[Maurice Jansen]

if you want to kill your analog equipment you can.;-)

the coating on the digital tape’s is like sandpaper for your analog head’s. the spec’s of the coating is completely different.

greet
Maurice

[Maurice Jansen]

well

the channel condition’s are signing you that you have RFproblem’s
so something with the head’s as you say with older tape’s there
are no problem’s. so i guess you have trouble’s in your recording path. the first thing to say DON’T USE CLEANING TAPE.
do you check your record head current on a regular basis. the record current have to be corrected on a regular basis.
as this is a bit technical only do this if you have the feel that you fully understand the procedure. what kind of deck do you use a 500 or a m2000 ? if you have done this correction tape a colorbar
and keep it in a save place for the next time.

greet
Maurice

[Maurice Jansen]

well

the 1694 is only 1mm thicker
well watch these numbers
these are the losses which you should use for HDvideo
the losses are per 100mtr my rule of thumb is that the loss must not exceed 20dB if you realy need long run’s go for 1694A

1694A 16.4dB
1694F 23dB
1505A 21.3dB
1505F 29.2dB

hope this helps

greet maurice

[Maurice Jansen]

hi there

we use BELDEN 1694A and 1694F the F is for flexible.
the inner conductor of the F type is twisted which make’s it a bit harder to fix the connector. we also do touring / rental and staging. this enviroment is often not so good for your cable’s.
the 1694A whithstand this a bit better. as these are the only cable’s we use i cannot give comment on other cable’s
if you have decent people working with your cable’s use 1694F
if you have drunk stagehand’s pulling your cable use 1694A 😉
i guess you should not bother the diameter of the cable.

greet
Maurice

[Maurice Jansen]

you really need a timebase corrector.
a VHS tape deck will give a videosignal with TimeBaseError’s
a frame synchronizer won’t do the trick. a frame syncronizer is basicly used to lock nonsync but stable signal’s to houseRef. a timebase corrector is doing more. timebase error generated by the not so profesional tape transport of a VHS will not be corrected.

Timebase corrector’s on Pro VTR’s are there to correct the error’s created by the tape transport in playback. if you are lucky the TBC is injected when the machine is in EtoE.

greet
Maurice

[Maurice Jansen]

what kind of tape’s are they.

secam is a composite norm. if this is used on your tape.
let them be dubbed by a company owning a Secam decoder to the standard you need.
yes your stuff wil go through a analog stage. if this is done
the good way you won’t lose that much quality. keep in mind if it has been secam it has been composite anyway.

greet
Maurice

[Maurice Jansen]

IMO

make your CPU a streaming server and use a harwarebase’d vision mixer
tp feed it. get your self something like a MX70 from Panasonic.
although latency is a issue with the MX70

greet
Maurice

[Maurice Jansen]

one of the big advantage’s of a book
that it’s there waiting on the shelf to grab when you need it.
off coarse the internet is also near by but a book works better in my
opinion. i own video demystified which is a very large book with good info. but the info is not entry level.i use it a lot. educating the new guy’s is one of my daily task’s in our company. the writer asume that you have some experience. so it’s sometime’s hard to copy paste if your educating newbees. unfortunatly these kind of book’s are getting history.
i often fall back on book’s discribing the basic’s with were written in the 80’s of coarse lacking in uptodate data.

greet
Maurice

[Maurice Jansen]

Hi there

all the camera’s you mentioned are 2/3inch camerabayonet’s
actually all broadcast camera’s use the same bayonet these day’s
if you are looking for a lens from canon the type number has to start with a J or if it’s a HDcamera with HJ al fujinon lensen will start after the millimeters with a B. the actually flange is normalised as B4

greet
Maurice

[Maurice Jansen]

well about the syncing for post. use the audio track of the man/woman speaking on both recording device’s as the Computer content don’t has to be completly frame acurate. in post syncing both track’s can be done with looking at the audio waveform. if you are using high quality recording use timecode and genlock your gear then the stuff is frame acurate. (although this has a big influence on your budget) one of the problem’s of the most cheaper scaler’s that can make 2PIP’s is that they don’t have a broadcasttype of output most of the time’s they make a DVI or RGBHV output on vesa standard’s which can only be recorded with the use of a extra Scanconvertor pushing budget even more. of coarse i don’t know your budget but i know the budget’s in the AVpresentation market’s and i know the pricing of scaler’s at rental company’s. still i think that getting your postproduction more efficient is saving you more money then investing in a scaler solution.

greet
maurice