JPH03192590A - Edit apparatus and method of editing sound - Google Patents

Abstract

PURPOSE: To make it possible to edit the conversation in particular as digital audio by providing the device with input/output means for respective channels, audio processor module, user interface, system control apparatus, etc. CONSTITUTION: There is a window 3 for projecting the graphic expression of sounds 4 on a monitor 2 and a display is shown as the audio vibration similar to a time function. The trims or segments of the sounds for an editing operation are displayed as the entire part of the window 3 or the plural small parts by perpendicular mark lines 5. These parts are displayed as display environment or selection items of low-ranking terms and a user makes input by a mouse 7 or input and selection by operation of a keyboard 8. Typically, a video monitor 9 is used for displaying the videos accompanying sounds and the exact synchronization of both is compared and executed by an editor.

Description

[Detailed Description of the Invention] Industrial Application Field The present invention relates to digital editing of movies, television works, etc. produced after shooting (hereinafter referred to as post-production).
In particular, it concerns digital dialogue editing equipment and methods in post-production, September 1, 1989.
Application number No. 402,133. This is a partial continuation application for “Digital Dialogue Editing”.

Problems to be Solved by Conventional Technologies and Inventions Post-production work for feature-length films and episodic television programs consists of steps such as first recording original video and audio, and then processing them into a finished product. The majority of such post-production work is occupied by editing.

Since feature films and television programs are often not always shot in the same order as the final product, editing consists primarily of arranging the scenes into the final order of the final product.

Another major work in editing is sound adjustment work, which mainly consists of adding sound effects, adjusting sound levels, mixing sound with surrounding sounds, adding acoustics, etc. Editing operations are therefore extremely time consuming, costly, and cumbersome. A look at the technology currently in use shows its problems.

During filming on location or on stage, video and sound are primarily recorded separately. Currently, although videography is becoming more common, movies are still very often shot on film. Also, although digital recording is becoming more common, sound is usually recorded on analog tape recording ranges.

As described above, since sound is mainly recorded on a medium different from video, synchronization of video and sound is required in post-production work.

The most common recording medium for recording is 1/4" audio tape. During production, ambient noise should be kept to a minimum.
To obtain the clearest sound possible, separate sounds are recorded on separate tracks. For example, dialogue may be recorded on one track, and surrounding production sound effects, etc. may be recorded on another track.

During recording, a reference signal is recorded in parallel with the audio recording to facilitate resynchronization of sound and video. One of the audio tracks records the pilot sound, ie, the time code, primarily the reference track of the SMPTE time code. This SMPTE time code is
It is useful for providing arethos for special parts of audio recordings. Equipment used during post-production operations utilizes pilot tones, or SMPTE time codes, to control the magnetic tape transport speed of audio tapes. In this way, a time reference is maintained throughout the entire process of film production.

During the recording of a movie or tape, many scenes are taken and
Often a scene is recorded more than once. The on-location sound mixer creates a tape log for each reel recorded. Typically, tape logs include information such as scene numbers, recording numbers, SMPTE time codes, etc., along with additional comments.

The portion of the footage that is used for the video cut, known as the "master tick", is usually determined on location. These are marked on the tape log by circling the recording number.

In a process known as offline editing, a rough cut version of the final film is created. The selected master ticks are transferred from the sound reel to either tape video media or film prints, referred to as motion picture working prints, in synchronization with the images. SMP for each cut
TE reference codes are entered into the log to create a list of scenes called an edit decision list. This editing decision list is edited manually or by computer.

In the rough cut version, both the sound and visuals are first copies of the original images and audio recordings. In analog sound recording techniques, sound undergoes tape noise, an increase in high frequency hiss, as well as a loss in frequency response, a relative loss of high and low frequency sounds as each copy is made.

A final version of the film or tape must then be created from the original film or tape, ideally using sound recorded on location, in a process known as on-line editing.

Two main operations take place here.

First, the original images and sounds must be reorganized from the order in which each scene or tick was originally recorded to the order detailed in the editing decision list.

Second, check whether the audio track needs to be modified or improved. Typically, a rough cut version of the audio track is evaluated for editing, a process called spotting.

Dialogue may also be spotted with automatic dialogue replacement (ADH), ie, a process of re-recording the dialogue in synchronization with the video to replace dialogue in the original work. In this way, excessive background noise, such as airplanes or cars, seen during the original recording can be removed. Additionally, it may be desirable to vary the dialogue or even change the dialogue.

Another main use of spotting is a process called foley. The foray process generally involves re-recording at a low level or replacing library stock sounds with sounds generated by humans or propellers, such as footsteps, body movements, paper slips, paint brush movements, etc. This is the process of replacing the sound.

Multiple tracks of sound are also created in a process known as prelay.

Usually audio sounds are placed on different tracks. For example, dialogue may be placed on several tracks, sound effects may be placed on another track, audio may be placed on another track, music, etc. may be placed on yet another track.

By the time the prelay process is performed, it is not uncommon to have 20 or more tracks. Then the truck
They are mixed in the desired proportions in the final mix. Of all the elements in prelay, dialogue is the sonic element that dominates the final mix. Dialogue therefore represents an item in which defects are not tolerated.

Next, the prior art of sound editing technology will be schematically explained.

There are three types of recording media used to form sound tracks. The first and oldest recording medium is
It is a magnetically coated film coated with a magnetic medium. The traditional method of editing magnetic tape is to physically cut and splice the magnetic film. The second medium is analog tape. The analog tape method was originally used in the sound recording industry. The analog tape method is a multi-track
Including the process of recording to tape. The third medium comprises an electronic or optical storage device that records the digital audio sound, such as on a hard disk drive or other random-access digital storage medium.

a) Regarding the above magnetic film, using a magnetic film serving as the first medium, apply the magnetic coating to the magnetic film.
Editing sound into film is a traditional method used in the feature film industry. First, the selected scenes and ticks were first recorded on the 1/4" magnetic tape.
Transferred to magnetically coated film stock. coat·
The film stock recording is one step down from the original master; the coated film stock is then physically cut and each piece is linear collated.
They are connected and glued together by hand in much the same way as in "Ollage". Audio and film are literally physically synchronized.

Editors create physically separate reels of film for the various soundtracks. Therefore, it is not uncommon to create 3 to 20 reels of audio film at the same time. Dialogue may be collected on one reel, sound effects may be placed on another reel, and music may be placed on yet another reel. If a track has a period with no sound, blank magnetic tape film stock is inserted into that period.

To change the sound level, editors physically cut the tape with a razor blade, but solvents are also used to remove some of the oxide coat.

Achieving the correct sound level without compromising overall sound quality requires substantial skill and experience.

Primarily, editors create audio tracks on the film bench. The workbench consists of a sprocketed box with reel holders on each side, with locations for one video reel and three audio reels. or,
The workbench is equipped with various bins in which the editor occasionally stores recorded magnetic tape sections to prevent misplacement or confusion of cut film. The editor then removes the cut film from the bin, splices it at the appropriate position on the predetermined reel, and assembles it in the order determined by the editing decision list.

In general, the advantages of film cutting techniques are that they require minimal equipment and that last-minute changes can be accomplished with relative ease by inserting additional film stock. Furthermore, the arrangement of the changing workbench allows the cut films to be combined to be physically arranged, and the work of assembling the film pieces to be conceptually simplified. In general, a disadvantage of film cutting techniques is that there is no reasonable way to process sound. The use of solvents to remove oxide chips requires extremely sophisticated techniques and is time consuming. Furthermore, since the magnetically coated film is a subsequent product removed from the original master, there is a reduction in sound quality compared to that of the master. Also,
Another problem is that the method of synchronizing magnetic film with video film is limited to one sprocket hole.

b) Magnetic tape editing technology Tape editing uses equipment originally developed in the music industry. In particular, multi-track recorders are capable of recording 24 separate channels on a single 2" magnetic audio tape. Although the tape recording method can be either analog or digital, the digital recording method is not widely used for tape editing, mainly due to high transportation costs and lack of compatibility.

Typically, audio recorded on location or on stage uses the SMPTE timecode standard. Multiple track tape channels are provided with an SMPTE timecode standard. Because audio tape cannot be cut and spliced as is done with magnetic tape technology, the SMPTE timecode standard is used to attach sound to video. With magnetic tape, the tick to be transferred from the original audio tape is placed on the tape for several seconds before it is transferred. Similarly, multi-track audio tapes are positioned somewhat in front of where transcription occurs. The everyday multi-track tape machine is then synchronized using the SMPTE time code as a constant speed. At a specified SMPTE time code, audio information from the everyday tape machine is transferred to selected tracks of the multi-track tape.

The advantage of magnetic tape method over film is that
The sound quality of tracks is generally superior to that of magnetic film. Magnetic tape has a wider frequency response and can handle -larger sound levels without distortion. This reduces the amount of tape hiss that can be heard. Additionally, edits can be constructed from a computer-controlled list of edit decisions.

On the other hand, a disadvantage of magnetic tape over film is that modifications after prelay, known as adaptations, are extremely difficult to implement. In audio tapes, it is impossible to physically cut the tape containing time codes and insert blank tape sections for delay. Adaptation on audio tape, unless digital transport is used, results in losses due to re-recording. Additionally, when editing dialogue to audio tape, multiple attempts are often required to obtain a usable compilation. This means that the editor, while editing,
This is because several operations such as fades must be performed during a live performance. In six attempts, the tape machine must be rewound to a point before the edit, and an attempt must be made to resynchronize the tape machine before the edit. Furthermore, since editing requires the tape machines to rotate and be synchronized with each other, it is time consuming to perform necessary rewinding and pre-inspection.

In addition, the rewinding process causes the tape to wear out and the audio quality deteriorates more quickly. Furthermore, when using automatic combination from the editing decision list, the resolution accuracy (r
esolution occuracy) is limited to the time difference between time codes, typically 1 frame.

C) Other Digital and Hard Disk Systems Recently, it has become possible to record sound in digital format. An advantage of digital recording is that the quality of sound reproduction is generally superior to that of magnetic film or analog tape. - On a boat, unlike film or tape, digital discs have no incurring losses and have several backup safety copies. Furthermore, no deterioration occurs due to long-term storage. Also, the space required for storage is considerably less than with film or tape.

Attempts are being made to use digital systems designed for music for interactive editing. These applications range from using sampling keyboard synthesizers with tape systems to using various hard disk recording systems developed for music. However, these attempted solutions have not yielded successful results when applied to interactive editing because the devices were designed to solve a variety of different problems in non-interactive aspects. Not yet.

Attempts have also been made to utilize digital techniques for sound effects in digital editing. Sound effects consist primarily of short segments of sound. Digital samplers designed to sample single notes from music or electrical instruments have been used effectively for sound effects. However, for interactions these sampling systems have significant drawbacks. A typical series of interactions must utilize far more memory than the largest sampler available at its maximum capacity. To edit using the sampler,
Dialogue must be repeatedly transported back and forth from a separate multi-track recorder. Therefore, this method is not practical for any sampler smaller than a giant sampler.

SUMMARY OF THE INVENTION It is therefore an object of the present invention to provide a system for editing disc audio, and in particular for editing dialogue as digital audio.

A further object of the invention is to use an editing element (edit decision list) that summarizes the items used by a working editor, thereby removing a virtual "editor's finishing board" from digital electronics. The purpose is to provide an editing device for creating.

Another object of the invention is to provide a graphical representation of the sound in order to enable its editing.

Yet another object of the present invention is to provide a method for automatically assembling edited digital material from an editing decision list.

A further object of the invention is to provide a hardware device that enhances rapid digital editing.

A further object of the invention is to provide a system clock that is synchronized to the video signal.

Means for Solving the Problems The present invention has been made in view of the above-mentioned problems.
Post-production of feature films and episodic television programs in accordance with the present invention is performed using digital audio. This editing system takes advantage of the best aspects of old film-based magnetic tape editing, while also taking advantage of the advantages of digital audio. Achieve the highest quality digital audio editing in the least amount of time and at the lowest cost. Editing points are summarized from the methods used by the working editor. Short segments of the film in manual edits, ie, short segments of sound similar to trims, are converted into a visual display on the screen. The editor uses the mouse and keyboard to modify the trim on the screen. Typical editing includes selectively editing words or sounds, creating fades, modifying the volume, ie, copy sound, etc. Edited trims are still stored in bins, similar to the bins used for manual editing.
Stored in memory while being displayed. Since the sound being edited is stored in memory, the digital quality is fully maintained. After editing, the trim may be returned to disk.

After the various trims are edited, the complete soundtrack is assembled. The system uses an edit decision list to create a digital edit master. This allows the master to be assembled quickly.

The system hardware generally consists of three sections: a front end, multiple audio processor modules, and an input/output system. First, the front end section interfaces with the user and controls the entire system. 1
In one embodiment, a user opens a Microsoft window with a mouse and keyboard.
ofWindows) to interface with the system through AT-compatible hardware. A graphic representation of the sound is provided as a high resolution graphic monitor. An intelligent instrument control processor controls the operation of the entire system.

Second, each audio processor module has a processor that performs operations on associated data tracks. Each audio processor module has a mass
It has a disk drive associated with it for data storage. Preferably, a shared memory architecture is used, whereby the audio processor modules are linked by a VME bus. Third
Additionally, the input/output system may include analog-to-digital and digital-to-analog converters to provide an interface between the typical analog field and the digital editing system.

In operation, analog master recordings are converted to digital by the input/output system. The assembly of various ticks may be performed under computer control based on a list of editing decisions. Each tray is separately stocked with an audio processor module and associated disk drive. If individual trim editing is desired, the editor may recall and display segments of the graphical representation of the sound on the monitor.

Sounds may be modified by mouse movements.

After individual edits are made on the trim, the system operates to assemble the edited mask.

BEST MODE FOR CARRYING OUT THE INVENTION Hereinafter, the present invention will be described in detail with reference to the drawings.

A typical user interface display is shown in FIG. On the monitor 2 there is a window 3 showing a graphical representation of the sound 4. Typically, the display of sound 4 is shown as an audio vibration similar to a time function. Inside window 3, there is an area divided into three equal parts, for example, the words divided into three parts of the dialogue (
(words) or sound effects. The trim or segment of the sound when an editing operation is performed is indicated in the entire window 3 or in several smaller parts, for example by a mark line 5 consisting of vertical marks. As used in the preferred embodiment, subcategory selection 6 is continuously displayed on the screen for selection of display environment. The user makes inputs and selections by inputting with the mouse 7 or by key operation input with the keyboard 8.

Typically, a video monitor 9 is used to display images accompanied by sound. Ultimately, accurate synchronization of video and sound is achieved by the editor's comparison of audio and visual.

Assembly and Editing Process a) Assembly Process The first step in the interactive editing process is the selection of the ticks to be assembled. Typically, an editing decision list is created in an offline editing process. Therefore,
The edit decision list will list the ticks to be assembled, often specified by reel numbers and SMPTE timecode numbers for start and stop positions. If there is no edit decision list, the user can choose to create a one-period spot or enter data through a window on the tick by tick-hess.

The second step in the assembly process is to transfer the sound from the original recording medium to the digital interactive editing system. This process is controlled by the user through the assembly window. FIG. 2 shows a typical example of an assembly window.

Broadly speaking, the assembly process includes a first step of determining the ticks to be transferred from the original recording medium to the digital interactive editing system; a second step of transferring the sounds to electronic media within the digital interactive editing system; and a third step of receiving the sound on the electronic medium and storing it on the electronic medium.

As shown in FIG. 2, assembly window 3 controls the capture of sound ticks from tape to disk. An editing decision list may be used if it is helpful in determining which ticks are transferred from the original recording medium to the digital interactive editing system.

The user can load the editing decision list into the editing window and optionally make the headings of the list 22 appear on the screen 2. Start and stop times are displayed at 24.

In the preferred embodiment, a time bar 26 is used to indicate increases and decreases in time. The cursor 28 is the mouse 7 (first
(shown in the figure) and a clicker selects, for example, time increase or time decrease operation.

Whenever possible, the editor may use ticks that correspond to shots selected by video editing. If video editing decisions were made on an electronic system, the editing decision list could be used directly to locate sound ticks and video edits. The assembly window is used by the user to quickly load the necessary sound reels for sorted tics as well as to quickly position tics using time codes. To load a track, the user selects a track and the audio is digitally recorded. All or some of the tracks are located at the track selection position 30
selected by using. Recording can also be performed on all tracks by selecting the multi 32 option. At this point, the video, disc, and source equipment are synchronized.

During the assembly process, e.g. for editing,
It is often desirable to add manipulation to move a few seconds of sound before or after the actual sound. The assembly window is used to automatically add operations, and the display 34 displays the required operation time. Additionally, it is often necessary to offset the recording in order for the sound to be transferred. In this case, the required offset is set and displayed on the display unit 36.

Editing is done by editing the corresponding track when you need to make some adjustments.
may be displayed simultaneously within a window. The editor can make corrections at this point or choose to continue to assemble the next tick.

b) Editing Process Sound tics are not necessarily used in their original form. Although not included in the dialogue track, the recording may include squeaks, generator noises, distant footsteps, and other sounds that preserve the sound effects of the piece. Additionally, lines replaced by ADH are always retained for comparison.

Typically, editors separate sounds to keep what is available when mixing and to split up tracks to maximize the mixer's choices.

When you lose the sound you want to keep,
You can move it to an extra track set separately.

Typically, the editor has dedicated a number of tracks to the production effect, and one or more tracks of dialogue or alternating dialogue are reprocessed.

When the sound is separated to separate tracks, the main dialogue track must be filled in such a way that the atmosphere or background environment occurs smoothly behind the other tracks. Since the lines replaced by the ADH are recorded in a soundproof booth, the dialogue track must provide an environment so that the actors appear to be performing on the line on set. This environment consists of body movement, air movement, or some kind of natural sound that corresponds to the environment setting the scene.

To finish a tick, editors usually find filler parts and replace unwanted noise in the dialogue track with background noise. In quiet systems similar to digital dialogue editing, even the hiss of the tape can be replaced if the scene is recorded in a very quiet environment. The fills are repeated or looped to form longer sections than were used in the original recording and stored in windows or bins for later use.

Digital interactive editors can use the concepts of trim and timecode to perform editing operations to support editing operations. A trim is any section of a sound that the user can view in a window. The trim is defined by the mark line 5 within the window, or by the window 3 itself if the mark line 5 is not serrated. Editing can also be done by specifying the position of the time code. Typical operations are copy, erase,
It also includes functions such as movement. If no sound is present in the frame in which the video is present, the timecode numbers can be used to make the overall edit with the desired accuracy. However, if desired, the trim can be specified as a special digital sample, typically a digital sample on the order of 1 in 40,000.

FIG. 3 shows a typical editing window.

A visual representation of Sound 4 is given. By moving the image 40, which in the preferred embodiment appears as a speaker, sound is emitted to the user through a speaker (not shown).

By moving the image 40 horizontally relative to the displayed sound 4, the sound is emitted.

The ability to produce sound at the speed and direction in which the image 40 is moved is similar to the so-called scrapping function of the prior art in which an audio tape reel is locked back and forth over a pickup head to hear the sound. It is something. In this method, the user determines the exact location of the sound to be edited. By visually inspecting the sounds in the window and using the scrap feature, you can identify edit points at the desired resolution without having to type numbers. By varying the display resolution, the user can also enlarge the area of interest to increase accuracy or zoom out to provide context.

When trim is selected in the window 3, the user can select one of the multiple items 6 to select the operation to be performed. Operations are grouped in item 6 according to the type of operation they are included in.

When an operation includes more operations than can be displayed in one window, the operations are selected within the target window. FIG. 4 shows a typical display in which E
A DIT operation (edit operation) 42 is shown at the bottom. A cursor 44 is moved with mouse activation to select the desired function.

Any of the various editing functions performed when editing magnetic film or tape are performed here. Generally, sound level adjustment is achieved by amplifying the sound level with an included sound amplifier by means of a regulating element.

For example, the sounds in the area of window 3 marked by mark window 5 are multiplexed by adding or subtracting elements. This is called a digital "shave" because it is analogous to shaving oxide from a magnetic film. The digital "scrap" is called a digital "shave" after the amplitude drops fairly rapidly. or, conversely, when the amplitude falls rather slowly and then rises rather rapidly.

A fade out, which gradually reduces the volume, is done by marking the mark line 5 consisting of head and tail marks and selecting the fade out option. The fade out may be linear, logarithmic, or parabolic in time, or in any desired manner and speed.

A blend function exists to combine the two tracks and also allows for amplitude modification of the source track. “
The "Sync Slide" function moves marked sections of sound and gives filler sounds to the marked sections.The "Sync Paste" function copies one track to another.The "Cross Fade/
The "Paste" function provides various cross-fades from the source that are added to the destination track.

Overall Apparatus, Hardware and Software Most digital interactive editing systems require significant processing power in the hardware. Ideally, each part of the system should perform its functions quickly, efficiently, and in close coordination with other parts of the system. Subsystems are optimized to perform their corresponding functions and are linked through shared memory devices. In the preferred embodiment, each subsystem includes private memory that minimizes contention for resources and allows efficient multi-processing across multiple processors.

Conceptually, digital interactive editing is divided into four main sections. These are the “front end” or user interface, the Lee time control section, the audio manipulation system, and the audio
Consists of process systems.

a) User Interface The user interface portion of the system is shown in FIG. A user interfaces with the system through a processor or computer 50. In the preferred embodiment, the Microsoft platform selected for the environment presentation is an Intel consumer microprocessor selected for the user interface. The Intel 80386 microprocessor underlying the system was selected for its outstanding functionality and memory management capabilities in multi-cross environments. It will be recognized by those skilled in the art that a computer or processor with suitable capabilities, such as a minicomputer or an Apple computer, may be used in place of the 80386-AT compatible system used in the preferred embodiment. A user interfaces with computer 50 through a mouse 51 and keyboard 52. A graphics monitor 55 is used for graphical display of the sound. In the preferred embodiment, the display is a high performance VGA providing resolution of 1024 by 768 pickles and 16 colors.
It is generated using a controller. Memory, preferably in the form of a hard disk 57, is provided to the computer 50. Access to the hard disk 57 and graphics monitor 55 is made from the computer 50 via the PC-AT bus 3 via the disk interface 54 and graphics controller 56, respectively.

The front end includes what is visible to users of the system. Display interface code is provided by Microsoft Windows for environmental manipulation. This environment provides preferential multi-cross support so that several different processes appear to run simultaneously.

In addition to visualizing the process for the user, the front end also checks for error directives, speeds up complex operations, monitors background processes, and allows the user to select them for execution. There is.

b) Real Time Control Section The intelligent machine control block 60 interfaces with the computer 50 via the PC-AT bus 3. Intelligent machine control/interface processor 60 controls a wide variety of external machines, such as
ynx) controls one or more analog tape machines 64, video tape machines 62, etc. through a synchronizer 66 and an input/output channel control circuit 68. All of the real time processes required for external machine control are operated by machine control circuitry 60, allowing other subsystems to interact with external devices with little overhead.

Real-time control code manages and coordinates the operation of the various parts of the system. It provides positioning and synchronization of the tape mechanism and audio processing system. In the preferred embodiment, this code is 2
It is actually split in two through two processors, with one part running to the MS-DOS system on the front end mechanism and the other part running to the intelligent machine control card.

The machine control card code contains many tasks (information processing) so that many machines can be controlled simultaneously.

Figure 6 shows the multi-functional system that constitutes the system control equipment.
The structure of the interface adapter 60 is shown in detail. In a preferred embodiment, motorized roller 680
A 0 series microprocessor-70 is used.

The microprocessor 70 has a dual port memory data bank 72 and a memory decode circuit 7.
3 to the PC/AT bus 53. When machine controller 60 is the one providing input/output channel selection, information transferred across PC/AT bus 53 is recorded through port decode 70 and/or partial data bus ground (grant). The data is then transferred to the address generation FROM 77 and used. control register 7
5 may receive the output of port decode circuit 74 and microprocessor 70, dual port memory execute bank 7.
1 and dual boat memory data bank 7
Information may be given to 2.

In a preferred embodiment, machine controller 60 is an SM
It includes a PTE time code reader 83 and an interface 85 consisting of four consecutive R5-232 or R5422. In addition, two parallel machine interfaces are provided, one for VTR command and status 87 and one for a parallel input/output analog conversion bus for analog tape machine 64. Each interface can be programmed to support particular interface protocols independently of the others. This allows the management software to control any type of machine without being concerned with the details of the characteristics of each individual machine. In this way, as long as the machine is equipped with basic functions, it is controlled in a sophisticated manner.

In FIG. 5, a data bus 79 of an input/output device constitutes a master clock generation clock module 8.
An interface with a bit DAC 80 is shown. The 8-bit DAC 80, which constitutes the master clock generation clock module, serves to lock the audio sample rate to a single video signal to the system. In this way, an audio sampling frequency, known as an established video frequency, is generated. The master clock frequency for color video in NTSC is 14.31818MHz
It is. The master clock frequency is generated by the one element amplifying frequency of the four color burst signal (3,579,545 MHz). The color burst signal is derived from a common synthesis standard known as color black. Audio sampling rate is 4405
5.94 MHz, which is the master clock frequency divided by 325. An 8-bit DAC 80 comprising the master clock generation module provides a master sample clock for each channel of the system. That means providing lock to an external video reference source or external sample clock for precise synchronization.

C) Audio Manipulation and Processing System The system includes a plurality of audio processor modules 90.
It is equipped with As shown in FIG. 5, the left-most audio processor module 90 is labeled Channel One, and to the right is one representative intended to be repeated for the various channels.

In the preferred embodiment, the channel processor performs its own copy of the audio manipulation system. The audio manipulation system provides the interface used for equipment and commands to the audio processing software.

Detailed management such as buffer management is explained in this section. It provides display list and status data to the front end.

7, audio processor module 90 is shown in detail. In the preferred embodiment, a motor roller 68010 (or 68020) microprocessor-91 controls other special purpose devices for input/output and data manipulation. Bus 92 connects microprocessor 91 to VMEbus interface 94, which also provides dual access RAM spanning VMEbus interface 94 and audio processor 92, a four-channel DMA control 94,
It is connected to a memory 95 consisting of a 254 Kbyte ROM AVDOS ROM stocking programs for the microprocessor-91, a timer 7 interrupt 96, and a decoder 97.

Mabus 92 provides output to input/output bus channels 100 in part via parallel interface 98 . Audio processor module 90 is connected to various stock devices. The stock equipment includes a synchronized audio disc drive 102, a backup device 104, and a sound effects disc drive 103 consisting of an indexed SFX disc drive, which provides audio via a small computer system interface bus 101. - Connected to processor module 90.

In the preferred embodiment, each channel also runs audio processing software. The audio processing software allows you to mix, fade,
Equipped with basic editing commands such as scrap and copy. Although this section only has very simple commands, you may place complex editing commands here for speed.

The interactive editing device includes a VME global memory 70 that is accessed via the VME bus 84 so that sounds in memory can be edited in the same manner as on disk. In the preferred embodiment, 8 to 12 megabytes of RAM is shared by audio processor module 90 for use as an edit buffer.

The VME global memory 70 is located in a particular audio processor module 90 as required.

In the preferred embodiment, each channel has its own audio disk 10 for storing large amounts of data.
It is equipped with 2. In a typical configuration, all channels except the last are winchester hard.
Disk drive (W 1nchester ha)
rd disk drive). By using the 5C3I interface, it is possible to create a system with a simple configuration that includes storage devices of various sizes and types.

Hard disks comparable to 760 megabytes are commercially available.

In a preferred embodiment, at least one channel of each system includes a disk drive utilizing magneto-optical technology. The disk drive medium (LIledia) is removable and reusable. The above disk drive is the fastest winchester.
Although the drive is not fast, it is a real-time digital
Fast enough for audio equipment. The data capacity of each optical disc cartridge is 300 megabytes per side and 600 megabytes total.

When not used as a channel disk, the magneto-optical device functions as a backup device for other channel disks.

A method called virtual disk partitioning has been employed in which the basic operations of a disk handling system represent the structure of a disk drive as multiple logic blocks or regions of arbitrary size. When the system is running, the sound effects disk drive 1
The boot block is read from the first physical area of the sound effects disk drive 103 or 104 with the preferred substantial area size between the others. All subsequent disk operations are specified in the logic (effective) area based on this effective area size. Substantial area duration and rate of sound and frame of image worth digitizing sound
The effective size is adjusted to have a one-to-one correspondence with the rate. In a typical example, the video is 29.97
The frame rate is 44055 frames per second, and the sound is 44055.
Sampled at 9 samples/second. In this case, the effective area size is 147 samples (16 bit words) or 2940 bytes.

The relationship is generally expressed as follows.

S (f) = S (s) * (1/ F (s)) where S (d) - samples/frame; 5(s) = samples/second; F(s) = frame/second.

Also, for a given frame rate,
The rate is chosen such that S (f) above is an integer. This method directly associates frames of images with virtual frames of sound.

To further reduce the time required to access the mass storage audio disc drive 102, synchronized digital sound is continuously stored in the audio disc drive 102. Therefore, when the edited sound is assembled, the edited sound is stored sequentially on the disk rather than randomly or serially. As described above, the complete edited sound is read from the audio disc drive 102 in real time without the large gaps that occur when accessing the audio disc drive 102 randomly.

d) Person/Output System Since feature-length films and episode television programs are always recorded in analog format, it is necessary to use analog
Digital transformation needs to take place.

However, if the original recording was made digitally, no further conversion is necessary. Referring to FIG. 5, each channel preferably includes a separate analog-to-digital converter. Similarly, separate digital-to-analog converters 112 are provided for the output of each channel. The converters 110 and 112 are
Each is connected to a local input/output bus 100.108. Optionally, a serial input device 114 and a serial output device 116 are provided. The output of the digital to analog converter 112 is connected to an audio monitor, mixing and control module 118 of a type known to those skilled in the art.

Although the present invention has been described above by describing the preferred embodiment in detail, it will be apparent to those skilled in the art that many modifications and variations will be apparent to those skilled in the art. It is indicated by the claims that the above modifications and variations are covered.

[Brief explanation of drawings]

Figure 1 shows a screen with a typical editing window.
FIG. 2 is a diagram showing the screen display for the assembly process described above; FIG. 3 is a schematic diagram showing the screen display and editing window; FIG. 4 is a schematic diagram showing the screen display and editing window; 5A and 5B are block diagrams of a digital interactive editing system; FIG. 6 is a block diagram of an interface for intelligent machine control; FIG. 7 is a block diagram of the audio processor module. 7.56...Mouse, 72...Memory, 90...Audio processor module, 10
2.103.104... Disk drive, 110.
...Analog/digital converter.

Claims (1)

[Claims] 1. Input means having an analog-to-digital converter for each channel; an audio processor module for each channel; a disk drive for each channel; and an audio processor for each channel. - Editing device for multi-channel editing of sound, comprising a bus system interconnecting modules, a user interface, system control equipment and output means. 2. The editing device of claim 1, wherein the user interface provides a graphical representation of sound during editing. 3. The editing device of claim 2, wherein the user interface provides a graphical representation of the image. 4. The editing device of claim 3, wherein said image appears as a graphical representation of a speaker. 5. The editing device of claim 2, wherein the user interface includes mark lines for identifying sounds to be edited. 6. The editing device according to claim 1, wherein said user interface is a general purpose computer. 7. The editing device according to claim 1, wherein the user interface comprises a mouse. 8. Editing for sounds, comprising an input system for recording the sound to be edited, an audio processor module, a user interface with a graphical representation of the sound, and an output system for outputting the sound to be edited. Device. 9. store in memory the sound to be edited, display a graphical representation of the sound to be edited, direct the edits to be made to the graphical representation of said sound, and perform the directed edits to said graphical representation; A sound editing method for editing a sound recorded in the memory of an editing device, which comprises the steps of editing the sound according to the sound and recording the edited sound in the memory. 10. Claim 9 wherein said editing includes digital scraps.
Sound editing methods described. 11. The sound editing method according to claim 9, wherein said editing includes digital shaving. 12. The sound editing method according to claim 9, wherein said editing includes a fade out. 13. The sound editing method according to claim 9, wherein said editing includes mixing of partial regions. 14. The sound editing method according to claim 9, wherein said editing includes adjusting a stop level. 15. The sound editing method according to claim 9, wherein said editing includes synchronous pasting. 16. The sound editing method according to claim 9, wherein said editing includes crossfade paste. 17. The sound editing method according to claim 9, wherein said editing includes synchronized slides. 18. The sound editing method of claim 9, wherein the step of recording the sound to be edited into the memory includes the step of controlling a device to which the sound is transferred and controlling recording of the sound into the memory. 19. The sound editing method according to claim 9, wherein the step of recording the sound to be edited into the memory is determined based on an editing decision list. 20. The sound of claim 9, wherein the steps performed on the graphical representation of the sound include marking areas to be edited and selecting editing functions to be applied to the marked areas. How to edit. 21. The method of claim 9, wherein the step of applying to the graphical representation of the sound includes the step of moving an image relative to the graphical representation to apply a scrapping function. 22. Generating a digital audio sampling rate in use using a system having a video frequency comprising the steps of dividing the video frequency according to the total set amount and setting the divided frequency at a digital audio sampling rate. How to do it. 23. The method of claim 22, wherein the video frequency is a master clock frequency for color video in an NTSC system. 24. The total set amount into which the above video frequency is divided is 32.
23. The method of claim 22, wherein the digital audio sampling rate is 5. 25. A sound editing method comprising the steps of: displaying a graphical representation of the sound to be edited in an editing window; instructing selection of the graphical representation in the editing window to be edited; and selecting an editing function to be performed from the item. 26. The sound editing method according to claim 25, wherein the item from which the editing function is selected includes an item of a subordinate concept displayed at the bottom. 27. In a system for recording digital audio on a disk drive, the configuration of the disk drive is provided with a number of substantive areas, each substantive area containing the time period of one substantive area and the video An editing method using a disk manipulation system in which each frame has corresponding dimensions one by one.