Video Tools 20 Accessories #2

Home , Kinescope, Portapak, Tape head cleaner, Trinitron

iiiiiiiii~iiiiiiiiiiiiiliiii VIDEO TOOLS #Z The deadline is approaching, work marathon has been going on for about a week . It's 5 :30 in the morning and here we are resting on the floor of the Egg Store control room, watched over by machines . These machines and those displayed in this book are not God's answer to humanity's problems, not more important than 0 anything else, maybe efficient tools for communicating with the too many people on earth . (We sav this even though our lives for the past months have been consumed by video and Video Tools .) 200 Paala & Bill 0

RED *1 LA&, LL M

THE VIDEO TOOLS PROJECT 11 11111111111 4 The ,r- o :1ols D - ojec' a -,bred last " ear },y Cc Cr *'fin . worked very hard (not rally knowi hat we were doing) 3 ar put to _her l ' 0 an attempt to ,rove-~e one need 1 _fr=ation to the 2 usanr'm of people u in video equip- 1-lent. ELECTRONICS, INC. 86 West BROADWAY The response to h first book cwoti gated (near Chambers St .) to do t again I'm buhlcu you I1aue to NEW YORK NY 10007 ray ro>< Tc Z5 . A1tho,iRh there's lot-, of (212) 233-0754 a ity, grand plan anj ul s Cadillac, this is a small business when you come down to $s . Tf Video Tools can pay for itself, or come close, we can keep dc- ing issues, maybe even supplements . SALES " SERVICE . ENGINEERING " PRODUCTION The Tools project is noL just putting out a book once a year. Tt has set up a structure (people) within CTL to rather and disseminate information . Tease call or write .

Z CTL 20 misc. Soft & club"library"$ hardware 3 history Z2segs 5 how it works Z3 processing 6 portables 24 video toys s vtrs 26 wiring diagrams 9 editing 2s maintenance 10 cassett s 3o studio set ups EDITORS cartridges PAULA JAFFE BILL NARUM 31 cctv CONTRIBUTORS tape MARK BROWNSTONE 3Z cable JOHN BRUMAGE SASHA NEWBORN monitors ART 3a application. BILL cameras PHOTOGRAPHY survival RICHARD LENNOX ,6lenses tubes THANKS TO LUI AND THE CTL 3s nameless pages STAFF ofilters SPIRITUAL PRESENCE CY GRIFFIN 1, tutu ao egg store PUBLISHED BY CTL ELECTRONICS INC . ,s lighting"audio 41 index

MAY, 1973 CONTENTS 1 A RAP FROM JOHN

The change the software industry is going to make is that you'll really begin to separate the software from the hardware . When a record sells for $5 retail, you actually have the material cost of producing the record (about 50t), with the label and jacket, wrapping it in plastic etc . Then you add in everybody's profit, including profit on the software that's there, but the basic cost of the hardware, the record that the software is on, is very low . So really, you're buying software when you buy a record . When you buy a videocassette, you're also buying a piece of hardware that costs $28 (club price) . And if you try to build that into a profit structure to support your software producer on a percentage basis, it just gets unwieldy . Indeed now, you have cassettes that are selling for $2-300 . So, what's going to happen is that you're going to separate the cost of the software, and you're going to charge someone for access to the software, whether they rent it, or they rent it and make a copy of it, or they have you make a copy of it for them . They're paying for use of the software, to get it from the producer's head to their own, and if they want to go *Chi Tien Lui started his business about Hack to it, fine . It's their's ; I don't think five years ago in a loft at 146 Reade they're going to exhibit it, because I think Street . Because Lui was willing and able if the software's cheap, people aren't going to make special modifications for exper- to pav to go to a theater to see it, except in imenters in the then infant medium, CTL special cases, -software of events . 1 think Electronics grew quickly, attracting oth- there will be a lot more live video events . er talented video people . And people will go to see those rather than something recorded . As video moved from the lab to everyday use, our customer base has expanded to The authorized duplicator is going to have a include producers and consumers around better-generation copy ; and the price differ- the world . ential isn't going to be that great . It's easier and more practical to go to a legitimate The publication you now hold is a product distributor to get the record, than to go to of our dedication to users of video . somebody who's going to have a fourth- or fifth-generation copy . You've got to get close to your master with this kind of software . The CTL Library allows any producer to put in a tape, with a form to put some handles on it so that people can find it and get it out again . As to what the producer wants to charge for access to that tape, it can be nothing, or it can be $100 . The producer also has to supply a master, or submaster from which we can dub . Our contract with the producer states that after X number of pa_Tses have been made on this master, in other words, after it's been sold X number of times, it will be returned to him in return for a new copy . Then the consumer has the option--he can rent it for that access price, and produce another SONI V-3O %?' X copy, or he can have a copy made for him by y MIN. the seller . Initially TAPE RR" O.ao. this would be very cen- FOI3 N,YG. 1O tralized, but as popular software becomes available, you'll fi'd :more and more decentral- ization . The record store of today with as many About a year ago we as 5,000 different titles in stock be- started the Club--the idea comes the video--cassette ;=tore . The store own- was for us to order in greater volume and pass ers can stock the discount on to our the same number of titles, but customers . they can also continue to sell any title as long as they have raw stock in the basement-- We sell V-30H Sony half-inch, 1/2 hour video- they tape at $10 .50 ; V-32 con't have to order more copies, they've Sony half-inch, 1 hour got the equipment there, and the masters on tape at $19 .00 (FOB-NYC) . The Club discount is on all file . Again, this becomes mostly a bookkeeping purchases of hardware, classes, and expense . Eventually this library system will the use of our studio facility, the Egg Store . become part of the VIDEO TOOLS is free computer-utility libraries for Club members . that will appear in the early 80s, via the cable systems . The Club is open to individuals and nonprofit organizations . There is a $10 .00 membership fee (for one year)--this allows us to continue and expand such projects as Video Tools, Research & Design, the Egg Store, and the Central Tape Library . Central Tape Library The Central Tape Library (as we've cleverly To save us bookkeeping hassles, payment for named it) is an expanded function of the Video Club discount purchases is required at the Tools project and the Egg Store . We are col- time of purchase . lecting masters (or sub-masters) from people who would like us to distribute their videotapes . The hardware (cassette/cartridge, reel-to-reel, When we started Tools #2PRICESwe were unaware of the fact that a money problem was going big duplicating) is available at Club prices, and to complicate our lives . But here we are the software may have any price . Paula sayz with sinking dollars and floating yen, all the prices on goods manufactured in Japan have we'd rather sell a tape ten times for $15 than changed . As we go to print Shibaden once for $150 . hasn't gotten their new prices together . They have said that their prices would go up between 7 and 15 % -- so we to the added 10% We will publish an updated catalog of the tapes old list price . If this seems a strange thing to do in in the Library, and a catalog we have three things to say, 1)Tools try to get your software a is much more than to the many people who want and need it . catalog, 2)We are e3ccited about getting it out, 3)WE DON ' T ANYTHING AT SELL LIST PRICE . If you have software for the Library, write for an input kit (see loose page) .

2 CTL ing people who might have built their own . In YOU MIGHT BBC broadcast a request *TELEVISION IS OLDER THAN 1884 the summer of 1933 the THINK . METHODS FOR TRANSMITTING PICTURES HAVE Paul Nipkow, a German engineer, designed a which ran : of a scan- EXISTED FOR ALMOST ONE HUNDRED YEARS, THE mechanical television, consisting The BBC is most anxious to know the HISTORICAL PER- ning disk with a spiral pattern of holes which number of people actually seeing this FOLLOWING TIMETABLE GIVES A was set in front of a brightly-lit picture . Will those who AND GIVES television program . SPECTIVE TO OUR FAVORITE MEDIUM, The disk turned, the first hole crossed the are looking in send a postcard marked ALL YOU DATE FREAKS A CHANCE TO GET OFF . picture at the top, the second a little lower, "Z" to Broadcasting House immediately . and so on . With a full revolution of the disk, ex- each part of the picture would be briefly At about this time, things start getting John sez : I hate names and dates . posed in turn . The disk revolved quickly really complicated as far as who invented what, enough so that the complete scanning happened and who was to be transmitting . Zworkin at RCA within one-fifteenth of a second (Light strik- T . Farnsworth, who con- one-fif- was vying with Philo ing the retina persists for about ceived the basic features of today's electron- teenth of a second, because of delayed chem- 1921, while still a high 1818 picture scanned at ic TV system in Berzelius discovered an element he called ical reaction . Therefore a school student . EMI now realized that the selenium . When this element was exposed to that rate would be retained long enough to be with an electronic passing future of television lay different intensities of light, its ability to viewed as a coherent whole .) . Light system . EMI, composed of the former Gramophone conduct electricity varied . We call this the through the holes in the disk was guided with Gramophone Co . and others, cell ; a Co . Ltd ., Columbia photdekectnic e6geet . lenses and mirrors to a selenium merged in 1934 with Marconi to form Marconi bright area caused a strong current to flow Television Co . Ltd . Baird and his slender re- 1830 from the light-sensitive cell, a dark area chance against EMI, cur- sources didn't stand a Michael Faraday proved that electricity could caused a weak current . This fluctuating which had already demonstrated an electronic pass through "nothing"--a glass bottle from rent was carried by a wire to a lamp . A second with three times as many the lamp, re- system to the BBC which air had been extracted . This showed that scanning disk was placed before lines (405) and twice as many frames (50) . electricity consisted of a stream of electrons . volving at the same speed as the first . The Faraday's bottle led to the design of the lamp flickering through the disk reproduced try to keep up with the times lacking was Baird decided to ray vacuum tube . the original picture . All that was and started experiments with the cathode a means of amplifying the impulses . tube, borrowing the system developed by Farns- 1868 worth . Farnsworth had already done a ten-day Philip Carey thought that since the photoelec- 1897 demonstration of electronic TV at the Franklin tric effect could vary electric current in Karl Braun added a fluorescent inner surface Institute in Philadelphia . He formed the Cape- proportion to the intensity of a beam of light, to Crookes' tube, producing a glow when struck Electronics Co . In 1949, ITT hart Farnsworth ITT a picture could be broken down into various in- by rays . bought the company and a new corporation, tensities of light and the light transformed 1923 Farnsworth Research Corp ., was formed, which to corresponding pulses of electricity which MECHANICAL VS . ELECTRONIC later became ITT Laboratories of Ft . Wayne, could be sent along a wire . (electronic wtinh : Yaay!) Indiana . John Logie Baird made an apparatus consisting 1878 motor which ro- Television was invented in San Fran- Crookes' tube emitted rays which flowed from of an old tea chest carrying a T . Farns- tated a circular disk . The spindle was a darn- cisco in 1926 by Dr . Philo its cathode (negative terminal) through a had holes cut in it worth--despite what you may have heard vacuum to its anode (positive terminal) . ing needle and the disk Farnsworth's over which were fixed bulls-eye lenses bought from RCA (who used Dr . Cathode hays are an unhindered beam of elec- was hous- invention even though he held all the trons that can be manipulated by magnets . from a bike shop . The projector lamp Navigators] ed in a biscuit tin . With this, Baird success- patents) [Phil Gietzen, Video of the Maltese *1880* fully transmitted an image of Cross a distance of 9 feet . Maurice Leblanc suggested that if each part 1955 the picture could be separately exposed to first videotape the of 1929, Baird started experi- In 1955 Ampex demonstrated the light in rapid succession and in sequence, In September recorder, making inbtant ieptay possible . illusion of the entire picture could be creat- mental transmission (5 1/2 hours per week) idea introduced from the Oxford Street transmitter of the BBC . ed at the receiving end . This 1968 the principle of penhiatence ob vision upon His total number of viewers was under 30 . videotape record- Baird was not all that successful ; by 1932 he Sony marketed the first 1/2" which the television tube depends for its ing system (VTR) . VTRs went portable in 1970 . effect . said that only 500 sets were in use, not count-

CTL VIDEO TOOLS #2 OA monitor is a high-resolution television designed to accept a direct video, and in some sets audio, signal . IDTn American standard TV systems there are always 525 lines running from left to right . HoAizontak %esotut(on is measured by the amount of dots on each line, for imaginary vertical lines to cross .

The back of the Bell Telephone TV receiver of 1927 consisted of hundreds of wires, each connected to a different segment of the pattern of neon tubes on the face of the receiver . A motor-driven com- mutator, synchronized with the scanning disk, sent current through each wire in turn . Electronic scanning and picture tubes eliminated this clumsy apparatus.

John Logie Baird and his apparatus, 1925 The process of recording monitor with a 35mm cam- a television picture is era . The TV picture stor- called kinescoping . Be- ed on film was called a fore the invention of kinescope . To broadcast videotape in 1955, a TV a pre-recorded program, station that wanted to the kinescope had to be record its programs had played through a film to shoot off a studio chain .

In 1883 cartoonists were still having fun with the "impossible" dream of transmitting distant views by some kind of electrical apparatus .

Dr. E. P. W . Alexanderso n of

+1 General Electric was one of the m leading S+m >, pioneers in the early days -,A +s ro of television. He appears here w 0-1 (right) with an associate, Ray D. Kell, inspecting the mechanical scanning disk during experiments b " 11 r Q) ad ro in Schenectady, N. Y. in 1927. +~ +1 +J ro~, U)

C 00 0 S4 r O b 3 Early television experimenters in b 0 O O r- i 1925, using a mechanical scanning %U ma4ro disk. The engineer holds in his a s4 right hand the picture to be tele- Q N^ vised, while his left hand operates n, N ad H a control button. The image was ~n +1 11 a> o rd picked up through the rotating I v +I b S+ disk by a ligbt-sensitive cell on the t~ " ri O top of the cabinet. H> a

CTL VIDEO TOOLS /f2 4 HISTORY The iconoscope of 1923, invented by Vladimir Zworykin, provided the first means of scanning a scene electronically, basic principle of the modern television camera .

In 1930 Felix the Cat whirled for hours on a phonograph turntable in front of television scanners, while RCA engineers in their homes made reception tests. The rig to the left of the scanning camera was the complete transmitter of experimental station W2XBS, the predecessor of 1G"NBT and WNBC-TV.

William Bendix as Riley and Henry Kulky as Otto Schmidlapp in a 1955 episode from The Life of Riley . This situation comedy, first shoun in 1949 and revived (with Bendix) in 1953, was the prototype of a TV genre which has been described as "artificial characters lot artificial situations being egged on by artificial laugh- ter

1936 Alexandra Palace, from which regular transmissions began in

2 : 1 INTbRI.PCE

CAMERA are called horizontal sync pufse6 and the lat- ial cable) carries the signal from the camera ter ve&ticat sync pulses . The pulses are de- output to a VTR or a monitor . *A video camera works in much the same way as livered to coils which act as electromagnets. a human eye . A lens collects reflected light The pulsing magnetic fields induced in the and focuses . i t on a surface that conducts more coils deflect the scanning electron beam in DISPLAY electricity at the points where light strikes the necessary directions . it, and less electricity where less light * A television monitor or receiver operates by strikes (photoconductivity) . In the eye, this reversing the process that took place in the Since some time must be allowed for the scan- from the surface is called the -retina . The analog of ning beam to return across the screen from camera . The electrical signal coming the retina in a TV camera is the target of the (the camera is changed back into a visible picture right to left and from bottom to top 6ty- the surface of a screen . vidicon tube . The vidicon tube converts light baclz or tetAaee time), the beam has to be which is displayed on into an electrical signal, the voltage of which the blacked out at the end of each line and at tube, or, CRT) of varies in proportion to the levels of light on very bottom of the screen . This blackout per- The cathode nay tube (picture the original subject . This is called the video btanhing . The timing of blanking a TV monitor consists of a scanning electron zignak . The reverse (inside surface) of the iod is called gun, a deflection yoke which contains horizon- corresponds to the timing of the sync pulses coils, and vidicon target is scanned by an electron beam in both the vertical and horizontal intervals . tal and vertical pulse generating that moves in lines from might -to left start- a screen with its inside surface coated with ing at the bottom lmiddle) and moving up . a phosphorescent material . In a closed circuit At this point in the transmission process our and sync sig- original picture has been broken down into the system, a coax carries the video A standard American TV picture consists of signal, sync, nals from the camera to the cathode ray tube electrical components of video incoming video signal 525 horizontal scan lines . Each 525-line pic- and blanking . of the monitor . The ture is one baame of video . The scanning beam drives the monitor's electron gun and the in- must scan the entire target twice in order coming sync drives the coils in the deflection to make one frame--it scans the odd lines the yoke . The electron gun then scans the phosphor- first time through, and the even lines on the escent screen exactly in sync with the original second run . All this takes place in 1/30 of a scanning pattern that took place in the vidicon second . Each half-frame of video is called a tube of the camera . The phosphorescent screen Meld, and each field is scanned in 1/60 of a emits more light where higher voltage strikes second . If a field contains exactly half as it, and less light with lower voltage . There- many (262 1/2) lines as a full frame of video, fore, the highest points of the video signal then the camera used to record the information correspond to the brightest parts of the pic- has 2 :1 interlace sync . If each field is dif- ture . What the video signal actually does is ferent, then the camera is running on Kandom vary the voltage of the electron gun of the interlace sync . Most video production equip- monitor . ment uses 2 :1 interlace . These same signals can be transmitted through Sync (synchronization) consists of electronic VERTICAL WAVEFORM the air and picked up by an antenna for home pulses generated inside the camera or by an ex- reception . Cable TV transmits the signals over ternal sync generator . These pulses tell the very long coaxial cables using a series of line and when Amplifiers inside the camera boost the signal from degrading . scanning beam when to start each output . A coax (coax- amplifiers to keep the signal to return to the top of the picture . The former on its way to the camera

CTL VIDEO TOOLS /j 2 am

need for immediate large-scale funding, while retaining an overall conceptual direction . Moreover, our energy will not be gambled on an all-or-nothing a scheme . The three stages are : z 1 . SURVEY : We will canvass new H hardware and software develop- n ments in the U .S . and Europe and compile a print and video report which can be shared by people interested in a new operating system for television . 2 . PROTOTYPE : After the survey, z we will produce a one-to-two a hour show which integrates the .r best existing videotape available with special production . b The prototype will be distri- H buted to recoup its production [rJ costs, and to generate further Hn financial and audience support . 3 . PRIME TIME : On the basis of what we learn doing the proto- x type, we will produce an entire evening's alternate television . Prime Time is being organized by TVTV, the same group which produced the Top Value Tele- vision convention videotapes . TVTV began as a loose-knit coalition of members of Raindance and Ant Farm, two experimental video groups, along with members of other video groups and Our own experience has been individuals from around the in alternate television . Using country . low-cost portable videotape cameras and recorders (porta- Prime Time and TVTV are based paks) and related hardware, we ozvn . vide in San Francisco . The people have been able to work almost who prepared this proposal are : wholly outside the structure of conventional television . Chip Lord Doug Michaes Freed from the studio environ- Hudson Marquez ment, we have generated a style Allen Rucker which, at its best, surpasses Michael Shamberg the spontaneity of television's Curtis Schreier early days . While none of our Megan Williams work is as slick as convention- Tom Weinberg al TV, the best of it is a rudimentary rediscovery of what television is all about . Until now, however, our experiments have been piecemeal . 0 In the context of a print culture, We have now decided to produce libraries have a long, a total model of what we'd proud, and hard-won tradition like television to look like . of providing free and open Out plan ie to produce a {out- access to knowledge . Tradi- to-htx ob tionally this information has hour package pro gtam- been predominantly in the mLng which integtatee the geet form techniques og alternate tete- of print . vielon people and technology Today people into a new gtammat ob TV seek information 6otmats . via the TV tube ; they are users of electronic information . We have named this event PRIME assemblage For the maj- TIME, and anticipate that it ority of Americans are liter- can be transmitted simultan- ally turned on to television . eously on select outlets across And this is not just a matter the U .S . as a kind of of one communications format "network- being superior to the other, for-a-night ." it's a matter of recognizing the power of the moving image PRODUCTION STRATEGY and sound . Prime Time will be produced in Walter Dale three stages, each with a dis- Video Project Director crete budget and a usable out- Port Washington Public Library come . By establishing goals for teptinted atom each stage, we will avoid the Film Library Quarterly, 1972

Lynda 3ayd : I've had my Sony Rover II AV-3400 for close to two years, and it still works--that's miracle enough for me .

CTL VIDEO TOOLS #2 6 PORTABLE SYSTEMS prototype The new Sony portable with built-in color recording capability - The AV-8400 is self- threading with the same reel that the Pana- sonic cartridge machine takes . Tt will accept a standard reel (manual threading) . It has an external color box for playback ; color recording is done with a box that fits in the place of the RF adapter . This is removable, so an RF can be put in for playback through a 'TV set . This machine has a dropout compensator with the color playback module . Projected list price is $1,500 for the deck song --a= AV-8400, AC-1000 (AC adapter/battery charger), 0 The AV-3400 is the machine that really started CLP-8000R (internal color pack for record), the video revolution . It has proven itself to be CLP-8000 (external color pack for playback) . reliable and has been used to produce some of the With a black-and-white camera, projected most exciting television since the medium's invention list price is $2,000 .

PANASONIC'

Our experience with the new Panasonic port- a brighter image . The function controls are able is limited due to its newness . Much to push levers for easier operation . There is a the Sony portable power switch which starts the heads turning, our surprise, you cannot use the camera with the Panasonic portable deck ; in so you get a still as soon as yos turn machine on . The pause lever doesn't catch ; other words, interchange of components is as switch yet impossible . One advantage that's immedi- for editing you would use the power ately evident is its lightness and narrower to get the heads up to speed and leave your hands free . Unfortunately, they have designed design . The viewfinder screen is slightly removed . larger than the one in the AVC-3400, showing the camera so that the handle cannot be

1 TAPE RECORDING COMBINED VIEWING CAMERA STILL ALI)Io S/N PORTABLE WIDTH TIME WEIGHT SYSTEMS PLAYBACK RESOLUTION RESOLUTION LENS FRAME SUBBING RATIO BATTERIES Shpg . wt . list price plc monitor 2 pkgs . Sony 1/2" 32 min 24 lbs electronic in 400 lines 300 lines zoom Yes Yes 40-dB 45 min 10+40 1745 .00 AV-c400 viewfinder camera 12 .5-75 olor 1 .5" pic monitor Panasonic 1/2" 32 min 22 lbs electronic in 450 lines 300 lines zoom Yes Yes 4o-dB 45 min same 17Q5 .0o NV-3082 viewfinder camera 12 .5-75 SEE PRICES PG 2

Most people are aware of the short duration BATTERIES of the gel cell battery that comes with the portapak . The 3-hour battery pak that Sony 0 BP-20 internal battery, 40 minutes of power, makes is both expensive ($129 .70) and sometimes requires ;-hour charge (with AC-3400) . The dangerous (i .e . large numbers of them are ex- BP:20 is a lead acid battery, called a gei: ploding) . The solution is to adapt a standard eett because the acid is in jelly form for 12-volt motorcycle battery . When properly safety . This battery cannot be overcharged, hooked up, it will provide 4 to 8 hours of because the charger automatically shuts off power, depending on the size of the battery . the incoming power when the battery is fully charged . Lead acid batteries should be re- Equipment : charged as soon as possible--they should not 1 12-volt motorcycle battery $12 .18 be left in the cold when they are not charged . 1 Sony car cord, DC2400 19 .50 1 cigarette lighter well 2 .00 wire 5 .00 40 BP-30 external battery, 3 hours of power, 1 1/2 amp trickle charger requires a16-hour charge . The BP-30 is a nickel 1 paper towel 1 plastic bag cadmium battery . These batteries have a longer 5 .00 lifetime . They can store more power in less 1 carrying case space than a gel cell a nickel cadmium bat- The CTL microproduction studio enables you tery the size of the BP-20 could give you 90 to go out into the field with a really portable, minutes of power . This battery cannot be battery-operated special-effects generator . The charged with an AC-3400 adapter ; use the SEG with 2 camera inputs does switches and charger that comes with it . Do not charge it fades--$220 .00 . 3 cameras--$285 .00 . The moni- for more than 16 hours-when overcharged, these tors measure 1" diagonally--$195 .00 each . A batteries have been known to explode . junction box for headsets allows communication between director and camerafolk-$85 .00 . Eead- sets--$35 .00 each . Panasonic TY-355C (pair) internal battery . Same as BP-20, but without the fancy package or cord . This unit with cameras and VTR can run off a single BP-30 ; because of the added power consumption, you will get approximately 1 1/2 hours of power from that battery . After a time you will find that your BP-30 The battery is hooked up to the cigarette light- won't give you a full three hours of power . To er well . Positive goes to the center lead, CTL SYNC DISTRIBUTOR re-energize the battery, keep your deck in negative to the surrounding sheath . Caution : standby until deck stops, with a matchbook The battery cannot be diteetky hooked into the * Multi-deck sync junction box for AV-3400 cover (or the like) putting pressure on the deck . Vottage eunges can brow the deck! The (CTL model SJ-1--$69 .00) enables you to use automatic shutoff switch (see VT's page 8) . Sony car cord is used to hook the cigarette 2 cameras and 2 decks to record in perfect This will completely discharge the battery . lighter well to the deck . The car cord is used sync . One camera controls both decks . For ex- Recharge for fifteen hours . because it has built into it a voltage regul- ample, when recording an interview, you would ator and fuses in case of surging . have one portapak recording Ferd, the other recording Carol . During editing, you would The battery should be charged approximately have Ferd on the playback deck, Carol on the once every -two weeks . If i-c is left- standir'g- editing deck . All edits would be made as in- 091 Paul McIsaac says : long period :; of time the bat- and an SEG uncharged for serts . If a servo-controlled deck 0 "Get nicads in series" tery will corrode . are available, you can put Ford and Carol each on their own playback deck, and then BP-30 (3-hr battery) A plastic bag with absorbent paper, towels them : (see page 26) *An alternative to the switch between is buying 10 nickel cadmium batteries in series . should be fastened to the battery runoff valve These can be purchased at Advance Electronics to catch any excess battery acid that might in NYC, or your favorite electrical supply spill . store . The finished battery can be stored in a camera For 4 hours of power, 12 volts, Paul paid $5 .75 case (or something that permits it to remain per nicad--$57 .50 . This charges for 14 hours . upright) and can be carried over the shoulder The charger is a 12-volt, 400 milliampere when using the portapak . trickle charger--$12 .00 . Total cost : $43 .50 This setup will need slight modification . Bring all the above supplies to Rodger at Alan Miller CTL ; he'll get it all working for you at AEF VIDEO about $10 .00 .

CTL VIDEO TOOLS #2 PORTABLE SYSTEMS 7 y

-AUDIO-.

VIDEO

-SYxe- The Time Machine ERASE HEADS RECORD 0 " A time bapse deck eompAesses in6o~tmation by skipping 6,cames ( .the Javelin neeonds 1. and TAPETRACK skips 6) . In ptaybaek each o6 the stoiLed 0 6names is tepeated a eo2nesponding numben o6 Video heads are actually small electromag- times . nets with a small space between the poles . When using the slow motion control on stan- When a magnetic material is placed in or , near dard VTRs you get lines across the picture . a magnetic field, the molecules of the mater- This is because the change in speed affects ial are reorganized, producing a magnet . In the angle at which the tape hits the heads . magnetic tape, the material is tiny oxide In the Javetin, the tape guide moves to change particles . The magnetizing device, called the that angle, compensating for the change in head, is a number of turns of wire coiled on speed--and eliminating the noise bar . a core . In the record mode, the core becomes magnetized by the record current passing Also, the Javelin switches between two sets of through the wires . As the tape passes the head, heads during slow playback, so that a clean the varying magnetic fields lay down a magnet- signal is available even when the main heads The VTR records electrical signals which ic pattern on the tape, directly proportional are scanning the re- area between two tracks . present the light levels seen by the camera . to the coil current . A direct reversal of this process occurs during playback .

In effect the VTR reads the arrangement of the oxide molecules .

1 The feed reel is slightly higher in position than the takeup reel, so that when the tape il passes across the heads it is descending, causing the video tracks to be slanted .

1 To the left of the video heads (drum) there is a full track erase head which is only activat- SONY II ed when the machine is in the record mode . Imo ' This means that when recording you are also PANASONIC 3 SH/BAOF erasing any information previously on that - , .y ~! tape .

To the right of the video heads (drum) is an- '~ other head assembly which records the audio and the control or sync pulses . Both are re- AgardiviiIIIIIII, AIN corded longitudinally, audio at the top of the LJaL !` .!.>r 1 ®. tape, control pulses at the bottom .

`-`--°" "- The capstan is the device which pulls the tape 1 along from the feed to the takeup reel . In re- 5 10 4 cord or playback the tape is pressed against it by the pinch roller .

TAPE EIAJ HORIZONTAL POWER C ,, LIST WIDTH WEIGHT DIMENSIONS STANDARD RESOLUTION CONSUMPTION SPECIAL FEATURES PRICE 15-3/ "w Sony 1/2" 33 lbs 9 - 3/16"h yes i AV-3600 300 60w audio dub - stop action 13 - 3/16"d 45 $°60 .0 15-5/ ":"w Panasonic 1/2" 33 lbs 8-5/8"h yes 300 60w audio dub - stop action 25 .00 ?' " NV-3020 15-3/8"d 850 player only 14-11/16% Panasonic 1/2" 28 Ibs 6-3/4"h yes 3 300 60w 40 595 . on NV-3010 13-13/16"d l .;-1 /2"w Shibaden 1/2" 30 lbs 7-5/8"h yes 300 85w SV-51 OU 14 , 'd 41 850 .00 29-3/ :"'.'"w Panasonic 1" 97 lbs 12-1/3"h no 450 260w NV-504 slow motion & stop action - solenoid operated 4200 .00 15-3/8"d adaptable to color - adaptable to 2nd audio TIME LAPSE 17-1/4 :1w Panasonic 1/2" 59 lbs 10-5/8"h no 260 115w 6, 12, NV-8020 24, & 48 hour settings - stop action 1895 .00 17"d - set to 6 or 12 hr - full audio capacity 1 : -l/2"w slow motion & stop action - insert edit - end J ave 1i n t 8 l b s 10-1 /h4 yes 300 95w of frame edit - records for 7 Firs independent -400 1995 .00 audio_ e rasure & recording 16-1/2% Shibaden 1/2" .4 lbs 37 9-11/16"h yes 300 100w 6, 12, 24 & 48 hour settings 48 2085 .00 SV-512U 16-1/2"d COLOR 155 - 715-7/9% Panasonic 1/2" 40Ibs8- 7/8"h yes 300 b&w 75w audio dub - stop action - dropout compensator 1250 .00 S NV -3120 17-1/8"d 240 color (player only 14-1/16"w Panasonic 1 /2" 31lbs8- 3/4"h yes 300 b&w 65w dropout compensator 42 895 .oo 9 NV-3110 13-17/32''d 240 color 1 -1/"w Sony I /2" 39lbs9-1/2"h yes 300 b&w 90w dropout compensator 50 1150 .00 10 AV-8600 240 color 15"d16-13/16% bade n1 /2" 35lbs9-13 /16"h yes 11Shi 300 b&w 60w 45 1375 .00 S V - 5 20 14-5/1 6"d 240 color 8 VIDEO TAPE RECORDERS CTL VIDEO TOOLS #2

The Shibaden editing machines made the most EDITING - Video editing is an electronic pro- AV-3650 there sound lag at perfect half-inch edits we have ever seen, but *On the Sony is a cess rather than a physical one, as in film . the beginning of each edit because of the dis- only for a few hours . Shibaden (as Number 3) The editing process is taken back essentially playing tance the tape has to travel to get from the really tries harder, so they have back scenes from your master (original) head . The Pan- they have sold recently, to tape erase head to the audio record all the machines and recording them onto a second VTR, assem- gets around this by putting the correct the problem. asonic NV-3130 bling one scene after another, unaltered in audio and erase heads together on one double any way . In order to get clean cuts (no glitch head (to the right of the drum) . or rollover) the second VTR should have a capstan servo mechanism . With this the motor speed of the capstan is controlled by the vertical sync pulse, so the tape is pulled along SOUND - OVERS WITHOUT A MIXER in sync with the incoming picture . *If you want to make audio dubs and retain The editing procedure is as follows : the old sound you need some way to turn off Cue the playback machine to the start of the the audio erase head . This can be done with scene that is required next . The recording ma- a switch or simply by covering the erase head chine is then cued to the end of the last with a piece of paper or masking tape cut to scene . Both machines are then backed up (6-10 size . On the 3650 you need only to cover the seconds, since it takes most VTRs 6 seconds to full erase head on the left of the drum . To come up to speed) . There are various methods make the audio dub, put the deck in forward, for backtiming, the most accurate is to use a press edit and then press audio dub hard, so stop watch, though this is very time-consuming . that the edit button pops up . Another is to use a grease pencil, or Dan Dha- 4ini, editing guide3 (By far our favorite me- On the 3130 the left half (erase portion) of thod--it is very quick and in no way affects the double head has to be covered . To make the tape, as grease pencils do--write to us an audio dub that retains the old sound, put and we'll send you the editing guides) . These the deck in assembly edit mode, start play guides are taped to the takeup reels on both and push audio dub . machines ; Dan has calibrated the number of revolutions the reel must make to move 6 sec- Making video inserts that retain the old onds . After backtiming, both machines are put audio is also simple . Andy Mann Say6 on the in the pause mode, to start the heads turning . 3650, put the deck in forward, then press Both machines are then started simultaneously edit . Keep the edit button depressed with in the playback mode . When the edit point is record . The edit NEW 1" EDITING one finger and then press DECK WITH BUILT-IN COLOR PACK reached, the record deck is switched from play- held down for the duration Sony UV-340--Digital readout in button must be tenths of a back to record and an edit is achieved . the insert to keep the old audio . second, for easy editing . Signal-to-noise of ratio is better than 44dB--Horizontal resolu- INSERT EDITING MODE is used to insert new in- the 3130 both the full erase head (to the tion 340 lines b&w, 270 On lines color . 2 tracks formation within the confines of an existing left of the drum) and the erase portion (left of audio . Compatible with the EV-220F in recording . The insert mode ut.ifizeb the ex- half) of the double head must be covered . black-and-white mode . izting conttoZ thaclz . Make your insert in the usual fashion . The projected price $8000 . old audio will be retained . UNDERSCANNING THE MONITOR enables you to use the skew control to improve the quality of Whenever you cover heads with tape, be sure your edits . You are in fact partially correct- to clean the heads thoroughly after removing ing the horizontal time base stability problem the tape . a that is inherent in 1/2" video . The horizontal N aot time base instability is caused by the stretch s o ~ on the tape ; the skew controls the tension SONY o - 0 from the feed reel . w .~ r o d w Z3 S M V o HOW TO USE THE SKEW - You will notice that cS when the monitor is underscanned the vertical lines at the bottom of the picture are broken and skewed to the right or the left, z o d~ how far depending on how much the tape has 0 - o am been stretched . You should adjust the skew be- ~ d r fore making an edit . Make this adjustment from c~ ,' "e o the playback mode . By matching the image in the broken line to the rest of the picture, _d r y you are matching the bottom of the field you orb ~ are looking at to the top of the next field . z ~ Zs o~

w ~ 's HOW TO UNDERSCAN THE MONITOR - In the back of N ZJ T3 d your monitor you will find a number of screws . Z O ~ G -SIs The screw marked height or size is the under- w-e 0 0 0 scanning control ; turn it slowly until you W o of :O:, (that's the vertical blank- 0 see a black bar ing) at the bottom of the picture . ftnasmild

The NV-3130 and the AV-3650 are the most popular half-inch editing decks ; both have a little problem with audio at the edit point . Using the 3650 you will get a two-second sound delay ; with the 3130 there is no delay--instead a short popping sound is recorded .

ING TAPE RECORDING HORIZONTAL EIAJ S~'_ LIST DECK WIDTH WEIGHT DIMENSIONS TIME RESOLUTION STANDARD SPECIAL FEATURES PR IrH 18-3/4% flying erase head - adaptable to color Sony 1" 86 lbs 10-1/4"h 60 min 300 no 2 channels on audio - slow motion & stop action $5950 " 00 EV-320F 19-1/4"d - solenoid operated color 15-7/6% Panasonic 1/2" 46 lbs 6-1/4"h 63 min 300 6&w 1 stop action & slow motion in playback 1650 .00 2 NV-3130 16-3/4"d 240 color - drop-out compensator 17-5/16% Sony 1/2" 42 Ibs 9- 5/16"h 60 min 300 1 audio dub - stop action 1245 .00 3 AV-3650 15-11/16"d color 16-1/2% Shibaden 1/2" 37 .4 lbs 9- 13/16"h 60 min 300 b&w insert & assembly 50 1815 .00 4 SV-520D - 16-1/2"d 230 color 16-1/2"w Shibaden 1/2" 32 lbs 7-5/8"h 60 min 300 1 insert & assembly 45 1232 .00 SV-51 OD 16-1/2"d 15-5/8"w 6 Panasonic 1/2" 36 1bs 8-5/8"h 63 min 300 1 audio dub - stop action & slow motion in 50 1150 .oo NV-302OSD 15 - 3/8"d playback

CTL VIDEO TOOLS #2 EDITING SYSTEMS 9

FOR USE WITH VO " 1600

OSONY ALT-1 is an ieota-ti.on th.anz6oAmeA which gets rid of hum . It is needed when dubbing onto cassette except when recording from another cassette . [John says you will also need a vaAiabte attenuatoA which is a device .used to reduce the input level of the sound to the AGC (Automatic Gain Control) threshold] The AGC circuit automatically reduces the volume o£ an input signal when it is too loud for the recorder . On the VO-1600 the AGC is designed to accept very low level audio signals ; therefore the signal from another deck is much too loud and gets reduced by the AGC . During a silent portion of the tape the ACC readjusts itself trying to maintain optimum recording level . As the amplification (gain) is turned higher and higher, background noise such as room tone, hum, and tape hiss are brought to The Panasonic video cas- full volume--yecch . sette machines NV-2125, For .rewind-replay - $200 .00 NV-2120, NV-2110 use 3/4" CTL modification automatic To compensate for this it is necessary to re- tape . They have 2 tracks duce the level of the incoming signal by the for audio, and a built-in use of an attenuator, or a mixer such as the RF adapter for channels Schure M-67FC or M-68 . [CTL's attenuator, 5 and 6 . The NV-2125 has with 2 inputs, 2 outputs, lists at $29 .00] a built-in tuner for recording off the air . Max- imum record/playback time 60 minutes . NV-2120 list $1450 . DR . CALEB GATTEGNO (OF EDUCATIONAL SOLUTIONS) 1150 . NV-2110 list EXCERPTS FROM AN INTERVIEW, DECEMBER 1, 1972

Only awareness is educable in man and awareness is an alien notion for 900 of the people . If you make tapes on awareness, either you CASSETTE show people who are concerned with awareness or exercises that people get engaged in . I want to blow people's minds using the medium itself . I am a student of awareness, therefore The Sony video cassette I am aware of what my sight does to me, what machines VO-1600 and my ear does to me . I am interested in making VO-1000 use 3/4" tape . video tapes that uncover areas that have never They have 2 tracks for been looked at . I cannot teach anyone anything, audio, and a built-in RE my teaching is not passing on information, it adapter for channels 3 challenges, it forces the mind to focus on and 4 . The VO-1600 has a some aspect . I teach languages silently ; this built-in tuner to allow is heresy to all the teachers of language . recording directly off the air . Maximum record/ Adults have all learned from words, when playback time 60 minutes . they are part of a visual culture . VC-1600 list $1,525 .00 list $1,095 .00 There is a new role for teachers . I don't VP-1000 want to replace teachers, I want to make television the teacher in the home . Schools have to do something else . If you watch television and you only get soap operas or news, you are not using the totality of the medium . Since this medium will be with us for generations . at some point people will want to use it properly . That's when they will come to me, if I'm alive, and say "Give us a program that can blow the mind ." I have a whole series of scenarios which Our experience with the cassette machines the equipment, you should not put the cassette start with almost nothing, a dot on the sc.reep has been very good . They use high-energy tape, in, or pull it out, unless it's at the begin- and this dot becomes, with explosions through therefore increasing the signal-to-noise ratio . ning or, end of the reel . The edges of the tape drawings, a star . I act on that star and the The color is great . If you record on the cas- get chewed up if you do . Panasonic added a film or tape shows you what I want you to be- sette format you will need to transfer mater- nice touch to their cassette machines--an elev- come conscious of . From the dot come lines ial onto reel-to-reel format in order to edit . ator which lowers (or raises) the cassette which go in all directions . I put maybe 50 It costs more to do, but it works out really into place . 'The Sony machines just drop the such lines, there is space around the edges . well for color . Also, because of the nature of cassette into place . After a while I can put 50 more, and 50 more until the star covers the plain, so you can think of the plain as being a star with an infinite number of rays . Then it returns, goes backward until I have only a few rays remain- The Panasonic cartridge machines NV-5125, NV-5120, NV-5110 ing, then one of them can sweep the screen, them is representing the infinity, so use 1/2" (EIAJBE #1) tape . Each has a built-in dropout com- one of pensator and adapter . These machines automatically rewind . when you see one you can see infinity . I can Maximum record/playback time is 30 minutes . The NV-5125 has force you to see infinity . You can see infin- a built-in tuner . #### The Shibaden SV-53OU has a built-in ity when looking at only one thing . And that, dropout compensator and automatic rewind ; RE optional . of course, is the power of the medium . NV-5120 list $1350 . NV-5110 list 1050 . Education has been through words, words are slow . They take a lot of energy . While with (see prices page 2) television, we get so many impasses at once . I have spent years reducing centuries of knowledge to seconds of impact . It's a new way of using our minds which does not conflict with the previous one . I cannot say I love you through television, I have to be there . You have to use words . The purpose of speech shall remain the purpose of speech, we shall know it better because we will know its limitation . Television can do a great deal more when it's coupled with computers, which is another of our creations . Because man has created the tool, it becomes an extension of man, it's not a substitute for man . It allows us to get into areas, because of its speed and its memory, 4J We have had very little experience with these machines . Delivery of our demo where we are precluded because of our slowness . Now that we have this technology, let's have model came recently . They look great . One advantage with this system is that with it . If any EIAJ #1 tape (longer than-20 min . requires special thin tape) can be used the education that is compatible with the addittion of leader, trailer and a cartridge box . Another is that the you know your powers, you use them ; if you can tape is not being grabbed, but instead is threaded automatically onto a second walk, you carry yourself around, so .let's try reel inside the machine . Cartridge machines have only one track of audio . to use these new powers .

`TL VIDEO TOOLS X12 10 CASSETTES & CARTRIDGES CATALOG PLAYING LIST UMBER TIME PRICE EIAJ TAPE FORMAT AUDIO VIDEO ANASONIC 1/2" CARTRIDGE TAPE SYNC VP-510 10 MIN . 15 .95 NN VP-520 20 MIN . 18 .95 *VIDEOTAPE is just a ribbon of a flexible NVP-530 MIN . 22 .95 base material 30 (usually Mylar) . Onto the sur- VR-510 CARTRIDGE face of this is a mixture of binder or glue REEL 10 MIN . 2 .95 and finely ground particles of iron oxide . VR-520 " 30 MIN . 2 .95 These particles are magnetized by the field NN VB- 44 CART . BOX 30 MIN . 2 .95 from the heads(see VTR page 8) . The endless loop VB- 44 SPLICING TOOL cartridge is for FOR LEADER/ HIGH ENERGY TAPE (cassette tape is high energy) reel-to-reel machines . TRAILER 17 .50 is coated with an oxide that requires a strong- Five or ten minutes NVP-506 LEADER 4 FT . .75 er magnetic field for recording . When this of information will N VP - 507 TRAILER TAPE 886 FT . 45 .00 tape is played back the signal is stronger, continually replay VP-508 SPLICING TAPE but the noise in the machine remains constant . until the machine is FOR LEADER 60 FT . 7 .95 Therefore this tape increases the Signaf--to- stopped . This loop noise tatio, which is the ratio of the noise cartridge cannot be ONY 3/4" CASSETTE TAPE on a line of video to the actual signal . High used on a portapak . energy tape will play back on any machine, but KC-10 10 MIN . 17 .00 because different recording currents are re- KC-20 20 MIN . 20 .00 quired, a machine must be specially set up in KC-30 30 MIN . 25 .00 order, to record . There are two types of high KC-6o 60 MIN . 35 .00 energy tape, the first, chtomium dioxide .tape, has a harder surface than conventional tape, KC-30 3 lbs ./ KC-60 5 lbs . resulting in increased head wear . The other, cobaft doped .tape, is no harder than conventional tape . It allows for the increase in quality without sacrificing head life .

SILVERCHROME tape has an extremely fine-grain structure (finer particles) and a much smooth- LV-5 5 min . 524 . er tape surface . This tape also increases the LV-10 10 min . $30 . signal-to-noise ratio . It has an extra-strong

binder system, decreasing dropout (missing oxide on the tape) . Silverchrome gives you all the advantages of high energy tape with none 1/2 hr . 1/2" 1 lb / 1 hr . 2 lbs . of the disadvantages . We have found this tape 1/2 hr . 1 " 3 lbs/ 1 hr . 5 lbs . best suited for editing because of its binding SONY system . When you are in the pause mode, the Catalog Playing Tape Reel List heads are wearing away the oxide particles . Number Time Size Size Price SONY EMPTY REELS Pre-test when editing . You can necotd btack on the whole tape (laying down a track which the V-30F 10 1/2" 4 5/8" $10 .00 Catalog Tape Reel List heads can follow during the recording process) Number Size Size Price and check the tape for dropout . V-30D 20 1/2" 4 5/8" 15 .00 RH-5V 1/2" 4 5/8" $2 .75

SPLICING should be ,avoided but in the event V-30H 30 1/2" 5 1/8" 20 .00 RH-5E 1/2" 5 1/8" 3 .00 your tape breaks or gets chewec up, you might want to cut out the damaged portion of tape and splice the ends back together . Special V-31 30 1/2" 7" 20 .00 RH-7V 1/2" 7" 3 .00 aZuminized "eptic.bng tape should be used, and great dare should be taken when fitting the ends together--any mismatch can really damage V-32 60 1/2" 7" 40 .00 RH - 72 1/2" 7" 3 .00 the heads .

V-12-30 30 1" 8" plastic 40 .00 RI-8VP 1" 8" plastic 6 .50 metal 50 .00 CARE OF VIDEOTAPE is of great importance . Es- sentially, information placed on the tape dur- V-12-6o 60 1 ~' 8" plastic 60 .00 R1-8V 1" 8" metal 12 .00 ing the recording process is permanent and metal 70 .00 will remain unchanged unless altered by an external magnetic field . Even though the magnet- Dan says ic signal will not deteriorate, the physical " Karex empty reels are cheaper than Sony's ." properties of the tape are susceptible to dam- KAREX sillverchrome age . Poor handling or faulty storage can make LET'S KEEP IT CLEAN Playing Tape Reel List a tape useless . Catalog Number Time Size Size Price Dirty tape will cause dropout, random noisy spots on the picture . Care should be taken to Tape should be stored like books, on its side SC-1 14-20 1/2" EIAJ 4 5/8" $14 .95 cover unused tape machines . The plastic bags its box . the is stacked one on top in If tape that tape comes in are useful for storing re- of another you are putting pressure on the corded tape, even when it is in a box . reels, which in turn puts pressure on the SC-2 32 1/2" EIAJ 7" 21 .97 edges the tape . Tape should be put back in- of When all else fails and you have a dirty tape to plastic bags . Clean the dust that has ac- (40-60 dropouts per minute), hold a lint-free . cumulated off the box before opening it again SC-2A 32 1/2" EIAJ 5 1/8" 21 .97 tissue against the oxide side of the tape as it is run through the machine in the fast-for- The way the tape is wound on the reel is of ward or rewind mode . Kimwipes, Kimberly- primary importance . If the tension is too SC-3 64 1/2" EIAJ 7" 39 .95 Clark, or M:ctowipe6, Scott, have both been great or not great enough, the information Don't use facial tissue, it cinch used with success . stored on the tape will be affected . A 8" lint generator . A word of caution-- by will is a good or wrinkle in the tape caused slack, sC-8 32 1" SONY metal 39 .00 fingers clear of the edge of the tape . It the layers of wound keep be transmitted through reel can cut into a finger just like a piece of tape . The area of tape that is wrinkled should - 8" bond paper . be spliced out ; it is not good for the heads SC-9 63 1" SONY metal 59 .95 Mark Bradley and the information on that area will be un- reel Karex, Inc . viewable .

CTL VIDEO TOOLS #2

Available picturesize : 50" measured diagonally (40" width x 30" height at 50" screen) Audience area : viewing area : 10-70' / at 50" screen optimum seat arrangement: Projection approx . within = 40 degrees from center distance : 5' for 50" picture Dimensions : video projector: 15" (W) x 27" (H) x 19" (D) video screen: 45" (W) x36" (H) z 4" (D) video screen with stand: 45" (W)x 59" (H) x 16" (D)

SONY Color Video Projection System

VSS-O1 Screen Stand $ 150 .00 VPS-500 Screen 300 .00 C VRC-1 Regulator 35 .00 VTU-5 Tuner 325 .00 .QCFQQ O0

Video screen with the optional floor stand. A wall-mounted video screen . Sound waves come Sound waves come from the speakers built from the built-in speakers of the projector and are into the video screen stand VSS-01 . reflected, with the picture, from the screen .

SONY TRINITRON Color CRT

In conventional color TV tubes, there are three electron beams, one for each of the three primary color spots . These are set up in a triangular formation . The convergence of the three beams is very critical, necessitat- Large single-axis ing complex adjustments . The Trinitron system projection-lens Aperture grille uses a single electron gun and a color-selec- (Color selection method) tion device called the aperture grill . Three - - 3 electron-beams beams in "a line come from the gun ; the grill separates the beams . There are fewer controls for convergence, adjustments are greatly sim- plified . American TV manufacturers are switching to the Trinitron (in line) system for color TVs up to 19" .

CTL VIDEO TOOLS N2

SPECIAL FEATURES AND ~ST SCREEN VIDEO AUDIO APPROX . APPROX, HORIZONTAL TUNER Sp; STANDARD ACCESSORIES p1T - ICE MONITOR DIAGONAL CONNECTOR CONNECTOR DIMENSIONS WEIGHT RESOLUTION (RECEIVER) 19"w 750 .00 1 Sony (4) 4" coax 5-1/4"h rack mountable PVM-400 12-1/2"d 61 1w 219 Shibaden 5" UHF 7-3/4"h 11 .7 lbs 500 15 .45 VM-502 11-1/4"d , 'w Panasonic 6" coax 7 - 3/4"h 10 lbs 600 metal carrying case 14 220 .00 TN-63 II -1 /4"d 19"w 45 4 Panasonic (3) 6" coax 7"h 34 lbs 600 rack mountable 650 .00 TN-633 11-1/4"d 9-1/8"w 16 250 .00 Sony 8" coax mini 10-1/2"h 12 lbs Yes earphone - external antenna connector CVM-950 & 8 in & 8 in 10-7/8"d - 8-pin connecting cable 8"w 24 250 .00 Panasonic 8" coax 9-3/4"h 18 lbs 800 metal cabinet 6 TN-93 15-3/8"d 8"w under-scanning switch 28 300 .00 1 Panasonic 8" coax RCA 9-3/4"h 20 lbs 800 metal cabinet - TN-95 & 8 in & 8 pin 15-3/8"d 19 w 48 500 .00 Panasonic (2) 8" coax 10-1/2"h 38 lbs 800 rack mountable 8 TN-932 15-3/8"d 19 w scanning switch 600 .00 Panasonic (2) 8" coax RCA 10-1/2"h 45 lbs 800 rack mountable - under TN-952 & 8 pin 15-3/8"d black cabinet finish with silver trim 20 145 .00 Panasonic 8" coax 9-5/8"h 15 lbs 450 10 TR-910M 9"d - diecast handle 9-5/8''W finish with silver trim 20 190 .00 Panasonic 8" 8 pin 8 pin 9 - 5/8"h 15 lbs 400 Yes black cabinet d handle 11 TR-910V 9 - diecast 8-7/1 "w 35 465 .00 Ball Bros 8" UHF 8-1/2"h 27 lbs 800 12 TU-8 17-1/4"d -11/1 "w 16 250 .00 Ball Bros 9" coax 9 - 3/16"h 12 lbs 600 13 T E-9 10-1/16"d

mounting 475 .00 Ball Bros (2) 9" This is a twin unit of TE 9, for 19" rack 14 TE9RT 1Q-1/4 1 w 500 rack mountable 702 .00 Sony (2) 9" UHF 9-1/2"h 65 lbs 15 PVM-900MA 21-7/8"d 11-7 "w Yes earphone - 8-pin connecting cable 22 175 .00 Sony 11" UHF mini 11-5/8"h 16 lbs 16 CVM-112 & 8 pin & 8 pin 13-1/2"d 7"w 240 400 leather grain finish - diecast handle 30 .00 Panasonic 12" 8 pin 8 pin 12-1/4"h 22 lbs 11 TR-513V 11-1/2"d 15-1/2% 24 251 .90 Shibaden 12" 8 pin 8 pin 11-1/2"h 17 .6 lbs 450 18 TU-120 U 8-7/8"d 13"w Ball Bros 12" UHF 9"h 600 350 .00 19 TE 12 10-11/16"d 11-1/ "w Ball Bros 12" UHF 11-3/4"h 24 lbs 800 32 490 .00 26 TU 12 18-1/2"d 16-5/16% Shibaden 17" UHF 15-3/8"h 33 lbs 650 45 328 .90 21 VM-172 (CCTV) Il-3/8"d 16-5/16% 45 328 .90 Shibaden 17" UHF 15-3/8"h 33 lbs 6oo 22 VM-171 11-3/8"d 16" w Ball Bros 17" UHF 16-1/2"h 35 lbs 800 48 515 .00 23 TU 17 I6-3/4"d I -1 2"w Miida (Hitachi) 17" UHF 13-1/2"h 40 lbs 550 -_ 50 320 .00 24 TIM-11C 15-I1/16"d 22-3/4"w Sony 18" UHF XLR 17-1/2"h 50 lbs Yes 8 pin connecting cable 335 .00 25 CVM-192U & 8 in & 8 in 13-1/2"d 22-3/ "w 300 .00 Panasonic 19" UHF RCA 16-1/8"h 36 lbs 600 Yes black metal cabinet finish 48 26 TR-195 V & 8 in & 8 pin 14-5/8"d 2 -1/2"w Shibaden 20" UHF mini 17-7/8"h 44 lbs 400 Yes 357 .50 21 TU-2000 & 8 pin & 8 pin 14-3/16"d 27 - 7/8"w Panasonic 22" UHF 19-13/16"h 62 lbs 600 wood finish 325 .00 28 TR-220M 15-3/4"d 27-7/8% 00 Panasonic 22" 8 pin RCA 20"h 48 lbs 600 Yes wood finish 375 " 29 TR-220 V & 8 pin 16-5/16"d 19 - 15/1 "w Shibaden 23" 8 pin 8 pin 19-11/16"h 66 lbs 550 Yes 568 .50 30 TU-23UL 13 - 3/8"d 23-1 8 545 Ball Bros 23" UHF 22-1/2"h 99 lbs 800 .00 31 .TU 23 21"d

COLOR 22 w Triitnnr system - 8 in connecting cable 595 .00 Sany 12" UHF mini 14- 3/16"h 48 lbs Yes 32 CVM-1225 & 8 in & 8 pin 15-7/8"d 21-13/1 "w system - 8 pin connecting cable 850 .00 Sony 17" UHF mini 15-11/16"h 68 lbs Yes Trinitron d (10 ft) 33 CVM-1720 & 8 in & 8 pin 20-1/16 3100 .00 hanger mount available - bar & cross hatch generator (2900 .00) Ball Bros UHF & 145 lbs internal color 25" switch - degaussing 34 TCR Series (also 19") RGB - underscan 19"w rack mountable - under-scanning switch 800 .00 Sony 12" coax 12-3/16"h 57 280 35 PVM-1200 16-6/16"d

CTL VIDEO TOOLS #2

Beam control Light Control Focus control Target control Auto/Manual Sync selector B&W Ext/Int

IIIIII~~ IIIIIIII IIIIIIII IIIIIIII Intercom jack

Optical focus PANASONIC MODEL WV-341P control Rear zooming control

*There is an optional circuit board for the WV-361P, which gives internal 2 :1 interlace sync . $75 .00 Video Output Connector Panasonic WV-380P has aperture correction . This . compensates for shading caused by lens, to give even brightness so there is no dark- Target Voltage Control of Vidicon ness at the edges of title cards, &c . Beam Control of Vidicon Electrical Focus Control nen,ouo .LOw,I Connoi Sdecoon Swnch

O n" ~" enrvnsnmu. Cnnnast

WV-380P HIGH RESOLUTION STUDIO CAMERA Lens

WJ-1700P SUBCARRIER PHASE SHIFTER-DISTRIBUTION AMPLIFIER Color IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII The color signal is made up of 3 primary colors : red, green and blue (RGB) . Initially, all color cameras used 3 pickup tubes, one for each of the primary colors . - corl9rotn I In a 4-tube camera, one tube is for luminance, ir:iuiilumhimi :u or white, which gives detail . It is unnecessary for the color signal to be Lens mounting screw Ieir-m lack Pd ., lamp really sharp in order for the picture to be viewed as sharp ; the human eye is not sensi- Tripod PamCamera cable connector tive to detail with color information . So, to receptacle Zoom lens shaft guide make color cameras lighter and less expensive, I just the proportion of color at each area of the picture is encoded, rather than exactly where the edges of color are .

POINT SEQUENTIAL SYSTEM - In cameras with two vidicons (like the DXC-5000), one produces the Y or luminance signal, the other produces point sequential color signals (RGB) . Incoming light is split at the back of the zoom lens assembly to be focused on the faceplates of both vidicons . There is a stripe filter in front of the chrominance vidicon to perform color dissection . As the electron beam scans the image formed by the vertically-aligned striped filter, an output signal is produced in this sequence : black, blue, red, green . The black signal produces an index pulse used in DXC-5000B decoding . These signals then go through the mama!muu!uluouraluisluuou'uuoumlluHlouu~uuldle!o!mpI!!ttouruorli!I!~I!ousmllllm!uoeouu amuu sample-and-hold process . This is done with III!!Iruumu!!oI!I!I!I!liuuurcruuuluoluonlonouuul three cllroma gates which open one at a time in lalmpnli!uuo!u!!luuuoo!nuuulrruluiunlvvdlllwan!I sequence . After the black pulse, as the blue stripe is being scanned, the first gate opens, measures the color and holds it until the other colors are measured . This is done to provide a continuous output .

(CCD) color camera . The CCD camera uses a flat solid state matrix of light-sensitive spots to PORTABLE COLOR translate the image into an electrical signal . This will eliminate the vidicon tube, which is the major cause of weight and unreliability in A.KAI CVC-150 S is the first handheld color video cameras . Experts are predicting a CCD camera to be introduced in the U .S . As with color camera (of 1/2" quality) before the end all vidicon color cameras, it is necessary to of 1973, and a broadcast color camera within use very flat lighting to achieve an accep- two years . table picture . Thus, although the camera is light and easy to shoot with, unless you have In conclusion, if you must "get it down" now, lights set up, you can't walk into a room and buy the Akai . If you are planning a system for start shooting . future purchase, or if you are buying now with limited funds, and black-and-white will do the The quality of the picture is a little worse job, give the technology a little more time to than the DXC-5000 Sony color camera, but I develop . John morn lens ass'y beam-splitter Crlissector be feel it is acceptable for 1/2" video . The thing to remember is that the technology Separate luminanre .cystm exists to take any video image and run it through a computer to produce broadcast-qual- MAGNAVOX SERIES 400 Luminance (or "Y") is the amount of light ity signals . At this point it is very expen- intensity, which is perceived by the eye as sive to do this, but the cost of the hardware brightness . and software is getting lower . *Lui saw the new Magnavox color camera at a trade show in Las Vegas . It's chrominance small, about the is the property of light which Although the Akai CVC-150 S is the first, sev- size of an AVC-3200, and inexpensive ($2500) 1 produces a sensation of color in the human eral other companies are developing similar but the picture quality is poor . The resolu- eye, apart from any variation in luminance products in this price range . The most impor- tion is only 200 lines and there's too much red that may be perceived . tant breakthrough is the Charge Coupled Device in the picture .

CTL VIDEO TOOLS N2 14 CAMERAS

41In the image intensi{1 ier light is focused The Sylvania model 221 uses 3 intensi- by the lens into fiber optic tubes, which fiers to give 3 stages of intensification . carry the light to a photocathode surface . These intensifiers attach to most cameras The photocathode gives off electrons when (porta.pak included) & take C-mount lenses . struck by light . The phosphor screen, like a a TV tube, gives off light when struck by Lug. saw the Sylvania intensifiers and electrons . bays that they look as good as the West- Before the electrons reach the phosphor inghouse intensifier camera ( costing screen they are accelerated by a 12,000 $9,390) . This is a camera which provides volt potential . viewable pictures with as little as .0002 When weak electrons (from low light) get footcandles of light . There is no lag speeded up, they create a brighter light problem with image intensifiers . when they hit the phosphor screen . This brighter light is then focused onto the 221-first generation device $2500 . vidicon . 222-2nd generation, much smaller $5900 . Lui says " The next best thing for shooting in low light is a silicon diode tube ."(see pg . 16)

List View Horizontal Vidicon Shag . wt . price Camera Weight Dimensions Finder Resolution Tube Lens Special Features 3-1/4"w Panasonic 4 lbs 5-9/16"h 550 2/3" F1 .6 - 16mm comes with 20 ft coax cable 8 255 .00 Mount (no iris) WV-200 P -10"d C 3_d/,-1w coupler, type C8 8 375 .00 Panasonic 4 lbs 5-9/16"h 550 2/3" F1 .6 - 16mm comes with coax cable, coax cable WV-240 P 10"d C Mount (no iris) - use with VEC series 3-9/16% 8 475 .00 Panasonic 4 lbs 5-19/32"h 400 2/3" F1 .6 - 16mm comes with 20 ft coax cable, coax coupler, RF out 5 & 6 WV-250 P 10-5/16"d C Mount type C8 - use with VEC series - 5-1/2"w 2-way viewfinder to see effects Panasonic 12 lbs 6-1/3"h 4 .5!' 550 2/3" Fl .6 - 16mm 4 .5" viewfinder - comes with coax cable 8 595 .00 C Mount (no iris) - use with 10-G series cable WV-341 P . - 14-1/2"d 7% viewfinder playback with coax cable 750 .00 Panasonic 14 lbs 7-1/2"h 6" 550 2/3" F1 .6 - 16mm 6" viewfinder - comes 20 WV-361 P 14-1/2"d C Mount (no iris) - use with 10-G series cable _ Panasonic 7-1/2"w comes with camera control unit Studio Camera lbs 12-1/2"h 700 2/3" optional 25' camera cable, 4 pin 45 2000 .00 35 light WV-380 P 21-1/4"d plug f or power supply & tally 3-3/4''w, signal output - auto 9 310 .00 Sony 5 l1as 3-3/4"h 400 2/3" F1 .8 - 16mm UHF connector for video compensator AVC-3000 9-7/8"d C Mount light-lev el -3/1 with 16 ft camera cable, carrying case, 25 830 .00 Sony 7 lbs 4-3/4"h 4" 4oo 2/3" zoom lens VCL-165 comes tripod, mi crophone with extension cord AVC-3200 DX 13-1/4"d F2 .0 - 16-64mm 4-3/16 .1w with carrying case, tripod, microphone 25 925 .00 Sony 7 lbs 4-3/411h 4" 4oo 2/3" zoom lens VCL-16B comes extension cord AVC-3210 DX 13-1/4"d F2 .0 - 16-64mm with 2-13/16"w zoom lens microphone, requires CMA II except 10 695 .00 Sony 6 lbs 5"h 1" 400 2/3" F/2 - 16-64mm built-in 34oo AVC-3400 15-1/16"d C Mount with AV Sony ' .w built-in 2 :1 interlace sync generator - C Mount 25 830 .00 Studio Camera 14 lbs 11-1/8"h 4" 450 2/3" without lens choice of lens AVC-4200 A 14-3/4"d for 17-7/16"w C Mount adapter - optional single 28 1325 .00 Sony 18 lbs 3-1/2"h 650 1 without lens comes with for zoom AVC-46oo 13-13/16"d rod control 3-3/4 " 'w C Mount random interlace, takes external sync 10 329 .89 Shibaden 5 .5 Ibs 4-3/8"h 500 2/3" F1 .8 - 16mm HV-405 9-1/4"d w/fixed iris " 'w interlace 12 495 .00 Shibaden 7 lbs 6-1/2"h 600 1' . F1 .4 - 25mm random HV-15 10-7/8"d C Mount " .w 12 687 .50 Shibaden 7 lbs 6-1/2"h 600 1" F1 .4 - 25mm 2 :1 interlace HV-15S 10-7/8"d C Mount 3-7/ "w 2 :1 interlace - external switchable VF mode 16 654 .50 Shibaden 12 .1 lbs 8-Il/16"h 3" 450 1" F1 .9 - 25mm HV-70F 15-3/4"d removable 6-1/8"w single axis rear control 2 :1 interlace 21 1424 .50 Shibaden 16 lbs 10-15/16 "h 5" 550 1" zoom lens, adapter for external FP-IOOA w/o lens 13-3/4"d C Mount, 5 :1 zoom _1/ "w CCU - external sync only 21 2194 .50 Shibaden 16 lbs 10-15/16"h 5" 600 1 C Mount FP- IODD 13-3/4"d 3-7/8''w RF - random interlace 5 240 .00 Hitachi 3 .3 lbs 2-1/2"h 550 2/3" C Mount built-in TIE -250 7-7/8"d

View Horizontal Vidicon 2) Color Special Features (see prices page Camera Weight Dimensions Finder Resolution Tube Lens single axis rear control junction unit, 20 Shibaden 16 lbs l0-15/16"h 5" 550 1" zoom lens, adapter for comes with FP-1000A 13-3/4"d C Mount, 5 :1 zoom - NTSC type 7-1/2"w 2 :1 interlace - NTSC type 10,945 .00 Shibaden 41 .8 lbs 14-1/2"h 5" 400 2/3" F1 .8 - 20-100mm FPC-1000A w/o lens 20-7/8"d 3-tube Fujinon -- 7-1/2"w CHALNICON 2 :1 interlace - NTSC type Shibaden 41 .8 lbs 14-1/2"h 5" 400 2/3" Fl .8 - 20-110mm FPC-1000A Sl w/o lens 20-7/8"d 3-tube Fujinon -9/1 "w 2 :1 interlace - NTSC type 10 Shibaden 6 lbs 5-1/8"h 250 1" C Mount HV-1500 w/o lens 9-1/4"d 1-tube 8-1/4% PLUMBICON 16-16omm built-in color bar generator 17,886 .oo Shibaden 48 lbs 14-3/4"h 400 1' " F2 .5 - FP-1200 23-3/8"d 3-tube 5-7/8% NTSC type - 2 :1 interlace 25 10,945 :00 Shibaden 18 lbs 7"h 400 2/3" optional HV-1100 16"d 3-tube Ib-5/Ib"w red, green, blue & NTSC type 30 11000 .00 Sony 8 Ibs 2-7/16"h 4" 450 1" F2 .0 - 16 .5-95mm gain & pedestal control - 2 :1 interlace DXC-5000B IO"d 6 :1 zoom 6-1/2% optional NTSC type - 2 :1 interlace 42 455 .0^ Panasonic 22 lbs 8-7/16"h 4 .5" 500 2/3" "d WV-2100P 16 2-tube TRINICON Sony 7"w 1" control unit - 3900 .00 F2 .5 - 18-lo8mm internal sync generator & Trinicon 23 lbs 7-3/8"h optional 300 1-tube 6 :1 zoom 2 :1 interlace DXC-1000 22-3/8"d ($300 .) CTL VIDEO TOOLS #2 CAMERAS 15

The choice of a particular focal length lens is not only a matter of covering the field of view that is required . Lenses of different focal lengths also produce different perspec- tive effects .

A short focal length lens (wide angle) makes an object that is moving toward or away from the camera appear to be moving much faster ; it also has a greater depth ob bietd--this is the range in which things are in focus in front of and behind the object you are focusing on .

Lenses have an iris diaphragm which can change the diameter of the lens opening (called the apentune) and affect the amount of light allowed to reach the vidicon . The higher the f-stop number (aperture closed), the greater the depth of field . Depth of field is proportional to the distance of the camera to the subject, the focal length, and the f-stop . (Camera shake is more apparent at a long focal length .) ------

LENS APERTURE FOCAL LENGTH PRICE

Standand-Fixed bocat ngth 2/3" vidicon C-1214 1 .4 leCO 12 .5mm 115 .50 HlOX11HP 2 .5 11-110mm 848 .00 SMI CAR C-418X 1 .8 4 .8mm 157 .95 H5X14P 2 .0 14-70mm 371 .00 C-2514 1 .4 25mm 62 .95 Manual Zoom 2/3" vidicon H8X12 .5HP 1 .8 20-110mm 689 .00 C-2519 1 .9 25mm 34 .95 FUJINON C6Xl8HP2 2 .0 12 .5-100mm 790 .00 FUJINON HSX14A 2 .0 14-70mm 212 .00 Rears Contnot Zoom .1" vidicon HF35-A 1 .7 35mm 70 .16 H8X12 .5A 2 .0 125-100mm FUJINON Tetephoto 2/3" 483 .95 vidicon HlOX11A 2 .5 11-110mm 722 .65 C5X20HP 1 .8 20-100mm 835 .00 COSMICAR C0Sril CAR C8X18HP 2 .0 18-144mm 960 .00 C-5019 1 .9 50mm 64 .95 C7223MZ 2 .3 12-72mm 179 .95 ClOX16HP 2 .5 16-160mm 1375 .00 C-5014 1 .4 50mm 85 .00 TAMRON Motohized Zoom 2/3" vidicon C-7519 1 .9 75mm 64 .95 VCL-1206 1 .8 FUJINON C-15032 1 .9 150mm 127 .95 Rears Contnot Zoom 2/3" vidicon HSX14MA 2 .0 14-70 565 .00 518EX 1 .8 50mm 66 .50 TAMRON H8X12 .5MA 2 .0 12 .5-100mm 880 .00 Wide Angle 2/3" vidicon V5Xl5MSB 2 .8 15-150mm HlOX11MD 2 .5 11-110mm 1055 .00 TAMRON (MS mount) 1400 .00 Moto2ized Zoom 1" vidicon 507 1 .9 12 .5mm 75 .75 H8X12 .5A 1 .2 12 .5-100mm FUJINON VCL-08 1 .5 8 .5mm 81 .00 FUJINON (for AVC-4200A) 810 .00 C5X20MA 1 .8 20-100mm 835 .00 VSX20MSB 2 .5 15-150 C8X18MA 2 .0 18-144mm MN-815 1 .5 8 .5mm 58 .25 1144 .00 COSMICAR (MS mount) 550 .00 ClOX16MA 2 .5 16-160mm 1675 .00 FUJINON Contnot Box bon aft C-815EX 1 .5 Motokized Zooms 8 .5mm 69 .50 H8X12 .SHP 2 .0 12 .5-100mm 786 .42 FUJINON 3 speed 158 .00

Contrast bittehs change the relative brightness valves so that two colors, which would otherwise be recorded as nearly the same, will have very different brightness in the picture . OVIDICON Tubes A red apple and its green leaves might record work on the photoconductive prin- as two ciple . The optical image is focused on nearly similar shades of gray . Using a red filter which transmits the red and absorbs to the target, which is made of a mat- the erial that will pass a greater green, the apple will appear light and the amount of leaves dark . A green filter will produce the electricity when struck by light . There- opposite fore, as the electron beam scans the effect . Yellow or red filters are picture often used to darken a blue sky so that clouds area, it produces a voltage pro- will be prominent . portional to the amount of light on each point of the picture . This is the stan- Neuthat density bittehs reduce the amount of dard TV camera tube--it affords good res- light before it olution and has rapid warmup . These tubes passes through the lens . These can be burned easily in bright light differ from other filters in that they partial- . ly absorb all visible colors equally . Bitt hays the Texas sun SILICON Tubes enable you to shoot is so bright, that with the aper- in low-light- * Fiftens are used for controlling light in ture closed to the last stop, there is still DIODE level situations . The target is composed both black-and-white and of thousands of silicon diodes--these color . They can either too much light, so he uses neutral density are be screwed directly onto the lens, or an adapt- filters . Since greater depth of field is pos- more sensitive to light than the er ring can be used . chemical coating on the target of a sible with the lens closed (smaller aperture), vidicon . They are more sensitive to the to get less depth of field, neutral density Black-and-white cameras "see" colors differ- filters can be used to obtain that red end of the spectrum . The disadvan- ently ; this effect when tage in using this tube is the results in colors being recorded there would otherwise be too much light . problem in lighter or darker shades of gray . White of lag, brightness staying in the pic- light is the sum total ture (decaying) . These tubes are not of all the colors of Potanizing screens also darken blue skies . the rainbow, or equal amounts of the primary They minimize reflections from foliage, water adversely affected by bright light and colors--red, green and blue are interchangeable with vidicons, by . When one or two of and glass, etc . (not metallic surfaces) . Two the colors are absorbed (subtracted), the color polarizing screens can be used as a variable disabling the AGC (automatic gain con- we see results trol) circuits of the camera . . Colored filters absorb some of neutral density filter by mounting them to- the light reflected from a scene before the gether and rotating one . PLUMBICON Tubes are also used in low-light-level light reaches the vidicon . Understanding this situations . They have a lead oxide sur- aspect of color could help you get certain face on the target . These tubes have desired effects when you are shooting colored We have ju t touched on the subject of filters . very little lag . A camera that doesn't objects in black-and-white . If you're terested, Kodak publishes an info book cal1e FILTERS come with a plumbicon tube must be re- Colors for black-and-white and designed in order to use one . as seen Colors of light color pict res . You can pick it up at a camera in white light absorbed supply store . It discusses the use red of filters 8844 2/3" vidicon blue 9 green in still photography ; most of the information tube, grade A $ 69 .00 yellow (red + green) blue is applicable to video . VID-1801 2/3" T .I . silicon diode, prime $600 .00 black red, green, blue VID-1802 2/3" T.I . silicon diode, white 2nd $400 .00 none This stuff is expensive, check on picking it up Modification and installation of silicon gray equal portions R,B,G tube, $100 . diode used . Also improvise, it can't hurt .

CIL VIDEO TOOLS #2 16 LENSES TUBES AND FILTERS

" rr:~ :"a: .A~#~'>uit'att`. : .v. #°wiEas' "£~.+SSA'}+.a.^'L'}S:J`~'.~t¢'~(#w'~#'^~ts{kA3;r_hn{,}:,eo'}a' ~ tapaks and edited at the Egg Store on the 320F . We also used the Panasonic VY-922 switcher- fader with genlock and recommend it highly .) We did not use a proc amp for editing . While we borrowed one from Grass Valley, we were unable to get it to stabilize with the 320F . From what we've heard, the Grass Valley is not a particularly good machine to use with helical scan equipment . tried one, unsuccessfully . That is the IVC 960, TOP VALUE TELEVISION TVTV) began in early standard one-inch machine 1972 an Ant Farm/Raindance fantasy project which is a broadcast as DUBBING - For half-inch distribution we made time-base correction . We found that the to cover the National Conventions, then grew with straight electronic dubs . These were distribut- 960 would copy our first generation half-inch to include Videofreex and independent video version . Francisco, ed to cable stations and, depending upon each tape, but would not accept an edited people from New York, Chicago, San to half-inch, they trans- option is the Delta 44 time-base and Los Angeles . systems' commitment The other mitted fairly well . (We had a horrendous ex- corrector which, when coupled with the Delta to process TVTV TECH NOTES 28 time-base director, may be able half-inch, but we have had no experience with Our experience of last summer as TOP VALUE this . The advantage of the latter is that as TELEVISION led us through some technical prob- a module it costs about $10,000, while the !VC lems which we think other people may be en- 960, which doesn't work anyway, costs $35,000, countering, or will encounter, as more of us and the AVR-1 sells for $140,000 and is thus try to get distribution for our tapes . too expensive for anyone to own .) Following is a debriefing of some of those ex- TAPE-TO-FILM - We explored three processes for periences which we think folks would like to transferring our tape to film . We haven't yet know about : done it because of lack of need, but did do an experiment with the 3M Electron Beam Recorder SHOOTING - The most basic thing we learned (EBR) . EBR is an electronic system which pla- is that even though a tape will play back as ces the scan lines directly on film and bypas- an original, it may not be possible to edit ses any optical transfer . Because the system from it . A major cause of non-editable tape is demands quad sync, and the place we tried it a camera cut where the original tape locks up did not have an AVR-1 (and didn't have the right away while the sync signal is actually courtesy to tell us about them), the instabi- too erratic for a stable edit . lity of our tape came out as wobbly film frames . The guaranteed process, of course, Because many people have a tendency to shoot would have been a traditional kinescope (i .e . just as something happens, the initial 3-5 sec- shooting off a high resolution monitor), but onds of the action can be lost in the editing we felt that would be unsatisfactory . process . Conclusion is that you should click want to corrected tape, on the camera 6 seconds before you perience at Sterling-Manhattan, however, with Assuming you have a time-base make a shot . the very best tape-to-film process we've seen our first tape . Thanks to John Sanfratello, (at 2 West 45th Street) Sterling has solved some of the basic problems is by Image Transform Also, Tivicon tape, although it plays back all in New York and Hollywood . It's so good you useless with respect to half-inch, but not on all of can't tell the right on the original, is generally . The night our tape played, the can't see scan lines and thus when there are wild fluctuations in light lev- their circuits original was shot on tape . They use the AVR-1 AGC in a Tivicon*cam- engineer forgot to run it through the right should be able to work el . Because there is no circuit and the quality was execrable . Our con- for playback and thus era, the sync pulse drops considerably when with half-inch . (characterized by a clusion is that the only way to assure good the light level is high of your tape is to be there every blooming effect) . transmission However, they have experimented with half-inch time, and in lieu of that it pays to provide primarily because possible .) color and were unsuccessful, As the world's largest TV studio, the conven- the most stable copy time-base instability is compounded by the com- tion hall in Miami Beach wds thick with RF plexity of the color signal . transmitters . Chuck Kennedy The most exciting thing we did was broadcast interference from the tapes because in so doing we proved that of Videofreex solved this problem for us by COLOR - We just returned yesterday (December camera half-inch tape has not to the_Magnavox plant near essentially plugging the leaks into the a technical capability 12th) from a visit by grounding them with flat, braided wire . only L .A . Magnavox has a hand-held (6 pound) color comparable to other black- early next year (Chuck and Parry Teasdale were our engineers but it can camera which will be available for TVTV and most of what you're reading here and-white modes, for $2,500 . The camera is not fully portable us also be made stable enough AC and also requires a mod- is what they figured out and passed on to .) all uses . in that it runs off for ulator box in addition to the camera . However, and (called Series 400) RF interference is characterized by snow We had not originally planned to sell our they say that the camera grid patterns in the raster, even on broadcast can handle up to 28' of cable to the modulator shows to broadcast outlets for a variety of the box to the TV . It ends up on the tape as well . While the ideological reasons, but we changed our minds box, and then another 500' from conventions were an exceptional situation, record deck . Thus, in a stationary situation will occasion- because of the money involved (we got an aver- hand-held color shooting near a TV transmitter age license fee of $500 per showing) and the where you would use AC anyway, ally generate the same problem (down on Wall exposure . is now possible . Street, for example, or at the top of the Em- filtering sys- pire State Building) . Our first solution to the problem of trans- The camera uses one tube and a in front of it . The filtering system re- is the ferrring to quad was via scan conversion, tem into the lens Chuck's method of shielding the camera which is simply shooting the playback off a quires a red filter to be built best we found for plugging the leaks . In ad- (if it were screwed on the outside the red he also scraped monitor . While this provides perfect stability the lenses dition to the wire grounding, because each copy is camera original, there is would distort the color) . Because off the paint on bgth the camera lid and the have to be custom made, Magnavox made the stu- provided a tighter seal be- a loss of both resolution and contrast, since be permanent . Thus, camera body . This scan conversion is an optical process . pid decision of having it tween the metal of both . The only remaining purchasers are stuck with an f2 .5 20-80mm zoom, hole is'the microphone on AV cameras and -that which isn't a very desirable range . can be shielded either with your hand or a Unfortunately, we didn't discover the electron- piece of aluminum foil . (In fact, wrapping the ic method until the end of our distribution The camera will operate down to 30 foot-cand- is a quick way efforts . We did it at Westinghouse in Phila- the light of a well-!it office, and whole camera in aluminum foil Ampex AVR-1 quad machine les, about to thwart RF interference .) delphia using the new even with supplementary lighting will still (bee Ptoeehsing, page 23) which has extensive plastic type of light- There are at not require that bright, Finally, because we were using a lot of dif- time-base correction circuitry . ing which characterizes broadcast studio TV . ferent portapaks (we had 10 available and used least two of the machines in Manhattan, at each, using a EUE Screen Gems, which refuses to work with that the camera has no 5 at a time), Chuck pre-tuned Sports Network, where Another disadvantage is Sony alignment tape to assure compatibility in half-inch, and Hughes controls other than on and off . It puts out playback . Richard Rubinstein pioneered in dubbing half- EIAJ sync and thus will theoretically work inch earlier this year . with any VTR except quarter-inch . Ultimately, EDITING - superb technical qual- which is the huge We owe the only transferred his first it could displace the PCP-90 ity of our tapes to Parry and Chuck, who lit- However, Richard portable camera used by broadcasters . Magnavox for stability . As a generation half-inch tapes (and then edited refuse to be- erally checked each edit him the ad- says that commercial TV people routine, they would first look at each piece from two-inch to two-inch, giving lieve that a color camera can be -that small . (we used an AV 3600, and vantage of quad editing techniques, but the of tape to be edited time on quad machines) . the Panasonic NV 3020 and NV 3130 as our play- disadvantage of buying The model we saw was a prototype and had dis- because of its built-in Our success came in transferring our edited using back decks, the 3130 tape where appointing color . But a larger model drop-out compensator) through an oscilloscope master (i .e . a second-generation the same one-gun system put out excellent pulse was stable . If the the time-base error would be multiplied) . In the production to make sure the sync stabilized color, and Magnavox says that r edit held on the Sony 320F, but there was some cases, the AVR-1 actually model Series 400's can match it . still some doubt as to its stability, Parry edits that seemed shaky on our master tape . to a third gener- inverter it would or Chuck would dub back down it's pos- With about $6,000 and a good ation half-inch copy and play that back What this means, in short, is that seem to be possible to build a color portapak even though an edit sible to do low-cost shooting and editing and 400 and the new Panasonic through RF . Occasionally, cablecast from the edit with using the Series held up on the master, it would not transfer then broadcast or portapak which has an optional color circuit (which approxi- perfect stability . While there may be some probably require when played back through RF believe this, module . However, this would mates home reception) . By checking each edit holdout engineers who will never a 40-pound backpack just to service a 6-pound finishing the tape it is demonstrable . Thus, all the advantages as we went along we avoided the stability hand-held camera . and then discovering technical weaknesses . of portapaks can be coupled with of broadcast . Well, that's about it from here . If anyone has It was during editing that we discovered the questions, please write us at : Box 630, San SHOOTING . (All of our (We know of two other potential solutions to 94101 . problems mentioned under half-inch and have Francisco, California original tape was shot with single system por- the timebase problem in

CTL VIDEO TOOLS #2 *Tivicon is a brand name for the Texas Instruments Silicon Diode tube . TOP VALUE T V 17

Spot-lamps : highly directional units providing a thin pencil of light for picking out shadow details and illuminating very small areas. Colortran Commercial Kit catalog no . 150-018 $645 . 00

Features An ideal kit for commercial The lighting jobs. EDISONgreat .,+ of his achievements s the i . .descent lamp for Provides soft, tent-like illumination it a changedc a long night into for specular objects, paintings, day . To progress here had f . etc . be a beginning . Thef a cen+ of Uses powerful Multi-6 lights for the incandesce. lamp is show,, left to right: key (highlight) lighting . Edison's first lamp, rbo,n filament lamp, tantalum One case carries it all . filament lamp, drawn w e fila- Uses 21 .7 amps at 120 volts ent lamp with tap, ge-filledmfilled AC/DC . lamp with tip, lamp without tip, gas-filled lamp without tip, inside frosted lamp . Contents National You+h Administration order in the National Archives. qty. code description 2 100-151 Multi-6 A NEW INDUSTRY WAS BORN. All appliances for the 2 118-013 Four Leaf Barneloor lighting s ys+em had +o be in enfed and manufactured such ooden 2 122-019 Single Scrim lamp sockets (let+), fuseblock (right), switch- boards, dynamos, lamps, switches, me,_, 2 122-020 Double Scrim underground con- ductors and connec+ors, +o name a few . 2 116-051 Quartz King Dual 650 Mark II 2 157-007 27'r Reflector Umbrella 2 157-008 Mounting Bracket 4 152-003 Channel Leg Stand 1 156-001 Gaffer Grip 1 156-006 Mites Grip 4 176-002 650W, 32001K, 125 hr. Frosted Lamp 148-008 Case

Focusing floods : directional lighting units fitted with a focusing device enabling the width of the beam to be varied to flood a fairly wide area or concentrate on a small portion of the scene only . Normally available in 500 Watt, 2kW., Si or 10kW sizes, they may be fitted with hinged flaps known as "barn doors" to cut off pan of the beam when required . Perhaps the most popular and versatile of all standard type lighting units .

Floods : non-directional units consisting of one or more lamps giving a flat light over a broad area.

BASICS ; *There are basically three different kinds of >>>> SOUND microphones you might work with : ~//i .i A shotgun, which would be used to pick up one person, or a small group, from a distance MI CROPH_ONESS`~NDA_NDSTA-N_D--HELD away . Shotguns have a very narrow pickup pat- tLECTROVOICE -ne[T -- tern ; the further away the mike 635A Omnidirectional Dynamic 56 .70 is from the 654A voice, the more unwanted sound it picks up . Omni, Dynamic 72 .00 Electrovoice makes three RE-50 Omni, Dynamic 77 .10 really good shotguns . RE-55 The superduper expensive one takes two people Omni, Dynamic 149 .40 to carry . 1711 Omni, Condenser 59 .70 RE10 Unidirectional Dynamic 99 .60 Then, there are tavakieh mikes ; these RE II Uni, Dynamic 106,50 are RE 15 Uni, Dynamic small and hang around the neck . They have a 169 .80 sound response that's tailored RE 16 Uni, Dynamic 176 .70 to the fact RE20 that you're not speaking directly into it, Uni, Dynamic 285 .00 it's somewhere under the chin . Lavalier 1751 Uni, Condenser 75 .00 mikes 1750 Uni, Condenser are omnidirectional . Sony, Shure, and lots of 45,00 others manufacture this type . SONY (list) ECM-19B Uni, Condenser 32 .00 The third type is hand-held, or stand-held . ECM-21 Uni, Condenser 53 .50 These are omni- or unidirectional ECM-22 Uni, Condenser 107-50 (also called ECM-F98 cardioid) . Which you should use,depends on the Uni, Dynamic 14,50 application . There is a really wide range of SHURE (list) this type . Generally the best are condensen 548-IV Uni, Dynamic 115 .00 mikes ; these require batteries . Dynamic mikes 545-III Uni, Dynamic 96 .00 plug in directly without a battery, and are more durable . MIS C ROPHONES --__L9 AL[F_ ONY 1ISYj- ECM-50 Omni ; Condenser 14o .5o ELECTROVOICE (net) 649B Omni, Dynamic 73 .50

ICQP_HO_NES - SHOMUN _____ LFCTROVOICE -Tnet 644 Uni, Dynamic 82,00 DL42 Uni, Dynamic 300 .00 Omnidirectional would be used if there is only one microphone and a circle of people speaking ; you could then suspend the mike in the middle . Directional (uni-) are used to pick up a single voice or for four (or so) voices, each with a C BBLE_ S AND C_0_N_N_EC mike . Then with a mike mixer you can raise the SONY volume of a soft voice, to EC-5M Mic . Extension Cable 16' 3 .75 balance the sound . EC-IOM Mic . Extension Cable 32' 5 .50 There are also wiAetuh microphones EC-25M Mic . Extension Cable 82' 10 .75 ; they RK-34 Mini have a built-in transmitter . Although you don't Male/Mini Male Cable 2 .25 need cable, you do need a PC-1 Plug Connector (regular to mini plug) 1 .50 receiver . Some mikes PC-2 can be used with a regular FM tuner, some re- Plug Connector (mini to regular plug) 1 .50 quire a special receiver . The problem AXC-1 XLR Male/XLR Female Connector, 5' 6 .50 comes if AXC-5 XLR Male/XLR a big garbage truck goes by and you get crack- Female Connector, 16' 8 .00 ling in your sound . AXC-10 XLR Male/XLR Female Connector, 32' 10 .00 EXC-IA XLR Male/Mini-Plug Connector, 5' 5 .30 Equatizena give you control of sounds (indiv- EXC-1B XLR Male/Mini-Jack Connector, 5' 5 .30 idual frequencies) . They're effective in re- EXC-1C XLR Female/Mini-Plug Connector, 5' 5 .30 ducing room noise, street noise . You can remove rumble, great if you're shooting in sub- AUDIO CONNECTORS ways . They also remove 60-cycle hum (a steady A3M Male 3 -pin microphone cable, some monitors, 2 .10 bass tone) . But if all you want to do is get 1" decks rid of 60 cycle hum, use a 60 cycle notch A3F Female 3-pin microphone cable, filter . some monitors, 2 .45 1" decs ATLAS MICROPHONE STANDS Mini m Sony decks and small monitors 1 .25 It is advisable to stick with tow impeden,ee Mini f sound extension cables & adapters 1 .50 MS-IOC 10" Base 34"-62" $ 9 .50 audio equipment, primarily because there is RCA m Panasonic decks, most stereo amplifiers BB-1 Baby boom adapter 6 .92 -55 BS-36 no problem with using long extension cables . RCA f sound extension cables & adapters .45 Boom stand to 72" Telephone older microphone mixers, mike input on -65 high 62" boom 59 .85 Alan Panasonic decks BS-36W as above w/wheels 67 .80

CTL VIDEO TOOLS #2 18 LIGHTING AND AUDIO

45 .00 Model K6 Photoflood Studio Kit 1-A5 5" background and special effect light, 10 foot cord 2-A100 10" Studio Lights . 10 foot cord . 3-S6 6-1/2 foot Steel Stands . 1-No. 1 BBA Floodlight Lamp . 2-No. 2 EBV Floodlight Lamps. 1-Handy storage and carrying case .

watt General purpose clamp lamp for No . 1, 250 watt or No . 2, 500 handle with lamps. 10-1/2" reflector . On-Off metal socket, heat-free 6-foot cord . 5.95

watts, The Model K2 Kit consists of 3 lights with a total of 1800 %8~jiV__Z%%%VAIN 3 stands and o compact carrying case, watt DYH Lamp are 3 Q1 P Quartz Lights, each with a600 A/C- O(ME.T-) L-DIMMEF- rated at 3200° K, 75 hour life. extends to 3-S6 Stand'-a unique 4 section steel stand that 6 feet or can be used as a low background stand. kit, By using the No. 511 extension sections of the stand in the Basics higher than 6 foot stand. it is possible to have a Light from the front provides an overall adapter to permit the use of the S6 leg There is a No. 512 level of flat light . section as a low background stand. case that has 3 The entire unit is packed in a Model 634L side referred to as for the lights, a stand compartment and extra * A strong light from one compartments and thereby emphasizes space for spare lamps and extension cords. key xtight) casts shadows Complete Outfit No . K2 (without barn doors) . . $115 .00 shape and molding . . . 150.00 Complete Outfit No . K2B (with 3 barn doors) .50 Model Q1 P Quartz Light ...... 21 behind the subject (back xiahting) 8.50 *Light from Model 56 Steel Stand ...... out from the 1.10 tends to make the subject stand Model 511 Extension...... planes . 1.65 background, by emphasizing the various Made1 512 Adapter...... 11 .70 dimension . Back lighting Model DYH 75 hour Quartz Lamp ...... ~ It suggests the third 12.95 Mode : BD3 Barn Doors ...... gives a scene depth . Mode1 634L Case ...... 30 .00 AF'

TWO-TRACK AUDIO ON 1/2"

Two-channel sound can be recorded on the Sony 1" EV series machine, of the U-Matic 3/4 rt cassette machine . Another way of doing this would be to replace the original audio head on the deck with a small stereo audio head, adding an audio recording amplifier to handle the second audio track . The recording amplifier can be built inside the machine . Lug says this modification would be $400 .00 . No TV will play back two-channel by itself . Sound should be plugged into stereo amplifier .

Lug. bays better sound can always be achieved by plugging into a stereo amplifier system . Small TV monitors have only 2-3tt speakers which are not quite adequate for good quality - sound . s __-s_ =° ms' -=5 vra

10 The sound part of the television set has a ffrEC Frequency Equalizer power not possessed by the optical part, name- A68S Stacking Kit-Enables you to interconnecting cable. Fits M62V, ly, it can reach and affect an audience that conveniently interconnect and stack M63, M67 and M68 Series, and M688 . Sound goes around ob- 2 Units-with 2 M68's you get 8 List Price: $5 .00 is not facing the set . microphone inputs and I Auxiliary stacles that stop light rays . Hence we can input. With 2 kits you can stack three A68R Rack Panel Kit-Standard 19" attention via the sounds emitted by the Units-say 2 M68's and I M63. A x 3Y" audio equipment rack panel draw single master volume control handles for use with all circuitry units. Gray set when we cannot via an image, however the entire matrix . Includes brackets, Hammertonefinish . List Price: $14.00 beautiful and worthwhile . In sound we have a trigger of a process that can later be taken over by visual images .

Because sound has as its support the surrounding air, because the air takes time to convey its messages, there are fundamental differ- ences between the sound and the light components of the medium .

In addition, vision is in space and sound is in time . When we listen to speech we need to K11ROFHONE- IXER _-~AUX sentence to under- KE INS -IN wait until the end of each 140 .00 stand what is meant, while the act of looking RCA and simul- M68RE 44 XLR Male RCA XLR female 150 .00 at a landscape provides immediate M68FC 4 XLR f RCA XLR m RCA 152 .00 taneous information from an infinite number M68FCE same as above, with univensaZ powen 190 .00 of sources . In other words, vision is essen- 2 RCA 1 panpot stereo al- M688 4 XLR f 2 RCA XLR m mono tially synthetic and hearing analytic, RCA mixing bus 198 .00 though through focusing we restore analysis M688E same as above, with untivehsat powen. 270 .00 to sight and through memory and conceptual- headphone jack, 1 meter, 600 M67 XLR f XLR m ization, we add synthesis to hearing . 3 ohm balanced out, standard 1 XLR telephone, screw post, aux in A sound system is a built-in element of the termination switch 160 .00 TV set, but it is not compulsory to think of RCA 600 ohm balanced out, head music . M63 2 RCA 1 XLR m it as being only a carrier of words and phone jack, aux AC out mixed simul- switchable It may have much more to offer. Sounds can be s taneously hi-lo impedance studied in themselves, and for certain purposes 65 .00 should be, as if we were blind people . Such a SONY battery operated sound MX-300 mini 1 mini .00 study would contribute an awareness of 3 battery operated, head phone 110 6 RCA 2 phone 2 RCA well as an awareness of the various MX-12 phone 2 pan pots, 2 meters, m per se as jack, of sound that our ear and our sensi- slide pots stereo u to qualities 0 tivities can detect and register . Sounds also strong input to 100 .00 studied as concomitants of some visual controller, it reduces overly can be The M62V Level-Loc is an audio level impressions and can be perceived as such when predetermined maximum level . keep microphone output at a the sources of sounds are shown on the screen . Equalizer . It is effective to Andy Mann for showing us the Metrotec ©~ Thanks It allows control of in- reprinted from Towa7cdz a VizuaK Cu-,tune B R in reducing room noises, rumble, unwanted sound . sound . In mono it can suggest 2 By Dr-. Caleb Gattegno dividual frequencies . For stereo or mono kit $99 .95 assembled IMETROTEC channel audio . $79 .95, CTL VIDEO TOOLS #2 LIGHTING AND AUDIO 19 The most complete book we have found explain- Thanks to the British ing the principles Bureau of TV Advertis- Thanks to Parry Teasdale for recommending of television is The FocaQ ing Ltd . for Puck'6 P2om.Lae, a ,shoat hiatony The P.Lctoh~af N~,stohy o6 Tetev~e~on by Encyetoped.La o6 Fitm and Tetevi,sion Teehn.Lque,s ob teCevt~s~on . The pamphlet by Focal Press . This book has information Settel and Laas . This book has a good bit is expensive ($37 .50) P and pictures (,see p . 3) on early experiments R of background info and lots of TV stars . but worth it . Hasting House will take your with TV done in money and England . it is filled with great pictures (,some on send you the book . p . 3) . Published by Grosset & Dunlap $7 .95

connectors

Sony A RFU-52W through 57W for AF59TS "F" Termin . male connector channels 2-7 $59 .40 F, AF61A "F" Female spring connector Panasonic C NV-U415, NV-U416 for channel 5, 6 $57,50 AF59 "F" Male RG/59U cable connector P AF81-AB 1-3/4" "F" spring connector E 1013-21 UHF male to "F" female adapter AN RF ADAPTER enables you to play 260 BNC connector (for RG59/U cable) back videotapes on a regular TV G S0239 Female UHF chassis connector COLOR RF ADAPTER set . Panasonic RF stands for radio fre- Standard NVU-97, 98 quency, which is a high frequen- Teflon for channels 7 & 8, .00 cy ,signal that can be transmitted H 5804 Female UHF chassis connector $215 MATCHING TRANSFORMER through space . An RF adapter I M358 "T" UHF adapter Sony RFU-103FW, 104FW for 75 ohm cable to 300 converts video and audio signals v M359 Right angle UHF adapter channels 3 & 4 . ohm TV antenna lugs to the same type of signal used K PL258 Female UHF adapter $91 .80 MT-2000 $1 .801 for television broadcasting . t_ PL259 Male UHF connector, requires Standard Teflon M UG176/U For UHF PL259,adapter (for RG59U) PORTABLE VTR CAMERA ADAPTER This adapter allows you to use a portapak still good stuff camera with a table model VTR . Sony CMA-2 $118 . GAFFERS TAPE 2" ROLL $4,50 CARRYING CASE FOR CASSETTE MACHINE Sony LC-200 for VP-1000 player $110 .00 LC-300 for VO-1600 recorder $140 .00 SONY CAMERA ACCESSORIES SONY Panasonic AVF-3200 viewfinder for AVC-3200, 3210 $216 .00 VCT-1 Monopod $ 12 . CG-1 sync generator, pulse/square wave 190 .00 TD-300 Tripod, dolly and PC-210 for NV2110 player $125 .00 VCS-31 camera selector to operate up to cam link head $345 . PC-220 for NV2120 recorder $150 .00, 3 cameras with one VTR 55 .00 VC-20A Tripod $ 48 .75 TD-1 Dolly $ 55 .00 PANASONIC CAMERA ACCESSORIES iV EW WJ-120P sync pulse generator $250 .00 BODY CAMERA) BRACE-A little WJ-140P pulse distribution amplifier $150 .00 expensive, but well worth the coax WV-650 power supply money . Far superior to any A COAXIAL CABLE for tally lamp &id others we consists of three elements . intercom $ 35 .00 have seen . Completely in the center runs a copper wire ; this is sur- adjustable, folds up . $95 .00 rounded by an insulating layer of polyethylene foam, which accounts for the major portion of the cable's diameter in cross section . The insulation .is surrounded by a tubular shield The back pack is made of one-inch of braided copper wire or a seamless aluminum and three-quarter-inch aluminum sheath . Lye tu- a bing, aluminum strapping about one (01 inch wide by one-quarter inch thick, 1'-99' $ .10 per foot to COAX BY THE FOOT 100-up .06 and foam rubber pads screwed to the $ per foot mil frame with self-tapping screws . abc The unit requires no additional har- ness - it simply rests on the camera- man's shoulders. The entire cost for materials was just under $20.

iym p ~ ; r, 1 16 CCF10 32' for use wit 25 F-pin m to 6-pin f 82' cameras, cs 50 164' CCY10 32' or use wti . " 25 18-i VMNA :in f 82' extension for use wit 1 cci 5' camera exte 5 10-pin m to 10-pin f 16' tween CG101 10 32' CCV5000 ser (for DXC500 RGC 5 5' 15 15' 25 UHF m to UHF m 25' video cable 50 50' octopus cab VMC-1Q 8-pin m to 2 mini m 10' video & and 8-p i ri coax NOTE : 1/8 bolts at joints DF, DC, DC', and EF . All others require a nut and 1/8 bolt . VMC-1M 8-pin m to 10-pin m 5' for AV-3400 NOTE : Pad to suit with 2"x2" foam rubber . VMC-1B 8-pin m to m 4-pro 1' Y-type bran A Aluminum strip, 1x 1/8-44" long ; 2 pieces monitors, a B Aluminum tube,1" dia .,14" long-flattened at both ends with 2, 1/8" holes at each end; 1 piece VMC 3P C Aluminum tube, 3/4" dia ., 14" long-flattened at both ends with 2,1/8" holes at each end ; 3 pieces IOP 8-pin m to 8-pin m 32' C' Aluminum tube, 3/4" dia ., 14" long-flattened at both ends with video ex~ n 1,1/8" hole at each end ; 1 piece 25P 82' D Steel channel, 2 7/8x3/4 .1/16, 41/2" long -with 2, 1/8" tapped holes on each side and 4, 1/8" holes on bottom mobitor .Eau E Steel channel, 2 7/8x3/4 .1/16, 41/2" long -with 2,1/8" tapped holes on each side and a 1/4" slot on top 8-pin f I F Aluminum bar stock, 3/8x1/4, VMC-1C 8-pin m to Y-type bL n 6 3/8 long - with 1, 1/8" hole on each end UHF m H Butterfly nut (1/8) where noted ; 2 pieces CCV10 32' 25 19-pi n - m to 19 - pin f 82' DXC5000 ser by Charles M. Sutcliffe Drawing by Joseph C. Nelson

reprinted from Educational Industrial Televis ion January 1973

CTL VIDEO TOOLS 20 ACCESSORIES #2

The Matinet 6 S 7 Pictuhe6 ,ob Maws explains the Radicat So{twate is an on-going publication television and photographic processes started by Raindance . drawings and poems by Bill Narum. Not re- involved in Issues are now being getting visual information from prepared by other groups as well . lated- to video (this is a plug), just beautiful Mars These books (bee p . 23) . This book can be obtained~d N (8 so far) cover a wide range of subjects artwork (,some on pp . 27, 39) . Copies can be ob- by sending $4 .25 to re- T tained by sending the Superintendent of lated to alternative television . They cost $1 .25 to Bill/Space City Documents, U .S . Government Video, 4220 Mandell, Printing Office, $1 .95 or $3 .00 depending upon the issue . Write Houston, Texas . Washington, D .C . 20402 . to Radical Software, Suite 1304, 440 Park Ave . South, New York, N .Y . 10016 . Or buy them at CTL .

CAR/BOAT BATTERY CABLE FOR PORTABLE Sony DCC-2400 $21 .05 Panasonic NV-C28 $22,00

DAVIS & SANFORD TRIPODS ; CARRYING CASE FOR (The best for the money] PORTABLE ENSEMBLE 1) CGW/C4 $165 . Sony LC-3400 $70 .20 Panasonic PC-100 spring head " $70 .00 2) AGW/CC 233 . cradle (cage) head 3) AGW/CS 284 . cradle head The,se come with dotty . " " " BATTERY CHARGER/AC ADAPTER for use with portable VTR Sony AC-3400 $81 .00 Lynda says check out a TOTE -A-TOT--it Is Panasonic N'VB-40 $95 .00 CTL-3400M a backpack made to carry a 24 lb . baby 50 .00 (or portable VTR) . It has a seat and bar to keep the baby (or deck) secure . I got mine at a sporting goods store, they cost about $20 .

VEC25 UHF m 25 15 .00 50 UHF m to coupling 50 video cable 100 25 .00 100' 40 .00 I 4D20 6-pin m 10 .00 to 8-pin m 20' monitoring cable WV-350, 360P 20 .00 with AVC-3200 & 3210 series 12 .00 P camera extension, video 28 .00 23A25 50 160 .00 55 .00 50~ extension cable for WV-2100P (color 220 .00 wit AVC- 00, 100 video, camera 135 .00 100' camera) 320 .00 on 270 .00 with portable, 4T61 video & audio, 6- tally intercom cable for WV-2100P 18 .00 extension, and connections be- 35 .60 (color camera) & WJ-5000P (color SEG) G101 (color sync generator) and 48 .60 series camera control NV-C26 8-pin m to 10-pin unit 70 .20 m 10' monitor cable for portable to monitor 22 .00 C5000 series color cameras) 1OG25 25~ 50 .00 19 .50 50 10-pin m to 10-pin m 50' with WV-250P, 340P, 360P, video able & RF 100 75 .00 28 .00 100' 115 .00 45 .35 1OH25 25~ cable for 5a-.- dubbing AV, CV & EV, 50 10-pin m to 10-pin f 50' extension cables for IOG series, 75 .00n audio, anything 100 video that takes 30 .00 100' 115 .00 coax, mini VEC25 25 1T,~ .00 UHF UHF m 50 50 m to video cable 25 .00 3400 to monitor, video & audio 21,50 100 coup ling 100' 40 .00 7A1 P 3T-797 32P 10-pin m to 10-pin f 32' for portable VTR 59 .95 5ranch cord, 2 outputs for 23 .75 s, audio & video 13 .50 Ktnsion, deck to deck, deck to 27 .00 r udio & vide o 37 .75 CTL >&nch cord 17 .25 Woody IN & 10-pin m to 2 UHF m 10' for feeding composite 160 video in and 27 .00 .00 OUT out of AV3400 series color camera cable 300 .00 Jim mini m to matching 10' RF output of portable to VHF antenna 10 .00 transformer terminals on TV Rodger UHF .m IN & 10-pin m to 2 10' 30 .00 OUT .m

ACCESSORIES 21

SHINTRON new Panasonic

0000000 370 o O oo a_

Input 'A selector Input'B selector Wipe mode selector Power Normal,/Reveres, Function selector mode selector (Fader, wipe, soft wipe key) From left to right ; ON/OFF switch I I I black matte, keying, negative key, white matte, horizontal split screen, vertical split, corner insert .

Power Preview Output Program output iedlcatoramp selector selector

0 A gentoclz allows titles and effects from live cameras to be have built-in sync generators . added to previously recorded These should be used where sim- tapes . The cameras sync from plicity and ease of intercon- the prerecorded control pulses . necting are required .

The Panasonic VY-922A Genlock Viscount and Shintron SEGs re- SEG is recommended for systems quire external sync generators utilizing existing cameras . The and junction boxes for camera back panel can easily be re- connection . These feature ver- wired for Sony CV and AV cam- tical interval switching, . eras . Instructions for wiring changes can be found in Video- OVehticat intelcvat Awitching : circuitry designed to switch Toot,s 1, or write to Paula. only during vertical blanking All 0Sony and Panasonic SEGs period (between frames) .

0 A bade is a reduction of the faders can be operated indep- video signal produced by a fad- endently (called a ApCit baden) er (similar to a volume control to go to black with both sig- in audio) which can be moved nals, or to compensate for in- gradually, allowing a slow puts at varying levels . If both transition from full picture faders are turned to their full to black . on positions, the output (the sum of the two inputs) will be For a dissolve, or cross fade, much higher than one volt, and the output of two faders is will produce distortions when added together so that the two recorded . input signals are superimposed . Usually, on an SEG, the faders are mounted so that pushing 0 A wipe allows you to separate both faders up turns one signal the screen into sections with completely off and the other a separate input showing in completely on . As the faders each section . The controls for are pulled down together, the the wipe are a series of push first input increases at the buttons to select the pattern, same time the second input de- and two sliders, for vertical creases, so the total video and horizontal progression of signal is always one volt . The the pattern edges .

A GENLOCK CAN BE ADDED TO ANY SEG THAT TAKES EXTERNAL SYNC .

xl p~u IYjSF

®~®®®®®®®®®®®ccooooconF- SYNC COLOR- IIST - GENERATOR MONOCH OR MF S i SE1 WEIGHT ~IM=-NSIONS 6R--KEY SPECIAL FAT 1R SHPG .'tf- PRICE 15-1/2"w Sony 9 lbs 5-1/4"h Sony 6-pin 4/camera 1 program 2 :1 interlace, mono negative image switch, 6- 15 595 .00 SEG-1 10"d external pin plug for external sync 19"w Panasonic 10-pin, Pana- negative image switch, gen- Panasonic 22 lbs 5-1/2"h sonic 6-pin--easily mod- 5/camera 2 preview 2 :1 interlace, mono lock 'for VTR, intercom, 27 975 .00 2 VY-922A 13"d ified for Son 6-pin 1 VTR 2 program external, VTR tally light circuit 191 lw Sony -pin, Sony line out to camera Sony 31 lbs 7"h 10-pin for AVC-4000 6/camera 2 preview X 2 :1 interlace, mono tally, intercom, return 4o 900 .00 SE G-2 14-13/16"d with JB3 1 key 2 program external video with junction box JB3 19"w genlock, rack mountable, 2 Panasonic 5-1/4"h Panasonic 10-pin 5/camera preview 2 :1 interlace mono intercom & tally lights, 28 1,100 .00 18 lbs 2 line int/ext O( WJ-545 - 10-3/4"d 1 aux . negative switch keye r - 19"w Shintron 7 Ibs 5-1/4"h BNC 4/camera 1 preview X external only mono vertical interval switching 12 990 .00 366 6-1/2"d 1 key 2 program tally light switching 16-1 5/camera built-in intercom and Panasonic 22 lbs 5-1/4"h UHF 1 aux. 1 preview X external only color tally, soft wipe, 28 1995 .00 WJ-5000 10-3/4"d non-composite only 2 line circle wipe

Sony UHF 6/camera 1 preview X external only color built-in intercom and 3100 .00 SEG-600 1 ext . key 2 line tally 19"w 2 preview diagonal, circle, soft hor 1 Shintron 7"h BNC 6/camera 2 program X external only color & izontal) wipes, built-in 0370 1 key background monochrome colorizer, tally light & 2496 .00 vertical interval switching T VIDEO TOOLS N2 22 SPECIAL EFFECTS GENERATORS ` `

Since the half-inch video signal is scanned diagonally (helical scanning), any stretching of the tape moves the sync pulses out of alignment with the sync pulse at the beginning of the next field . This is called TIME BASE INSTABILITY,

TIME BASE CORRECTION *A big problem with the half-inch video signal is time bah e c nb tabif i ty (the thing that made people think that you couldn't broadcast VIDEO SIGNAL BEFORE PROCESS stuff recorded on half-inch) . You can think of time base as a clock . Every sixtieth of a second, a vertical sync pulse is supposed to happen-anc every 15,750th of a second, a horizontal sync pulse . If the timing of a vertical or horizontal pulse is anything less than exact, a 6lzew problem (top of the picture bent) develops . Time bade inatabLtity id in- hetent in hatg-inch video, becauee tape dttetch changed the tetative poditLone ob the dyne and video eignatb . Skew distortion shows up on home TV sets--these have a time base made to accept only perfect sync (two- inch Quad) . Monitors made for half-inch have sync circuits which accept almost any sloppy sync .

A time bade cathectot makes the broadcast of half-inch production possible . The machine has the ability to detay (store) a line of video as it occurs . When a signal is fed into a TBC, and the sync pulses are too close together, it stretches out the time it takes for the line of video to happen . We have heard of good results with two systems . The Ampex AVR-1 is a quad machine with time base corrector . Time on it rents for about $145 per hour, plus an hour reel of two-inch PROC AMP tape costing about $200 . The Delta 44, made by Anderson Labs is a time base corrector which is used in conjunction with a quad deck . It runs about $10,000 (all networks and some cable stations already own quad equipment) . We've heard about the Delta 44 from people who have seen demonstrations of the system, not from anyone who has worked with it . The CVS-500 is a combination time base corrector/proc amp which produces broadcast quality color signals from 1" Ampex or IVC (probably Sony UV 340) and 1/2" black-and- white . The price is $8750 . Michael Shamberg saw it at the NAB convention and loved it . A CVS-502 will be available soon for 1/2" color .

PROCESSING AMPLIFIERS * A ptoc amp (processing amplifier) allows you to make adjustments in the video signal prior to recording . Some are designed to adjust an already recorded signal . A proc amp gives you a pretty wide range of controls : VIDEO SIGNAL AFTER PROC AMP 1) It strips off old cruddy sync and gen- erates nice clean sync . (It will not correct the time base, however . If your original sync pulses were orb-timing, the new ones will be too . 2) You can vary the size of btanking (see How It Works, page 4) 3) Video ;gain eontrcot allows you to raise the level of the whitest white, and Pededtaf conthot lets you lower the level of the blackest black. So a picture shot in poor light can be bright- ened and sharpened up . 4) Cotot-capable proc amps like the 3M let you regenerate butdt and chtoma and adjust chtoma phases . We have had experience with the Ball Bros . Mark II, the Dynasciences and the 3M DP-100 . These have all been designed to work with one- inch format machines, but they will work with half-inch some of the time . We are presently working on the Ball Bros . to make it work with half-inch . The 3M which gave us the best results of the three, will probably need only minor modifications . Most proc amps are in the $2,000 price range . Call us for more info .

IMAGE ENHANCERS *An image enhancer is a device that reduces noise or improves the resolution in a picture . The most sophisticated enhancers are based on large computer systems and are capable of restoring out-of-focus images, replacing missing information, and other corrections . Sim- pler units use delay lines for storage of a This sequence illustrates the tvay in computer analyzed such a picture and line of video, so that it can compare each which computer processing teas able to separated the repeating pattern (center) point on the picture with the adjacent points . remove coherent noise from the pictures. from the random scene . This pattern was It uses this information to determine the Notice the "basket tceace" pattern over- then subtracted from the original pic- brightness level of that point . lying the picture information (top). The ture, leaving only the noise-free picture

CTL VIDEO TOOLS u2 ww AMOkAM ~wAb M!

SOURCE TELEMETRY-AMPLIFICATION SIGNAL PROCESSING - DISPLAY

PRE-AMP Image FM FM OUTPUT Apeassoup _ n !\ l1 ? 0 (Presently "optimized" for video signals . . .) 5 ELECTRODES TELEMETRY ' U 1I U~ RECEIVER TRANSMITTER AIAPLIFIER DIFFERENTIAL . . . a member ob a speciat etass ob educationat INPUT machines catted a design- .too -teatning machine . . In brief, the IMAGE PROCESSOR (I-P) is a patch programmable general purpose analog computer optimized for the real-time processing of images . I have been designing and building it over the last year . . . ONE CHANNEL EMG-EEG TELEMETRY SYSTEM The I-P accepts naturalistic images, modifies and combines them in complex ways and displays or stores the result . A television camera, *EMG (eteettomyogtam) refers to the bioelec- With this arrangement, the dance itself gener- film-chain, video tape recorder or similar de- tric potentials generated by muscle cells . ates the musical-visual environment, rather vice can be used to decode moving images into These potentials can be monitored, amplified, than the dancer responding to pre-programmed a form which the I-P accepts . A television mon- and transmitted by telemetry, so that a dancer's music . T e computer video system provides an itor decodes the signal and displays the mod- muscles can be monitored while the dancer is extremely flexible set of possible formats, ified image . The instrument is programmed by free to move, unencumbered . These electrical such as eying a view of the dancer against routing the image through various processing signals, which are directly related to the a kaleid scopic background which is controlled modules and then out to a monitor or video tape dance movements, can be interfaced with 1) a by muscle potentials . recorder . The modules are designed to maximize computer-controlled color video system, 2) an the possibility of interconnection, thereby electronic music synthesizer system, such as from Environetic Synthesis maximizing the number of possible modifications the ARP, Putney or Moog synthesizers . Richard Lowenberg of the image . This description of the image processor may sound like a sophisticated special effects board in a television station . There is, of course, a similarity . A good analogy would be to compare a desk calculator to a general purpose digital computer : both the desk calculator and computer can add and subtract numbers . The computer, however, can also stole a program which it executes in time . . . and more importantly, the computer can modify its program based on %ezufts of the program . The image processor has, in addition, the power to execute a program in time, and more importantly to modify what modification is done based on the content of the input image and the program . The image processor is a SIIPER ~0 OR FEEDBACK SYSTEM genetat purpose machine and the special effects 1- Find a comfortable space. generator is not . 2- Connect a camera to a good colorizes (like the DESIGN-TOOL- LEARNING MACHINES CPL GC-1) 3- Loop out of the color- MOTIVATION - The user is able to do what he izer into a B&W monitor . considers to be something worth doing, i .e . a 4- Loop out of the monitor problem or project of his own choice . . . into a Sony color projector 5- Get some feedback happening . DIRECTION OF ACTION - The user acts on the 6- Prepare your head. machine by structuring it to do a desired task . . . 7- Connect screen to head via eyeball inputs . AVAILABILITY OF STRUCTURE - The structure of 8- Get it on . the machine is accessible to the user, allow- COST OF STEM ing him more control of the learning situation . . . Camera 2 0 Monitor 250 Total $4550 PACING OF USER - The user is in control of Colorizer 1500 S worth everg pacing ; he may take as long or as short as he Projector 2550 penny . likes ; he may investigate any area in depth . . . INPUT TO MACHINE - Large and varied repertory, including keyboard, joy sticks, biological and environmental sensors . . .

FEEDBACK, MACHINE OUTPUT - Immediate, multi- sensual, unambiguous and varied ; includes colored kinetic events, tactile audio and environmental information . . . At yet another level the image processor and allied machines are designed for the express purpose of modifying consciousness, increasing awareness, centering, learning non-linguistic- ally, &c . Machines whose primary function is this "consciousness modification" are not new ; a musical instrument is a good example of a machine designed to modify consciousness--what else is it used for? At the most immediate and final level, it has been a joy working with the instrument ; I have learned a great deal from it . The image processor is not yet finished, but it is functioning ; still restricted to black- and-white images and not many input devices have been built . Expansion-ing is slow but steady .

Dan Sandin/Philip Lee Morton - Video E/S University of Illinois at Circle Campus The Batbets Association ob Japan has pur- Department of Art chased 6,000 Panasonic VTRs model NV-3120 to Box 4348 keep their many customers busy watching video Chicago, Illinois 60680 AxA1 YW white waiting to have their hair cut . s1

CTL VIDEO TOOLS #2 Z4 VIDEO TOYS colopizens Black-and-white camera plus colonizer does not equal color camera . The colonizer works on a principle of converting different gray levels into different areas of the color range . This range is manually adjusted to suit, so that according to the position of a knob, one might affect the colors, so that the well-lighted areas were red, and the shadows blue, or that the light areas were blue, and the shadows green, go . The simplest colorizes has four controls : one is straight voltage, to control saturation level . Then there is one for the red, one for green, one for blue . Color television works on the principle of combining colored light, not pigments . Therefore the three primary colors are red, blue and green--not yellow . One achieves yellow by mixing red and green . The effects of the colorizes look like a psych- edelic poster . You soon get to thinking about what was supposed to be so wrong about the color television receiver, with the colors mis- adjusted . Why is it that with all of the many possible combinations, there should only be one correct setting, and that the others are all incorrect? Nevertheless, a poor colonizer soon grows to be boring . If the saturation is turned too high, it makes the color break up into red, blue, and green bands, with no cor- respondence to the picture, or it can be dif- ficult to use all three colors simultaneously . However, I have worked with excellent colon- izers, in which there is a chroma-keyer, allowing different colorizes settings, which one can switch into instantly . Also, with the keyer, it is possible to colorize two different signals separately, so that very close areas, of similar light level, can be colorized individually . I usually don't colorize an original tape, because a colorized tape will not look as good on black-and-white monitors--there is a polarizing effect that decreases the detail . Also, for an original, a colorized tape will not copy well, whereas a black-and-white tape can be copied a number of generations successfully . Therefore, I generally prefer to colorize a tape live, or to colorize each copy individually, as opposed to trying to copy color . Dimitri Devyatkin 324 E . 19th Street New York, N .Y . 10003 We have duplicated colorized tapes with no problems, so it can be done .

0The CTL G)caphie Cotohizeh (CTL GC-1) is here . Developed by ace engineer George Brown, the GC-1 is an 8-step colorizes . Each step is discrete with separate red, green and blue color controls . The input gain and pedestal controls allow as- signment of gray levels to varying input signals . The clusters of Red, Green, and Blue sliders allow infinite color selection for eight mattes which are keyed into the eight gray levels of the original video . The direct/ derived control allows mixing of original and synthesized luminance . The GC-1 is especially effective in the control of feedback loops because output levels can be shifted infinitely from white to black . The discrete nature of the output signal improves regeneration allowing a camera-monitor loop to be used for short term storage . Another use of tnc colorizes is for shooting titles from monochrome artwork, freeing a color camera for studio shots . The GC-1 can add color to selected portions of black and white photographs and nega -~ives With the colonizer, low resolution material (such as medical x-rays) an be processed for greater, clarity . The optional key (driver output allows you to insert v_,deo using another keyer .

GC-1 video in - loop through - UHF video out - 2 NTSC 75 ohm RGB output - optional key driver outputs - optional $1495 .00

CTL VIDEO TOOLS #2

E T G , D .~ . , I a I ~

r0 CABLE .VIDEO cogX GABLE-UHF coNNEGTORS I. 1ZFCONV_-C.T0R 2. /OP//Y 7To VIDEO IN/AUDIOlly 3 . $ P/N To 8 PIN -1. l0 PIN 8 P/N 5. AUDIO &

LJU g-Monitor loop thru, portapak to ed-Lt deck . 4) 10 pin L-Direct hookup,standard playback deck to edit deck . 3b) A-Direct Hookup, PortaPak to editing deck. 1) RF out of portapak to 8 pin in of monitor, using 8 to 10 TV out of P/B deck to 8 pin input of monitor using 8-8 of portapak to VHF lugs of TV set . 2) 10 pin out of out pin cable. 5a) Audio line out of P/B to aux . in of edit portapak i pin cable . 5) Monitor line out to aux . in of edit deck to video in and aux . n of editing deck, us using audio cable (mini-mini for Sony decks,mini- RCA deck using audio cable w/ appropriate connectors . 6a,) ing Woody cable or VMC series cables . 3) TV out of video in of ed- Video out of P/B deck to video in on edit deck using editing deck to 8 pin input of monitor using 8 to 8 for Panasonic) . 6) Monitor video out to it deck using coax w/ UHF connectors . 3a) TV out of ed- coax w/ UHF connectors . 3c) TV out of edit deck to 8 pin cable (or RF out to VHF lugs of TV, not shown) . it deck to 8 pin in of monitor using 8 to 8 pin cable . pin input of monitor using 8 to 8 pin cable. EDITING SYSTEMS FAIR Sony Sony Panasonic AV-3400 to AV-3650 or NV-3130 Portable VTRs are not stable playback decks .

GOOD AV-3600 to AV-3650 or NV-3130 Sony AV-8600 to NV-3130 for color editing . OUT BETTER AV-3650 or NV-3130 to AV-3650 or NV-3130 VIDEO *IF SEC, FOES NOT HAVE LOOPING INPUTS- Two servo capstan decks will give you an VIDEO OUT FROM easier shot at good edits . \WITHTHIS SETUPYoUCAN USE AN SEG (NOT SONY SEG 1 ) 8PIK OF PECK I USEP Sony 1" TO FEED DECK2 NV-3130 to EV-320F TO MAKE GUTS L3ETYIEEN BEST AV-3650 or TWO TAPES .,, . . THROUGH MONITOR (see editing page, 9 for info on 320F)

OVER 250'YOU WILL NE EP A 0` UNE AMPLI FIER S g

FOR MULTIPLE SCREEN DISPLAYS USING REGULAR TELEVISION SETS, The splitter divides the RF signal . With just a splitter the signal can be sent to as many as four TV .sets . To send the signal to more than four TV sets you will need an RF amplifier . 2-way splitter $ 2 .45 A110 RF Amplifier $19 .50 4-way 4 .95 A1104 (4 outputs) 24 .75 8-way 13 .70 A120 32 .75

PHONE PLUG riW HI-2 OR LWSArwWSO ww-2 $NIQLPTO OUTERSHELL~A

pin cable CCJ _ SONY IO INNER(ONDIKTOR +I To TIP ~TOR

1 Hot - yellow/gray-video out 2 Ground --- PoUg ONE CONPUC-TORTonP SNIELP AWOTHER TOOUTER SHELL 3 Hot j red/gray-vert . sync 4 Ground -common ground ~ONNEC70/Z FIELD .h . sync AMPNENOL TYPE 5 Hot i blue/gray-horiz FOR HI-Z INPUTS . . 1 6 White-remote control Audio Info ~~~llll~~ y R GONNF~CTS 7 Hot green/gray-microphone 8 Ground/ Ml1V1-PLUG FCRHt-Z I t 1 (t-6 9 Purple - Ground (-) Y SHIELD7bOUTERSH ~ I~OI 10 Red - + 12 v do 4 video in white U Input and output signals 63.5 (ps! 3 video ground A 2 video out at the i0-pin connector black z i 6 video ground 0 Cl4N/VON TYVECONNECTOK audio out-red " sync signals from the AV-3400 1 j gray SHIELPTOPIN 1 r''j71 5 audio ground ~.pLI, I in-white ONE

CTL VIDEO TOOLS # 2 26 WIRING DIAGRAMS

N1V-31OP ~5TUVIOCAnERN

PI-u&IrTO REMOVE ML~,DPHONE LINE INTERPOM - JAcK '"-~~ (PINS7AKW FROM CABLEA ADP FEMALE MINI- PUT MALE MINI PLUG 0N ~EAD- PHDNE5 - 5KUC~E CONN ECTORTOCAI L2 W(TE{ &AFFU-R~TAPE/FOR UHF and mini jacks can be added to a monitor with an 8 pin con- 5AVETy TAPE hEAD - nector, as shown . Be careful PNCNECABLE ToP to mount connectors in a place where they will not interfere WHEN IN u5E with other circuits or wires . PIN ON MONITOR

(?OVER CAMERV HEADPHONE

WELL PADDED

MIDI-LIME LoNTKOLS

MICKOPRONE5

13T LABS MODELS1 WIRE 'STRIPPEFZS $5 .

MANE MONTOK VIDEO IN

PvM 400

MIXER !SE=-:C- (Mx-Iz)

08U1LO1TYOUR.SF1FA6l/A1/AlL/MPORTABLE R4GK-

ONE PIECE AWMINUM CWPNNELIIgy KNDTGH AND SEN-D TO FORM HANPL-ES WUPWNT RPFK AND MK-ADD REAR BRPU (X)- RUBBER FF-ET - FOAM FAC)5 - PRILL ANP MOUNT EQUIPMENT TO FRONT

PANASONIC 3130 SPACE CITYS PORTABLE STUDIO SYSTEM - CAN BE BROKEN PowN TO USE JUST RACK- ZROVER CAN16RA5 AND OR 50NY 3900 PORTAPACK DECK WITH SFG OPERATOR MONITORING SOUND. WE HAvE REMOVED ROVER CAMERA CAeL .E5 JUST BELOW HANDLES AND MADE THEM INTO rXTEN5IONGAQLF-S 5 -WHEN USI1`l~ 6ABLEA W ITH POZTAP,&~K USE AN E?TERNAL MICROPHONE-CHOP LUC.K- DEE,MJKE,RIcRARP/ MITCH AND g1UC- .

Termination . A video signal travelling in a coax cable can go in two directions . If the signal bounces back through the system it can cause ghosts or multiple images, and a noisy Junction cable . A Y-Sptitteh distributes the picture . A 75-ohm resistor is put onto the video signal from a deck to two monitors . end of the line to absorb the signal energy Only one of the branches of the cable can be so it doesn't reflect back to the line . longer than 15 feet, and the monitor at the end of the long cable must be terminated . (The same applies to the use of a T-connectah .

CTL VIDEO TOOLS # 2 WIRING DIAGRAMS 27

piece, not with interchangeable shafts . It wouldn't be a bad idea to take your portable recorder with you when you DRUM SPEED CHECK FOR AV-3400 go to the hardware store to buy these things and make sure, Tools for instance, that the phillips head fits snugly into the 1 television or monitor/receiver (in TV screws on the deck .) setting) which gives strong signal 1 monitor 7) A set of jeweler's screwdrivers with interchangeable 1 pre-recorded tape shafts . Put the monitor and TV next to each other, 8) A spool of "hook up wire ." (This is just any kind of touching . Turn on the television and play your thin wire with a plastic casing .) tape through the monitor . On the monitor you will see a line across the screen . If the 9) Fuses for the various types of equipment you're using speed is proper the line will be stationary (3 amps - 250 volts for the Sony AV 3400 -- but the regu- (a slight drift is acceptable) . If it is mov- lar type NOT SLOW BLOW FUSES) . ing up or down the screen, you should adjust the speed . 10) A roll of plastic electric tape . 11) A jackknife with a sharp blade . SPEED ADJUSTMENT SOME PREVENTIVE CARE TIPS (provided with FOR NON-TECHNICIANS 12) Splicing and cleaning paraphernalia most VTRs, but which can be augmented with spray cleaner, a head degausser) . A large proportion of equipment breakdown comes a chamois cloth and A multi meter . (Lafayette Radio Electronics makes a from the fact that most video groups subject their 13) FRONT meters, as do a num- Tools half-inch gear to much more continuous use than it whole line of inexpensive, easy to use want play electrical same as above was built to take . So there is an extra incentive ber of other companies . Unless you to more than $10 or $15 at small philips screwdriver to minimize dust, dirt, ashes, excessive vibrations genius, you don't need to invest want to do much repairing very small slotted screwdriver and jolts, unnecessary handling . Be particularly the most in a meter, but if you cup to hold screws careful when packing gear for travel and when work- atall you'll need a meter .) ing in crowded situations . Remove the BP-20 and RF adapter . Keep the tape 14) Diagonal wire cutters (called dykes) . on the deck ; remove the cover completely, 2 . Annoying minor design problems in the Video rover : A .C . plug . stand the deck up on its back so that the bot- the camera eyepiece hinge and the deck's control 15) A "cube tap" -- 3-way tom is facing you (tape, drum, &c . away from levers are liable to break off if treated roughly . you) . Remove the screws from the back, front 16) Spare audio & video connectors . bottom, and front sides (do not hemove the. 3 . Other vulnerable areas : cables and their connec- tiny schewb :) . Now you should be able to pull tors . Always place multi-pin connectors in their the works out of its case by the handle . Find sockets very gently . They can be forced in incor- a piece of orange paper behind where the BP-20 comfortably fitting rectly even if there is only one There are a lot of techniques that are applicable to goes . To remove it just loosen the screw on never pull on the position . When disconnecting, special situations but soldering and screwing, well, the right, bend the paper slightly and slide susceptible to damage cable itself . Particularly they'll get you a long way . it out . You should now see a circuit board in from this are the 10-pin camera connector and the the center of which there are two tiny screws . 8-pin . Make it a habit to wrap up cables in a The uppeh one adjusts the speed . Start running smooth loop : no knots or twists ; a break in the the tape and turn the screw gently until the middle of a cable is much more bothersome than a Parry Teasdale line across the monitor is relatively loose connection . (of the Videofreex/Media Bus) stationary .

Miscellaneous Information

4 . Clean the heads and tape track as a daily routine, as well as before particularly heavy use . Many VTR Service Department taping or playback disasters result from dirt on Model: ALL VTRs the heads or in the brushes . Never use Q-tips to fONY CO"~O"" 710N OI AM "" K " wipe off head dirt after the cleaner has been Subject : HEAD CLEANING FLUID applied -- they usually aggravate the original problem . Date : March 2,1970

5 . Thread the tape quickly but never in a hurry . Wind VTR head-cleaning fluid previously stocked by our Parts Department is being replaced by it smoothly around the take-up reel . Never thread while the heads are still spinning, or when the VTR M/S brand magnetic tape head cleaner . This item will be supplied in 16-oz aerosol cans VIDEO HEgD is in anything but STOP position . (Remember that with a 6-inch extension and may be obtained through your regional parts depot. The price TAPE under certain conditions a misthreaded Porta-pack per can is $4 .50, less appropriate VTR discount. To order, refer to "S-200, M/S Head will still record properly but only play back that Cleaner. " tape if it is re-misthreaded in exactly the same way -- so double check visually .) John sayz "Use these for dusting FROM THE MAKERS OF GAFFERS TAPE adhesive 6 . To preserve video tape, store it in cool, low humi- around e4uipmeut, the dity locations . Always store tape on end, one next 3 for $1 .00 catches ,:he dust and keeps i.t out to the other, like a shelf of books, since stacking of the leads . them flat, one on top of the other, deforms the plastic reel and damages the edges of the tape .

7 . Batteries will perform optimally if they are kept well charged . Make it a habit to put your batteries on charge after every shooting . If you are using ,a modified motorcycle battery, get a techni- keep a clan head . cian to make sure it has been connected properly -- the contraptions are notorious for blowing out fuses Unless You have a new AV-3400 do not set the deck on itb end (vertically) with the fuse in a Sony Pressure from the cover will cause the reels to stop, re- and worse . Learn how to change the SECO~~N`p.~~~t1 tape tuhncng on the heek6 . Porta-pack ; the other decks have easily accessible suiting in tangled tape around the capstan . What Sony did recently, you can too . Put `NF~R ones . a bracket on the deck so that the cover can't be pushed against the reels .

Shridhar Bapat LIGHTPaula - Here's all 1 have on file on the fuse replacer,Ient U1DED

reoririted from n?a~ netoscone " Let me ':now if you need anvthinn else .

There is a basic minimum tool kit that no video person who wants to stay operational more than a block from the repair shop would be without . It includes :

1) A good soldering iron . (Unger makes a good one -- the REWIRE YOURSELF model is called an "imperial" and the tip is replaceable . gSony's excuse for hiding the fuse under 6 screws I like a thin "shovel" tip .) and the top plate is that you must use a three amp fuse only . They assume that if you know enough-to 2) Resin core solder . (Kester "44" is as good as any . A take off the top plate, you will put in the correct proper diameter is .032 .) fuse . DO NOT USE A SLOW BLOW FUSE .

3) A pair of needle nosed pliers, preferably with plastic Remove still knob (#l)-pull up and off . around the handles . Remove sound dub knob (#2)-up and off . Next remove the head cover (#3)-up and off . 4) A pair of regular pliers . Remove screw from T bar (#4)-then T bar (#6) . Now remove white plastic roller (#6) 5) A thin slotted or regular screwdriver . Remove screws A,B,C,D,E,F . Pull foam pad (#7) back with very light pressure . 6) A good Phillips head screwdriver . (Make sure you get Lift up full top plata 0!s) . a good Phillips, i .e . one with a well made tip (no burrs, Pull out fuse (#9) and replace it with a 3A fuse,only . etc.- a shaft of a strong metal and one that's all one Then put it back together . By LARRY GADD

CTL VIDEO TOOLS #2 28 MAINTENANCE

TURN CAMERA OFF BE GENTLE

OTo remove the top cover of the camera, remove the two screws on each side along the WNITCq lower edge of the Gray . Then pull straight T off and a Fl shaped piece of metal will come I~G . off, exposing the camera circuits . TAfZ~ET YULTA6£ C .LNTROL MI lAW CAUTION -ov The beam and focus controls are part of the high voltage board, so be careful when stick- ing a screwdriver inside for adjustments . vipKON Tu$E There are voltages up to 3000v on the H board, and although the current in the camera is too permanent damage to humans, being The bottom plate is covered by the hand grip, low to cause across the room by a shocked human can so take that off first . Then remove the two thrown cause permanent damage .t o the camera . Wrapping small small flat head screws underneath . The the shank of the screwdriver with a layer of bottom plate will slide down and dangle on BEAM CFOCw5 Scotch # 33 brand black electrical tape will camera cable . The hole is large enough protect both the adjustor and adjustee removing it the cable help to permit from from accidental short circuits . If your cam- over the 10 pin connector . RE MOVE GRI D ON COVER--~- era is being used by yourself and other persons who have read this warning, cutting out the O ~Tronn bottom cover (see diagram) will VLINEARITY grill in the TURN CAMMERA ON save time in making beam and focus adjustments . CAMERA H,CENT-O ./O ~O The electron focus control is adjusted while CONTROLS YCENTi V.HEIGI-IT observing the picture on the viewfinder or (better) a monitor . Adjust both the focus control and the lens until the sharpest pic- L C7 BEAM AND FOCl1S ADJUSTMENT You will know there is a problem with the beam when you see ture is obtained . ~1wnn cometing (or lag) on bright objects . The beam control is turned fully clockwise counterclockwise until Electrical focus adjustment should be made for sharper detail and then turned slowly blobs of light areas) dissap- ( focus shapes the beam) . blooming (big METER REQUIRED pears . If° the beam is adjusted for shooting brightly lit scenes, lag (trails) may appear shooting in low light, backing off the *This adjustment effects o_Deration of the when ~~~---~t~9 VOLT SETTING beam control slightly will help . entire camera so check this first if your camera shows problems, especially poor viewfinder focus, lag, blooming . Set with accurate volt meter (check the meter with a fresh 9v transistor battery) . Probe the + C*34oo and - (ground) points with the meter .

If the camera is running and you have applied I~~ the test probes correctly the meter will show u~Do a positive voltage of about 9 volts . If the voltage is around 12 volts, recheck the loca 9 e tion of the test leads . (The small island CIRGVIT QOARD'D The viewfinder brightness and contrast immediately to the left of 9 volt island is ° controls are similar to those in a TV set . 12 volts .) If the voltage is not 9 volts, If you adjust for best image when shooting use a small screwdriver to adjust the 9v set in low light, the viewfinder will be too control for the exact voltage . The camera contrasty when you shoot in bright light, comes from the factory with white paint on so you should readjust according to the the screw to prevent vibrations etc . from shooting you will be doing . changing calibrations, you will have to break the paint to adjust it . A dab of nail Viewfinder vertical height, vertical lin- polish will resecure the screw when you finish . earity and bias should be adjusted only If the voltage was way off, your camera should if a monitor known to have good linearity show immediate signs of improvement . is available . A tripod is helpful, compare the picture in the viewfinder to the one on the monitor and adjust until equal . The three controls interact, so don't try this if you have a shoot in 15 minutes .

The other adjustments require special equipment for proper adjustment .

TURN CAMERA OFF AND REPLACE COVER

Notorious for falling out are the screws on the 10 pin connectors (on the camera'cables) these should be checked often and tightened with a jewelers screwdriver. Then seal with nail polish . 0 O'Wnen you sec white or black spots or, lines in DON"T TWIST THE TUBE AS YOU PULL IT OUT . 6) Zoom out without changing focus . the viewfinder, you have either 6) Observe the location of the missing index 7) Push the flange back tool sideways to focus . pin as you remove the vidicon . Reinsert if necessary . 7) Line up Dust on the vidicon face, (unscrew the lens the index pin on the new vidicon 8) Repeat steps 5-7 until camera stays in focus and cyan with a Q-tip) .or so that it faces the same way as the ~;ld throughout zoom . Burns on the vidicon . tube . 9 ; Remove lens and replace ornamental ring . 8) Slide new vidicon into the camera . Wear 0) Replace lens . To remove temporary burns, turn on che camera white gloves +o prcte,:t the face of the and aim it at a brightly lit white -surface for v dicon from fingerprints . about a nalf hour . If this doesn t correct 9) Replace:L viuico :i retainer and 3 screws . the problem, the burns are permanent . 0) Replace ornamental ring . 1) Replace lens . 2) Turn on the camera, adjust beam and focus if necessary . W ~01 aK a ~o u Replace with ;?8844 2/3" tube (see page 16) . The vidicon, should De replaced when it shows O[ahen an object goes out of focus during a poor contrast, graininess or permanent burns . zoom, the back focus (also called flange back) requires adjustment . Make'a flange 1) Turn off camera, rem:)vc top and bc ctom cover back adjust- from camera . - ment tool by bending a small screwdriver . Or 2) Remove lens . order Sony part # 2-066-CE1-Cl (57 .) . Remove lens . 3) Turn ornamental ring counterclockwise and 1) 2) Remove ornamental ring remove . 3) Replace lens . 4) Remove 3 large screws from vidicon re -t:ainer and lift off . 4) insert the tool into the slot under the microphone . 5) Push the vidicon out from the socket in the back and pill straight out through the front 5) Zoom in on an object about 10 1 from the cam- cf the camera era, adjust lens for best focus .

MAINTENANCE 29

Tally Lamp Beam Control Focus Control Target Control Panasonic

Intercom Jack PANASONIC SYSTEM SERIES 1000 MINI-STUDIO PRODUCTION CENTERS Optical Focus Control Hear Zooming Control TPPC-2 maps~- System number SONY, designation 1100/10 1100/15 1100/20 1100/25 1200/10 1200/15 1200/20 1200/75 PVM-400 Special Effects (4) 4" monitors u Generator (1) WJ-540P WJ-540P WJ-540P WJ-540P VY-922 VY-922 VY-922 VY-922 Program monitor selector Cameras WV-340P MX-900 mike mixer, 4-input VY-922 (2) WV-340P WV-360P WV-360P WV-340P WV-340P WV-360P WV-360P Lenses(2) H5-14P H10-11P Audio monitor H5-14P H10_11 P H5-14P H10-11P HS-14P H10-11P SEG-2 Monitor (1) TN-633 TN-633 TN-633 TN-633 TN-633 TN-633 TN-633 TN-633 JB-3 Audio Mixer (1) SHURE SHURE SHURE SHURE SHURE SHURE SHURE SHURE $3186 .00 M68FC M68FC M68FC M68FC M68FC M68FC M68FC M68FC WJ-540P $ 4293 . 5021 . 4576 . 5304 . 4431 . 5159 . 4714 . 5439 .

color cameras - WV-2100P/8200P (control unit) with pushrod lens 18-105mm and 25' cable .

Target Voltage Control of Vidicon Beam Control of Vidicon Electrical Focus Control

This is a sample studio . The price will vary with specific requirements . Call or write to John at CTL .

CTL VIDEO TOOLS #2 30 STUDIO SET UPS

Distribution Amplifier . Signal Power for r Monitors

sequential switchers. solid state, 4- 6-8-10 position . Desk Top or Rack Mounted . O m

113 ounted)vldeo , O

section ~iew

O Z Z Video Amplifier : Long cable run compensation . Remote controlled Motorized Zoom O There are basically two types of CCTV surveillance systems . The RF systems use camera signals modulated onto standard channels . RF is mostly used in conjunction with cable or master antenna systems in a- apartment buildings . In industrial systems, unpro- cessed video signals are carried directly to special monitors which offer improved resolution . CTL designs and installs custom CCTV surveillance systems . Call Jack at CTL for an estimate based on your specific needs .

DOWN

1 . two-channel audio 2 . iron-oxide coated Mylar ribbon 3 . electric spinning wheel 6 . remove information inpu 7 . it combines video or audio eggs, flour, etc . 8 . number tube 10 . one whole turn or social upheaval 12 . cable width (abbr .) 15 . popular video connector 16 . competence 10 . non-plus 21 . ready-to-edit points 24 . battery power ACROSS

1 . servo-controlled deck, when editing 4 . figure out a formula (2 wds .) 5 . the reel that gives 18 . 7 . veiwing box variable cps . 20 . random or 2 :1 9 . dimentional circuit 22 . /off 11 . snap, crackle, fatal excess 13 . re-arranged and reconfigured 23 . 14 . instant replay machine 25 . timing pulses 26 . affirmative 17 . record/

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j of s.lamsuv EAST TEXAS C)nup FACTORY

CTL VIDEO TOOLS N2 CCTV 31

TRUCKIN9 HOW IT WORKS ACCESS/N.Y ARMADILLOS A CATV system has four basic components : 0 There are two public access equipment centers Austin, in New York the head-end, the antenna, Texas, the state capitol, was cabled City . These have been funded by the distribution o in the mid 60s to provide Teleprompter and Sterling-Manhattan, system, television reception the two and the drop 0 to the hill country in this part of the world cable companies that hold the franchise for and Manhattan . now claims 25,000 primary and 20,000 sec- The antenna receives C ondary subscribers . Or about 70,000 eyeballs . broadcast signals just Neither have enough equipment to properly ser- as vice their the home rabbit-ears does . It K Capitol Cable Co . (owned by Lady Bird Johnson) areas, but they are open to anyone is placed to receive was approached recently who would like to learn and use video the maximum by Austin Community equipment . number of channels with clarity . Television, to start doing something with pub- The antenna is usually centrally lic access or real program origination . Because located to make the company is a grandfather system, they Video Access distribution 41 Center of the cable easier a aren't required to do anything about public 528 LaGuardia Place 0 access until NYC U 1977 . But amazingly, they agreed From the x to give prime time (212) 598-3586 antenna, 0 on an ABC channel . Up until the signals are sent now, Capitol got ABC from San Antonio and from TelePrompTer Public Access through a wire to the Austin . Now, the St . Anton' ABC station will go Studio 1 head-end 0 off from 7 to 10 p .m. for public 60 W . 125 St . +~ access program- At the head-end, ming, then return for 30 minutes of network news NYC 10027 the (212) 831-9366 signal is received w and be returned to ACTV for the remainder of the from the antenna and is night . The cable cc . will provide the means of prepared for distribution 0 getting the p .a . signal to their head-end 3 (mic- to each subscriber's TV . Inter- 0 rowave or cable) from its origination point . An ference is filtered out and the w advisory board has been set up that will be signals are brought up to proper responsible for getting and keeping the arma- strength . Some signals are converted 0 dillos fed . On this board are representatives to more useable frequencies . Then from the Texas State Council on the Arts, who The the signals are prepared to be 0 will hopefully provide funds for the project . sent over the cable . In x Also community and university representatives addition, the head-end and Space City Video, an independent group from Video fflceess Genter monitors all of these Houston . Hello, functions to insure that signal quality Taped programming is already being produced and H will It's time we get together . We are all basically is maintained start as soon as an origination point is in the same boat . We are trying to link our decided upon and the signal is fed into the l . Filter out A system . Because Austin communities through public access television . interference b is a college town 2 . Boost signal strength U (60,000 students, 1/3 the population), they The Video Access Center 3 . Convert signals are pushing to be operational by the new school opened on September 4 . 15, 1972 . It was set up through the Alternative Prepare signals for term,this fall . Media Center at NYU . AMC contracted distribution s. with Ster- 5 . Monitor Although ling-Manhattan Cable Television Co . for the all functions none of the major Texas cities are donation of equipment for the use of an access cabled, Houston, Dallas, Ft . Worth and San An- facility . To insure signal .P ton' are all in the process of drafting and About $15,000 worth of equipment was 110 provided, including 4 portapaks, 2 AV-3650 quality throughout the awarding franchises . Whatever happens in Austin editing decks, 1 AV-3600 system, space must be left 1 will have a great effect on the way things are and a special effects between the generator . Sterling-Manhattan agreed to main- cable and set up in these other cities . Any information tain this equipment and also other utility you can pass on will be greatly appreciated . provide the center lines We would with 75 half-hours of 1/2" tape with a new reel also like to establish a tape exchange to be substituted for each tape used more than network with access elsewhere . Please contact five times . The wire that connects Mike Tolleson/Armadillo World Headquarters, the head-end and the subscriber's 525 1/2 Barton Springs Rd ., Austin, Texas 78704 . In order to actually set TV set is called coaxial cable . In a up the center, AMC had CATV system, to find other funding . This came from a grant there are three different from the Fund for the City types : trunk lines, distribution of New York . This lines, and feeder lines was enough for the rental of a storefront and MINIMAL SPECIFICATIONS FOR salary for one fulltime staff member . A COMMUNITY CABLE SYSTEM The trunk lines carry the signals for At the beginning, a group of about 15 people long distances 1) That the system be under direct administra- volunteered substantial amounts with no taps or drops . By avoiding tion of a community-elected board which will of time . Meet- direct connection with the subscriber's ings were held regularly to develop policy and regulate rates, hear complaints, make channel procedure . One of the TV, the trunk cable can carry the allotments, and enforce with legal power the first decisions was to signals with relatively little limit the use of the center to people living in terms of the franchise contract . the Sterling-Manhattan interference . Amplifiers are area . Classes were start- used to boost the ed immediately to train people in the use of strength 2) That the system be a multiple ownership, the of the signals whenever consisting of at least five equipment . By the end of three months, it falters separately-owned close to 300 people had been given cards de- neighborhood sub-systems . signating them as qualified to check out equip- Distribution lines 3) That priorities be given ment . This began to put a tremendous strain on carry the signal from to nonprofit cable the 4 portapaks ; one of the four was almost companies and Wisconsin-owned companies if the trunk lines to the feasible . always in for repair . feeder cables through distribution or bridging amplifiers . 4) That the Milwaukee The volunteers then decided to work for quality, These amps guard against signal system anticipate long- with'the hope of getting more and better tapes term development, providing at least sixty failure on the distribution channels with for the cable . An emphasis was put on longer cable and prevent inter- additional capacity, provide for training periods and on-going projects . People a wide range of auxiliary cable services, such ference from reaching as computer tie-ins, radio and who are unable to get into classes are encour- the trunk line digital trans- aged to volunteer, give time and energy to mission . the center . The drop line 5) That each carries the signal neighborhood system have cost-free Now, after six months of operation, the Center common carrier public access channels and one into the subscriber's inter-connected is looking for more funds . Applications are in house city-wide public access channel . to the New York State council on the Arts 6) That each neighborhood system (which has necessitated becoming incorporated A cable have cost-free as a nonprofit institution) and other grant access to facilities providing videotape pro- is then installed duction givers . leading directly to and editing equipment and training . the subscriber's 7) The Video Access Center, 528 LaGuardia Place, TV That there be established absolute respect NYC 10003, is starting a mailing list for its for the civil liberties of the subscribers, newsletter . If you want it, a $2 contribution A cable TV system prohibiting any unsolicited monitoring of sub- will assure you a copy . is, most simply, a way scriber activities or program selection . of connecting two or more places with a wire . Today, that wire is being used to distribute These are just a few suggestions recommended broadcast TV signals . It can just by Input : Community Video Center . Certainly The municipal channels (A & B) will start as easily be used to receive any there are many more to be considered . Inter- operating this May . The city in the role of message, or send any . In short, estingly, not one of the above recommendations executive producer is expecting their programs it is a small communications has been included in any previous draft of the to come from city and state agencies . The New network . Presently, the Milwaukee ordinance . York State Council on the Arts, the Cultural only people using it Affairs Department, the Human Resources Admin- are cablecasters INPUT Community Video Center istration and others will get into TV . 1015 W . Mitchell St . Milwaukee, Wisconsin 53204 It appears that the (414) 647-2384 city intends to avoid put- Founders Annex Public Service Project, Inc . ting any money into this project, but will in- Box 388 stead involve organizations that are govern- Dedham, Mass . 02026 Input has published Citizen'e Handbook on Cable ment-funded which already have TV equipment . (617) 329-1135 Communications in Wisconsin 24pp . 50<

CTL VIDEO TOOLS #2

year and a half . The cable here has 85% of Community Involvement the homes subscribing because without cable 9A look at citizen and institutional partici- you get poor TV reception . The cable manager pation in Massachusetts cable development has the city council in his back pocket . Loc- would never reveal that cable is one of the ally, we had a few levers . But we also know most important elements in the future of that Teleprompter (TAT) is applying for new schools . hospitals, libraries, banks and franchises in communities not yet cabled . We other businesses . Decisions about the town's went to Saratoga, Cal ., and asked the council new wire have traditionally been made only by to refuse TPT's application because of their the local government and the cable company . poor service record in Santa Cruz . We pro- The whole subject has usually received less duced two pages of documented service abuses attention than contracting for garbage col- suffered by Santa Cruz subscribers . The Sara- lection or locating a little league field, toga franchise was awarded to someone else . unless reception of the Bruins was at stake . We sent a collect telegram to the president It is possible to determine in advance how of Teleprompter, William Bresnan, stating much money a cable system could make in any that they would continue to lose new fran- community . By combining this knowledge with chises until they came to Santa Cruz and pro- a needs assessment of the community, the loc- vided a satisfactory access solution . Two al government will know what it can reason- weeks later, the vice president flew to Santa ably ask for at the beginning and in the Cruz to negotiate . At this moment, access in future . Any city or town which knows its Santa Cruz looks promising . Until a commit- wants, needs and potential before granting ment is made, we'll be opposing their fran- a license is bound to bargain for a better chises wherever we can . If your community is deal . For instance, a city might request use This photograph was taken after the Great opening for bids from cable companies soon, of a channel to interconnect all of the doc- Blizzard of 1888, at the corner of Broadway write me and I'll send you a copy of the tors in the city instead of permitting that and Twelfth Street . A law had been passed Santa Cruz service abuses . It gives communi- channel to be used for made-for-TV movies . in 1884 requiring all telegraph, telephone, ties insight into things they should protect Drawing up the license in advance and advert- and electric wires to be removed from the themselves from, especially if Teleprompter ising for applicants who meet the city's streets ; the first underground conduits were wants the franchise . standards will benefit both the city and the laid in 1886 . The blizzard helped speed the company . Each will know the other's expecta- process of cable-laying . You should also get a copy of the franchise tions and limitations before they are legally granted by your city . Look for violations of bound together for 15 years . requirements . See if your city reserved the power to amend . If the city did, try to get Institutions and special interest groups have them to require public access now . San Fran- been very slow to get involved in cable lic- cisco amended their franchise before it ran ensing . Schools, for instance, have much to out and increased the tax the cable company gain from a system designed to meet their must pay to the city . So it can be done . A particular local needs . Yet it has been very Getting it on cable. . . ray of hope is slowly beginning to shine rare for a school official to ask to have a through . The Reading project has demonstrated voice in any decisions which get made . We Since you are reading this issue of VIDEO to the cable industry that support for access know of very few special interest groups or TOOLS, you must be interested in producing is one of the best public relations devices community service organizations such as hos- videotapes in your community . The time will they can develop . pitals, fire and police departments, housing come when you will want others to see your Johnny Videotape developments, or homes for the elderly which tapes . The logical place to show your tapes 695 .30th Ave ., E . have sought to participate in the decision is the cable system in your town . The cable Santa Cruz, CA 95060 or even voice an opinion . operators, however, may not share your enthus- $3 will get you a really nice iasm . So, "How do you get your local cable book . Community Access Video Public hearings have reflected the lack of operator to provide access to you and others?" H . Allan Frederikson - informed and concerned community participa- tion . Attendance is low, and those who do If the system is owned by a parent corpora- speak do not generally have anything cons- tion like Teleprompter, you will be dealing thefuture....? tructive to offer . More is heard about the with a local functionary that can pass the BroadBand Communication Bruins than education . The recent preliminary buck . "Well, we gotta check with the home hearings for Boston were an exception : the office ." You are most likely in luck, if Am- 30 or 40 people who attended came from nearly erican Television and Communications Corp . The cost of paperwork created by business every cable research group, academic study owns your system . About a year ago, a project in the United States is estimated at tens of committee, and cable company in the area . was started on the ATC cable system in Read- billions of collars annually . Should this more Only the public was not represented . ing, Pennsylvania that is rapidly becoming a than double within the next decade as ex- national model . ATC asked the Alternate Media pected, this mass of paper will be sufficient Founders Annex Public Service Project, Inc . Center to come in and hold community portapak to block communications channels as they now Box 388 workshops in Reading . One of the workshop par- exist . If we assume a continuing prolifera- Dedham, Mass . 02026 ticipants was later hired to be the public tion of Third Class mail to consumers super- (617) 329-1135 access community liaison . He was paid a sal- imposed upon the business volume, it becomes ary by the cable co ., but was free to set up apparent that physical transfer as we now workshops and lend out the portable hardware know it will become impossible . . . MASTER ANTENNA provided by ATC free to anyone . The tapes AMPLIPLIEIZ were then played (without prior censorship) The use of computers has largely been con- on the origination channel of Berks Cable TV, fined to in-plant operation, but time sharing Reading, Pa . Over 100 people have participated of centralized=computers is now becoming a with over 100 hours of original programming widely accepted practice . The next phase of coming out of the community . The community the development is expected to be greatly in- workshop project has been so successful on creased use of communications channels to tie the Reading system that ATC plans to provide high-speed computers together . Broad-band the same community service on several other [Video is broad-band] networks will be vital systems . Cypress-Warner are now copying the to these functions . . . ATC success and initiating video workshops with free loan equipment on 7 of their systems . By 1980, the development of interactivity will foster the application of man-machine I suggest that you write to Berks Cable TV, systems for shopping, banking, self-educating, Muhlenburg Street, Reading, Pa ., and get a and utilization of information services from free copy of their booklet, "A Story About the home . These computer-like display devices People," which details the Reading success will require the use of a wideband communica- *One dream for cable is a system that ser- story . Then tuck the booklet under your arm tions network for distributing data from a and head for the office of your local manager . central source to a community of users . Every vices the community, a maximum of 10,000 select and people . Orthovision in Forest Hills, Queens, Sell him on the workshop access idea . user is to have the capability to is programming daily to 1,350 families (ap- control the information desired by means of So what to do if he's not sold? The FCC now a narrow band link back to the center of dis- proximately 5,000 people) . Talent and crew sup- come mostly from Parker Towers, the three requires a public access channel to be pro- tribution . These services can only be buildings that are linked through their mas- vided free on all cable systems located in the plied by an equivalent to current CATV dis- ter antenna . Orthovision was started by Al 100 largest markets . But if they were operat- tribution systems modified to provide narrow ing before 3-31-72, they have until 1977 to band transmission capability back to the Simon in August of 1972 . He had for many "head end" . . . years sold and installed master antenna provide the public access channel . At that systems . time they must also get a Certificate of Com- pliance from the FCC by demonstrating that The ability of local law enforcement agencies the growing incidence of crime Programming is loosely structured . Almost all they are in compliance with the new require- to cope with of it is live from a small studio (approx . 13' ments . Many cable companies are interested in can be expected to decrease steadily, unless importing a distant signal from another part alternative means for supplementing the man x 13') with one Shibaden camera, a Smith Victor The application lighting kit, two microphones and a Shibaden of the state . They may not add a new signal on the beat can be applied . VTR for their occasional use of prerecorded until they get the Certif of Compliance. When of modern electronic techniques for surveil- the cable company applies for the certificate, lance and detection will provide this supple- material . They have recently purchased a Sony but only the etectnLonic devices (AVC-3400) portable . Their cable station is the public has 30 days to file an objection . mentation tb The application must also be on public file aAe zystematicatty inteaconnected by bnoad- supported by advertisements taken by local communications netwonks . merchants--a sale on meat at Moishe's (the at the local cable office . Let's block those band corner) butcher store, etc . certificates until real access commitments are made! excerpts from The TED/ETA Response .fions Al Simon The Futune ob Bnoadband Communiea Orthovision The fastest way to get a favorable response Industrial Electronics Division 18-10 26 Rd . for access is through economic pressure . Electronic Industries Association L .I . City, N.Y . 11102 Start subscriber boycotts . In Santa Cruz, we 2001 Eye Street, NW (212) LH5-8822 have been trying to get public access for a Washington, D .C . 20006

CTL VIDEO TOOLS #2

Several people had negotiated with the Univer- that they had ever had--but still no real com- sity to finance a cable system which would wire munity involvement . up the campus . When bids from commercial cable companies were submitted, they decided to build Saturday night, we started doing some cable- the system themselves . All last summer, this casting ourselves, figuring out a schedule of core of about ten people pulled cable through- tapes, announcing the next program and punching out the campus, and in November, they opened it up . Just trying to keep a program going . It the Synapse one-inch color studio . At the dedi- was good to realize that all the information cation ceremony, Wallace Black Elk and Leonard we had been trying to absorb during the week Crow Dog of the Rosebud Reservation in South culminated in doing what Synapse meant for Dakota blessed the cable system and urged that people to be able to do all along . . .to come in, the people that ate nesponsibfe bon all this to learn basically how things go . . . how the radio and tetevision and communication send information travels, and how it gets out of messages, good messages, to our Ametiean people . the control room to the monitors on the cable . Then you start feeling that need for some feedback . . .pfease somebody call and say I just saw Synapse provides open access to their one-inch a tape or I'd fake to keduest something . . . color studio--which includes the slide, film and message chains, a color effects board, and We thought that the experience of seeing eighty half-inch equipment (nine portapaks and more) . people putting their ideas on videotape was They also provide a chance to find out first- like saying that everybody is different, every- hand how a cable system works . They want people one sees the world differently . And it was in- to come there to share information with them, teresting, after viewing the tapes, to see Leonard Crow Dog at the Synapse dedication so that their system is a constantly flowing what the applicant was proposing to do . Lynda's ceremony : information pool . This includes increasing tape of last year's CAPS panel deciding on who . . .Let the people hear, let the people know . . . their video library and trying to find ways to would get grants caused discussion . We decided make tapes available--both through information that it was impossible to guess who would be *In December 1972, applicants to the Creative retrieval systems at the University and through awarded commissions this year--the panel mem- Artists Public Service Program (CAPS) were in- the creation of distribution networks . bers change every year and the decisions are vited by Cy Griffin (CAPS video consultant) to based on their individual feelings about the attend a ten-day get-together at Syracuse Univ- One of Synapse's major tasks has been to create tapes entered . Thai's why Cy always told people ersity . Videostream, as the gathering was call- an audience . When there's no feedback from the who didn't receive commission one year to ap- ed, would provide the grant applicants the op- community, it's an enormous job to do interest- ply again the next . As an experiment in infor portunity of learning about each other's work ing programming . During the week we were there, ma tion exchange, Videostream was very success- and proposed projects, as well as about the the cable was being used to show the CAPS tapes, ful, and we hope that. it will be a continuing operation of a cable system . and that was the most continuous programming tradition . o t

Susan 9 Lynda in studio Lynda at the manhole Quasat and Ffuokide from Synapse's version Leatning about cable btom the bottom up of Stat Ttek

teenage video in continuing with video, generally they Rick Shain were enthusiastic and pleasant toward each other . Video for them (much to my satisfac- The camera as pen, a concept which so ex- tion) often became an extension of play, as cited Alexander Astruc in post-war France may when they made a war "movie" or a tape of a well turn out to be a Sony 3400 unit rather punch-ball game . than a movie camera . At least, my experiences working in media with teenagers lead me to This fall I worked with a group of students think so . at a posh Long Island high school . Rather than bending video to their own needs, they At the New York Public Library Videotape Work- sought to achieve an amorphic professionalism shop for Teenagers at the Inwood Branch in (with amateur equipment and knowledge), as if upper Manhattan, run in conjunction with the there existed some platonically "right" image Media Equipment Resource Center last spring, to emulate . Meaningless technical jargon ob- from the eight kids or so who stuck with the scured their language while Rube Goldbergesque project there, emerged at least 4 definable systems squelched any degree of spontaneity approaches to video . Jeffrey, hyperactive and (and efficiency) . In the morass of cables and ebullient, invented a nervous high-energy headphones and what-not, such basic chores as style, embellished with rapid zooms and swoop- cleaning heads were ignored . Out of four hours ing hand-held camera which frequently ignored of taping, only one hour was presentable . The the subject at hand . Anthony, dapper and self- students were over-privileged and overly- contained, produced work full of elegant, familiar with media . One, in fact, had worked understated pans, steady and unprepossessing . in a cable station the previous summer . Yet Reliable Danny, the technocrat of the group, none of them had the slightest inkling of always came up with a clear, concise image-- style, of the nature of video (whatever that the necessary information and no more . Margar- is) . Their behavior toward each other was et, the last to mold her own approach, devoted nasty and arrogant ; their work stolid, low- a certain poetic intensity to the problems of octane stuff . framing and camera placement . David, Kevin, Hector, Lenore and Michael, by the workshop's I concluded that the environment in which they end, had also taken steps toward defining functioned wasn't conducive to 1/2" experi- their feelings about their visual environment . mentation ; that rather than becoming an ex- The eight, with one exception, were neighbor- tension of play, video superseded it, becoming hood kids, not particularly media conscious a tool for aping adults (at their worst, I and not particularly wealthy . Although the might add), instead of a means for self-ex- students in the project never coalesced as a ploration and expression . Or, in double-speak : group and only three expressed any interest "Knowledge can be ignorance ."

The New York Public Library's Office of Young Adult Services and Film Library has been exploring the possibilities of videotape workshops with teenagers, operating out of a library .

reprinted from the Film Library Quarterly, 1972

CTL VIDEO TOOLS #2 which videotape imparts . It makes a viewer Overall, however, videotaping proved to be a fleet what he sees more than film . And it is viable format for fieldwork . The primary re- cheap . quirement is that necessary precautions be April Video Cooperative is a cooperative of taken and that the equipment be adapted for groups and individuals working in community use in a specific environment We found that it was necessary to design cam- . The promise of video and public access/local origination era this kind of production is unlimited, both in cable all covers which are waterproof, thus allowing around the country . Formed April us to work in the rain . We made these our- Alaska and elsewhere . 1972, during a video conference at New Bruns- selves and wick, DT .J ., the network has been working at they worked extremely well . Long Dan L . Moore hikes through rain forests and glacial mor- maintaining an open flow of information with aines Education and Media Coordinator the National Cable Television taught us the best way to pack equipment . Alaska State Museum Association as The videorecorder (Sony AV-3400) and camera well as other national associations interested were put in Pouch FM in the use of video . It hopes to serve video large packs . The packs must be of Juneau 99801 producers as a clearinghouse for access-ori- very high quality in that the weight of sleep- ing bags, food, tent, and extra lenses and ac- ented information, including cable contacts, cessory tape distribution, etc . while allowing people equipment amounts to a substantial to work in a decentralized fashion . The Downs- pack . Our packs, fully loaded with VTR equip- ville collective is currently serving as a co- ment, camp gear, food, and gun and knife, ordinating group while also relating to local weighed in at about 80 pounds . cable and video activities . If you would like Another perpetual problem is batteries . We further information or would like to help, used contact them . They also publish an open-access three-hour batteries . Due to the tempera- Video as an Organizing ture, these batteries seldom, if ever, lasted Tool periodical for video, cable, and other media For the past two months, we have been people . You can plug in by sending information, three hours . An hour and a half was maximum . travel- More often we averaged about an hour, includ- ihg across the country for the Youth Citizen- questions, tape catalogs, whatever, in camera- ing ship Fund of Washington, D .C . We were hired to ready format, 8 1/2" x 11" or smaller, to the very brief spot checks on quality . As a consequence, we carried several three-hour do a video documentary of their voter regis- address below . Subscription donations are $5 batteries . In planning for work of this type tration activities with youth in minority com- per individual, $10 for institutional or busi- it munities, as well as experiment with video as ness use . is necessary to have more batteries than you think you will need . Nothing is more frus- an organizing tool . trating than to have a great shot, miles from April Video Cooperative the nearest source of electricity, and run out The video usually served as an entree to the Box AK of power . various communities that we visited . It gave Downsville, N .Y . 13755 us a way to talk to people who ordinarily A small kit of screwdrivers, portable soldering would have been hostile and uptight with out- iron, and solder is an absolute must, along siders in their community . But what interested with a supply of video head cleaners and fluid, us the most was the community's response to and lens tissue . video : people always became excited about having equipment for their own use, especially for A persistent problem is determination of f- political education and organizing . People saw Uideo ilaska stops for different lighting situations . Sun for the first time how media could help serve reflection from snow or water can easily cause their own interests . Communities were especial- Applications of 1/2" video are limited only burns unless care is taken to maintain motion ly interested in using video as a way to ex- by imagination . The assets of cheap production in shots . We burnt out one camera by inadvert- change ideas and information with other people cost and the widespread availability of 1/2" ently pointing it at the sun . Generally we around the country who share their problems . video playback equipment in Alaska have result- shot at Fll in the sun, F16 in areas of high ed in extensive use of 1/2" video gear by the glare or reflection, F5 .6 under cloudy condi- We used all Panasonic equipment . We shot with Alaska State Museum . We are involved in pro- tions, and wide-open for low light conditions . a WV-8080 Cold portable, no playback), which duction as an essential part of the Alaska weighs 5 1/2 pounds, and the deck, NV-3080, Multi-media Education Program, a division of The major problem with working VTR gear in weighs 15 1/2 pounds . The relative weight dif- the Museum system . Much of our production work wilderness environments is the delicacy of the ference as compared to the Sony AV-3400 became is not uncommon in terms of application ; we equipment and the necessity to maintain con- an important factor . It allowed us to shoot produce programs on Alaska's cultural heritage, tinual preventative work against dirty heads, handheld and carry the deck for two and three history, and environment . It is in the applica- capstans, or tape . Although we fell on the hours with consistently steady camera work and tion of video for environmental field-work Rovers several times without incident, other without a brace . Although the Panasonic deck which is relatively unusual and has resulted accidents which were seemingly much more minor did not have the capabilities of the Sony 3400, in several modifications of equipment and tech- resulted in greater damage . It is necessary to the camera was in every way comparable . Appar- niques in order to function in the harsh Alas- avoid severe shocks to the cameras . And the ently the Panasonic deck and camera about to kan environment . video heads must be cleaned at least twice a be put on the market meets all Sony features day . while retaining the weight difference . We were also satisfied with the durability of the Using VTR equipment in the winter, in Alaska We used a battery of lenses ; from a 500mm equipment . We transported the portable deck, presents some very challenging problems . If mirror lens to a macro-lens . The primary prob- along with our editing decks, a 3020 and a the temperature is less than 10 above zero, lem to be avoided here is the fact that chang- 3020SD, to California and back by every con- it is almost impossible to work . Not only does ing lenses invariably results in dirt par- ceivable transportation : van, train, bus, the equipment fail to work correctly due to ticles on the rear elements of the lenses . In plane, and car, with not one breakdown in cold batteries and thus decreased voltage, a 35mm camera this does not have as signifi- equipment . We also shot in all climate condi- but condensation and moisture from breath make cant an effect as it does on a video camera . tions and, except for the need for a longer work all but impossible . If the equipment is What happens is simply a collection of dirt warmup in colder weather, the equipment was taken in from the cold, there is always con- specks recorded on the tape . These are extreme- not affected by weather . We shot some very in- densation formed on tape guides which results ly annoying, particularly on a large monitor . teresting tapes which were edited at the Egg in slowed-up tape speed with resultant distor- Consequently it is always necessary to clean Store . The tapes will be used for political tion . The way to avoid this is by putting the the rear elements of the lenses before putting education as well as to convince political of- equipment in a sealed plastic bag before ent- them on and to carefully brush off the photo- ficials of the necessity of changing the regis- ering a building . sensitive surface in the camera . When this is tration system of the country . done the results are extremely good--in the The greatest asset in using videotape for en- field it is necessary to have access to many Rita Ogden vironmental education production is the tre- lenses and the benefits, visually, are in the Mary Feldbauer mendous sense of immediacy and dimensionality quality and diversity of shots . Women's Video Collective

CTL VIDEO TOOLS /{2

FFc01d ARMADILLO COMIX L

~r ff t r~o M AM W Jl ou3 Dear YNPeople :

I'm writing this letter for many reasons, 500,000 pop .) . And when the "two-way capabil- mainly,0 to become a member the * Movideo, Incorporated was founded in March of CTL video ity" of cable TV is mentioned (FCC regs) the of 1972 . The name is based on our letterhead's club ($10 .00 enclosed) . But, since I am also anti-cable sentiment is highest ; nobody wants a member of San description of the work we do : "Motion Pic- Jose's Focus on Media group, their home monitored by Big Brother (They tures on Film and Videotape ." I was going to mention a few of the problems be watching them, if we are having, think their TV set will getting off the ground, and a cable is installed) . Naturally, the main Our earliest efforts were, and our prime was wondering if you might be able to make a source of news here is via Bidder Publication few suggestions about source of revenue still is what we call "spec- them . Media . ial event" filming . We cover weddings, Bar Mitzvahs, anniversaries, "love-ins" and any- 1 . Equipment is one of our main problems . I think I have dumped enough crap on you about Portapaks go for $1695 in thing else which people want to record in this area--no ex- San Jose . If we can just get it together en- motion pictures for their personal use . ceptions! No used equipment seems to be avail- ough to start, we should be able to make a able without a trip to Los Angeles . We had dent in the machine . . . but to start seems to borrowed a portapak from The customer gets an edited, finished film Santa Cruz (Johnny be the problem . complete with animated titles and special Videotape), but it was returned for their use . effects It is really frustrating . Right now we are Enough of the community groups are interested thinking about sending someone to New York in using videotapes, and were trained in Fort- Up until recently, our work had been limited to see what is available--in our budget range . apak operation . But few, if any, can finance There is, however, to film, but we had video on our minds long a large amount of CV series the equipment . Of course, the San Jose Police before we put it in our name . One drawback equipment here, up for grabs . We were wonder- Dept . has three portapaks, which appear at any in ing about getting into videotape had been that we were converting it to EIAJ-1 format . . .is demonstration or rally that may occur . only offering black-and-white it possible or even worthwhile???? C Pauta coverage . bays : There is no way of converting CV equip- . . .I don't really feel that People's Media is ment to EIAJ standard . Then, in December, thanks to the expert tech- Too bad, eh!) Units going to make it in this town for a long, nical consultation and facilities of CTL, we are selling for about $250 each . One reason long time . . . for the developed location color capability and shot high prices here, seems to be the dif- what we believe to be the Sihst color video- ference between the "fair trade" regulations A .F . Bischoff tape of a Bar Mitzvah . in New York and California . 411 Lewis Rd . #188 San Jose ; CA 95111 The affair was shot and edited on 1/2" tape 2 . Another problem is money sources . Groups and then transferred to Sony like Project One, in San Francisco, are fin- Videocassettes anced by government grants, due to the large for delivery to the customer . The present lim- variety of trips they itations of 1/2" technology precluded as pol- are into . So far the ished a job as we're able to put out on film, best we can do is writing letters to anybody but the tape has that feeling of immediacy-- for contributions . Which brings us to the last and final L.A. Public Access Project of happening now that can only be captured in problem : the video medium . We feel that the immediacy I&I am writing 3 . San Jose has one newspaper, one TV station, to you for the L .A . Public Ac- is a very exciting compensatory value in excess Project . We have evolved in the last few change for some of our filmic trickery . and one cable TV company--all are either own- months from a loose coalition of "concerned ed directly or indirectly by Bidder Publica- video citizens" to a formal collective tions (which also 15 operat- We're not fantasizing an overwhelming flood owns other newspapers ing with money granted to us by the General of color tape orders in the immediate future . and part of the Minnesota Vikings) . We have Youth Convention Program of the Episcopal The cost of equipment, both recording and just barely managed to get access to the com- Church . Our major projects include 1) munity Finaliz- playback, is geared more to industrial than to access channel on cable TV, and were ing Public Access agreements with Theta Cable private usage . (Movideo's commercial division refused use on the local TV station (to show of California and TesCo of Topanga Canyon . has already lined up several prospective videotapes), for "technical incompatability 2) Publication of a Public Access pamphlet for clients .) of equipment ." Coupled with this, is the ed- the L .A. area . 3) The establishment of a com- ucation about cable TV that is severely cor- munity editing and tape production facility . rupted in this What we do envision, however, is that with area : people still remember 4) Setting up educational programs about video the advent of standardization, the Subscription Television fiasco (pay TV) for area groups and individuals . increased mar- that was going to invade this area in the keting competition and the resulting consumer- early 60s, that supposedly would have made oriented pricing of videocassette home play- On November 29th (1972) we bought our first back systems, it will be very few years until cable TV a luxury enjoyed only by the rich . pieces of hardware after a long and exhaustive Well, the cable TV company here has only man- videotape almost completely replaces film as search for the "best deal in town ." We got the the home medium of the future . aged to Oire 50 of San Jose in two years--the new Panasonic pohtabte NV-3082 (we were told high income 5% of course! (San Jose has over we got the first in the country) and the Pana- Movideo, Inc . sonic cokoxL editing deck NV-3130 . We have 3001 Henry Hudson Pkwy plans to get another NV-3082 and another Pana- Riverdale, N .Y . 10463 sonic deck to complete our editing setup . It is really too early to make a real statement about the new portable, but let me say that by the looks of it . . . that is, if it operates in the long term as well as it has in the short 3-5 year olds using video time we have had it, it is going to blow Sony's at the Bell.evue Day Care 3400 out of the market . Center . I'm sure nothing needs to be said about the 3130 as it seems to be recognized as the best 1/2" editing deck on the market . We only wish something could be done about the audio pop . (see Editing Systems, page 9 .) We found a slightly better deal on Sony equipment, the reason we decided to go with Pana- sonic (besides liking their hardware) was that we were able to meet with management-level personnel who seemed open to working with us and establishing a good long-term relationship . They have already promised us donations of tape and equipment and they may be able to get us some promotional money . If you are interested in knowing about what's happening with video in Los Angeles, I think we are the people to contact . John Birchard L .A . Public Access Project 1802 Berkeley Santa Monica, Calif . 90404

CTL VIDEO TOOLS #2

99 FROM ARTHUR GINSBERG & SUKEY WILDER WEINBERG/RODOLITZ VIDEO FREE AMERICA huh New Line Cinema, in a joint effort with Video ZMORD[ a u 5 aK Free America, will be distributing half-inch videotapes on a nationwide scale by September Denver Community Video Center 1973, under the title New Line .Video Link . f So far our experience has been that while plug into WoAhUohee. (formerly ?'oa.a.ti.ons for New Line Cinema distributes films to over 300 there are a few video groups around that have Social Change), Box 13, Canyon, CA 94516-- colleges, museums, theaters, galleries, and "made it"--they have equipment and at least a will give a good idea of what other community- high schools in the USA, Canada and Europe . little bread--most, especially in Colorado, minded folks are doing--it's good reir.force- The properties they represent include Godard's have not . We are still struggling at a pretty ment . Sympathy boA the DeviZ; Ree4en MadneAA ; Coming basic level . In order to staff an office, buy ApaAt; Warhol's Women in Revolt, &e ., &c . Also video tape and stamps--a minimum amount of MONEY--eeek--a major hassle--just to keep the personal appearances of Norman Mailer and bread is required--trying to knock down that going try church, c=.v.is, etc . groups . Also R .D . Laing (we were impressed) . little bit takes about as much energy as try- try to get into college, community college to ing to get the big money--is there any? How- teach community video production courses--use To the New Line Video Link, video distribution ever, you have to do both at the same time-- their equipment . (up to now a phantom phrase) will mean simply and you've still got to survive . People in that as much video software that we feel is similar trips--non-profit orgs not video Talk to hardware people--see if they will worth seeing will be seen by as wide an audi- groups estimate it takes a month of their loan equipment on a scheduled basis . Write to ence as possible, with substantial financial time to raise the bread to continue for an- video tape companies for evaluation samples benefit to both the producing artists and, of other year . Moral : Video groups try to find of video tape . If the cable has arrived in course, ourselves . a community organizer/scrounger--his/her input your area, try to get support from the cable will be invaluable . We've found that group company--if they are not helpful, put some Distribution can't be accomplished by the ex- support personnel is as important as produc- community pressure on them . changes, information banks, and listings that tion freaks and electronic freaks . Oh, yes, service the video community alone (the dream it is nice to have somebody who can strip Go non-profit/get tax exempt status--go to is over) . It will take creative programming, down a portapak blindfolded so you don't have local foundations--rap/scrounge/rap some more convincing, attractive promotion material, ag- to pay to have equipment fixed when all that --talk to everyone and anyone--then decide gressive, organized sales efforts, and, most is wrong is a blown fuse . Save the jack for whether you want to talk to them again--get of all, an established, functioning distribu- the big problems . names and go to the top people in organiza- tion network--all of which New Line Video Link tions--be specific--organized--up front--but will provide . Many folks attracted to community video seem you don't have to say everything--be sensitive to have had little or no TV or film experi- to others' needs, fear, desires--also don't Drawing, then, on these resources, our own ex- ence . Which is good and bad . We've been get- forget your own . perience as active experimenters in the dis- ting many of the local video production/hard- play of video software in theaters and envir- ware companies in town to run workshops for onments, as well as a number of conversations us . It really is a big help--gets your people Bill Pratt with fellow tape makers, we've adopted the in touch with the jargon and reality of 1/2" Denver Community Video Center following strategy for distribution . production . A good source here is Steve Dock's 1400 Lafayette new column in FiZmmaken'A Newetett en. . Also Denver, Colorado 80218 Initially, to assemble 20 hours of tape--ac- quisition will be an ongoing, year-round process . Then, to organize this material into a half-hour, modular, distribution library, which, rather than offering fixed packages, will pro- THE KITCHEN is a multi-use media theater, vide subscribers the freedom and flexibility part of the Mercer Arts Centre complex of to build their own shows, series or festival, theaters and workshops located in the south- according to their peculiar interests, needs, ern part of Greenwich Village in New York and fantasies . City . With the support of the New York State tfie mercerY.~,Nerti.Y . 16612 center(212) 6733937 Council on the arts, we have opened the space 240 Mercer St . N.... Suggested formats for programming will, however, to artists working in all aspects of the elec- be an important aspect of the New Line Video tronic media, from experimental music to live Link promotional effort . and taped half-inch video . The presentation OPEN SCREENING OF VIDEOTAPES and workshop space has also been the scene of events in a number of other intermedia areas Also, we'll be producing a regular video maga- zine, featuring short tapes recently acquired including light art, slide shows, cinema, EN E E 475-9865 7 dance, bio-feedback works . Most of these ev- or commissioned during the year . ents are free, some ask a small contribution . C Pauta says : The Kitchen is the only regular- The entire New Line Video Link effort will be ly functioning video theater in N .Y. where characterized by contact and communication anyone who can get a show together, gets the among the tape makers, tape show-ers, and tape space and equipment . Get on their mailing watchers . The promotional literature will con- list, for a monthly calendar .) tain thorough, accurate descriptions of the tapes, feedback on programs and suggestions for programming will be requested from audi- ences and subscribers ; those who are producing tapes will be invited to submit work for pos- OWBAI, sible inclusion in the library . And we'll be the listener-sponsored Pacifica station in New York has been exploring promoting the possibilities of using video . Some people at the station see video as a and booking appearances, lectures, new tool for the kind of free and open personalized communication that WBAI has workshops, and performances by the tape makers tried to provide to its community . The WBAI Video Benefit, on March 17-18 at whose work we distribute . Automation House, was the station's way of introducing the (tenuous) relationship between WBAI and video . Although the event received little support from A brief word on economics . At this time, we the station members and there seems to be no follow-up in their programming and anticipate the rental per hour of tape will publications, the event was a great success for the video community and the thou- be $1.50 for one day ; $250 for one week ; sands of New Yorkers who swarmed through Automation House . People got involved sale price will be individually set in all phases of the video process . They could make their own tapes on the Porta- (':aith rental applicable) with reductions Paks and the SEG setup, on the first floor . Tapes were shown in two continuously for extended subscriptions . Artists can programmed viewing environments on the second floor . The downstairs multitorium expect 25-30% on rentals ; 600 on personal was the scene of a two day taped production (which was shown on public access appearances ; 50% on sales . The mathemat- cable TV)-- this included a two-way interactive panel discussion on public access ics on a popular hour of tape are indeed and a store of music, dance and theater groups . promising over, a year's distribution . The Pacifica network has formed a committee to explore the possibilities of listener- Presently, we are still looking for about 10 sponsored TV . They have decided to use video in their communications distribution more hours to complete our initial target of chain, but are still questioning -the methods of making it a reality . One of the 20 . So, if the prospect of having your work most positive signs is the Houston Pacifica station KPFT working with Space City profitably and widely distributed doesn't Video, an independent video group . BiZi AayA that Pacifica is trying to develop threaten your counter-cultural credentials, funding- for tapes to build-up a tape library, airs a weekly program raking OveA submit copies of tapes to : TeteviAion, and runs monthly columns in the Radio Guide devoted to alternative TV . Arthur Ginsberg Although Houston has granted no cable franchise yet, KPFT gas been forming a com- c/o New Line Video Link munity coalition to help draft plans for the. uses and development of public access . 121 University Place New York City 10003

CTL VIDEO TOOLS 112 APPLICATION 37 SPACE TECHNOLOGY All Watched Over by Machines of Loving Grace cybernetic T like to think (and (right now, please!) of a ecology SPINOFFS FOR LIFE of a cybernetic forest where we are free of our labors AND DEATH the sooner the better!) filled with pines and electronics and joined back to nature, eThe products of a cybernetic meadow of American space research are where mammals and computers where deer stroll peacefully returned to our mammal finding their way into our daily lives . Mini- past computers brothers and sisters, aturized live together in mutually communications technology is being harmony as if they were flowers and all watched over adapted by pro- and anti-life forces in approx- programming with spinning blossoms . by machines of loving grace . imately equal proportions like pure water . touching clear sky . I like to think Both the military and medicine are developing (it has to be!) Richard Brautigan new uses for video, the former to build "smart I like to think bombs" for MEM (more effective maiming) purposes, and the'latter for restoring physical functions .

SMART BOMBS - The U.S . Navy and Air Force are using video guidance systems for 1 thousand, 2 thousand, and 3 thousand pound bombs . The Navy systems are built by Martin Marietta Corp ., and Hughes Aircraft . The Columbus division of North American Rockwell builds for the Air Force .

A smart bomb is equipped with a small vidicon- lens assembly which allows a pilot to monitor his target on a master TV screen in the bomber cockpit . Once he has located the target in a standard visual manner he switches to the TV screen, and using a hand control unit, centers the video camera's crosshairs on the target . The pilot then activates a lock-on and re- leases the bomb . The camera is linked to the bomb's flight guidance system, so that once launched, the bomb operates on its own and is guided automatically to the point which its TV seeker has locked on. These bombs can also be equipped with a video data link . This displays in the cockpit exactly what the bomb sees, and allows the pilot to remote-control the bomb in case of interference or automatic lock-on malfunction . Presently the smart bombs are restricted to daytime-high visibility conditions, but infrared image sensors now under development would allow their use in darkness or through smokescreens . Some fun, eh, kids! The video component of these monsters is pretty basic stuff . The real space-age design innov- ations are incorporated in the camera's pro- tective housing . The Navy's "Walleye" smart bomb is designed to withstand forces of nine Gs and temperatures of -550 to 125°C .

ELECTRONIC EYES - NASA has set up a special (A)~J)~~pooo Biomedical Applications Team at the Southwest 00~~eo® Research Institute in San Antonio, Texas to >oo apply NASA technology to medical problems . ~OO OO Complete engineering intelligence on products 00600 developed by the group is made available free to manufacturers who wish to produce them 0.0~~}oo commercially . Vihuaf ptcohtheei6 (electronic aids for failing vision or complete replacement of visual apparatus with electronics for the totally blind) is one of the prime areas of medical high technology now being developed at this and other research centers around the country . In normal vision, light is focused by the lens of the eye on the retina . The retina trans- forms the light patterns into electrical impulses which are transmitted by the optic nerve to the visual cortex of the brain . The brain recognizes the pattern of impulses and interprets them as an image . Certain kinds of blindness are caused by malfunctions of the retina or the optic nerve . If either or both are not operating, the brain receives no stimulation . One method of visual prosthesis involves direct stimulation of the cortex by electrodes implanted in the brain . Random stimulation of these electrodes produces phosphenes, the little flashes of light that you can see by pres- Sign language and signalling were sing your thumbs against your eyeballs . With a one method of communicating video camera acting as a sensory input to societies. This the electrodes, the phosphene pattern can be ideas in primitive organized to produce a coherent image . 1873 engraving showed an Amer- ican Plains Indian informing his The basic problem in brain implant prosthesis tribe that a herd of buffalo is roam- is miniaturization . The present state of the ing nearby . art allows for 180 electrode implants, 90 on each side of the brain . According to researcher, Prof . G .S . Brindley of Maudsley Hospital in London, the 180 points are sufficient to array of photodiodes is mounted on a pair of abdominal electrodes into a special garment . convey information on the shape of an object eyeglasses with a light source and a small and the light and dark features associated lens . Each diode corresponds to an electrode Although this method doesn't actually let a with it . Brindley expects that advances in placed on the skin of the user's abdomen . An blind person "see" the way brain implants do, integrated circuit technology will allow im- image focused on the photoelectric glasses is it has the obvious advantage of convenience . plantation of enough electrodes to enable a transformed into electrical. pulses which are To quote researcher, Dr . Carter C . Collins of transmitted to the electrodes . A blind person the University of the Pacific, "If you were a blind person to read . On the camera end, RCA, have Bell Telephone Labs, and the U .S . Navy are can sense an image by feeling the location and blind person, what would you rather do, close to perfecting low cost miniature high- intensity of the applied pulses . a brain operation, or slip on a girdle-like quality TV cameras using integrated circuits . garment?" The latest advancements in this technique in- The Navy is talking abort a cost of $100 per developed camera . clude a 4096-bit photodiode array developed Another bit of hi-tech originally for NASA by Westinghouse, which would allow for the Army by ITT is finding an application Another method of visual prosthesis stimulates for a 40-50 degree field of vision, sufficient as a remedy for night blindness . The tool is for walking and reading . Research is also a pair of goggles which contain focusing lenses, the tactile receptors of the abdomen with a tube, and a small kind of electronic braille . A self-scanning being done on the feasibility of weaving the a miniature image intensifier

CTL VIDEO TOOLS #2 38 NAMELESS PAGES incoherent white light, which is very diffused . An analogy of the process of coherence can be thought of by imagining people marching row after row, as compared to people running in a random pattern, in all directions at once . Laser light waves are unusual_ because of the intensity of the power of their energy, com- pressed into the thickness of a pencil lead . In this state the laser can act as a drill, a transmitting carrier, or as an image recorder (holograms) . The process of holography can be produced by sound and radio waves as well as light waves ; this includes the following :

ACOUSTICAL HOLOGRAPHY utilizes a laser illum- asommummosemseas ination source, an acoustical lens, and. water WITH TRUE HI-FI SOUNO Night-vision goggles developed by as a. medium to focus holographic images upon ITT help overcome night blindness. its surface . This is applied as an acoustical microscope, which is capable of showing details which may go undetected in an optical microscope . MICROWAVE HOLOGRAPHY is utilized by the armed forces ; it is a scanning technique that cap- tures all surfaces of an irregular terrain in the form of rows of photographic film . Un- scrambling the microwave images produces high resolution radar "photographs" with details An experimental visual aid impresses of various fv images on the abdomen. land surfaces . Three dimensional images are quite unuuunuuuluu pronounced uumnnntmnt,39 as holograms and the viewer quickly realizes that much more information about the scene is furnished by this process than by stereo photography or 3-dimensional photos using ridged lenses . The viewer can inspect a 3- dimensional scene not from just one direction, but many directions . Paha tax is one of the outstanding features of a hologram ; this is VON, the ability to focus on the image sharply in all planes and to watch the ob ect shift in its relationshiD between itself and the viewer . Holography also has the capacity of storing several hundred images in one film plate as compared to a film image which can store only one image at a time . The large information content of a hologram is the consequence of the extremely fine fringe detail in the interference patterns of the recorded image . This detail, approximately 1,500 lines per millimeter, is far superior to the capacity of present television systems which employ much coarser line structure . The ratio between the pictorial information content of an 8-inch square hologram and that of a U .S . television picture is 360,000 to 1 . Applications of holography include : Medicine Information Storage Display Graphics & Printing Stress Analysis Deblurring of Photographs Computer Memory Banks Microscopic Analysis The phenomenon of holography is still in its WRR RRR WAW WRR infancy as a potential medium of communica- 909 Wqq tion . The applications of this process are un- fl~ A~ limited . Acoustical holography can be applied throughout the field of medicine as a technique in examining microscopic imagery . It can produce high-resolution readouts as well as 3-dimensional pictures, and can be applied to research as easily as it can be used in a doctor's medical examination to supplement an X-ray machine . In industry, holography can be used to study ~f~f2GGLLL- the phenomena of stress analysis, and can quickly be used to pick out materials with structural flaws that could possibly break down or malfunction at a later date . In the field of communications, holography as a graphic display medium is virtually a whole new world of art that's waiting to be explored . The possibilities are infinite for sculp- ture, diorama, and display arrangements with this process . And of course somewhere in your lifetime, you can look forward to 3-dimensional television and movies . This article is from the Holographic Corp- oration of America resource and information TV monitor . The image intensifier amplifies the HOLOGRAPHY access center . Our library contains much in- image and displays it as a bright picture in depth information including video tapes of the the eyepiece monitors . The goggles cost about 0 HOLOGRAPHY is the process of three dimen- history and development of holography and the $11,000 apiece . sional lens-less photography (the act of freez- process of holographic production . We also ing light waves) . Holography as a science has are in the process of designing multimedia Just as the animal products of evolutionary been made possible through the phenomena of divergence may share the kits explaining the various applications and same life cycle, op- lasers . Lazet is an acronym for Light Amplifi- uses of holograms . H .C .A . i s available for posite technologies developed from a common cation by Stimulated Emission of Radiation . holographic production, consultation, exhib- source may share the same cycle of consumption. . The laser's atoms in a stimulated state rad- So who knows? If your itions, lectures, demonstrations, and work- body is destroyed today iate more directional, intense, coherent (in shops . For more information, please contact : by a "smart bomb" in Indochina, you may regain phase), and monochromatic (single wavelength) "normal" functions tomorrow with the install- energy than ordinary white light . The laser's ation of a few Louis M. Brill small devices at an Army most important property, coherence, allows International Holographics hospital . for the existence of the holographic process . 865 Broadway Coheaenee is the ability of light waves to New York, N .Y . 10003 Mark remain in phase and compacted as compared to (212) 865-1710

CTL VIDEO TOOLS #2 NAMELESS PAGES 39

Our 30 X 30 foot studio space is POST - PRODUCTION - The Egg Store pioneered PRODUCTION- in 1/2" to 1" editing for transfer to 2" equipped with 3 DXC-5000 color cameras, up quad . Our VTRB are Sony, Panasonic, Jav- to 5 black and white cameras, including an elin in the 1/2" format ; Sony EV-320F 1" image intensifier camera, for low light and Sony 3/4" cassette . Services include shooting . Viscount special effects board, BFW and color editing (by our editors or 1/2", 1" and 3/4" cassette VTRB . All prod- on your own), signal processing using a uction hardware is fully modularized and Ball Bros . Mark II proc amp, special ef- can go on location . The Egg Store supplies fects and titles using a genlock SEG with a full production crew on location or studio keyer, colorization, sound equalization, shoots . You have the option of using your air checks, 16mm film transfer and tape own crew in the studio for a. greatly reduced rate . We also supply 1/2" portable duplication in any helical format . equipment with operators for less complex field shooting .

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14 EDUCATION-TO PREPARE US FOR COMPII Education-To prepay _ plete living

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COLORIZATION- The'-new ('"IL i;r_phic Color- izer is now available for production use at the EGG Store . We can colorize any prerecorded or live B&W material . We believe this colorizer to be one of the best anywhere . Come down and see it . (More on CTL's colorizer on pg 25) .

36 Education-To prepai CLASSES-John Brumage and other CTL staf- fers are offering spring video workshops and lectures at the Egg Store . Three regular courses and a series of workshops cover 1/2" videotape equipment from the simplest concepts to advanced techniques for editing, feedback or modifications (if you ask the questions, John has the answers) . All courses have limited reg- istration . For information, call Miriam, Paula or John at CTL (233-0754) . SCREENING- Screening facilities at the Egg Store provide closed circuit viewing for up to 30 people . We can play any tape recorded on 1/2",3/4" or 1." Sony and Ampex 7800 formats . If you need a good carpenter who understands Monitoring facilities include the Sony color the needs of video people, get in touch with video projector with 50" screen . Andy Mannic at (212) 260 0390 .

Hi, This is Mark, your smiling studio manager . IBM, Geneaat Etectnic and the U .S . Tnso)cmation classes on another part of this page) . Now that we're in our second year of operation Agency . At this writing we're in the process of I think it's appropriate to deliver a State of On the production end, our mobile color rearranging the studio space and building the Egg report, so here goes . production unit made a 90-minute videocassete a second editing room . Over the past year the Egg Store has worked of a Central Park rock concert featuring As always, the Egg Store gives special con- closely with the alternative video community Mandrill, and the Egg Store staff assisted sideration to artists and non-profit groups as well as with industrial and educational WBAI in their March 1973 video benefit . by arranging use of the facility during institutions . Among those who use the Egg John's classes were a big success and he'll unscheduled hours at a nominal rate . Store regularly are Top Value TeZevision, be giving an expanded series this spring and Please call or write me for more information . The Evekson Museum, Women's Video CoZQectiv e, summer that will be .even better (more about Happy Trails

CTL VIDEO TOOLS #2 40 EGG STORE signal-to-noise ratio ...... 11 CTL Electronics, history of ...... 2 K silicon diode tube ...... "" . . . " - 16,17 A CTL Graphic Colorizes...... 24,25,40 .11 keying ...... 22,25 silverchrome tape ...... CTL microproduction studio ...... 7 18 ..21 key light ...... 19 60-cycle hum ...... AC adapter for portapaks ...... see also special effects generator ...... 18 . . . . 20,21 kinescope ...... 4,17 60-cycle notch filter ...... accessories ...... CTL Sync Distributor SJ-1 ...... 7 ...... 23 Kitchen ...... 37 skew . . . " ...... " ...... 9,23. . . adjust chroma phase...... culture hero, see resident sage ...... 9 for 40 slow motion ...... air checks, facilities ...... D ...... 17 5 L snow . . . . amplifiers ...... software distribution ...... 2,37 aperture ...... 16 Dan Drasin's editing guides ...... 9 ...... 23. 29 sound ...... 18,19 correction ...... " "" . .14 delay ...... lag...... 12 design-tool-learning machines ...... 24 laser ...... 39 sound lag ...... 9 grill ...... 16 . . . . . 18 sound-overs ...... 9 applications for video ...... 34-39 depth field...... lavaliermicrophones ...... 22 7 special effects facilities ...... 40 armadillos, dancing ...... 35,36,37 dissolve ...... "" . . . . . " . " . " . . . lead acid battery ...... 14 . 5 special effects generators ...... 17,22 assembly edit mode ...... 9, distribution amplifier...... lens, explanation ...... of software ...... 2,37 ...... 16 portable ...... 7 audio cables and connectors ...... 18 distribution lenses, specs ...... dropout ...... 11 lighting equipment ...... 19 diagram ...... 26,27 audio connectors, diagrams ...... 26 18+ 22 compensator...... 7 lighting for color...... 18 specs ...... audio dub...... 9 28 18,19 drum speed check(AV3400) ...... 28 low impedance audio equipment ...... 18 speed adjustment ...... audio equalizers ...... """"""""" ...... 11 . .40 dubbing(duplicating) . . . . . 17,25,40 low light cameras ...... 15-17 splicing ...... facilities ...... 14 split fades ...... 22 audio equipment...... 18 dynamic microphones ...... 18 luminance . . split screen ...... 22 audio level controller ...... 19 spot lights ...... 18 rack panel kit ...... 19 E M audio stability ...... 17 audio stacking kit ...... 19 ...... 18 ...... 28 stereo sound ...... 19 automatic gain control (AC) ...... 10 Edison, Thomas ...... maintenance ...... editing decks ...... 9 matching transformer...... 20 Sterling Manhattan ...... 17,32 . .22 stripe filter ...... 14 8 editing facilities, bbw, color...... 40 matting ...... editing procedure ...... 9,17 mechanical television ...... 3 studios, portable ...... 7,27,30 ...... 26 10 diagram ...... 27 focus adjustment ...... 28 editing systems . . . . . microphone mixers ...... back ...... 26 19 studio set-ups ...... 30 back lighting ...... 19 wiring diagrams . . specs ...... 18 subcarrier phase shifter ...... 14 back pack for portapak educational machines . 24 microphone stands ...... 17,40 surveillance systems ...... 31,33 how to build one ...... 20 Egg Store...... microphones ...... 21 EIAJ tape format ...... 11 specs ...... 18 sync ...... 5,17 tote-a-lot ...... 18 sync generators ...... 20,22 back timing ...... 9 8-pin connectors ...... 26 types ...... 24 ...... color ...... 14 Baird, John Logie ...... 3,4 electromyogram(EMG) . wiring diagrams . . . . . 27 scanning beam ...... 30 sync junctionbox, portapak ...... 7 barn doors...... 18,19 electron beam, .5,14,16 mini-studios ...... electron beam recorder ...... - . .17 monitors ...... 4,12,13 batteries T care ...... 28 electronic eyes ...... 38 specs ...... 13 . . 24 27 for portapaks ...... 7 electronic music synthesizers ...... wiring diagrams ...... modification ...... 7 tack rags ...... 29 battery charger for'portapak ...... 21 electronic TV ...... 3 motorcycle battery VTR, diagram. . . .27 tape, specs ...... 11 beam and focus adjustment ...... 29 EMG, see electromyogram multiple monitors, 1 . . . . . 11 empty reels ...... 11 multiple screen displays, diagram . . . . 26 tape storage and care ...... 11,28 binder system ...... 11 tape threading ...... 28 ...... 5,23 endless loop cartridge...... blanking target ...... 5 blooming ...... 29 equalizers, audio...... 18-19 H 22 TBC(timebase corrector) ...... 23 body brace, see camera brace external key ...... 22 22 T-connector ...... 27 books and pamphlets on TV ...... 20,21 external sync . . negative image...... 16 telemetry ...... 24 broad band communication(2-way cable)33 F neutral density filters . cadmium)battery ...... 7 telephoto lenses ...... 16 broadcast, cablecast of I" tape ...... 17 nicad(nickel ...... 29 TelePrompTer ...... 32,33 burst ...... 23 Farnsworth Memorial TV Crossword . . . . .31 9-volt set ...... Philo T...... 3 television, history of ...... 3 Farnsworth, ...... 26,29 C fade ...... 22 0 10-pin connectors ...... 27 feedback ...... 24,25 termination ...... 23 pattern 1 cable diagrams(8pin, 10pin, CCJ) . . . . .26 fiber optic tubes ...... 15 off-timing ...... test ...... :18 3-dimensional images(holograms) ...... 39 cable TV ...... 32-37 field...... 5 omnidirectionalmicrophones ...... 2018,21 ...... 4 oscilloscope ...... 17 time base corrector ...... 17,23 cables ...... film chain ...... audio specs ...... """""" film time base instability 9,23 VTR 8 camera tape-to-film transfer ...... 17 time lapse ...... adapter(CMA) ...... 20 film-to-tape . transfer ...... 40 Tivicon(silicon diode) ...... 15-17 39 tool kit ...... 28 adapter wiring diagram...... 27 filters ...... 16 parallax ...... Value Television(TVTV) ...... 17 adjustments ...... 29 flange back adjustment ...... 28 pedestal control ...... 23 Top brace ...... 20 18,19 phosphor screen ...... 15 trees ...... 34 flood lights ...... "" ...... 12 control unit ...... 14 time(retrace time) ...... 5 photocathode ...... " . """""""" 15 Trinitron ...... flyback . 20,21 explanation of,illustration ...... 5 flying erase head ...... 9 photoconductivity ...... " . """"""""" 5,16 tripods ...... 16 black-and-white...... """ . . "" . i4 f-stop ...... 16 photoelectric effect ...... """ 3 tubes ...... 0 seeTopValue Television CCTV ...... 14 focal length ...... 16 Picasso died today ...... TVTV, ray tube, 2 :1 interlace ...... 5 color ...... 14 focus adjustment ...... 29 picture tube, see cathode ...... also Trinitron 2-track audio ...... 19 color portable . . . 14,17 focusing floods ...... 18 see high resolution ...... """"" ...... 5 Plumbicon tubes ...... 16 frame. video U specs and prices ...... 5 frequency equalizer ...... 18,19 point sequential system,,see color 16 wiring diagrams ...... " 27. front lighting ...... 19 polarizing screens...... capstan servo mechanism...... 8,9 on AV-3400 ...... 28 portable studios ...... 7,27,30 ": .underscanning the monitor ...... 9 fuse replacement ...... 18 car battery cable for portapak ...... 21. portable VTRs uni-directional microphones . . cardioid microphones ...... 18 G black-and-white specs ...... 7 V carpenter ...... 40 color specs ...... 7 carrying cases ...... 20,21 gaffer's tape ...... 20 portapak techniques ...... 17 cartridge decks ...... 10 battery ...... 7 post-production facilities ...... 40 vacuum tube ...... 3 gel cell . . . 28 10 cassette decks ...... 10 genlock ...... 17,22 preventive care ...... variable attenuator(CTL) ...... 6 ...... CTL modification ...... 10 ghosts ...... 27 Prime Time alternate TV . vertical blanki-rig . 9,22 .17,23 switching ...... 22 yathodte ray tube ...... " 3,5 glitch(roil over) ...... 9 processing amplifiers(proc amps) . vertical interval . . . . 40 5 .9 CATV ...... 34-37 graphic colorizer...... 24,25,40 production facilities ...... vertical sync pulse ...... 38 CCTV surveillance systems ...... * ., . .31 gray scale ...... 25 projector, color video...... 12,24 visual prosthesis ...... Central Tape Library ...... """ public access cable . . 32-37 Video Access Center ...... 32 ...... 2 charge coupled device camera ...... 14 H pulse distribution amplifier ...... z0 Video Club ...... chroma ...... 23 video Q ...... 23 chroma gates ...... 14 handheld microphones ...... 18 gain control ...... drum ...... " . " 8 chroma keyer ...... 25 head cleaning ...... 28 quad machines ...... 17,23 heads, ...... " .9 chrominance...... " . " 14 heads ...... 8 quartz lights ...... 19 insert modification classes ...... :41 helical scan ...... 17,23 inserts ...... 9 ...... closed circuit TV ...... 31 high energy tape ...... 11 R signal . . . . . " ...... 5,22,23 club, see Video Club ...... 2 holography ...... 39 videotape, see tape VTRs CMA, see color adapter horizontal resolution ...... 4 rack, for portable studio ...... 27 video tape recorders, see coax cable...... 5,20 sync pulse ...... 5 random interlace ...... 5 Vi,dicon tube ...... 5,14,16,29 horizontal ...... coherence, light ...... " .39 horizontal time base instability...... 9 research, anti-,pro-life ...... 38 replacement . . . . 29 color-capable proc amps ...... 23 resident sage ...... 40 viewfinder adjustment ...... 29 . . . . 29 colorizes ...... 24,25, resolution, horizontal ...... 4 voltmeter ...... 40 VTRs, broadcast quality ...... 17 facilities . . image enhances ...... 23 retrace time(flyback time) ...... 5 VTRs, history ...... 3 color pack 1" editing deck ...... 9 image intensifier ...... 15 RF adapters ...... 7,20 . . . . . 26 VTR specs ...... 8 color studio(CTL) ...... 30 image processes...... 24 RF amplifier ...... color video, explanation ...... 14 14 RF distribution diagram ...... 26 index pulse...... W community cable . . *-32-37:**-'*-."" editing mode ...... 9 RF interference ...... """" 17 insert .14 computer processing ...... 23,24 using SEG ...... 22 RGB(red,green,blue) ...... inserts, we veform, vertical, illustrated ...... 5 computers, use in 2way cable ...... 33 ...... 5 interlace . WBAI ...... 37 condenser microphones ...... 18 interference pattern ...... 39 S ...... 20 wide angle lens ...... 16 connectors ...... internal key ...... 22 ...... wipe...... 22 added to monitor, diagram. 27 internal 2 :1 interlace sync ...... 14 scan conversion ...... 17 . . : .26 ...... 5,14,16 wireless microphones ...... 18 audio, diagrams ...... Iris diaphragm...... 16 scanning beam ...... 18 facilities ...... 40 wiring diagrams ...... 26,27 audio, specs ...... """ isolation transformer ...... 10 screening contrast filters ...... "" .16 SEGs(special effects generators) . .17,22 . . . . . 26 Y control track ...... " . . "" 9 J SEG used in editing, diagram . . . . Crookes tube, see cathode ray tube shooting techniques, problems ...... 17 ...... 22 . . . "" . . . " .18 "Y"(luminance) signal ...... 14 cross fade ...... junction boxes ...... 22 shotgun microphones ...... tube facilities. . . 40 y-splitter ...... 27 CRT, see cathode ray junction cable ...... 27 signal processing ...... 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