Takes me back to my first year at KCOP-TV in 1969...what you can't hear is the air compressor for the "air bearing" for the head There was a reason why there were 10 Minutes of Color Bars at the beginning..lets not forget our "front Porch, Back Porch and Pedistal!! LOVE THIS TRIP DOWN MEMORY LANE young broadcast engineers have it WAY to easy!
Wait! This is a film chain transfer from 16mm! This is a film about using a video recorder. CLEARLY someone didn't want to use their own equipment.... --scott
What is interesting is that there is no beating between the camera frame rate and the video frame rate. From the American commentary, I presume it was film at 24 fps and video at 30 fps, so it's not even as if it was film and video both at 25 fps as for PAL (16 mm cameras for UK TV work are modfied to run at 25 rather than 24 fps). VT would have been so much easier for synchronising because they could have genlocked the camera to the video output from the VTR. I wonder how much film they used while they were tweaking the phase of the film camera so any noise bar was between the video frames. Is it even possible to film a US TV screen with the 24-to-30 fps disparity - is there something that does the opposite of the 3:2 pulldown for *showing* 24 fps film on 30 fps TV? And then there is the fact that 30 fps is really 29.97 ;-) I'm so glad in PAL-land we came second and designed our 625-line broadcast spec so the colour sub-carrier and sound carrier didn't collide, maybe learning from the NTSC problem, which is the reason that 30 had to be downgraded to 29.97 - it was a VHF/UHF broadcast issue rather than one with the baseband signal.
Takes me back to my first year at KCOP-TV
in 1969...what you can't hear is the air compressor for the
"air bearing" for the head
There was a reason why there were 10 Minutes of Color Bars
at the beginning..lets not forget our "front Porch, Back Porch and Pedistal!!
LOVE THIS TRIP DOWN MEMORY LANE
young broadcast engineers have it WAY to easy!
We got by quite well with 0 secs of bars & tone
Nice seeing this all back... I was trained on this Ampex VR-2000 back in 1981... very nostalgic.. :)
We don't pay enough attention to the record phase preset chroma cal control on our SD cards.
My nemesis! October 1984- July 1990
Omg you've got to all that when it's working properly, troubleshooting a subtle fault must be even more fun :-)
Yes, troubleshooting electronics is an art and a science.
Wait! This is a film chain transfer from 16mm!
This is a film about using a video recorder. CLEARLY someone didn't want to use their own equipment....
--scott
What is interesting is that there is no beating between the camera frame rate and the video frame rate. From the American commentary, I presume it was film at 24 fps and video at 30 fps, so it's not even as if it was film and video both at 25 fps as for PAL (16 mm cameras for UK TV work are modfied to run at 25 rather than 24 fps). VT would have been so much easier for synchronising because they could have genlocked the camera to the video output from the VTR. I wonder how much film they used while they were tweaking the phase of the film camera so any noise bar was between the video frames. Is it even possible to film a US TV screen with the 24-to-30 fps disparity - is there something that does the opposite of the 3:2 pulldown for *showing* 24 fps film on 30 fps TV?
And then there is the fact that 30 fps is really 29.97 ;-) I'm so glad in PAL-land we came second and designed our 625-line broadcast spec so the colour sub-carrier and sound carrier didn't collide, maybe learning from the NTSC problem, which is the reason that 30 had to be downgraded to 29.97 - it was a VHF/UHF broadcast issue rather than one with the baseband signal.
both entertaining and educational. thanks for sharing!
My goodness, what a complicated setup.
Any questions?
Steering a star ship is match easier than edit the video on VR-2000 2" Quad VTR.
Crikey - Tuning up the station transmitter was easier than this.