[Maurice Jansen]

well

have a look at the side of TV-One these guy’s
they make scaler’s in different pricetag’s. of coarse the barco (actualy folsom) gear will give you good result’s but it’s like doing daily shopping with a ferrari.

i guess making your post process more efficient will do the job much better. the start of post production start’s in pre 😉 maybe tapping the Powerpoint/keynote on site sync with the camera recording on site will be a good guidetrack in the post production.
as the resolution of a guidetrack is not a issue thing’s can be cheap.
record the presentation with the voice of the person speaking on a low quality device. and get the powerpoint/keynot’s from the person’s speaking. do some logging on site. as you have to find the highlight’s of the presentation logging the slide numbers can be a great help.
as your deeper whish is to put sponsor message’s on the composition too you have to post it any way. doing this realtime on site will push your budget big time

greet

[Maurice Jansen]

well

this will not help 😉
but we are having the same question for our archive for a specific
client. on what sort of media do you want to archive.
what is the timespan of the archiving
i still have a strong feel for archiving on tape when the material has to be stored for a realy long time. i have several harddisk from say 5year’s old which are giving trouble’s on the other hand i made dub’s from several B/C-format master’s this month. which were between 12 and 20 year’s old. one of the biggest problem’s of harddisk’s are that the mechanic’s are having the same history as the content on them. not moving for several year’s as (i speek for our company here 😉 ) our C/B format machine’s still run one’s a month but the tape’s layed on them did not move several year’s. of coarse i am talking of the old stuff but this will be true for the stuff made to day over 20years.

greet
Maurice

[Maurice Jansen]

well

the displays are more configurated in a exploded view.
and have corelation with paintings on the booth’s wall.
so i definitly need gapping. in the last contact with the client.
they want to rotate the display’s as well. (help) i guess pixel aspect ratio will kill geometry when the display’s are rotated.
so th question about pixel aspect ratio is open again ;-(

greet
Maurice

[Maurice Jansen]

Thanks for the advise.

now i have to find a way to calculate the gaps.
but that won’t be the problem.

i guess your render option 1 is faster with more screens
and render option to is faster with fewer screens.

greet
Maurice

[Maurice Jansen]

BonsaiDrive is a product of Rosendahl Studiotechnik

it’s a Harddiskplayer with several types of timecode chase mode’s
very nice piece of equipment plane simple and good. one of the nice things is that you can shift your timecode track in corelation with the content and you have the possibility to delay audio in the player.
i will deliver the content in 8bit-720×576 uncompressed quicktime since this is the only format the player can handle.

i’m more concerned about the pixel aspectratio of my main Canvas.
because i also have to take care of the physical gaps between the display’s

greet
Maurice

[Maurice Jansen]

hi there

the UVW as sadly enough not a high quality deck.
but you have to work with it and you have to deliver well leveld tape’s
to your customers.
my advise.
use a calibrated PPMmeter on the output of your board or caption card.
record a alingment tone an increase the level of this tone with 1dB steps and a time interval. record your PPM with a camera so that the reading’s are visualy registrated on the tape. play this tape back in a deck of a higher quality like a DVW-A500 or BVW 75 and measure the output of the deck. when you reach your reference point during playback readout the readings on the inshot PPMmeter on the tape. this will be your input level of your UVW.

yes this is a field tip and not a aproved measurement methode but it work’s.
a other thing is that the ballistic’s of the meter’s on a UVW are different then those off a PPMmeter normally used in broadcast. the reading’s on a dynamic signals are differen then on your PPM

greet
Maurice

[Maurice Jansen]

hi there.

next to all the electrical things there is a other thing to keep in mind.
as you might have seen , on most product’s the SDI output and input’s are from a other type then the composite one’s(for example sony). this has to do with cost’s and influence of the connector type on the signal. the (HD)SDI connetor’s do not have a silcon/plastic ring round the inner conductor. this is because this ring has a negative influence on the system impedance. the bad thing about this electrical better connector’s is that they are more fragile. wrong connector’s on cable’s (inner conductor with a too large diameter) kill these connector’s so good cable and connectors are also a must on short cableruns to physical protect your gear

great
Maurice