Chuck Pullen
Forum Replies Created
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That’s an awesome idea! We planned on using the easels that they already have, but I may have to try that out, thanks!
Chuck
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Hey Mark, thanks for the reply. The shadows are definitely a concern for me. Since the stage is essentially a flat in the center of the room, my thought would be to have the artists standing on the floor, the easels on the flat, and they would have to reach up to paint. We can adjust the easels so they won’t have to strain to reach the top of the canvas. I was thinking about lighting from overhead maybe slightly behind the artist to put the shadow from the artists arm down below the canvas. I also have been toying around with the idea of adding a hazer to soften and help even things out.
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I’ve heard good things about Flanders, I think Bob’s a fan of them, and he’s the expert on this topic. Just be careful you don’t buy a “rebranded” Marshall type monitor from someone else. As always, you get what you pay for, and let me know how it works out, I need a couple of monitors soon myself.
Chuck
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I didn’t think you would be a fan of the Marshall monitors Bob, but are there any applications would you use the cheaper EDSEL over the higher priced Rolls? Their new models seem like a great value if they work as advertised?
Jason, from everything I have heard, Marshalls will just not last very long in the field or in a truck. I know people that use them rack mounted in an indoor, climate controlled environment, that swear by them, but everyone I know that has tried using them in the field has had bad results.
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Hey Michael, just saw your post about the R-4 Pro. I upgraded to the pro from the R-4 last year specifically for the missing drop frame TC option. While it has worked flawlessly for me, I will tell you that when I use the R4 to generate timecode and send it to my cameras, all of the cameras sync to the same timecode, yet the TC embedded on the .BWF(s) from the R-4 Pro is always off! Why would a device record TC that doesn’t match the TC it generates? Couldn’t tell you, Edirol couldn’t tell me. It’s not off by much, just enough that I always need to adjust the audio files when I’m editing.
Chuck
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While the only suggestion I can give you is to send a copy of the error to Sony support to see what comes back, and also check their support pages, I can tell you that you are by no means the only person experiencing problems with Vegas. Version 9 has given me more headaches than all of the other versions COMBINED! It crashes on a predictably frequent basis, it takes multiple attempts to render files, print to tape, etc…. I’ve spent the last year planning and building a 64 bit system specifically for Vegas 9; Windows 7, Premiere, all of my other programs fun MAGNIFICIENTLY, yet Vegas 9.0 is just a huge disaster. I’m going to give Sony a few months to get it together, then I may consider migrating away from Vegas for the first time in my many years of editing…
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Makes sense to me, guess I should schedule a visit with the JVC repair shop, I was just curious if anyone else has had a similar problem, knows the cost, turn around time, etc…?
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Tom, there is a trick to fixing this issue. It’s been a while since I’ve had to deal with it, but I think it had something to do with putting in a jumper from the video input loop out to the ref. input. Maybe someone else can chime in if they remember that trick? Don’t forget to unterm. the loop first.
Chuck
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Hey Maurice, I guess it just depends on the system make up. When I say preventative maintenance, what that means to me is that almost all stations require an engineer to at the very least poke his head in and take readings to ensure everything is running as it should, and the readings on the actual transmitter match those on the remote system. Other responsibilities depending on the type of site may be to check the fuel in the generator, cooling system components, etc…My transmitter site several has filters attached to the Sears tower cooling system that need to be cleaned frequently to ensure the water is flowing. My issue with this new system would be that every station would have an engineer that would do nothing but travel from site to site every day making sure everything is as it should be.
As for the cooperation you speak of, when you have multiple station’s occupying one site in town, there is always a lot of coordination when it comes to maintenance shutdowns. If one station has to do work on a microwave receiver, three other stations may need to shut down so no one gets fried! Also, I would say that most engineers in a given market are at least one a first name basis with each other, and I know of many cases where one station lent another station a part or two to get them back on the air while the replacement was shipped in.
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Let me add some logistical issues to this story for you Mark: I am here in Chicago, about 5 blocks from my transmitter at the Sears (Willis) tower. I have a single short microwave hop as do most all of the other broadcasters in town (Unlike out west where there might be several hops to reach the mountaintop.) I have one computer monitoring our one cabinet transmitter, including the room temperature, incoming power, etc…
Now IF this goes through, we will now have to find a way to distribute video to these multiple transmitters, monitor them, and travel to each of them to do weekly preventive maintenance on them. Realistically speaking, traditional broadcast television is hanging on by a thread, and turning every broadcaster into essentially a cell phone or wireless internet provider, may just put broadcast television out of business.
Don’t even get me started on what Sprint did a couple of years ago, when they wanted a piece of the BAS (Broadcast Auxiliary Spectrum) so badly, they bought EVERY broadcaster in the county new digital microwave equipment so they could condense the available space to broadcasters giving them access to the newly available bandwidth for themselves!