Time Recording - HRESS_A_CATS_CALUI clock times

Hello,
We are trying to use the application HRESS_A_CATS_CALUI for time recording. But it allows to record time only in 30 min intervals. There is a drop down, from where we can select e.g. 08:00 and 08:30.
Is it possible to reduce this interval or have field where it can be eneterd instead of dropd own.
Thanks!

Yes, you can reduce interval to 15 min, Follow the steps below-
Run
transaction SE80 and select package: PAOC_CATS_ESS_WDA. Select component configuration ‘HRESS_CC_CATS_CALUI_TIME_SEL’ (CATS
Calender UI Configuration for time values) of web dynpro component: ‘HRESS_C_CATS_CALUI’ (CATS Calender UI )
Double click and then click on ‘Display Configuration’ button to get following screen:
Select ‘timeDiff’ to change the interval by clicking on Edit button later. you
can select the ‘Time Difference’ as 15 minutes using dropdown while editing.

Similar Messages

Auto recording of clock in/out time

Hi all,
my client has this requirement of recording time based on auto clock in and out. E.g. when employees start work for a specific order, they just need to "inform" the system that the work has started and ended, system will auto capture the system time and populate the number of hours spend on a specific order. Is this possible in CATS? Pls enlightened me. Thanks.
Regards
Et.

Hi,
Since this is a Custom requirement and you want the user to manually enter it in system that they have started work you should get a customization done from ABAP and bring the same interface into the portal where the user as soon as he/she enters can punch into the system and out of the system manually.
You can ask ABAP to make a program for the same and i am sure this will help.
this functionality is not possible through CATS.
Thanks and Regards,
Jailakshmi

CATS rounding difference using clock times

Hello!
We are facing rounding differences during CATS recording with clock times. E.g. we record multiple entries with 5 minutes in transaction CAT2:
Clock Time -> CATS-hours
9:00 - 9:05 -> 0,08
9:05 - 9:10 -> 0,08
9:10 - 9:15 -> 0,08
9:15 - 9:20 -> 0,08
Sum of Minutes entered = 20
Sum of CATS-hours displayed = 0,32 which equals to 19 Minutes
As the number of entries increases the rounding difference get bigger.
Our company requires to-the-minutes time recording and by the way the employees get confused by the sum displayed.
Do you have any ideas to solve this issue?
Thanks in advance and best regards
Reinhard
Edited by: Reinhard Paizoni on Dec 2, 2010 10:10 AM

Hello,
You should use enhancement (user-exit) CATP0001 to validate this. You should write your coding for that as well.
Link below is not that of good use but I am putting for your reference.
http://help.sap.com/erp2005_ehp_04/helpdata/EN/64/400463470211d189720000e8322d00/frameset.htm
REgards,
Bentow.

Positive & Negative Time Recording.

Hi all,
Could anybody explain about the positive & negative time recording ( with clock times & without clock times )
In which situations with clock times and without clock times are used in negative time management.
Thanks in advance
Regards
Sujana

Time Management can be bifurcated types:
1. Positive Time (+ve Time) Positive time is plays the total role of workflow. All the processes related to time are automatically gets executed in the background. E.g., in our case it is done only partially to validate the attendance as per punches and other documents with shift timing and generate absence automatically in case of any discrepancy.
2. Negative Time (-ve Time) Where the all time related activities like validation of the attendance, posting of absence for wage deduction etc are done manually. It has less level of integration among the different components of time management.

Time Evaluation with multiple time events

Dear Friends,
I have an issue in our current project. Kindly try to help me with a solution.
We are working on Time Management module with Positive Time Recording method and evaluation- India. (Payroll module is not implemented)
My issue is:
Evaluation with multiple time events in a day: In our project, we have a scenario like the employees record multiple clock in and clock out times for one day and are uploaded into infotype 2011. But during time evaluation, only first Time event that is P10 (Clock In) and the last Time event P20 (Clock-out) in a day should be considered for evaluation, ignoring any multiple time entries in between duration in the table TEVEN (Infotype 2011).
Pls let me know how this requirement can be met. Do we need to define any new PCRs or create any functions? If yes, pls tell me the process in detail as I am new and implementing Time management (Positive Time recording with Evaluation) for first time. Try to help me as soon as possible.
Thanks & Regards,
Chiranjeevi
Edited by: chiran reddy on Feb 15, 2008 2:20 PM

is it not possible to enter only the first p10 and last p20 from the time systems into 2011.

Add a timer to my iMovie project

Hi,
I was lucky enough to get behind the wheel of a race care recently. I have "in-car" video footage of my experience, which i'm currently editing.
I'd like to add a lap timer to my movie project so viewers can see lap times and splits.
Does anyone have any advice on how i might be able to do this using iMovie 11?
Oh and i'm a hack, so nothing too complicated :-)
Appreciate any advice you're able to offer.
Cheers,
Pete...

Hi
there are no easy to add function to this - I would either
• Use my Camera and record a Clock - then add this video as Picture in Picture. Use a Large Clock and make the insert Picture might work and look nice.
• or Harder + Costs - I would re-import material - BUT this time via Analog-out on Camera - And Camera set to Show recording Time/Date - then use an A/D-box to digitalize this into Video-Editor e.g. iMovie.
This will lose in quality - but if done in FinalCut the Clock time could be put ontop of the original digital import.
Still there are no easy solution as I know of.
Yours Bengt W

Time Evaluation (Time management)

hi everyone......
i just want someone to explain me with some little examples the difference between time recording with clock time & without clock time, i really have some confusion in it, also if there is any useful document or link that can help i'll be glad.
Regards;
Mickey

Hi,
Your Question # 1 - so if i want to just record the absences i shouldn't use time evaluation.
Yes, If you are recording only absences and not recording any attendances, its not required to go for Time Evaluation. You need to maintain the Time Management Status as '0' in IT0007
Question # 2 - if i want to record absences and the actual times of employee attendance just for reporting, without any payroll effect then i should use +ve (Time evaluation without payroll integration)
Answer for this question is YES. But, there is a possibility of using -ve Time Evaluation also for this scenario (this can be achieved by making few modifications to schema -ve time schema)
Question # 3 - if i want to do the same but with payroll effect, then i should use +ve (Time evaluation with actual times)
YES. (But as is said for the above point, there is a possibility of using -ve time evaluation as well, this depends on client requirement)
Good Luck...!
KK

I cannot locate the TDK For Life on Record FM Radio Alarm Clock app?

I cannot locate the App for TDK For Life on Record FM Radio Alarm Clock app?
It is not available in the Irish Apple stope nor the USA Apple store.

https://itunes.apple.com/ie/app/tdk-life-on-record-alarm-clock/id508120886?mt=8

Sync Issues When a Separate Recorder is Used?

Unfortunately, I do not know the author of this material, and first saw it in another post to the Adobe forum. If the author sees this, please step up to take credit for a well-written explanation of why Audio is OOS with footage, when one has used a separate recorder, that is not hard-wired into the camera and deriving the sync signals from it. I must emphasize that I did not write this piece, and am only posting it to help others, when they use a separate recorder, not tied to the camera, say a Zoom, or similar.
I have also not used the mentioned/linked program, so cannot comment on that. However, I would make one change, if possible, and that would be to use PCM/WAV and not the recommended Linear WAV, as some Adobe programs can have issues with Linear WAV. Other than that little suggestion, I really like this piece, and for many other NLE's, the Linear WAV will probably not be an issue - just with some Adobe programs.
The Problem -
Miniature audio recorders, be they minidisc or solid state, offer a very attractive, cost effective, alternative to the traditional use of radio microphones, for the capture of remote audio sources in video recordings
These machines record the audio in a variety of different formats - MP3, WMA, WAV, ATRAC -- and in a variety of qualities - but they all suffer from the same problem. It can be difficult to synchronise the remotely recorded audio, with the camera recorded audio.
Although the time honoured tradition of an audio 'clapper board' works well enough to align the beginning of the two soundtracks, there is a tendency for the two tracks to appear to 'drift' out of sync over time - and the longer the recording, the worse the problem. In fact they do not actually 'drift', but the gradual loss of sync is a function of the camera and audio recorder sample clocks being slightly different frequencies.
The simple reason for this loss of 'sync' therefore is that the audio is being recorded at different speeds. Although the recorder will specify the sampling frequency, the accuracy is then dependent on the internal crystal oscillator of the recorder - which is, of course, a different oscillator from the one controlling the camera timing. Although these crystals may typically be accurate to within 0.005% or better, even this degree of accuracy can cause the two recorded audio tracks to be out of sync by up to 300mS after 30 minutes. Even after 5 minutes, the 2 tracks can be some 60mS different in length, in a worst case scenario.
60mS difference will cause a distinctly audible 'echo' between the two audio tracks. (Even 20mS is detectable as a separate echo).
This difference is of course totally unacceptable, and corrections need to be applied. It is important to remember that even if your audio recorder crystal is absolutely accurate, and it is the camera clock that is slightly wrong, it is still the remote audio track that will have to be corrected. The 'wrong' camera audio track is the one in sync with the video, and has to be the 'master' track.
The Solution
It is important to realise that although the sample oscillators may vary with regard to each other, they tend to be remarkably accurate over time, referenced to themselves.
This means that if you know by how much the frequency your audio recorder sample 'clock' differs from the camera 'clock', then a single correction factor will bring both tracks back into sync.
A simple procedure is outlined below, using free programs, to enable you to calculate the correction factor required for your particular recorder.
Programs required (all free):
1) AoA audio Extractor --- (not necessary if you can extract the audio track from a video recording in your NLE)
2) Audacity , a free audio editor
3) Switch , a free audio file type converter
Step 1: Set up your camera and audio recorder next to each other, and start both running
Step 2: Make a good audio 'clapperboard' point by tapping a pencil firmly onto a hard surface, as close to both camera and recorder mics as possible. This will cause a fast 'edge' to become the reference point, which will be useful later.
Step3: Let both devices run for at least 10 minutes. 20 minutes are better, but not essential.
At the end of the period, (timing not critical), make a second similar 'clapperboard' reference point. Allow a few more seconds recording, and then stop both devices.
Step 4: Download the video from the camera, and the audio from the recorder to yourcomputer.
Step 5: Open the video file in 'AoA audio Extractor', and extract the audio from the video. Convert this audio file (if necessary) to a 48KHz 16 bit LPCM (wav) file, using the 'Switch' program linked to above. This file will be your reference audio file.
Step 6: Open the WAV file saved in the previous step in 'Audacity' - a free audio editor.
It is now necessary to save only the part of the file between the two 'clapperboard' references, which hopefully stand out clearly (if you hit the pencil hard enough in steps 2 and 3!).
This must be done accurately, to within 100th of a second, or better.
Click and drag the file to highlight the beginning section, including the first 'clapperboard' waveform. Use the 'fit selection to window' tool (immediately to the right of the 'zoom' tools) to magnify. Delete as much as possible before the 'clapper' reference. Repeat the operation until you can clearly identify the first distinct waveform of the 'clapper' reference waveform. Click, hold and place the cursor directly over the first full (clipped) waveform, where it crosses the centre line. Delete every thing to the left of that point, by clicking and dragging to highlight, and then deleting with the scissors tool.
Step 7: Repeat the above procedure for the end part of the waveform, again using thestart of the second 'clapper' waveform as your reference cutting point. In this case, cut everything to the right of your selected reference point (not the left, as in the first case.)
Step 8: It is necessary to record the exact length of this new cropped waveform. This information is listed at the bottom of the window, but in a rather inappropriate format. Locate the toolbar at the top of the window, click 'Edit'-'select all' and then 'Effects'-'change tempo' . Note the length of the file in seconds in the right hand box (the left hand box is greyed out).
Record this figure. It is the reference file length
Step 9: It is necessary to convert the file recorded on the audio recorder into an identical format to the camera audio track, namely 48 KHz 16 bit PCM. If the track is not already in this format, open it in Switch, a free file transfer program, and select the output encoding as 48 KHz 16 bit, mono or stereo to fit your audio file. This program will then convert whatever format your input file is (MP3, WMA, 44.1 KHz PCM, etc) into the required 48 KHz, 16 bit format required.
Step 10: Repeat the procedures in steps 6 and 7 for this new file. Edit the 'clapper' points with as much accuracy as before, but notice that the 'clapper' waveform will appear different from the first, although hopefully with as clearly defined first ' zero crossing' point.
Step 11: Repeat the procedure in step 8, and you will notice that the overall file length is different.
Overwrite the original file length into the right hand box, and take careful note of the resulting figure in the percent change box. Make sure you record whether it is a plus or minus value - it could be either! This is the most important figure, because it represents the percentage variation between the two units.
Once you have obtained this value, simply apply it to all files recorded with the same recorder and this camera. Providing you can align the start of the file with a single 'clapperboard' mark, there is no need to repeat the rest. Simply change the length of the external audio file by the correct percentage value, to allow the two audio tracks to remain synchronised.
It may seem a long winded process, but it only needs to be done once, and could then save quite a lot of time, against the option of trying to align tracks manually in your NLE, in small sections.
You may of course wish to use an alternative audio editor, and the details of this procedure may then be slightly different, but the principle remains the same.

Unfortunately, I do not know the author of this material, and first saw it in another post to the Adobe forum. If the author sees this, please step up to take credit for a well-written explanation of why Audio is OOS with footage, when one has used a separate recorder, that is not hard-wired into the camera and deriving the sync signals from it. I must emphasize that I did not write this piece, and am only posting it to help others, when they use a separate recorder, not tied to the camera, say a Zoom, or similar.
I have also not used the mentioned/linked program, so cannot comment on that. However, I would make one change, if possible, and that would be to use PCM/WAV and not the recommended Linear WAV, as some Adobe programs can have issues with Linear WAV. Other than that little suggestion, I really like this piece, and for many other NLE's, the Linear WAV will probably not be an issue - just with some Adobe programs.
The Problem -
Miniature audio recorders, be they minidisc or solid state, offer a very attractive, cost effective, alternative to the traditional use of radio microphones, for the capture of remote audio sources in video recordings
These machines record the audio in a variety of different formats - MP3, WMA, WAV, ATRAC -- and in a variety of qualities - but they all suffer from the same problem. It can be difficult to synchronise the remotely recorded audio, with the camera recorded audio.
Although the time honoured tradition of an audio 'clapper board' works well enough to align the beginning of the two soundtracks, there is a tendency for the two tracks to appear to 'drift' out of sync over time - and the longer the recording, the worse the problem. In fact they do not actually 'drift', but the gradual loss of sync is a function of the camera and audio recorder sample clocks being slightly different frequencies.
The simple reason for this loss of 'sync' therefore is that the audio is being recorded at different speeds. Although the recorder will specify the sampling frequency, the accuracy is then dependent on the internal crystal oscillator of the recorder - which is, of course, a different oscillator from the one controlling the camera timing. Although these crystals may typically be accurate to within 0.005% or better, even this degree of accuracy can cause the two recorded audio tracks to be out of sync by up to 300mS after 30 minutes. Even after 5 minutes, the 2 tracks can be some 60mS different in length, in a worst case scenario.
60mS difference will cause a distinctly audible 'echo' between the two audio tracks. (Even 20mS is detectable as a separate echo).
This difference is of course totally unacceptable, and corrections need to be applied. It is important to remember that even if your audio recorder crystal is absolutely accurate, and it is the camera clock that is slightly wrong, it is still the remote audio track that will have to be corrected. The 'wrong' camera audio track is the one in sync with the video, and has to be the 'master' track.
The Solution
It is important to realise that although the sample oscillators may vary with regard to each other, they tend to be remarkably accurate over time, referenced to themselves.
This means that if you know by how much the frequency your audio recorder sample 'clock' differs from the camera 'clock', then a single correction factor will bring both tracks back into sync.
A simple procedure is outlined below, using free programs, to enable you to calculate the correction factor required for your particular recorder.
Programs required (all free):
1) AoA audio Extractor --- (not necessary if you can extract the audio track from a video recording in your NLE)
2) Audacity , a free audio editor
3) Switch , a free audio file type converter
Step 1: Set up your camera and audio recorder next to each other, and start both running
Step 2: Make a good audio 'clapperboard' point by tapping a pencil firmly onto a hard surface, as close to both camera and recorder mics as possible. This will cause a fast 'edge' to become the reference point, which will be useful later.
Step3: Let both devices run for at least 10 minutes. 20 minutes are better, but not essential.
At the end of the period, (timing not critical), make a second similar 'clapperboard' reference point. Allow a few more seconds recording, and then stop both devices.
Step 4: Download the video from the camera, and the audio from the recorder to yourcomputer.
Step 5: Open the video file in 'AoA audio Extractor', and extract the audio from the video. Convert this audio file (if necessary) to a 48KHz 16 bit LPCM (wav) file, using the 'Switch' program linked to above. This file will be your reference audio file.
Step 6: Open the WAV file saved in the previous step in 'Audacity' - a free audio editor.
It is now necessary to save only the part of the file between the two 'clapperboard' references, which hopefully stand out clearly (if you hit the pencil hard enough in steps 2 and 3!).
This must be done accurately, to within 100th of a second, or better.
Click and drag the file to highlight the beginning section, including the first 'clapperboard' waveform. Use the 'fit selection to window' tool (immediately to the right of the 'zoom' tools) to magnify. Delete as much as possible before the 'clapper' reference. Repeat the operation until you can clearly identify the first distinct waveform of the 'clapper' reference waveform. Click, hold and place the cursor directly over the first full (clipped) waveform, where it crosses the centre line. Delete every thing to the left of that point, by clicking and dragging to highlight, and then deleting with the scissors tool.
Step 7: Repeat the above procedure for the end part of the waveform, again using thestart of the second 'clapper' waveform as your reference cutting point. In this case, cut everything to the right of your selected reference point (not the left, as in the first case.)
Step 8: It is necessary to record the exact length of this new cropped waveform. This information is listed at the bottom of the window, but in a rather inappropriate format. Locate the toolbar at the top of the window, click 'Edit'-'select all' and then 'Effects'-'change tempo' . Note the length of the file in seconds in the right hand box (the left hand box is greyed out).
Record this figure. It is the reference file length
Step 9: It is necessary to convert the file recorded on the audio recorder into an identical format to the camera audio track, namely 48 KHz 16 bit PCM. If the track is not already in this format, open it in Switch, a free file transfer program, and select the output encoding as 48 KHz 16 bit, mono or stereo to fit your audio file. This program will then convert whatever format your input file is (MP3, WMA, 44.1 KHz PCM, etc) into the required 48 KHz, 16 bit format required.
Step 10: Repeat the procedures in steps 6 and 7 for this new file. Edit the 'clapper' points with as much accuracy as before, but notice that the 'clapper' waveform will appear different from the first, although hopefully with as clearly defined first ' zero crossing' point.
Step 11: Repeat the procedure in step 8, and you will notice that the overall file length is different.
Overwrite the original file length into the right hand box, and take careful note of the resulting figure in the percent change box. Make sure you record whether it is a plus or minus value - it could be either! This is the most important figure, because it represents the percentage variation between the two units.
Once you have obtained this value, simply apply it to all files recorded with the same recorder and this camera. Providing you can align the start of the file with a single 'clapperboard' mark, there is no need to repeat the rest. Simply change the length of the external audio file by the correct percentage value, to allow the two audio tracks to remain synchronised.
It may seem a long winded process, but it only needs to be done once, and could then save quite a lot of time, against the option of trying to align tracks manually in your NLE, in small sections.
You may of course wish to use an alternative audio editor, and the details of this procedure may then be slightly different, but the principle remains the same.

Capture of Clock-in during ESS login

Hi,
We have following requirement:
When employee logs into ESS, a Pop-up should appear with a message, and Submit & Cancel buttons.
On clicking Submit, the time should get stored in P2011 table as Clock In and link should be directed to UWL.
On clicking Cancel button, UWL should open.
We have writeen an ABAP code and called this thru iview, but we are not able to suppress, forward the link to UWL.
Please let us know whether there are any better solutions,
Regards,
Vijay

Hi Harshal,
let me clarify...
I want to show the popup to record his clock in at the time of logging to ESS.
Employee may ignore by clicking on cancel button OR hit submit button. The system should take him to UWL for either of the cases.
We have developed an application in ABAP, and created iview for that and placed it in Clock-In (New) page, which is the first page appearing when employee logs into ESS.
Here the issue is, when user click on Submit button, I am not able to redirect the system to UWL. Abaper had used Exit command in the program, due to which we are getting "You have been successfully logged off" message, which we would like to suppress.
Is there any better solution ?
Conceptually it should be possible:
- Develop WD application
- Call it from Login page (How to )
- On submit update infotype using BAPI
- Call UWL thru Quick link (How to)
Regards,
Vijay

Employee clock-in/out

Hello !
We use clocking machine for recording employee clock-in/out . All the data is stored in a 'flat' file which is supposed to be
     uploaded into SAP. When tried to open and read the flat file using OPEN DATASET and READ DATASET commands,
     the Sy-subrc value returned is 8 and the error message 'the specified file not found' is displayed. We checked the path and
     the file is in the correct location. What is missing?

Hi Kelly,
Check the path once again. Check the upper and lower cases. Define you parameter file name like filename-fileextern.
    Depending on the place where the flat file resides, the procedure varies. OPEN DATASET is used for upload of file from
    the host system. If your flat (text) file is on the PC, you can use the function WS_UPLOAD which will upload your text file
    into an internal table. This internal table data can be loaded into SAP. The syntax is as follows:
    CALL FUNCTION 'WS_UPLOAD'
    EXPORTING
    FILENAME = pcfile
    IMPORTING
    FILELENGTH = fileleng
    TABLES
    DATA_TAB = internal table name
    Please note that you have to specify the pcfile of length 128.
Try this it may help.
Thanks

Clock in Clock out RPTCORAPP

Hi All,
I have a requirement for Clock in Clock out approval. Program RPTCORAPP is used to approve bulk clock in and clock out. But this program will not support for Substitutions. Can any one please provide details for handling substitutions by copying RPTCORAPP into Z-program.
Thanks,
SC

Hi Siddarth,
Now I copied the RPTCORAPP to Z-program and made changes for substitutes records for clock in out. For normal corrections it is reflecting properly where the link is open properly. But for substitutes it is not showing link in approval page where as record is displaying. So we canot open the request. How to do our newly added substitute records as link so that we can see the details of that request.,
Following changes I had done in Z-program.
First getting the substitute manager userids from table hrus_d2. Getting personnel numbers from that user ids.
And after that once again by using the subroutine get_worklist_for_approver and storing the worklist in temporary internal table. After that adding this temporary internal table records to main internal worklist event_data.
Other than this any thing changes we have to do for getting links in clock in out for approvers inbox.
Thanks,
SC

Fix out of syn - not a question- is a reference to "how to"

Hi,
I found this article on the internet and thought it might be useful for people in certain conditions...thought I'd share it..
Unfortunately I did not get the author's name ....as I'd love to give the author credit for it...
The Problem -
Miniature audio recorders, be they minidisc or solid state, offer a very attractive, cost effective, alternative to the traditional use of radio microphones, for the capture of remote audio sources in video recordings
These machines record the audio in a variety of different formats - MP3, WMA, WAV, ATRAC -- and in a variety of qualities - but they all suffer from the same problem. It can be difficult to synchronise the remotely recorded audio, with the camera recorded audio.
Although the time honoured tradition of an audio 'clapper board' works well enough to align the beginning of the two soundtracks, there is a tendency for the two tracks to appear to 'drift' out of sync over time - and the longer the recording, the worse the problem. In fact they do not actually 'drift', but the gradual loss of sync is a function of the camera and audio recorder sample clocks being slightly different frequencies.
The simple reason for this loss of 'sync' therefore is that the audio is being recorded at different speeds. Although the recorder will specify the sampling frequency, the accuracy is then dependent on the internal crystal oscillator of the recorder - which is, of course, a different oscillator from the one controlling the camera timing. Although these crystals may typically be accurate to within 0.005% or better, even this degree of accuracy can cause the two recorded audio tracks to be out of sync by up to 300mS after 30 minutes. Even after 5 minutes, the 2 tracks can be some 60mS different in length, in a worst case scenario.
60mS difference will cause a distinctly audible 'echo' between the two audio tracks. (Even 20mS is detectable as a separate echo).
This difference is of course totally unacceptable, and corrections need to be applied. It is important to remember that even if your audio recorder crystal is absolutely accurate, and it is the camera clock that is slightly wrong, it is still the remote audio track that will have to be corrected. The 'wrong' camera audio track is the one in sync with the video, and has to be the 'master' track.
The Solution
It is important to realise that although the sample oscillators may vary with regard to each other, they tend to be remarkably accurate over time, referenced to themselves.
This means that if you know by how much the frequency your audio recorder sample 'clock' differs from the camera 'clock', then a single correction factor will bring both tracks back into sync.
A simple procedure is outlined below, using free programs, to enable you to calculate the correction factor required for your particular recorder.
Programs required (all free):
1) AoA audio Extractor --- (not necessary if you can extract the audio track from a video recording in your NLE)
2) Audacity , a free audio editor
3) Switch , a free audio file type converter
Step 1: Set up your camera and audio recorder next to each other, and start both running
Step 2: Make a good audio 'clapperboard' point by tapping a pencil firmly onto a hard surface, as close to both camera and recorder mics as possible. This will cause a fast 'edge' to become the reference point, which will be useful later.
Step3: Let both devices run for at least 10 minutes. 20 minutes are better, but not essential.
At the end of the period, (timing not critical), make a second similar 'clapperboard' reference point. Allow a few more seconds recording, and then stop both devices.
Step 4: Download the video from the camera, and the audio from the recorder to your computer.
Step 5: Open the video file in 'AoA audio Extractor', and extract the audio from the video. Convert this audio file (if necessary) to a 48KHz 16 bit LPCM (wav) file, using the 'Switch' program linked to above. This file will be your reference audio file.
Step 6: Open the WAV file saved in the previous step in 'Audacity' - a free audio editor.
It is now necessary to save only the part of the file between the two 'clapperboard' references, which hopefully stand out clearly (if you hit the pencil hard enough in steps 2 and 3!).
This must be done accurately, to within 100th of a second, or better.
Click and drag the file to highlight the beginning section, including the first 'clapperboard' waveform. Use the 'fit selection to window' tool (immediately to the right of the 'zoom' tools) to magnify. Delete as much as possible before the 'clapper' reference. Repeat the operation until you can clearly identify the first distinct waveform of the 'clapper' reference waveform. Click, hold and place the cursor directly over the first full (clipped) waveform, where it crosses the centre line. Delete every thing to the left of that point, by clicking and dragging to highlight, and then deleting with the scissors tool.
Step 7: Repeat the above procedure for the end part of the waveform, again using the start of the second 'clapper' waveform as your reference cutting point. In this case, cut everything to the right of your selected reference point (not the left, as in the first case.)
Step 8: It is necessary to record the exact length of this new cropped waveform. This information is listed at the bottom of the window, but in a rather inappropriate format. Locate the toolbar at the top of the window, click 'Edit'-'select all' and then 'Effects'-'change tempo' . Note the length of the file in seconds in the right hand box (the left hand box is greyed out).
Record this figure. It is the reference file length
Step 9: It is necessary to convert the file recorded on the audio recorder into an identical format to the camera audio track, namely 48 KHz 16 bit PCM. If the track is not already in this format, open it in Switch, a free file transfer program, and select the output encoding as 48 KHz 16 bit, mono or stereo to fit your audio file. This program will then convert whatever format your input file is (MP3, WMA, 44.1 KHz PCM, etc) into the required 48 KHz, 16 bit format required.
Step 10: Repeat the procedures in steps 6 and 7 for this new file. Edit the 'clapper' points with as much accuracy as before, but notice that the 'clapper' waveform will appear different from the first, although hopefully with as clearly defined first ' zero crossing' point.
Step 11: Repeat the procedure in step 8, and you will notice that the overall file length is different.
Overwrite the original file length into the right hand box, and take careful note of the resulting figure in the percent change box. Make sure you record whether it is a plus or minus value - it could be either! This is the most important figure, because it represents the percentage variation between the two units.
Once you have obtained this value, simply apply it to all files recorded with the same recorder and this camera. Providing you can align the start of the file with a single 'clapperboard' mark, there is no need to repeat the rest. Simply change the length of the external audio file by the correct percentage value, to allow the two audio tracks to remain synchronised.
It may seem a long winded process, but it only needs to be done once, and could then save quite a lot of time, against the option of trying to align tracks manually in your NLE, in small sections.
You may of course wish to use an alternative audio editor, and the details of this procedure may then be slightly different, but the principle remains the same.
Rod

yikes...misspelled "sync"...can a moderator fix it maybe and delete this mssg ? Thanks !
Rod

Sync when compressing HD FLV and F4V in Premiere Pro CS4

Hi. I'm trying to create PSAs for You Tube that were originally created with a small camera that produced HD Quicktime files. For YouTube they don't have to be perfect but that is what I'm working with. My computer only has 4gb of ram so I can't watch the video to test for syncronization since it just gives a slide show while editing. It never does anything but a slide show with HD video.
When I watch the original unedited Quicktime file the sync was way off. When I render out the original file in an FLV and F4V format just to test the sync it is PERFECT. Then I edited the first video taken from that session and used FLV and the sync was PERFECT. So I'm doing the second video, tested sync on the original footage, and its PERFECT.
So I thought it was okay to keep going. Everything was perfect after Premiere rendered the raw footage. The first video worked, right? The second video's raw footage sync was fixed, right?
Now that I spent all the time to edit the 2nd video, sync is TERRIBLE. I have no idea why. F4V was worse than FLV, but neither was great for video 2. So I guess I have two questions:
1) What format can I use to upload to YouTube that won't give me an unusable sync problem
2) Is there something I can do to see continuous synchronization within Premiere Pro CS4 without updating my hardware? I am using Vista 64 bit, 4gb ram, dual core intel. Do I have to make a major hardware upgrade just to get HD video not to be a slide show while running Premiere?
Thanks!

Dave,
Deleted all stuff...
You might try this "TEST" at some point if you're using equipment to record sound as outlined in the following article....at any rate you might find the article interesting anyway for the future...
----------------------sorry I should give credit to who wrote it but you can google the first line and find it maybe -----------
sync demuxed sound The Problem -
Miniature audio recorders, be they minidisc or solid state, offer a very attractive, cost effective, alternative to the traditional use of radio microphones, for the capture of remote audio sources in video recordings
These machines record the audio in a variety of different formats - MP3, WMA, WAV, ATRAC -- and in a variety of qualities - but they all suffer from the same problem. It can be difficult to synchronise the remotely recorded audio, with the camera recorded audio.
Although the time honoured tradition of an audio 'clapper board' works well enough to align the beginning of the two soundtracks, there is a tendency for the two tracks to appear to 'drift' out of sync over time - and the longer the recording, the worse the problem. In fact they do not actually 'drift', but the gradual loss of sync is a function of the camera and audio recorder sample clocks being slightly different frequencies.
The simple reason for this loss of 'sync' therefore is that the audio is being recorded at different speeds. Although the recorder will specify the sampling frequency, the accuracy is then dependent on the internal crystal oscillator of the recorder - which is, of course, a different oscillator from the one controlling the camera timing. Although these crystals may typically be accurate to within 0.005% or better, even this degree of accuracy can cause the two recorded audio tracks to be out of sync by up to 300mS after 30 minutes. Even after 5 minutes, the 2 tracks can be some 60mS different in length, in a worst case scenario.
60mS difference will cause a distinctly audible 'echo' between the two audio tracks. (Even 20mS is detectable as a separate echo).
This difference is of course totally unacceptable, and corrections need to be applied. It is important to remember that even if your audio recorder crystal is absolutely accurate, and it is the camera clock that is slightly wrong, it is still the remote audio track that will have to be corrected. The 'wrong' camera audio track is the one in sync with the video, and has to be the 'master' track.
The Solution
It is important to realise that although the sample oscillators may vary with regard to each other, they tend to be remarkably accurate over time, referenced to themselves.
This means that if you know by how much the frequency your audio recorder sample 'clock' differs from the camera 'clock', then a single correction factor will bring both tracks back into sync.
A simple procedure is outlined below, using free programs, to enable you to calculate the correction factor required for your particular recorder.
Programs required (all free):
1) AoA audio Extractor --- (not necessary if you can extract the audio track from a video recording in your NLE)
2) Audacity , a free audio editor
3) Switch , a free audio file type converter
Step 1: Set up your camera and audio recorder next to each other, and start both running
Step 2: Make a good audio 'clapperboard' point by tapping a pencil firmly onto a hard surface, as close to both camera and recorder mics as possible. This will cause a fast 'edge' to become the reference point, which will be useful later.
Step3: Let both devices run for at least 10 minutes. 20 minutes are better, but not essential.
At the end of the period, (timing not critical), make a second similar 'clapperboard' reference point. Allow a few more seconds recording, and then stop both devices.
Step 4: Download the video from the camera, and the audio from the recorder to your computer.
Step 5: Open the video file in 'AoA audio Extractor', and extract the audio from the video. Convert this audio file (if necessary) to a 48KHz 16 bit LPCM (wav) file, using the 'Switch' program linked to above. This file will be your reference audio file.
Step 6: Open the WAV file saved in the previous step in 'Audacity' - a free audio editor.
It is now necessary to save only the part of the file between the two 'clapperboard' references, which hopefully stand out clearly (if you hit the pencil hard enough in steps 2 and 3!).
This must be done accurately, to within 100th of a second, or better.
Click and drag the file to highlight the beginning section, including the first 'clapperboard' waveform. Use the 'fit selection to window' tool (immediately to the right of the 'zoom' tools) to magnify. Delete as much as possible before the 'clapper' reference. Repeat the operation until you can clearly identify the first distinct waveform of the 'clapper' reference waveform. Click, hold and place the cursor directly over the first full (clipped) waveform, where it crosses the centre line. Delete every thing to the left of that point, by clicking and dragging to highlight, and then deleting with the scissors tool.
Step 7: Repeat the above procedure for the end part of the waveform, again using the start of the second 'clapper' waveform as your reference cutting point. In this case, cut everything to the right of your selected reference point (not the left, as in the first case.)
Step 8: It is necessary to record the exact length of this new cropped waveform. This information is listed at the bottom of the window, but in a rather inappropriate format. Locate the toolbar at the top of the window, click 'Edit'-'select all' and then 'Effects'-'change tempo' . Note the length of the file in seconds in the right hand box (the left hand box is greyed out).
Record this figure. It is the reference file length
Step 9: It is necessary to convert the file recorded on the audio recorder into an identical format to the camera audio track, namely 48 KHz 16 bit PCM. If the track is not already in this format, open it in Switch, a free file transfer program, and select the output encoding as 48 KHz 16 bit, mono or stereo to fit your audio file. This program will then convert whatever format your input file is (MP3, WMA, 44.1 KHz PCM, etc) into the required 48 KHz, 16 bit format required.
Step 10: Repeat the procedures in steps 6 and 7 for this new file. Edit the 'clapper' points with as much accuracy as before, but notice that the 'clapper' waveform will appear different from the first, although hopefully with as clearly defined first ' zero crossing' point.
Step 11: Repeat the procedure in step 8, and you will notice that the overall file length is different.
Overwrite the original file length into the right hand box, and take careful note of the resulting figure in the percent change box. Make sure you record whether it is a plus or minus value - it could be either! This is the most important figure, because it represents the percentage variation between the two units.
Once you have obtained this value, simply apply it to all files recorded with the same recorder and this camera. Providing you can align the start of the file with a single 'clapperboard' mark, there is no need to repeat the rest. Simply change the length of the external audio file by the correct percentage value, to allow the two audio tracks to remain synchronised.
It may seem a long winded process, but it only needs to be done once, and could then save quite a lot of time, against the option of trying to align tracks manually in your NLE, in small sections.
You may of course wish to use an alternative audio editor, and the details of this procedure may then be slightly different, but the principle remains the same.

9/80 Work Schedule Configuration

We have 9/80 schedules in our organization and they were originally configured in such a way that for the 9/80 day schedules with every other Friday off, the workweeks split at Friday Noon. Even though we do not have clock time, but on Fridays of these schedules the time is actually recorded in clock times 8:00-12:00 and 12:00-16:00 in CATS. This makes time recording, absences etc. very complicated. Is there a better way of configuring the 9/80 schedules?

Assumption based on what I understood from your problem statement: Your work schedule has:
1. Normal working hours from Mon-Thu
2. Fri working hours (if first Friday): normal
3. Fri working hours option 2: first half working only
4. Fri working hours option 3: second half working only
5. Sat and Sun are off.
If my understanding is correct, you can carry out the following steps:
1. Set floating public holidays for all Fridays in your holiday calendar, with Holiday Class (HC) 9 for first-half working days and HC 8 for second half working days.
2. Set 2 variants for your Friday DWS - one with first half working hours and one with second half working hours
3. Set a DWS rule to query the HC and assign the appropriate variant to the appropriate Friday (e.g.: If HC (today)=9 and HC (tomorrow)=0-9 and today = friday, then assign variant A).
4. Regenerate all your work schedules.
This way, your planned working time is set for what you need. Wherever you record actual working times (CATS, Absence recording, etc.), they would be based on this plan.

Time Recording - HRESS_A_CATS_CALUI clock times

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