Frank Otto
Forum Replies Created
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Wow…just like the 3 blind guys describing an elephant…each has a different “view” and is correct yet….
A common misconception is to mistake the percentage number as applied to the color bars as percentage of color saturation. Color bars are always 100% saturated.
The number refers to the amplitude of RGB into the encoder. One hundred percent color bars put an undue strain on transmission systems in that the subcarrier peaks for yellow (which sits atop the highest luminance value) go to 130 IRE. Blue, the lowest in brightness has subcarrier that sinks below blanking. But the math for 75% amplitude color bars works out to a signal that reached to just 100 IRE for the positive peaks of the subcarrier signal for both yellow and cyan.
When the NTSC color standard was developed in 1952-53, the transmission concept of analog terrestrial transmission was already established. The basic characteristics were negative modulation with sync (-40 IRE) at 100 percent of carrier modulation, blanking (0 IRE) at 75 percent of carrier modulation, and white (100 IRE) at 12.5 percent of carrier modulation. This allowed for 12.5 percent headroom before carrier cancellation (at 120 IRE video signal amplitude), which was perfectly acceptable. Color television consisted of the addition of chrominance information transmitted as sidebands of two suppressed color subcarriers.
Illegal signals were relatively rare until the appearance of digital character generators that could generate synthetic full-amplitude yellow and cyan colors, leading to transmitter overload and audio intercarrier buzz.
Just some history…
Cheers,
Frank Otto
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Check with Frezzi’s service department. They probably have the Bauer two-pin replacement cable in stock
Cheers,
Frank Otto
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A commercial differs greatly in that it is considered a mechanism for commercial gain, whereas SNL and MAD-TV and the like are mechanisms for entertainment. And that’s only one point…there are several others including dillution, integrity of the original composition, artist not wanting to be aligned with a product, etc.
In using a copyrighted song for a parody, the use must be strictly that, a parody of the song itself, or a parody of subject matter considered part of the general public’s interest. And clearing that hurdle, you are still compelled to attempt to secure rights – even the more well-known satirists and parody composers/recording artists like Al Yankovich, Stan Freberg, Peter Schickille and Paul Wharton – still seek approval from the artists before recording. So does SNL…NBC has a large clearance department…
There’s a spot running now in about 50 markets that uses the “Ghostbusters” theme to sell cars. It is licensed, even though the music was newly tracked and the vocals are all man-on-the-street.
It would be better to have a local artist/muscian create a song that sounds close enough (yet different – notes/chord changes/tempo)to the one you’re wanting and add the lyrics to that…cheaper too.
Cheers,
Frank Otto
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Boomer (may I call you Boomer, if that is indeed your real name)
I already have a degree from a non-accredited school…in fact, several (as does my stepson, but then he went to an “art” school…hmmm come to think of it, so did I)
I was thinking more along the lines of UNLV’s law school – but I’m short three hundred cap liners from Yoo-Hoo bottles and $12.85 to cover handling.
I appreciate the offer however.
Sincerely,
Dr./Prof/Hugo T. Quckenbush, esq., phd, dds, mbt, afl-cio, ddt
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Y’know, Ron…if the COW was willing to pay my tuition to law school, I’d be willing to serve as the forum leader, pro bono.
Just a thought…
Cheers,
Frank Otto
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Charlie and I were discussing this earlier. About the only way to lessen your liability in this situation is to demand a “proof of compliance” with all licenses, fees and use grants being documented and provided to you prior to the actual release of the presentation. That puts the onus of liability squarely on the corporate entity. At trial, the courts will look at your behaviour and your attempt to make the corporation do what it rightfully expected of them.
Should they falsify or lie about the licensing of product, it again places the guilt strictly on them, while the court would regard your effort as “due dilligence”. You can not be held liable IF you accept “baldface” evidence from the corporation that turns out to be a fabrication (USA 9thCir, Warner Bros. v Childress Corp,et.al., separation and dismissal of the production company -ruled not liable as production company, Metrovisuals had acted in good faith, performimg due dilligence in requesting and recieving documents of compliance which in time, proved to be forgeries.)
But you have to make the effort – and if the corporation refuses to provide you with the proper documents, I’d run from the work.
(I am not a lawyer, but as an artist who protects my work, I do have a lot of communications with them…)
Cheers,
Frank Otto
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Alcorn was a great company…when all they did was sync-slide. They tried to please the Imangineers at WDC and ended up with more bastardized ways of doing the same thing and the quality went bye-bye.
We ditched all the Alcorn stuff at FLV – we had show controllers running overhead lights and a sync-slide-vt that still required a manual start every two hours or so – I still have the bastardized Apple2 that AB programmed under my desk as a museum piece.
Hey Bob – what WDC division were you in? Or were you a sub?
I was at MAPO (74) till I went to subbing in 75-76.
Cheers,
Frank Otto
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It’s always a hard choice – do I keep the goodwill of the old name and the recoqnition, or change and reflect a company that changes with the times and technologies.
Although my company is in a self-induced dormant state right now, I did the same thing…changing the name from a generic ENG shoot and relay (Minicam Ltd. formed in 1976) to a more marketable “umbrella” (Controlled Entertainment Corp.in 1992) as we moved away from just news/production services to full digital content creation, facilities and entertainment venue design and large-scale mobile operation.
Our ENG/EFP customers ultimatly went away – not because of the name change, but because we (I) no longer had the time to personally shoot most of the jobs. But we gained more in customers who were looking to have the production and distribution side done, plus clients who were booking facilities and having workspaces/studios/venues designed by our staff. And the company had evolved to taking on themed entertainment projects – fully immersible experience venues and the like after we’d done some background imaging and cgi work for a few European theme park firms and shopping centers.
The old company was a word-of-mouth deal; use us, like us, tell a friend, plus a long-time presence in the network news world. CEC had to go on-line, build a new client list and create product awareness. The bitch for me was personal; I can create “your” campaign…I have the damnest time selling me.
Upside – more clients, wider range of projects. Downside – less personal, more staff, more management. Costs…not a factor, really – you still have to spend to market if you’re going to expand.
Cheers,
Frank Otto
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Daytime, nighttime, static, moving? Availible power? DC? Ext of car moving/static?
More questions…better answers!
Cheers,
Frank Otto
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Same question posted in multiple forums – same reply as follows:
Britek has been around for some time as a producer of lighting equipment for flah photography – they made a fortune off the lil’ gadget that works as a slave for photoflash units.
The quartz units have been around for a few years. They are not overly rugged, meaning I’d never suggest their use in a hardcore shooting envrionment – say, daily news. These light compare more to Smith-Victor and early Colortran units than current Mole and Arri fixtures. With proper care they should last a few years, certainly enough to recoup your investment.
Ushio is a lamp mfg. and they make a wide range of globes. I have bought 100w through 1000w lamps made by them and they’ve performed as well as lamps by GE, Sylvania/Osram, etc. In fact, I recieved Ushio lamps with my last Arri kit purchase – they are still operating with no discernable discoloration or fade.
As always, you get what you pay for…you may find that you don’t have the range of accessories that work with Mole, Arri and other brand names, and they may not be as rugged or useful in all situations.
Cheers,
Frank Otto