1 SDDS Print Master Format
SDDS Print Master Guidelines, Page
5
of
26
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, then “pulled down” on the mixing stage to 29.97fps NT SC sync with
44.056kHz sampling frequency. I n this case the film speed is 23.98 fps.
T imecode must be referenced to the digital audio.
Reel 1 = 1 hour start, reel 2 = 2 hour etc.
Head pop/sync pip
should start two seconds or 3 feet before the first frame of
picture. e.g. for reel 1, pip at 1:00:06:00, first frame at 1:00:08:00.
1.4
Audio and levels
Operating level
is –20dBfs. Wide band pink noise at the same RMS value as this will
produce the following SPLs in the cinema. Please note, to compare levels of tone and
pink noise, a true RMS voltmeter must be used. Console meters will read differently for
tone and pink noise.
Channel
SPL C-W eighted measurement
LEFT
85
LEFT CENT RE
85
CENT RE
85
RI GHT CENT RE
85
RI GHT
85
SUBWOOFER
Approx 91 see*
LEFT SURROUND
82
RI GHT SURROUND
82
*T he subwoofer channel has 10dB of in band gain. For a full explanation of this, see
the “Subwoofers” section on page 21
.
T ones
should be recorded on all used channels at the head of each reel. 30 seconds
each of 1kHz at –20dBfs, and pink noise at the RMS level of the 1kHz tone.
Surround delay
is set in the cinema processor. No delay on the master.
Overlap.
2 seconds or 3 feet of audio from the subsequent reel must be recorded
after the end of the reel. T his can optionally end with a tail pip.
A/D conversion.
No audio pre-emphasis.
