Wasn’t quite sure where to post this. It’s not a technical problem per se, but more of a design concern.
Long ago I resigned myself to the inevitability of delay / horizontal offset in a modular system. I’m just going to lose ~5% of my picture. That evil bar on the left side of the screen is always going to be there. I’m going to have to scale the footage up in post. But that’s not the end of the world. Especially in high definition, there won’t be any scaling artifacts. And I grew up with overscan CRTs and masked projections, so I’m used to some amount of acceptable loss around the edges.
But now I’ve entered the amazing world of separating luminance and chroma via Swatch, and processing them separately. AAAAANNNDDD… now the luminance and chroma are being delayed by different amounts. So they’re not lining up when they get re-combined.
This can also be dealt with in post, but since editing programs are not set up for this, it’s a PITA and will seriously complicate the whole process. I.e., now suddenly we need four layers in the timeline instead of one.
So, I’m wondering if this could be solved with some kind of adjustable delay line module. Just 4HP, three in, three out, and a delay knob. I guess since Gen3 has a minimum of 8HP for the power board, a Gen3 delay line would have to be a dual module.
And related to that, would it be possible for future encoders to have an h-phase adjustment? If I understand the problem correctly, it would need to internally delay the sync to line up with the incoming delayed picture. The component / composite signal coming out of the encoder would be delayed relative to the sync it’s receiving, but the sync loopthrough to other modules would NOT be delayed.
Are these ideas practical?