DVL-Digest 563 - Postings: Index - (2) JVC SR-VS10U: Any Comments? Preview Monitors - (2) AC outlets - "Perry" Elliott Roper posted: >Even the pros can get it wrong. Last night's BBC Prom concert had really desperate hum on all the live audio. Digital satellite and terrestrial analog had the same. Video as usual was absolutely superb. I spent the whole of Berlioz's Mass trying to spot cameras in shot. They must have had cameras and cranes and dollies all over the Albert Hall. Yet you almost never saw any of it. They must have had another complete score for the camera moves. One camera could be seen to the left of the podium, but only from an extremely high and distant vantage. And once, during all the applause at the end, cameraman and track at the front of the stage for about two seconds.< I'm talking 25 years ago but I bet things haven't changed too much:} We always had to get a 'penguin suit' (tux) if there was even the slightest possibility you could appear in front of the audience, so this included the riggers and even us maintenance engineers as well as the cameramen. One Prom involved a symphony with the organ, at which point one of the handheld cameras was to take close-ups of the organist's feet. Unfortunately he discovered in mid symphony that he was at the bottom of a high wall at the back of the orchestra, and the organ was at the top! He managed to grab a rigger and an engineer, and in full view of the assembled audience (and very audible tittering) he was unceremoniously pushed over the wall. Let us just say the 'Maestro' was not best pleased! My only claim to infamy was being called to a smouldering camera in one of the boxes, and deciding it needed a burst of the CO2 extinguisher. Have you any idea how much noise they make! It stopped the whole orchestra dead in it's tracks, but fortunately it was only a rehearsal. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ JVC SR-VS10U: Any Comments? - "Perry" Charles McConathy posted: >Insert editing even on a more expensive Sony DSR-20, 30, or 40 is not possible so I would surmise that insert editing on the JVC would not be possible either.< Although the 'humble' consumer DHR-1000 does offer it of course. Actually 'Insert' and 'Assemble' don't mean an awful lot on a tape format (like DV) that doesn't have a Control Track. Conventional wisdom says that Insert Editing needs a 'Flying Erase' head to selectively remove only part of the recorded signal. The tiny DV head has little room for such niceties and the DHR-1000 simply overdubs the signal and relies on 'self-erasure'. I'd like to report on what the results are, but I must confess that despite owning a DHR-1000 for several years, I've never used 'Insert' once! Presumably there are visible artefacts that preclude this mode on more expensive decks. If you want to spend serious money, the Sony DSR-2000 has an amazing number of heads squeezed onto it's drum and will do any sort of editing function (including pre-read) that you could imagine. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ Preview Monitors - "Perry" Using cheap tv to monitor is the same as smearing gravy on your eyeglasses, so that you can 'simulate what it will look like for folk with cataracts'! It may have a certain immediate logic but further thought proves it to be rather silly. There are so many potential problems that can happen on a cheap tv, it would be very restrictive to produce for what would be a very much reduced gamut of colors and dynamic range. What DOES make sense is to have a monitor that: 1) Does NOT have a black level clamp 2) Uses consumer type phosphors 3) Does NOT have a comb filter 4) Uses average consumer overscan I use an old style Sony prosumer monitor called a 'Profeel' which has all the above features, and I have it as the main monitor of my edit system. I have a Grade 1 broadcast monitor available if needs be, but it rarely gets turned on. The difference in colors, particularly the blues, can only confuse clients who are often rather neurotic about their Company logo and maybe how healthy the Company CEO is looking! The only time I feel it inadequate is when I produce material for full screen display on projection or plasma devices. I think the best policy is to monitor on what your client is most likely to use when he gets to view it in his office/home. As an amusing aside, I produce material for Jumbotron screens from time to time. It would be a little difficult to fit one of those monsters in my whole house, let alone my edit suite! Perry Mitchell Video Facilities http://www.perrybits.co.uk/ Preview Monitors - "Perry" Jon Burkhart posted: >And, of course, a good VU meter on each channel of audio program audio while editing. Though much of audio mixing is a subjective judgment you must stay away from high levels that go into clipping. In digital, it's disastrous!< A VU meter (good or otherwise) attempts to give a guide to perceived volume, digital clipping occurs on transient peaks. If you are worried about clipping you need a PPM which us folk in Europe have been using since kingdom come! My consumer CD player (Sony) has a peak search function which finds the highest peaks on a CD and then plays a few seconds on a loop. It is very useful to set up an analog tape deck level. It would be a neat function to add to an NLE application, but I don't recall ever seeing it. There could be a similar function for hunting out over modulated video. In fact developers could do a lot more to provide effective and very accurate monitoring within computer applications but maybe that has been difficult with processor speed and power available. I would hope to see on-screen, real-time displays of audio levels (and video luminance and chroma levels), which are potentially far more accurate than using expensive downstream analog monitoring. Perry Mitchell Video Facilities http://www.perrybits.co.uk/ (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
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