Ahhh… Those were the days! I was an on-line videotape editor who worked at several post-production facilities in Manhattan from the 80's to the late 90's. It was a great job and paid well. But it took a special kind of person that didn't mind working long hours at any time and on any day (including weekends & holidays). The on-line post-prod phase was usually the last step in a production. That often meant working under a hard deadline. Furthermore, on-line editing was not cheap. $500-$1000 an hour was not unheard of depending on what gear (CG, ADO, DDR, Switcher, VTR format, (1" was always a PITA to swap reels)) was used in the edit suite. Also billable: you, your assistant, gourmet food and candy, tape stock, the VO guy... it all adds up. I mostly edited spots and network show packages. My room was an end-to-end CCIR-601 SDI 4:2:2 / D1 videotape format edit room. A post session could last anywhere from 3 - 12 hours. Basically your stuck in a somewhat small 6 chair, dark freezing room with people smoking, eating and spelling coffee as they fumble around looking for their beeper. Time can move slowly and everyone notices how many edit previews you do, or when you are spending too much time programming a 2ch DVE move, Once I noticed this guy note how many times I went to the bathroom (I suppose to ask for discount later on). But it is true that when you get up off your chair, everything stops except the clock. Besides being a fast passed and stressful job, you are required to where several hats. A salesman hat, be a video engineer, know how to operate complex devices like the CMX-3600 edit controller that ran on a Digital PDP computer with an 8" FDD and a paper tape reader for uploading the EDL (edit decision list) from a Teletype paper punch tape. But most importantly you need to be a creative person (after-all, editing moving images is an art). Above all, you must be professional and courteous with the client at all times. You want him/her to like working with you and feel comfortable. Now my very last point, never let them on to the fact that you know that your client doesn't know what he or she doing, so go ahead and through-in the roll of physiologist into the mix as well. Be reshoring and hold their hands until the dubs or done. What I'm saying is that anyone can get business cards that say "Executive Producer" on them. This job is not for everyone, and I know lots of people who get burned out, developed a need for chemical assistance, to get through the session, only to go home to a crumbling relationship.
You have to shoot in RAW format if your camera will allow. You will then need special software for your specific camera to adjust. RAW saves the separate RGB color info so you can white balance etc. on the desktop. I ran a studio back in the 80's, pre HDTV. Brings back allot of memories watching this.
From what Tektronix generator were those color bars originated, I ask - I know that, for example, some TSG's / SPG's have differing timing as to the positions of the color bars on top, reverse blue bars in the middle, and the -IWQB at bottom.
Funny, how even English-speaking engineers from the eighties had trouble spelling "coarse" .... 'course :) Otherwise, it's a very instructive video. Learned a lot about video timing and waveform properties
sweet, now to do a hobby version with opencv, raspberry pi, arduino, and make a color tv vectorscope like the old time oscilloscope/vectorscope... Mmmm...:/ thanks great video
All this effort and then the NTSC radio waves ruined everything.....not to mention bad adjustment by TV owners of their set....LOL at least that last thing hasn’t changed..... Picking up a PAL Tektronix 1721 this week to use as a vector display 😁😁😁
These videos are priceless ! Just realised how intricate and pleasurable vintage tech was to operate for a geek !
Ahhh… Those were the days! I was an on-line videotape editor who worked at several post-production facilities in Manhattan from the 80's to the late 90's.
It was a great job and paid well. But it took a special kind of person that didn't mind working long hours at any time and on any day (including weekends & holidays). The on-line post-prod phase was usually the last step in a production. That often meant working under a hard deadline. Furthermore, on-line editing was not cheap. $500-$1000 an hour was not unheard of depending on what gear (CG, ADO, DDR, Switcher, VTR format, (1" was always a PITA to swap reels)) was used in the edit suite. Also billable: you, your assistant, gourmet food and candy, tape stock, the VO guy... it all adds up.
I mostly edited spots and network show packages. My room was an end-to-end CCIR-601 SDI 4:2:2 / D1 videotape format edit room. A post session could last anywhere from 3 - 12 hours. Basically your stuck in a somewhat small 6 chair, dark freezing room with people smoking, eating and spelling coffee as they fumble around looking for their beeper. Time can move slowly and everyone notices how many edit previews you do, or when you are spending too much time programming a 2ch DVE move, Once I noticed this guy note how many times I went to the bathroom (I suppose to ask for discount later on). But it is true that when you get up off your chair, everything stops except the clock.
Besides being a fast passed and stressful job, you are required to where several hats. A salesman hat, be a video engineer, know how to operate complex devices like the CMX-3600 edit controller that ran on a Digital PDP computer with an 8" FDD and a paper tape reader for uploading the EDL (edit decision list) from a Teletype paper punch tape. But most importantly you need to be a creative person (after-all, editing moving images is
an art). Above all, you must be professional and courteous with the client at all times. You want him/her to like working with you and feel comfortable. Now my very last point, never let them on to the fact that you know that your client doesn't know what he or she doing, so go ahead and through-in the roll of physiologist into the mix as well. Be reshoring and hold their hands until the dubs or done. What I'm saying is that anyone can get business cards that say "Executive Producer" on them. This job is not for everyone, and I know lots of people who get burned out, developed a need for chemical assistance, to get through the session, only to go home to a crumbling relationship.
Eu não consegui
por (configurar)
o meu em PAL-M
Tenho todos os manuais..
Mas nesse "drama" .
ntsc & pal portátil generator
Tks
Man I wish I could do this stuff to my DSLR. Thanks for uploading this
You have to shoot in RAW format if your camera will allow. You will then need special software for your specific camera to adjust. RAW saves the separate RGB color info so you can white balance etc. on the desktop. I ran a studio back in the 80's, pre HDTV. Brings back allot of memories watching this.
Great stuff here!
Very great video, thanks.
From what Tektronix generator were those color bars originated, I ask - I know that, for example, some TSG's / SPG's have differing timing as to the positions of the color bars on top, reverse blue bars in the middle, and the -IWQB at bottom.
Tektronix seems like it would have been a cool place to work at.
"Hello and welcome to the Black Mesa Haphazard Course."
Never Twice the Same Color
Funny, how even English-speaking engineers from the eighties had trouble spelling "coarse" .... 'course :) Otherwise, it's a very instructive video. Learned a lot about video timing and waveform properties
and the windsurfing is nice...😁
sweet, now to do a hobby version with opencv, raspberry pi, arduino, and make a color tv vectorscope like the old time oscilloscope/vectorscope... Mmmm...:/ thanks great video
All this effort and then the NTSC radio waves ruined everything.....not to mention bad adjustment by TV owners of their set....LOL at least that last thing hasn’t changed.....
Picking up a PAL Tektronix 1721 this week to use as a vector display 😁😁😁