a Lockit box for 15 or 16 hours (minimum).
The red LED will blink normally at one second intervals if batteries are functioning properly, BUT will "double blink" if batteries are not delivering adequate power or are not installed. The best policy is to install two fresh AA Alkaline batteries at the start of each shooting day (assuming of course, that a normal shooting day is less than 15 or 16 hours). When the Lockit "double blinks" you should immediately change the batteries as there is a danger that the video will become unstable when the batteries are getting low or near completion. Always install batteries if running on external power to the Lockits. This will assure instantaneous backup power if the cable fails, or camera turns off, or when the battery is changed on the camera.
[38] LEMO SOCKET WIRING DIAGRAM:
1. GROUND
2. LTC IN
3. ASCII IN/OUT (GPS)
4. 6-16 volt EXTERNAL POWER / TUNE. (Tune reference out 1.92 MHz)
5. LTC OUT
(LEMO Part# FGG-OB - 5 pole)
Disclaimer: While I check the information presented here as thoroughly as possible (...through actual work experience, personal testing, and consulting other experts in the field), I can not absolutely guarantee its complete accuracy. These writings really reflect my own evolving understanding of these particular issues as I try and piece everything together myself. These pages are works in progress, and will be corrected and updated as new information comes to hand. Any and all feedback is very gratefully accepted. Especially any information that helps to correct outright mistakes in this presentation, or additional information that helps to expand the scope of these discussions.
Copyright © Peter Gray (10/23/2005) (Last updated 10/19/2009)
Peter Gray
(in California)
P.O. Box 5132
Pine Mountain Club, CA 93222
United States of America
cell: +1 (661) 219-3981
telephone1: +1 (661) 268-1530
telephone2: +1 (661) 242-1234
dp@petergray.org
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