A Young Persons Guide to the One Inch.
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- Опубліковано 9 січ 2013
- Made for the Tapescape event in Catford, a new slighty more generic version of a guerilla made film that if properly followed, will allow you to properly line up and operate a one inch, C format, broadcast video machine.
I'm 45 years old and this is a great guide for old people also :) Very informative, I have always been fascinated with this type of media.
Excellent. Everything I was wondering about setting up the 1" explained neatly.
Really interesting and well explained, always wanted to know what sort of equipment was used to play TV shows when I watched as a kid.
In the pocket from the beginning ? 😮BVW -2000 & BVT -2000 were great. 👍
I was working in a major post facility in the USA and one of the leading VHS production houses. Oir company incented thr pan and scan for film to video. We never used 1" for mastering to VHS it was all quad
That is a Dolby-A encoded tape, so he also needs to set the Dolby levels on the cat. 363 in the rack. That uses the Dolby tone (the warbling tone) on the leader, rather than the 1k tone.
b'doo, b'doo, b'doo....
Seems this tape was dubbed from 2''; 𝘛𝘩𝘦 𝘔𝘢𝘳𝘵𝘺 𝘍𝘦𝘭𝘥𝘮𝘢𝘯 𝘊𝘰𝘮𝘦𝘥𝘺 𝘔𝘢𝘤𝘩𝘪𝘯𝘦 was recorded on 2'' in 1971.
A 4 head VHS video recorder can have a really good picture too . With either a high quality tape or using Chrome tape . I taped a film and the pictures were spot on like the Ampex tape . It was an Hitachi video recorder.
RABBIT COG FUJI
The 1" C format video tape recorder used in this is a Sony BVH-2000PS.
@@dogbreaththe3rd851 Oh. I see. Not as good as the Ampex "VPR" series of 1-inch C format broadcast videotape recorders that the BBC had been using until they switched over to Betacam SP.
Films are recorded on ampex too
@@dogbreaththe3rd851 Yup. The BBC had switched from 1-inch C videotape over to Betacam SP in 1991. The BBC used to transmit the programs onto Betacam SP until 1997, where the BBC switched broadcast videotapes again. What format? Digital Betacam.
@@markbutler5730 Yup!
@@dogbreaththe3rd851 Uhh... Ya typed "Basement" wrong.
Thread- up. Set-up. Interesting. Enjoyed. For PAL what picture resolution would be achieved? Thanks for uploading - Liked.
The machine records an FM modulated PAL signal. If the resolution were reduced, the color carrier would be destroyed. Typically 5.5 MHz is specified in the data sheet. Minimum is 5.43361875 MHz.
I have a question. Were 1" type c machines ever used for the storage of digital audio. I remember Denon using quad recorders.
it is possible with pcm adapters.
Thanks for this. I’ve known that “patch bars” were a legacy for lining up analogue VTR (Quad?). So thanks for demonstrating the line up with head RF output. Sadly the art of a good line up of bars and tones is lost these days. 📡👍
"dynamic tracking". that was sony's term, not "auto-scan tracking". you have outed yourself as an ampex op! :-)
You lost me at the secrecy...
Come on come on give me a break, this dude spending more time explaining what this video tape recorder can do, more than demonstrating it, and what was the idea of showing his hands, as he's talking, what's up with that. My God, my God my God if you have to adjust this VTR player/recorder every time you put a tape on the machine, it is worthless. The Ampex 2000's were (totally automatic), once the machine figured out how to get everything to adjust automatically, with fewer adjustments manually done, Especially when you have to load a tape to air within a minute or 30 seconds, the Ampex 2000 was ready. This machine, is not even worth the money to buy, if you have to do all those adjustments manually, and if you have to put a 10 second rolls on each tape, it's not worth a hill of beans, The ampex 2000's can do 5 Second roles and be locked in, and ready to go on Air, in 5 seconds. On top of watching this video, those weren't even the correct color bars, that were use to set up the VTR with it's setting, for the oscilloscope and vectorscope.We would glance at the Scopes and keep it going. Dang what a worthless piece of junk, with your missing knob. Bottom line, The C format, broadcast video machine, is an expensive piece of Worthless junk. PERIOD. I cannot understand why a Broadcasting station would buy this type of equipment, and has to adjust it each time you put a flipping tape on the machine. And by the way, a 4 head machine is a whole lot better than a 3 head machine, come on, give me a break. You know what they say, even though this machine is expensive, they cheated themselves by buying cheap, Without it being totally automatic, you get what you pay for, Junk.
I would have rather bought a Hitachi video recorder with four heads.
First, you didn’t need a 10 second pre roll on a BVH2000, we often used 1/2 second or 1 second rolls in the sports world. Second, these machines had a default setting that could be used, in an edit room, yes, you would manually line the machine up so everything was dead nuts on. Quad couldn’t do slo mo or freeze frames, right? Sony had a variant called the BVH-2180 which could hold three hour reels, great for playing a movie. They also had a version that could record individual frames, used for recording off certain animation computer that would render a frame, then render the next frame, etc. a type C also didn’t need air compressors.
@@mikecumbo7531 The quads could be on the air in 200ms as with the AMPEX AVR-1 & ACR-25. Industry standard was 5 seconds, but that would be from a STANDBY mode with heads spinning. we used a 7 second pre-roll with the heads stopped. I have worked on EVERY machine AMPEX made from the 1000 to the VPR series. The best machine they made was the AVR-1. The ACR-25 utilized the same servo & time base electronics from the AVR-1.
The AMPEX VR-2000's were NOT automatic unlike the AVR or ACR series. You had much more to setup on a quad v. a helical machine as well. Yes, the Quads used compressed air for the heads as they rode on a cushion of air spinning at 14,400 rpm. The portable AMPEX 3000 used ball bearing heads and the ball bearing heads were VERY electrically noisy. I could always tell a recording that came form a 3000. On a quad setup you had tracking, tip penetration, female guide height, EQ of each head (4 of them) audio, black level, white level, chroma, and phase. But you could do it in under 15 seconds if you were good. Several times I had to do a setup a few seconds prior to air time!. The quads could also be in different lock modes, typically you were in vertical lock, to allow video switching in the vertical interval, but for studio integration or special effects you needed to be in horizontal lock. Horizontal lock required you to be in perfect timing with the reference source, and you could use the sync signal for reference, but we used the fast vertical wipe of the video switcher to see the picture horizontal line start as some video switchers regenerated the sync signals, some did not. The quads separated the men from the boys, as almost ANYONE could operate a Sony BVH (Broadcast Video Helical) machine. Helical was for sissies or film people who like to see a picture in fast fwd, rewind or freeze frame real men used quads. I used to edit the sports for the news inserts and was the fastest doing it. I could listen for events as the tape wized by, then perform my edits manually (not using time code) as frame accurate edits were not needed, speed was. I also NEVER made any editorial decision w/o the director or talent right next to me, as I provided the technical know how, they provided content selection. If it was the wrong selection, it was on them, not me, technically it was always perfect as it HAD to be.
@@rty1955 14400 rpm = NTSC
@@TTVEaGMXde Quad machines ran the head drum at that speed. This is a type C 1" helical scan machine, the head drum runs much slower, 3600rpm (NTSC).
@@joshjones3227 The 14400 rpm refers to the long text by rty1955 to underline that he is thinking in NTSC, although this is about English videotapes with PAL.