Posted by blackburst@aol.com on 12/07/06 15:34

Steve Guidry wrote:
> 1. Playout gear. make sure it's scalable, with more than twice the
> forecasted room you'll ned to grow. (take your forecast and then double
> that)

Done. 300-hour 4-output server. Analog composite in right now, but
upgradable to SDI. Output is another issue. We're on fiber to the
headend, but the cable co uses only AM/RF mods, composite only.

> 2 Editing gear. make sure it will interface with the playout scheme. If
> that's a server, then make sure the edit computers can dalk to the server
> directly, because you don't want to have to re-capture dozens of tapes into
> the server just to do the playout.

Now THAT'S where I have a problem. We edit on G5/FCP and it is
networked to the server (Windows), but we have been unable to send
files over. One Apple-savvy guy tried it and inadvertently firewalled
my server. Unfortunately, my only good IT guy charges a fortune,
including 4 hours of travel time.

> 3. Studio gear. Don't go overboard, but spend more on studio lights and
> get a number of different kinds of mics. Spend less on cameras. Most ANY
> modern camera will do a good job in controlled conditions like studio use.
> Buy 2 cameras instead of the usual 3. Then say "we ran out of money. Would
> you like to underwrite the purchase of a studio camera" ?

One of my board members runs a broadcast station, and he insists that
we be all SDI (which is OK) but also HD or HD-upgradable. The issue
here is cameras. At best, we need studio cameras capable of some type
of HD (maybe HDV - see the latest TVBroadcast magazine) or at least
16:9. We're already pretty good on lights and mics.

The other issue is: What the hell do we record studio shows on? Right
now we are using DVCAM, but I have no linear edit capability for quick
fixes. I am seriously considering a Sony 1600/1800 linear edit pair.

> 4. GOOD tripods. NO BOGENS. Vinten, Cartoni, sachtler, etc.

Yeah, I'm not impressed with Blowgen...er...uh...Bogus pods. OTOH, I
don't want to get to bogged down in expensive one. In a prior access
build, I got HOSED on six $5k Vinten pedestal pods, which wouldn't
support the DXC325s with full rear controls, EVF and teleprompter.

> 5. Field lighting. Get durable, name-brand stuff. Lowell, Desisti,
> Colortran, etc.

Agreed.

> 6. Field audio. Emphasis on sturdy. SM58's. Audiotechnica Lavs.

Agreed. We have 5 SM-58s, but I also bought a bunch of Behringer
XM-8500s for knock-around use.

> 7. Everything else.
> 7. Field cameras. Community access producers will likely want to use their
> own cameras. And these are the easiest to get additional money down the
> road for.

What format? I have 3 throwaway Panasonic PV-GS15s and two DSR PD-170s.
The throwaways are user-friendly but getting tired. The 170s take great
video, but users are afraid of them, and staff wants at least one
shoulder-mount unit (DSR-250?) to mount lights and Lectro wireless
receiver. I don't think P-2 is suitable at this level yet. Should I
stay with DV/DVCAM?

>
> You haven't even asked about ongoing maintenance, but plan to budget about
> 6-8% of the gear value per year after the warranty runs out. Maybe a bit
> less in teh early years. less if the useage is light. More later on, or if
> the useage gets heavier.

Yeah, we have a good repair guy and we're budgeted at about $7500.
right now (but don't tell him!)

>
> More later . . .
>
> Steve

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