[Maurice Jansen]

joel you said it your self.

make backup’s a tape will fail a harddisk will fail a DVD will fail.

what i was trying to say is that vertical to horizontal mounting will IMO not make a significant difference. and that it is wise to fragment your storage in to small carriers so if there is a faillure it will not crush 2Years of work but only a day or so.(which already can be a big problem).

great
Maurice

[Maurice Jansen]

agree with dave here.

you need more info.
one thing i can say infront.
forget fine detail and forget low contrast texture’s .the resolution of most of these screens are very low.(250lines typical)
keep this in mind.

greet
Maurice

[Maurice Jansen]

well joel.

i guess it does not matter how you rack them as long as you don’t rely on them.i feel saver with 2 medium quality HDD per project then 1 high quality with all projects on them.
we have been backuping tape’s and disk in this industry for age’s and i guess we always will. because material is only save when it’s dubt and stored somewhere else. in the end every brand will fail but the result is much more painfull with mass storage.

greet
Maurice

[Maurice Jansen]

ehhm

i normally agree with bob. but in this issue i realy don’t understand why you should not use your controlroom monitor section. (it’s made to drive your monitors)
our setup. all VTR out’s via patchbay normalized to to input’s of the desk (daah) mixer out via patchbay normalised to NLE-input’s.
NLEoutput’s normalised to Tapereturn 1 and hard split to tapereturn2.

when you are capturing no patchleads are used when laying back to tape.
NLEoutput’s are patched to vtr in , vtr out patched to Tapereturn 1.
(automaticly breaking the VTR to mixer so no feed back)
you can listen to the tape via tapereturn 1 and to the NLE via Tapereturn2. all levels can be monitored on the bridge. just switch between Tapereturn 1 and 2.

if al settings are good in your NLE your output does not need any level adjustments. but in this setup you still can put the desk in your output path.

only things needed a patchbay and a mixer with 2tape return’s

greet
Maurice

[Maurice Jansen]

hi rob.

your mixing things up here.

you said

We normally shoot 1080P 50i – so i normally choose “Blackmagic HDTV 1080i 25hz 10bit 1920 x 1080” and all works fine.

1080P 50i is not a format it is or “P” or “I” seems like your normal setting is 1080i25Hz HD-SDI cannot show 1080P50Hz only framerate’s of 30Hz and lower are supported. 1080P25Hz is the one you need if supported by your card

greet
Maurice

[Maurice Jansen]

maybe just giving the unit power will light up some button’s
maybe i still have a doc somewhere i can have a look which pin’s of the 15Pin dconnector are power.

greet
Maurice

[Maurice Jansen]

wow

your a bit on thin ice here. indeed try to arrange a senior projectionist. for setup. be aware that a Edgeblending setup demands good technical knowhow. as you stated you want to use keystoning. this is not a wise things to do specialy when the projector’s have to make the Blend which can not be done. if the Blend is in the content or made by a widescreen processor you could get away whith it if your content is forgiving. but it certainly isn’t a good situation. linearity change when you project with a keystone. this is very hard to align. not even talking about brightness differences between the top en the bottom of a keystoned projector. as mentioned by the rest for the content making your setup is the drivingfactor not the other way around. keep mission critical stuff on the ground!!! try to contact and findout what projectors are used and whatkind of playback.

kind regards
Maurice

[Maurice Jansen]

Hi

well make it native resolution of the projector.
investing in QTpro is just a few bucks and can save you a lot of work on site. when embedded in keynote plan a good tryout on site.

greet
Maurice

[Maurice Jansen]

maybe it’s an interchange problem.
when FFWD or RWND the head will always hit a track. can you explain the enviroment where the content were shot. maybe heat did bend some part’s in the transport HDVtransport are miniature and not that robustly build.

greet
Maurice

[Maurice Jansen]

hi there

at first although this is off topic
find out what the coaches want to see. and see if you can do this in a single camera setup.
the way you sketch your fine i guess for tactic a medium-wideangle shot smoothly following the game is what they need.
if not think about lenses they can raise budget bigtime. take time specialy the first time to explain to your cameraop’s what you need you can’t be on 8places at the same time!!
about the camera’s make sure that they are al the same or at least all the same system. this makes that if you need a deck you need only one and if it’s like P2 or XDcam (i guess not your budget) file types and handling are the same for all venue’s. i guess the coaches need the whole game so there is only ruff cutting the in and out and get it on DVD but be aware you have roughly 16hours of video which when on tape have to be ingested in real time and then be encoded. you have about 24hours so all the rest has to be done in 8Hours. not talking about logistic in getting the tape’s in your office and getting the tape to the coaches. you have to subtract this from these 8hours

maybe it is wise to record directly on DVD at the stadium. with standart consumer DVDrecorders as backup. you can deliver these to the coaches directly after the game!

greet
Maurice