[Andrew Sprout]

Thanks for the tip. I have tried these manuals, and as you said, they do appear as if they’d answer my questions — but as I’ve stated, they allude to answers but aren’t very good at answering!

Thanks for the lead on the forum. I’ll definitely have to dig there. 🙂

Respectfully,

Phillip Platz

[Andrew Sprout]

Didn’t mean to ruffle any feathers with that remark, and I suppose it does sound pompous upon re-reading.

My main frustration remains: why aren’t the answers to these questions (for the most part) in the user manual? The manual does a great job disussing switcher 101 and even explaining the technical engineer-y aspects of the video signal flow, but then is completely lacking on some of the details you’d need if you wanted to feel like you had any idea how to punch on this partiular board.

That’s where the comment on modern day comes into play. I don’t mean to diss people who make a profession out of technical directing, nor sound like I’m entitled to anything (I’m not). But for the entry level director who wants to get more out of his board, taking a low-paying job because [broadcast] television is a passion, thousand dollar classes and flights to Switcher conferences just aren’t happening. We’re not all free lancers, you know?

I really just want to get the most I can out of the board I have to work with (and will be stuck working with for some time). That’s why I came to Creative Cow – a place of like [and better] talent with answers and experience. 🙂 It seems that the modern day convenience of a virtual trade show that’s in session 24/7 can’t be beat!

Respectfully,

Phillip Platz

[Andrew Sprout]

I’m lazy. Are you familiar with anything from Panasonic similar to the TH42PD12UK, but at 1080?

I guess the debate is whether or not 1080 is essential in 42″ and smaller. I like to think I can notice the difference (even if I can’t).

Thoughts? Comments?

Respectfully,

Phillip Platz

[Andrew Sprout]

You’ve gotta know when to hold ’em…

I think we’ve decided to just try “like live” this year, since the concept of a reporter “live” at a remote location for this event is new. If it’s successful, we’ll maybe try doing live in the future.

Thanks for your help! 🙂

Respectfully,

Phillip Platz

[Andrew Sprout]

As I said in my previous post, I don’t think we’d be able to have access to our own line of fibre… this would have to be done alongside their data transmissions.

Couldn’t estimate the length right now, but let me know if that information is still necessary. We have multiple buildings in different locations of Chicago’s South Loop.

I’m guessing gigabit ethernet may actually be the best we can do from the camera to the network and the network to the truck…

We’d love to be able to send audio with the video signal. Also, we’d love to send back audio fold back, but this can be done over cell phone instead and isn’t necessary.

Respectfully,

Phillip Platz

[Andrew Sprout]

I came here to ask first so that when I bring up the idea to the powers that be, I’m not laughed at for dreaming too big (cost-wise). It wouldn’t be unlikely that they might end up renting something for a day rather than making a purchase.

Anyway, I’m sure the fibre setup is an intranet-type system… of course at our college that means it’s run by 18 different IT groups and maybe mismanaged. Fibre is just indicating, then, very basically the speed of the network we’d be sending said video across.

https://broadcastengineering.com/products/chicago-columbia-college-remote-truck-gepco-0126/ <-- This is our remote truck. We, obviously, have a frame sync. The reason I asked the question regarding non-genlocked video was, if we ended up doing this over something as crappy as skype, the best way we've been able to sync computer output in the past has been through the RCA input of a DVD recorder which was already genlocked to the facility. Is there a box with a frame sync input that decodes HD-SDI over IP video in this way? Anyway, I'm not OVERLY worried about cost, obviously the inexpensive-but-quality route is the one everybody wants to take. I'm more curious about logistics and actual equipment, I guess. Thank you Bob and Tyler for your helpful feedback. 🙂 Respectfully, Phillip Platz

[Andrew Sprout]

Additionally, any easy way to also send audio/video foldback the other direction without necessitating additional encoder/decoder boxes?

Respectfully,

Phillip Platz

[Andrew Sprout]

Wow, true that.

Can I just declare newbie status on this and not look as stupid? Was having a fun late night stroll through here last night, and I couldn’t believe what I was reading…

Respectfully,

Phillip Platz

[Andrew Sprout]

I’ll have to see if there is support for that in our Thunder system. I’ve been using Quicktime Animation movies, but do have a feeling a different codec would be of use (just didn’t know which one to use).

Any idea on which Pinnacle DV codec it is that supports alpha channels? After a quick Google, haven’t found anything super useful yet.

Respectfully,

Phillip Platz

[Andrew Sprout]

Spelling errors aside, Richard here clearly has no idea what he’s talking about.

Yes, in the real broadcasting world, the director may have a need to communicate with the talent.

Yes, that requires SOME sort of IFB system. Not just walkie talkies.

Bob is being real. Not trying to screw anybody over.

Is it possible to jerry-rig something together for cheap? I suppose. Will you all be willing to coach over the internet (written word, folks, and free?) Chad on how to jerry-rig the setup he wants? And then to operate it?