[Del Holford]

Dave
You might want to re-post in HDV forum. Most US shooters for hire use true HD cameras like the Panasonic VariCam and Sony HDCam. You might also want to check with Crews Control for help.

Del
fire*, smoke*, photoshopCS2
Charlotte Public Television

[Del Holford]

Wow Mark, that was great! Once you committed to writing the post you went all out. Thanks for your great insights.

I love your L shaped idea and have seen it here in town. My suite is the old paradigm mainly because I do a lot of HD and the 42″ plasma for the clients really only fit on one wall. If I could lay out the suite facing the client and get a large HD monitor in there, I’d definitely do it. With the new XBR2 Sony sets on a stand that’s more possible than 6 years ago when the Sony PFM-510 was the best game in town.

Del
fire*, smoke*, photoshopCS2
Charlotte Public Television

[Del Holford]

I agree. Since you have a large open space, the ideal would be to chose how many edit suites you need and allow space to put them in 12×14′ rooms. Buy a computer floor (concrete tiles are best but also expensive) and have it 8 – 12″ off the floor and use cable trays/races to run wires to the rooms from your technical core area. Your tech core can house all VTRs and equipment not actually needed in the edit suites. Its size depends on how many suites and how many VTRs you have and what edit software you run and what platforms they run on. Peripherals can be run using extender cables but lengths may be limited so you may want to place the tech core in the center of the edit suites. Under the computer floor create baffles (barriers running perpendicular to the cable trays/races) to keep sound from moving under the floor. Then use 2×6 wood or metal studs (depending on building codes – metal is most likely to pass code) to build walls for the rooms. Insulate these with fiberglas insulation. The ceiling can be commercial drop ceiling with 18″ batt insulation for sound deadening. This system can be finished with gypsum wallboard (aka Sheetrock) and sound absorbing panels can be placed on interior painted walls. In each room sound wave diffusers can be added to break up standing waves and bass traps in the corners will enhance the sonic purity of each suite. Audio is important in editing, even if post audio may be done later.

This answer is just some suggest ways it could be done. A fine design firm like Walter-Storyk in New York could help you do it all correctly, as they have done audio and video studios for years. A quick google for “audio studio design” or the like will give you more design choices.

Del
fire*, smoke*, photoshopCS2
Charlotte Public Television

[Del Holford]

[Doug] “”…as even when they are not at the office, often they are grinding away on the ideas in their heads.”

I spent a half hour trying to figure out why our Avid wouldn’t do what I wanted it to…..five minutes after going to lunch I realized what I was doing wrong….had it fixed thirty seconds after I got back.

Doug”

Whenever I get frustrated with such problems it’s amazing how many times I get inpiration facing the wall behind the urinal. That change of venue allows the brain to mull over the problem and so often the “simple solution” pops into the brain. Those walks down the hall are so useful on so many levels.

Del
fire*, smoke*, photoshopCS2
Charlotte Public Television

[Del Holford]

I figure a room costing $80-100 in Vegas is a pretty good deal. The last few years I stayed at the Comfort Inn on Paradise Rd. by UNLV. It had a king bed, microwave, fridge and free shuttle to LVCC. Now it’s $119 🙁
This year it’s the Best Western on Paradise a block from LVCC and walking is good for me. To get to the strip the free NAB shuttle is great.

I don’t know if it’s a big secret but a good affordable meal is at Terrible’s Casino at Flamingo and Paradise in the Bouganvillea Cafe. 16 oz. prime rib or 12 oz. steak for $9.99. Comes with veggies and potato and the steak with a glass of wine. I always feel like it’s so cheap the waiters are shorted so I tip a little heavy. One year I met another editor eating solo so we ate together and had a good conversation. Naturally, you have to go through the dark smoky casino to get to the elevator, but its worth it.

Del
fire*, smoke*, photoshopCS2
Charlotte Public Television

[Del Holford]

Hi Stephanie
I’d recommend you use the Cow resources. Research, research, research. Go to each camera forum and the HDV and HDTV forums and see what the industry pros face. Everyone has an opinion. Those are useful because it gives you a wide range to apply to your situation. While Dave likes the HVX-200, others like the JVC GY-HD200/250, which can be adapted for the studio. Others like the Sony XDCam HD, which is more expensive than the HDV cameras, but less that the top of the line HDCams and VariCams. We were early adopters and faced a limited selection of HD choices so we spent a lot of money, but are well pleased with the results. Had we waited, we wouldn’t have had any money. We ended up with 4 GVG LDK-6000 studio cameras and a Sony HDC-700a field camera. Today our choices would be much greater and much less expensive. Those choices await your company, so good luck and good hunting.

Del
fire*, smoke*, photoshopCS2
Charlotte Public Television

[Del Holford]

If you’re familiar with Digital Juice’s Editors Workship sets you know you can create your own for HD from their HD Jump Backs. There are 10 in the series.
They have a wide variety to choose from.

Del
fire*, smoke*, photoshopCS2
Charlotte Public Television

[Del Holford]

see response in Broadcast Video forum.

Del
fire*, smoke*, photoshopCS2
Charlotte Public Television

[Del Holford]

The Walters-Storyk website – https://www.wsdg.com/index.php5 has some of the work they’ve done, including some sectional drawings of studios.
https://www.johnlsayers.com/index.html is another that shows current construction with drawings.
https://soundcontrolroom.com/?gclid=CIHg0e615YoCFQ5mgQodWSVJwA does the same.
HTH

Del
fire*, smoke*, photoshopCS2
Charlotte Public Television

[Del Holford]

I would say you are being underpaid. So how do you approach your manager to ask for more money knowing what you know?

The company isn’t doing well right now. Is that the boss’s fault or just a short term economic slump? Would keeping quiet and looking for another position help or hurt? What are those prospects like? Do you like working there? If the financial situation improves do you plan on staying? Could you ask for a financial interest in the company in lieu of more money? Would you want to?

Those are somwe questions to ponder…maybe the paper with the line down the middle and options pro and con on each side will help you see the issue clearly. Life is full of choices. HTH

Del
fire*, smoke*, photoshopCS2
Charlotte Public Television