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<title>SMPTE timecode</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">SMPTE timecode</span></span>

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<p><b>SMPTE timecode</b> (<span class="rt-commentedText nowrap"><span class="IPA nopopups noexcerpt" lang="en-fonipa">/<span style="border-bottom:1px dotted"><span title="/ˈ/: primary stress follows">ˈ</span><span title="'s' in 'sigh'">s</span><span title="/ɪ/: 'i' in 'kit'">ɪ</span><span title="'m' in 'my'">m</span><span title="'p' in 'pie'">p</span><span title="'t' in 'tie'">t</span><span title="/iː/: 'ee' in 'fleece'">iː</span></span>/</span></span> or <span class="rt-commentedText nowrap"><span class="IPA nopopups noexcerpt" lang="en-fonipa">/<span style="border-bottom:1px dotted"><span title="/ˈ/: primary stress follows">ˈ</span><span title="'s' in 'sigh'">s</span><span title="/ɪ/: 'i' in 'kit'">ɪ</span><span title="'m' in 'my'">m</span><span title="'t' in 'tie'">t</span><span title="/iː/: 'ee' in 'fleece'">iː</span></span>/</span></span>) is a set of cooperating standards to label individual frames of video or film with a <a href="Timecode" title="Timecode">timecode</a>. The system is defined by the <a href="Society_of_Motion_Picture_and_Television_Engineers" title="Society of Motion Picture and Television Engineers">Society of Motion Picture and Television Engineers</a> in the SMPTE 12M specification. SMPTE revised the standard in 2008, turning it into a two-part document: SMPTE 12M-1 and SMPTE 12M-2, including new explanations and clarifications.

</p><p>Timecodes are added to <a href="Film" title="Film">film</a>, <a href="Video" title="Video">video</a> or audio material, and have also been adapted to synchronize <a href="Music" title="Music">music</a> and <a href="Theatrical_production" title="Theatrical production">theatrical production</a>. They provide a time reference for editing, <a href="Synchronization" title="Synchronization">synchronization</a> and identification. Timecode is a form of media <a href="Metadata" title="Metadata">metadata</a>. The invention of timecode made modern <a href="Videotape_editing" class="mw-redirect" title="Videotape editing">videotape editing</a> possible and led eventually to the creation of <a href="Non-linear_editing_system" class="mw-redirect" title="Non-linear editing system">non-linear editing systems</a>.

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<div class="mw-heading mw-heading2"><h2 id="Basic_concepts">Basic concepts</h2></div>

<p>SMPTE timecode is presented in <i>hour:minute:second:frame</i> format and is typically represented in 32 bits using <a href="Binary-coded_decimal" title="Binary-coded decimal">binary-coded decimal</a>. There are also <i>drop-frame</i> and <i>color framing</i> flags and three extra <i>binary group flag</i> bits used for defining the use of the user bits. The formats of other varieties of SMPTE timecode are derived from that of the <a href="Linear_timecode" title="Linear timecode">linear timecode</a>. More complex timecodes such as <a href="Vertical_interval_timecode" title="Vertical interval timecode">vertical interval timecode</a> can also include extra information in a variety of encodings.

</p><p>Sub-second timecode time values are expressed in terms of frames. Common supported <a href="Frame_rate" title="Frame rate">frame rates</a> include:

</p>

<ul><li>23.98 (24 ÷ 1.001) <a href="Frame/s" class="mw-redirect" title="Frame/s">frame/s</a> (North American HDTV), sometimes also more precisely specified as 23.976.</li>

<li>24 frame/s (<a href="Film" title="Film">film</a>, <a href="ATSC" class="mw-redirect" title="ATSC">ATSC</a>, 2K, <a href="4K_resolution" title="4K resolution">4K</a>, 6K)</li>

<li>25 frame/s (<a href="PAL" title="PAL">PAL</a> (Europe, Uruguay, Argentina, Australia), <a href="SECAM" title="SECAM">SECAM</a>, <a href="DVB" title="DVB">DVB</a>, ATSC)</li>

<li>29.97 (30 ÷ 1.001) frame/s (<a href="NTSC" title="NTSC">NTSC</a> American System (U.S., Canada, Mexico, Colombia, et al.), ATSC, <a href="PAL-M" title="PAL-M">PAL-M</a> (Brazil))</li>

<li>30 frame/s (<a href="ATSC" class="mw-redirect" title="ATSC">ATSC</a>)</li></ul>

<p>In general, SMPTE timecode frame rate information is implicit, known from the rate of arrival of the timecode from the medium. It may also be specified in other metadata encoded in the medium. The interpretation of several bits, including the <i>color framing</i> and <i>drop frame</i> bits, depends on the underlying data rate. In particular, the drop frame bit is only valid for 29.97 and 30 frame/s

</p>

<div class="mw-heading mw-heading2"><h2 id="Discontinuous_timecode,_and_flywheel_processing">Discontinuous timecode, and flywheel processing</h2></div>

<p>Timecodes are generated as a continuous stream of sequential data values. In some applications <a href="Wall-clock_time" class="mw-redirect" title="Wall-clock time">wall-clock time</a> is used, in others the time encoded is a notional time with more arbitrary reference. After making a series of recordings, or after crude editing, recorded timecodes may consist of discontinuous segments.

</p><p>In general, it is not possible to know the linear timecode (<a href="Linear_timecode" title="Linear timecode">LTC</a>) of the current frame until the frame has already gone by, by which time it is too late to make an edit. Practical systems watch the ascending sequence of the timecode and infer the time of the current frame from that.

</p><p>As timecodes in analog systems are prone to bit-errors and drop-outs, most timecode processing devices check for internal consistency in the sequence of timecode values and use simple error correction schemes to correct for short error bursts. Thus, a boundary between discontinuous timecode ranges cannot be determined exactly until several subsequent frames have passed.

</p>

<div class="mw-heading mw-heading2"><h2 id="Drop-frame_timecode">Drop-frame timecode</h2></div>

<p>Drop-frame timecode originates from a compromise introduced when color NTSC video was invented. The NTSC designers wanted to retain compatibility with existing monochrome televisions. To minimize subcarrier visibility on a monochrome receiver it was necessary to make the color subcarrier an odd multiple of half the line scan frequency; the multiple originally chosen was 495. With a 30 Hz frame rate the line scan frequency is (30 × 525) = 15750 Hz. So the subcarrier frequency would have been <style data-mw-deduplicate="TemplateStyles:r1214402035">

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</style><span class="sfrac">⁠<span class="tion"><span class="num">495</span><span class="sr-only">/</span><span class="den">2</span></span>⁠</span> × 15750 = 3.898125 MHz.

</p><p>This was the subcarrier frequency originally chosen, but tests showed that on some monochrome receivers an interference pattern caused by the beat between the color subcarrier and the 4.5 MHz sound intercarrier could be seen. The visibility of this pattern could be greatly reduced by lowering the subcarrier frequency multiple to 455 (thus increasing the beat frequency from approximately 600 kHz to approximately 920 kHz) and by making the beat frequency also equal to an odd multiple of half the line scan frequency. This latter change could have been achieved by raising the sound intercarrier by 0.1% to 4.5045 MHz, but the designers, concerned that this might cause problems with some existing receivers, decided instead to reduce the color subcarrier frequency, and thus both the line scan frequency and the frame rate, by 0.1% instead. Thus the NTSC color subcarrier ended up as 3.579<span style="text-decoration:overline;">54</span> MHz (<span class="sfrac">⁠<span class="tion"><span class="num">315</span><span class="sr-only">/</span><span class="den">88</span></span>⁠</span> MHz), the line scan frequency as 15.<span style="text-decoration:overline;">734265</span> kHz (<span class="sfrac">⁠<span class="tion"><span class="num">9</span><span class="sr-only">/</span><span class="den">572</span></span>⁠</span> MHz) and the frame rate 29.<span style="text-decoration:overline;">970029</span> Hz (<span class="sfrac">⁠<span class="tion"><span class="num">30</span><span class="sr-only">/</span><span class="den">1.001</span></span>⁠</span> Hz).<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

</p><p>The altered frame rate meant that an hour of timecode at a nominal frame rate of 29.97 frame/s was longer than an hour of wall-clock time by 3.6 seconds (for 29.97 non-drop timecode of 01:00:00:00 drop-frame timecode is 01:00:03;18 and for non-drop 00:59:56:12 drop-frame is 01:00:00;00), leading to an error of almost a minute and a half over a day.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup>

</p><p>To correct this, drop-frame SMPTE timecode was invented. In spite of what the name implies, <i>no</i> video frames are dropped or skipped when using drop-frame timecode. Rather, some of the <i>timecodes</i> are dropped. In order to make an hour of timecode match an hour on the clock, drop-frame timecode skips frame numbers 0 and 1 of the first second of every minute, except when the number of minutes is divisible by ten.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>a<span class="cite-bracket">]</span></a></sup> This causes timecode to skip 18 frames each ten minutes (18,000 frames @ 30 frame/s) and almost perfectly compensates for the difference in rate (but still accumulates 1 frame every 9 hours 15 minutes).<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>b<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup>

</p><p>For example, the sequence when frame counts are dropped:

</p>

<p>For each tenth minute

</p>

<p>While non-drop timecode is displayed with colons separating the digit pairs—"HH:MM:SS:FF"—drop-frame is usually represented with a semicolon (;) or period (.) as the divider between all the digit pairs—<i>HH;MM;SS;FF</i>, <i>HH.MM.SS.FF</i>—or just between the seconds and frames—<i>HH:MM:SS;FF</i> or <i>HH:MM:SS.FF</i>.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>c<span class="cite-bracket">]</span></a></sup> Drop-frame timecode is typically abbreviated as DF and non-drop as NDF.

</p>

<div class="mw-heading mw-heading2"><h2 id="Color_framing_and_timecode">Color framing and timecode</h2></div>

<p>A <a href="Color_framing" title="Color framing">color framing</a> bit is often used to indicate field 1 of the color frame so that editing equipment can make sure to edit only on appropriate color frame sequence boundaries in order to prevent picture corruption.

</p>

<div class="mw-heading mw-heading2"><h2 id="Studio_operations_and_master_clocks">Studio operations and master clocks</h2></div>

<p>In <a href="Television_studio" title="Television studio">television studio</a> operations, longitudinal timecode is generated by the studio <a href="Master_sync_generator" class="mw-redirect" title="Master sync generator">master sync generator</a> and distributed from a central point. Central sync generators usually derive their timing from an <a href="Atomic_clock" title="Atomic clock">atomic clock</a>, using either <a href="Network_time" class="mw-redirect" title="Network time">network time</a> or <a href="GPS" class="mw-redirect" title="GPS">GPS</a>. Studios usually operate multiple clocks and automatically switch over if one fails.

</p>

<div class="mw-heading mw-heading2"><h2 id="Music_production">Music production</h2></div>

<p>Longitudinal SMPTE timecode is widely used to synchronize music. A frame rate of 30 frame/s is often used for audio in America, Japan, and other countries that rely on a 60 Hz mains frequency and used the <a href="NTSC" title="NTSC">NTSC</a> television standard. The <a href="European_Broadcasting_Union" title="European Broadcasting Union">European Broadcasting Union</a> standard frame rate of 25 frame/s is used throughout Europe, Australia and wherever the mains frequency is 50 Hz and the <a href="PAL" title="PAL">PAL</a> or <a href="SECAM" title="SECAM">SECAM</a> analog television standards were used.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading2"><h2 id="Variants">Variants</h2></div>

<p>Timecode may be attached to a recording medium in a number of different ways.

</p>

<ol><li><a href="Linear_timecode" title="Linear timecode">Linear timecode</a>, a.k.a. longitudinal timecode (LTC): suitable to be recorded on an audio channel, or carried by audio wires for distribution within a studio to synchronize recorders and cameras. To read LTC, the recording must be moving, meaning that LTC is useless when the recording is stationary or nearly stationary. This shortcoming led to the development of VITC.</li>

<li><a href="Vertical_interval_timecode" title="Vertical interval timecode">Vertical interval timecode</a>, (VITC, pronounced "vit-see"): recorded into the <a href="Vertical_blanking_interval" title="Vertical blanking interval">vertical blanking interval</a> of the video signal on each frame of video. The advantage of VITC is that, since it is a part of the playback video, it can be read when the tape is stationary.</li>

<li><a href="AES-EBU_embedded_timecode" class="mw-redirect" title="AES-EBU embedded timecode">AES-EBU embedded timecode</a>, SMPTE timecode embedded in an AES3 digital audio connection.</li>

<li><a href="Control_track_longitudinal_timecode" title="Control track longitudinal timecode">control track longitudinal timecode</a> (CTL timecode): SMPTE timecode embedded in the control track of a videotape.</li>

<li>Visible time code, a.k.a. <a href="Burnt-in_timecode" title="Burnt-in timecode">burnt-in timecode</a> and <b>BITC</b> (pronounced "bit-see") - the numbers are burnt into the video image so that humans can easily read the time code. Videotapes that are duplicated with these time code numbers <i>burnt-in</i> to the video are known as <i>window dubs</i>.</li>

<li>Film labels, such as <a href="Keykode" title="Keykode">Keykode</a>.</li></ol>

<div class="mw-heading mw-heading2"><h2 id="History">History</h2></div>

<p>There were several iterations of timecode in the late 1960s (EECO, DaVinci, Seimens, etc.). The version adopted by SMPTE was developed by Leo O'Donnell while he was working for the National Film Board of Canada. Leo's version referenced time of day and used an 80-bit word that was derived from rocket telemetry. There were several patents issued on Leo’s version (US3877799, for example). Since that time, several changes have been made by SMPTE to keep up with technology.

</p>

<ul><li><a href="Field_dominance" title="Field dominance">Field dominance</a></li>

<li><a href="IRIG_timecode" title="IRIG timecode">IRIG timecode</a></li>

<li><a href="Linear_timecode" title="Linear timecode">Linear timecode</a></li>

<li><a href="MIDI_timecode" title="MIDI timecode">MIDI timecode</a></li>

<li><a href="Rewritable_consumer_timecode" title="Rewritable consumer timecode">Rewritable consumer timecode</a></li>

<li><a href="Vertical_interval_timecode" title="Vertical interval timecode">Vertical interval timecode</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2></div>

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<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Because editors making cuts must be aware of the difference in color subcarrier phase between even and odd frames, it is helpful to skip pairs of frame numbers.</span>

</li>

<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Drop-frame timecode drops 18 of 18,000 frame numbers, equivalent to <span class="sfrac">⁠<span class="tion"><span class="num">1</span><span class="sr-only">/</span><span class="den">1000</span></span>⁠</span>, achieving 30 × 0.999 = 29.97 frame/s. This is very slightly slower than the true NTSC frame rate of <span class="sfrac">⁠<span class="tion"><span class="num">30</span><span class="sr-only">/</span><span class="den">1.001</span></span>⁠</span> = 29.<span style="text-decoration:overline;">970029</span> frame/s. The difference is one additional NTSC frame per 1,000,000 timecode frames, a residual timing error of 1.0 <a href="Parts-per_notation" title="Parts-per notation">ppm</a> or roughly 2.6 frames (86.4 milliseconds) per day which is considered negligible.</span>

</li>

<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">The period is usually used on VTRs and other devices that don't have the ability to display a semicolon.</span>

</li>

</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

<li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">"Color Television Standards: Selected Papers and Records of the NTSC" edited by Donald Fink, McGraw-Hill, 1955</span>

</li>

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</style><cite id="CITEREFStrachan" class="citation web cs1">Strachan, David. <a rel="nofollow" class="external text" href="https://evertz.com/resources/The-Right-Time.pdf">"The Right Time"</a> <span class="cs1-format">(PDF)</span><span class="reference-accessdate">. Retrieved <span class="nowrap">27 August</span> 2021</span>.</cite></span>

</li>

<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><cite class="citation journal cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20180619173001/https://ieeexplore.ieee.org/document/7289820/">"ST 12-1:2008 - SMPTE Standard - For Television — Time and Control Code"</a>. <i>St 12-1:2008</i>: <span class="nowrap">1–</span>40. February 2008. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.5594%2FSMPTE.ST12-1.2008">10.5594/SMPTE.ST12-1.2008</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-61482-268-4</bdi>. Archived from <span class="id-lock-subscription" title="Paid subscription required"><a rel="nofollow" class="external text" href="https://ieeexplore.ieee.org/document/7289820">the original</a></span> on June 19, 2018. <q>When drop-frame compensation is applied to an NTSC television time code, the total deviation accumulated after one hour is reduced to approximately 3.6 ms. The total deviation accumulated over a 24-hour period is approximately 2.6 frames (~86 ms).</q></cite></span>

</li>

<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.philrees.co.uk/articles/timecode.htm">"Synchronisation and SMPTE timecode (time code)"</a><span class="reference-accessdate">. Retrieved <span class="nowrap">2020-03-18</span></span>.</cite></span>

</li>

</ol></div></div>

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<ul><li><cite id="CITEREFJohn_Ratcliff1999" class="citation book cs1">John Ratcliff (1999). <i>Timecode: A user's guide, second edition</i> (Third ed.). Focal Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-240-51539-7</bdi>.</cite></li>

<li><cite id="CITEREFCharles_Poynton1996" class="citation book cs1"><a href="Charles_Poynton" title="Charles Poynton">Charles Poynton</a> (1996). <i>A Technical Introduction to Digital Video</i>. John Wiley & Sons. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-471-12253-X</bdi>.</cite></li></ul>

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<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

<ul><li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20040819005217/http://www.poynton.com/notes/video/Timecode/">Technical Introduction to Timecode</a> by Charles Poynton</li>

<li><a rel="nofollow" class="external text" href="http://www.lurkertech.com/lg/timecode.html">Article on timecode by Chris Pirazzi</a></li>

<li><a rel="nofollow" class="external text" href="http://www.philrees.co.uk/articles/timecode.htm">Synchronisation and SMPTE TimeCodes.</a></li>

<li><cite id="CITEREFPeter_Utz" class="citation web cs1">Peter Utz. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090210065102/http://videoexpert.home.att.net/artic1/212smte.htm">"SMPTE Time Code Explained"</a>. Archived from <a rel="nofollow" class="external text" href="http://videoexpert.home.att.net/artic1/212smte.htm">the original</a> on 2009-02-10.</cite></li>

<li><a rel="nofollow" class="external text" href="http://edlmax.com/SMPTETimeCodeConversion.htm">Conversion between SMPTE hh:mm:ss:ff Time Code and Frames</a> with c source code by Brooks Harris</li></ul>

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</style><div id="SMPTE_standards126" style="font-size:114%;margin:0 4em"><a href="Society_of_Motion_Picture_and_Television_Engineers" title="Society of Motion Picture and Television Engineers">SMPTE</a> standards</div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Standards</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="SMPTE_259M" title="SMPTE 259M">SMPTE 259M</a></li>

<li><a href="Digital_Picture_Exchange" title="Digital Picture Exchange">SMPTE 268M</a></li>

<li><a href="SMPTE_274M" title="SMPTE 274M">SMPTE 274M</a></li>

<li><a href="Ancillary_data" title="Ancillary data">SMPTE 291M</a></li>

<li><a href="SMPTE_292M" class="mw-redirect" title="SMPTE 292M">SMPTE 292M</a></li>

<li><a href="SMPTE_296M" class="mw-redirect" title="SMPTE 296M">SMPTE 296M</a></li>

<li><a href="Unique_Material_Identifier" title="Unique Material Identifier">SMPTE 330M</a></li>

<li><a href="SMPTE_344M" title="SMPTE 344M">SMPTE 344M</a></li>

<li><a href="SMPTE_356M" title="SMPTE 356M">SMPTE 356M</a></li>

<li><a href="General_Exchange_Format" title="General Exchange Format">SMPTE 360M</a></li>

<li><a href="SMPTE_367M" class="mw-redirect" title="SMPTE 367M">SMPTE 367M</a></li>

<li><a href="SMPTE_372M" title="SMPTE 372M">SMPTE 372M</a></li>

<li><a href="Material_Exchange_Format" title="Material Exchange Format">SMPTE 377M</a></li>

<li><a href="VC-1" title="VC-1">SMPTE 421M</a></li>

<li><a href="SMPTE_424M" title="SMPTE 424M">SMPTE 424M</a></li>

<li><a href="SMPTE_2022" title="SMPTE 2022">SMPTE 2022</a></li>

<li><a href="SMPTE_2059" title="SMPTE 2059">SMPTE 2059</a></li>

<li><a href="SMPTE_2067" class="mw-redirect" title="SMPTE 2067">SMPTE 2067</a></li>

<li><a href="SMPTE_2071" title="SMPTE 2071">SMPTE 2071</a></li>

<li><a href="SMPTE_2117" class="mw-redirect" title="SMPTE 2117">SMPTE 2117</a></li>

<li><a href="SMPTE_color_bars" title="SMPTE color bars">SMPTE color bars</a></li>

<li><a href="Digital_Cinema_Package" title="Digital Cinema Package">SMPTE DCP</a></li>

</ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Broadcast-safe" title="Broadcast-safe">Broadcast-safe</a></li>

<li><a href="Broadcast_television_systems" title="Broadcast television systems">Broadcast television systems</a></li>

<li><a href="Interoperable_Master_Format" title="Interoperable Master Format">Interoperable Master Format</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related standards organizations</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Advanced_Television_Systems_Committee" title="Advanced Television Systems Committee">Advanced Television Systems Committee</a></li>

<li><a href="BBC_Research_%26_Development" title="BBC Research & Development">BBC Research</a></li>

<li><a href="Digital_Video_Broadcasting" class="mw-redirect" title="Digital Video Broadcasting">Digital Video Broadcasting</a></li>

<li><a href="European_Broadcasting_Union" title="European Broadcasting Union">European Broadcasting Union</a></li>

<li><a href="ITU-R" title="ITU-R">ITU Radiocommunication Sector</a> (formerly CCIR)</li>

<li><a href="ITU-T" title="ITU-T">ITU Telecommunication Sector</a> (formerly CCITT)</li>

<li><a href="Joint_Photographic_Experts_Group" title="Joint Photographic Experts Group">Joint Photographic Experts Group</a></li>

<li><a href="Moving_Picture_Experts_Group" title="Moving Picture Experts Group">Moving Picture Experts Group</a></li>

<li><a href="NHK_Science_%26_Technology_Research_Laboratories" title="NHK Science & Technology Research Laboratories">NHK Science & Technology Research Laboratories</a></li></ul>

</div></td></tr></tbody></table></div></div><div><div class="zim-footer">

This article is issued from <a class="external text" title="Last edited on 2025-06-22" href="https://en.wikipedia.org/wiki/?title=SMPTE_timecode&oldid=1296759393">Wikipedia</a>. The text is available under <a class="external text" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">Creative Commons Attribution-Share Alike 4.0</a> unless otherwise noted. Additional terms may apply for the media files.

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