[Maurice Jansen]

hi there

look at menu item 703/blankline. i guess all line’s are blanked
in PAL line 19&21 should not be blanked in NTSC i’m not sure which line’s you have to use.

greets Maurice

[Maurice Jansen]

i know bob

but at least i can try to help this guy.
knowing how to do this old stuff help’s people understanding the new
stuff. i guess he will have a lot of question rising when he read’s the replies.

greet
Maurice

[Maurice Jansen]

wow

where do i start 😉
i will try to explain it in 2way’s the good way and a way that will do thejob but isn’t that precise.

first just to explain the GVG100 has been produced in several setup’s
with or without ProcAmp / Syncreplacer and with or without internal SPG
and in CVBS or Component <= i believe this was the GVG110. if your model has a SPG just wire BlackBurst to the reference input. if not wire all the seperate syncpulses like sync blanking subcarrier. for ease use wire's of equal length when you have to do this. i have never worked with a GVG100 with seperate sync's (just AMPEXvista's 😉 ) of coarse give all your Source's Ref/blackburst from your SPG(syncPulseGenerator) and if you own one also your waveformmonitor/vectorscope. as said earlier therse a good way of doing this and a less precise way of doing this i will start with the best way. Connect a Waveformmonitor Vectorscope to the preview/preset output of the mixer if you own a model with a Procamp/syncreplacer this will not be inserted in this output that's why we measure here. also connect a colorbar to 1 of the input of the mixer. make sure that the waveform monitor and the vectorscope is switched to external ref. and switch on the magnify funtion on the waveformmonitor. switch to the Colorbar on the presetbus. change the Hposition and Vposition on the waveform monitor that the middle of the half amplitude point of the falling edge of the syncpulse crosses one of the vertical line's on the graticule. this is important because in the standart there is a large tolerance for different syncwitdth's also chance the phase of the vectorscope that the burst fall on there specific boxes. from this point don’t adjust phase and Hpos & Vpos anymore.

if your sources have a colorbar switch, switch it on and switch to the source you want to adjust on the presetbus. you will see a position shift on the waveform monitor and a phase shift on the vector scope.
adjust your sources with Hphase and Subcarier fase in a way that these shift’s disapear. for precise checking switch rapidly between the colorbar and the source to see small differences. in the end time the internal colorgenerator/blackgenerator of the mixer it self.

to check if everything has gone well look at the program bus and look at shifts in colorfase and VideoPhase just before and after the busses flip after a transition.

as said earlier there is a other less precise way of doing this.
on your preset monitor run in externalsync and put the monitor on external sync and on HVdelay. when your sources are not timed well the blackbar will shift. By rapidly switching between colorbar and the source you are timing you can adjust Hphase so that this shift is gone. for subcarrier als switch rapidly and try to math the colors with SubcarrierPhase of coarse is this the poorman’s way of doing this and the signal coming out of the switcher will not be on broadcast spec’s use this way only in a situation were it’s no big deal.

long story but i hope it helps

greets
Maurice

[Maurice Jansen]

well

stricktly speaking pal is of coarse a composite standard whith 625/50 they mean digital component normaly SDI in 50HZ with indeed the resolution of 720×576. in your country they will call it 525/60 with a resolution of 720×480
what they are trying to say is that the material may not be framerate/norm converted in the composite domain.

greet
Maurice

[Maurice Jansen]

hi thomas

we have the same problem over here. since a few day’s. i have the strongfeel that it’s in the CCU but i’m not sure yet. as the problem always is there when you don’t want it and never when you do want it it’s hard to find. we already tried with different length’s of triax. this is not causing the problem. i guess it’s wise to have a look at the CVBS output’s on the camerahead when the problem occure’s. if this is also giving subcarrier problems i have the feel that the Camerahead cannot lock to the ref send through the triax. if these are ok it has something to do with the path from the camera to the CCU. i have the feel that one of the equalizers of the RFon the triax is not ok this can be on the CCUside but also on the Cameraside. if you have found something Please inform me since this can help us too

greet
Maurice

[Maurice Jansen]

hi there

PLUGE stands for picture lineup general equipment.
it’s a signal which generate a bar which goes just underneath black and a bar which goes just above black level. another trick is to put your monitor in underscan and look at the bottom of the screen. under the last line’s of active video you wil find a little blackbar just in the middle of a line. when you adjust your brightness on your monitor you must find the point that you just don’t see this bar. the contrast adjusment is a bit subjective but it should not clip. in the white’s
some cards will not display the under black part of the PLUGE signalbut the serration pulses discribed above should be there all the time

greet
Maurice

[Maurice Jansen]

hi brain

we use the turbo both in HD and SD
the biggest problem is that my customers have to make the file’s
most are working on MAC FCP and some on Avid. the setting that i
tried were MPEG2 VBR 10Mbits and some more settings and quicktime animation works pretty good. one problem of Quicktime animation is that the files are still pretty large. take’s a lot of time to FTP and to Transfer
delivery format’s are in my opinon not the right answer.

greet Maurice

[Maurice Jansen]

hi there
if you want to go in extreem chech the site of the EBU
https://tech.ebu.ch/publications

daily adjusments are fairly simple. use the
PLUGE pattern for Brightness & contrast en make all bars the same intensity with blue only switched on. if you use a EBUcolorbar the whitebar will appear brighter

greet
Maurice

[Maurice Jansen]

although i’m not sure you can try to put the machine’s in pararun.
i have used pararun a lot to multiroll several machine’s but never for recording.
i don’t know if the record command is supported in pararun???

greet Maurice

[Maurice Jansen]

well

there are some non used wire’s in the multicore cable.
we have used these wire’s for a simple 2wire intercom like Clearcom or RTS
we do not own these camerachannels any more so i can not tell you which wire’s to use but it worked really good. we often used these channels on rockconcert’s whith succes. we made a XLR cable coming out of the camera adapter that was just long enough to connect a beltpack. and made a extra XLR con on the M5 CCU.

greet
Maurice