Posted by Steve Guidry on 12/08/06 04:35

>> 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.

At the risk of starting another FCP/Premiere flame war, you may want to go
with something windows-based as well to edit, if it proves to be a real
nut-buster to get the files from the edit systems to the server. And analog
input is something you'll want to avoid at all costs, for quality somewhat,
but mostly because it's real-time, and you'll break the operating budget if
you have to hire someone to do all that ingest. You really want to do it in
faster-than-real-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.

It's hard to argue against SDI or even HD with a 9-year timeline. On the
other hand, it _IS_ community access (not a broadcast station), and while
400K sounds like a lot, you are buying for a LOT of different areas, and
your budget could get stretched pretty thin. In the studio, the cameras
probably won't be camcorders, because most camcorders don't allow for CCU's,
big VF's, intercom, or rear controls (other than those crappy verizoom
units). So what to recoird it on is a separate decision than what cameras
to buy. And HD isn't just your cameras. It's a switcher, router, monitors,
and test gear. AND training for your engineer to learn how to troubleshoot
all that "new-school" gear.

> 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.

Well, neither of those are HD, nor are they 16 X 9. You might look at D-5
decks used. Those can do 16 X 9, and even have an upgrade path to real HD.
But for now, the 1600/1800 might suffice, if you buy them with the idea that
you'll replace them when the choice becomes clearer. And they won't go to
waste, because you'll likely be dealing with beta SP legacy tapes for years,
even after you're long into HD for your current productions.

>> 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.

I was talking about field tripods. If you have to have teleprompters, then
you might look to the used market at some big ITE's or maybe even some
pedestals. I see them on eBay sometimes for a steal compared to what they
are and what they sold for new.

>> 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.

It's hard to bear Shure FP mixers for durable field use. Behringers are
cheap, but my guess is that you'll probably be replacing tehm periodically.
Better to buy the good stuff once than crap twice.

>> 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?

I'd stick with some flavor of DV for now, and shoot it 16 X 9, and then
up-convert to HD if you need to as part of the edit process.

>> 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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