Elmo R-1 Synchronizer

[rollemfilm]

sounds like a resolver unit. go to the film groups web page. i think they have some info on these projectors: members.aol.com/fmgp

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[Hanthx]

Guys

I was curious if anybody has information about this device, perhaps the cost of it?
One end of this device hooks up to the recording device you used (i.e. Nagra, Prof. Tape recorder, Uher, etc.) and the other end plugs into the higher end Elmo Projectors (Gs and St 1200 series, etc)
This enables you to sync the sound up with your film and record on the pre-stripped or post stripped sound tracks.
Sound like a cool idea, but does anybody still do this.
I suppose someone could record sound via cable sync from their camera onto a recording device, then lay it down on the film tracks.
Im assuming that if one would use this device, this flash socket on the camera would have to be used. Anyoned used this method lately...with minidisc?
The cables on this device are either the 5 pin din, or the standard mic socket.

Sounds cool to me...any thoughts on this device, has any-one used this before?

Scott

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[This message has been edited by Hanthx (edited September 19, 2001).]

[Nigel]

Yeah--I think my friend had one. It was just like a Moviola Sync Block. But it was designed for S8 Fullcoat instead of 16/35. If it is what I think it is it is pretty much useless. So unless you want it to have on your shelf don't buy it.

The reason--you can't buy S8 fullcoat anymore. And, even if you could there is no one out there to match your fullcoat/images and give you an S8 print with an optical track.

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[MovieStuff]

Nigel, you are describing a synch block and not a resolver unit. The resolver unit is electonic and has no sprockets. It is designed to compare the synch pulses of two different sources to maintain a constant rate. A synch block is merely a mechanical device used on an editing bench. They're not even remotely related in appearance or function.

Also, fullcoat tape turns up on ebay from time to time, though it is rare these days. However, fullcoat recorders will synch to damn near anything with a pulse; recorded or otherwise. I mixed my audio for Jet Benny directly from video to fullcoat using pulses that I recorded on an open track of several 3/4 decks running in synch. Worked fine.

I wouldn't say that fullcoat recorders are useless, but their audio fidelity is pretty lousy, I must admit. I was very disappointed in the sound on Jet Benny, which sounded fine on the video mix but had lots of wow on the fullcoat.

Roger

[Nigel]

Yes I know what a resolver is but if you noticed when you replied to the statement the device in question is an
"Elmo R-1 Synchronizer"--Not a Resolver

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[#Pedro]

Scott:
This is the way I?m working when I wanna have sync field sound, dialouges etc. Who has the Elmo GS does not need any resolver, synchronizer or anything else to achieve sound playback in sync with the film or recording to stripe.
The tape recorder is recording both, the field sound and the camera impulses coming from the flash contact. To enable the tape to record flash pulses, you need a interface which converts each pulse into a beep (with 1000 Hz) because only tone signals can be recorded to a tape. Using tape or MD makes no difference, not even in sound quality, as the sound quality is primarily determined thru recording conditions, room acustic and used microfone. But with tape, you?ll have the possibility to enable a 3rd track for the sync pulses and use a 2track stereo field sound. With MD, you are limited to mono sound, as the 2nd track will be needed to record the sync.
Transfering the sound back with the Elmo GS (inbuilt synchronizer), you need a device that transfers the "beeps" back to digital pulses, that feed the Elmo.
Both devices, the digital-to-beep unit for recording and the beep-to-digital unit for playback are rather simple and primitive and propably sold by Elmo back in the 1970ies and 1980ies. I think, the Film Group is selling sth compatible nowadays.

Fullcoat:
For editing pulse synced sound, further equipment is neccessary, as it is not satisfying doing everything with the projector and the sound stripe. It?s too much stress for projector and film.
It seems that in the USA fullcoat was the solution of former days. Fullcoat has the advantage that it allows mechanical syncronizing with sprocket registers. The disadvantages are the weak sound quality (not much better than sound stripe, as the running speed is the same as the film itself) and that it is out of production. Therefore I consider full coat to be only a historic resolution.
Very much better is to get rid of mechanical syncronisation and to use perfo tape for electronical syncing. Perfotape is available in 1/4" standard size for home recorders. It has a raw of holes between the 2nd and the 3rd track that can be scanned by a simple optical IR reader, applyed to a tape recorder. The tape itself provides a optimal sound quality, depending on the recorder. It?s sufficient for CD-mastering. The perforation of the tape is related to the used framerate (18/24/25 fps) and the used tape speed (9,5 or 19 cm/sec). Therefore there are several types of perfo tape sold. The most common is the 24-19 type, for 24fps and 19 cm/sec. The output of the optical scanner could feed directly the Elmo GS, or any pulse based synchronizer. To edit sound and film, you make a chart of all takes in your film and their frame numbers. Then you record the desired sound to perfo tape, exactly where the holes with the equivalent numbers as the frames pass thru the IR scanner. The result you mix down to stereo or mono on the sound stripes or a cassette tape, together with a sync track.
For field sound, you need a pulse synchronizer and a tape recorder which is ext. controlable. Then the synchronizer will adapt the speed of the perfo tape to the pulse rate from the field sound tape and transfer the field sound to perfo. From there it can be included in the down mix to the final media.

Pedro

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[Mikko]

Take that as an answer!

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[Hanthx]

Pedro!

Your Back!!

Thanks

Scott


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