Joel Servetz
Forum Replies Created
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Nearly all modern projectors have a native resolution of XGA (1024X768) and above, although there are still some S-VGA machines flotaing around out there. They will all automatically detect the incoming resolution and resize it accordingly. They can also usually be custom set for the exact incoming resolution. The key here is how you’ll be connecting to the projector. If the projector has DVI or HDMI inputs, you’re in great shape if your playback device has the same. If not you could stll go component as nearly all good projectors have that as well. Will you be going through a switcher or video mixer of some kind? That will play a role as well. It’s important that whoever is handling av at the venue knows his/ger stuff and and the venue itself is well-equipped (this is what I used to do for events large and small). Tell them what you need and they should be able to take good care of you. Where are you presenting this video (what city)?
Joel Servetz
RGB Media Services, LLC
Sarasota, Fl
videobyjoel@aol.com -
I’ll tell all of you something that most of you will probably laugh at. I’m still using AOL. Why? Aside from the obvious reason that it’s too much trouble to change after all these years, I find that it simply (emphasis on simply) works. Until a couple of years ago I had a “real job” in addition to my independent video/photography work and there we had a so-called “professional” e-mail system. Even after the complex and time-consuming setup to try to train it to weed out spam, I always had to wade through tons of it. To make matters worse, the junk mail filter made it difficult for unknown but legitimate folks to get their e-mails through, so that too often I would get a call from someone wondering why I hadn’t responded, so that I then had to wade through my junk mail file to find their e-mail. Between AOL and the very excellent tools by Norton, phishing and other malware e-mails are either caught by Norton or easily eliminated forever by AOL by me simply checking a box next to the obvious spam and clicking the SPAM button and voila, it’s gone forever. A guy I was working a job with recently was aghast when he saw I was still on AOL, commenting that “it’s so ’80’s.” Yeah well, it’s simple and it works.
Joel Servetz
RGB Media Services, LLC
Sarasota, Fl
videobyjoel@aol.com -
During more than 35 years in selling camera equipment and 20+ years in professional video production and still photography I have always told my customers to just forget about the digital zoom. It’s a cool sounding selling feature, but one with little to no practical use. All you’re doing is magnifying a portion of the image, destroying any chance of good resolution or focus. Especially at 100X – 200X magnification, you can’t realistically expect any kind of useable image.
Joel Servetz
RGB Media Services, LLC
Sarasota, Fl
videobyjoel@aol.com -
I’m assuming you already have the Canon MA-100 adapter, which has two XLR inputs. If so, then just make sure you get two XLR output cables with your receivers. If not then look at one of the Beachtek adapters.
Joel Servetz
RGB Media Services, LLC
Sarasota, Fl
videobyjoel@aol.com -
Mark, I understand completely what you’re going through here. You will never get the various speakers to use the microphone properly. First, forget the Shark. Also, don’t expect any great improvement from the Fender Passport. While it’s a great little rig for performers in small venues, it won’t get you anywhere with this problem. In the short term, move your mic. in line next to the speaker, neither in front nor behind, and as far from the speaker as possible. There’s a bit of a dead zone there that should help delay feedback a bit. A better long term/cost-effective solution is to forget the self-powered speakers, as they lack any effective eq and look at some of the powered mixers from Peavey or Mackie, and one or two unpowered speakers. You’ll probably need to up the budget, but setup will be very easy and you will gain a quantum leap in control over the audio. Placing this “pa head” next to your videographer will give him/her easy access to the eq and other controls to quickly and easily fix issues as they arise. Good luck.
Joel Servetz
RGB Media Services, LLC
Sarasota, Fl
videobyjoel@aol.com -
My experience, which ranges from Central American Rainforests to skyscraper construction sites to cardiac operating rooms is that a good frequency agile, true diversity system is your best bet. I have in the past used the Azden 500UDR and Shure UP-4 receivers with their associated beltpak and handheld or plug-on transmitters with excellent results. The entire frequency spectrum has been re-configured by the FCC and those mics. in the 698 – 804 Mhz. range are now illegal. The new 1800 Series from Audio Technica is a good bet, I just bought a combo with beltpack and plug-on, and comes in a variety of outfits. Check the B&H website. The combo system I bought, the ATW-1813D will cost $697.00. It comes with a lav mic and XLR output cable. Supply any decent handheld or shotgun mic. in your inventory for the plug-on and you’ll have a very versatile high quality outfit.
Joel Servetz
RGB Media Services, LLC
Sarasota, Fl
videobyjoel@aol.com -
Taking audio from a house p.a. is fraught with danger, but can work fine if you have all the right tools with you. You should equip yourself with the following:
A few direct boxes. I like the Whirlwind Director the best, it has gotten me out of plenty of jams. It incorporates impedance, ground and phase adjustments.
Some inline microphone and line level pads with variable impedance, usually a set of switches on the barrel.
At least one inline phase reverser.
Some common ground lifters.
A complete set of adapter plugs and cables for every conceivable connection combination.
If you have the budget, a small mixer, such as the Mackie 1202VLZ is an excellent tool to have on hand to better control what’s coming to you and what’s going out to your camcorder.Some great sources for all of the above are Markertek, B&H and Compass
Assuming you will be able to work with a house sound technician, they will range from extremely professional and helpful to barely competent and/or uncooperative, so be prepared to take matters into your own hands. Backup audio via an onboard or nearby mounted shotgun mic. or, better still, your own mic/mics at the source will help immeasurably.
You need to be prepared to deal with sound systems that may have degraded over time, been adapted to death, have issues of impedance mis-matches and ground loops. The kit above will get you out of just about any jam. Don’t leave home without it, ever.
I hope this was helpful. Good luck.
Joel Servetz
RGB Media Services, LLC
Sarasota, Fl
videobyjoel@aol.com -
I also have an original XL-1 that I’ve been using since 1999, and it’s still going strong. I’ve had it in twice during that time, once when condensation fried the main circuit board on an Amazon rainforest assignment and once when I broke the headphone jack. Anyway, Canon no longer supports this camcorder at it’s factory service centers. You should seek out a local camera/camcorder repair facility. Assuming you only need a standard cleaning and alignment, the bil should come to somewhere between $250 – $500.00.
Joel Servetz
RGB Media Services, LLC
Sarasota, Fl
videobyjoel@aol.com -
The combo hard drive/dvd recorder is a good suggestion. Also, the Sony VRDMC6 dvd recorder is a neat little machine, takes composite and firewire, has a cute little built-in monitor, produces very good quality dvds even from composite. Viewed on my 46″ Sony Bravia it looked really good.
Joel Servetz
RGB Media Services, LLC
Sarasota, Fl
videobyjoel@aol.com -
Since super-8 was shot at 18 FPS, the closest you can come with your camera is the 24F setting. I did some copying of movies some years ago at the standard 30 frames with very little flicker, but you should expect some. If you have occasion to copy regular 8 films, they were shot at 16 FPS, so 30 will be closest to that.
Joel Servetz
RGB Media Services, LLC
Sarasota, Fl
videobyjoel@aol.com