Appendix 1

Appendix 2: Understanding the PAL Video Format
The data generated during the telecine session provides information relating to 25 FPS. This includes
time code on the videotape, key code on the processed fi lm, and, if required, information relating to
the original sound time code.
Sound
The sound shot for picture at 24 FPS, and then synced to picture during 25 FPS PAL telecine, can
only be used as guide during the nonlinear editing process. The edited sound must be reconformed
from the original sources prior to track laying and fi nal sound mix. This procedure is necessary to
correct pitch alteration and sample loss during the 4.1 percent speed-up telecine process.
Unlike NTSC telecine, any sound undergoing PAL telecine has to be pitch-corrected to avoid loss
of quality. This loss of quality is particularly noticeable on dialogues that will play back at a higher
pitch than the original, and music that develops “wow” effects.
It is advisable to use continuous 25 FPS time code format (not time of day/discontinuous time code)
for recording sync sound while shooting picture at 24 FPS. If Digislate is used to sync-jam 24 FPS
time code for both fi lm camera and sound recorder, it is necessary to make cloned DAT or DA 88
sound tapes with 25 FPS time code prior to editing.
The original 24 FPS time code is added to the data log generated during telecine. The resulting log
is then imported into Final Cut Pro for digitizing and editing. Cloning original 24 FPS time-coded
sound into new sources with 25 FPS time code does not affect the rate of play, but will generate the
time code required for nonlinear PAL postproduction. The making of 25 FPS time code sound sources
must follow the sync reference as outlined in Chapter 3, with the difference that sync will be generated
from a PAL sync generator. New practices allow for sound to be recorded directly to hard disc.
The resulting sound fi les can then be converted to import directly into Final Cut Pro.
SECAM
There is also the System Electronic Colour Avec Memore (SECAM). The SECAM system has, for
the most part, merged with the PAL system as they were somewhat similar. SECAM has, more or
less, vanished as a production format; any programming intended for SECAM can be produced in
PAL and then converted to SECAM. PAL is often called the European format; however, PAL is a
global system. While NTSC is used in North America and Japan, the rest of the world uses PAL.
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