[QuadList] Guerilla splices (was RCA types) (Joe Owens) (Dennis Degan)

[Phillip G. Shaw]

"contradict:

Well, you COULD edit the wrong field sequence . . . with dire results."

(Dennis Degan)



Dennis, I am surprised that an Editor, of that era, would think he was 
controlling the precise physical point of the edit.(poke) The edit systems 
before CMX, and after CMX, all functioned basically the same. The CMX Basic 
Editing Course & the CMX Advanced Editing Course, that I attended in 1979, 
did not reveal or invent anything new in editing, but did provided the 
editor with house keeping tools & features.  The prior Edit Systems, like 
the EDS time code system, had to have match frame edit points entered into 
the EDL manually. I have/had zero creative talent but I can drive the 
suckers. I am not suggesting it was or is necessary for an editor to know 
all the nuts & bolts, but most editors developed proven procedures that 
worked for them. My comments only relate to professional videotape machines 
up to 1996.



The tape machine is hard wired (designed) to sequence the erase heads & 
record timing

Independent of the edit Controller. The Machine interface ( I 2) simply 
provided the record command, correctly timed before the desired frame, that 
started the edit machine sequence. The Record Machine was never a problem in 
the edit suite because the A or B framing selection on the edit controller 
allowed the editor to make a test edit and if it was wrong simply switch to 
the alternative mode. The record machine was then color framed. The A or B 
selection was simply the record machines time code divided by 2 (odd 
Numbers) or divided by two (even numbers). That is a 15 htz color frame 
pulse that was compared to the house reference 15 htz pulse.  The Interface 
to the Machine matches ballistics such that a capstan override during lockup 
has correct wait time for sampling valid time code. The Record Machine was 
only bumped once if it was not originally locked to color frame and the 
duration to the edit point stored in a register, which was down ticked 
(counted) by a 30 fps pulse. That duration comparison was used to 
synchronize the play machines to thier in points. Kick, Spit or Abort



The confusion may be that the Quad, and early Sony 1000, 1100A were all hard 
wired to time the edit into the vertical interval of Field two (2). I recall 
some off-line complaints, re: audio, when the new generation machine 
specifications where changed to make the edit on field one (1) This did not 
change the field sequence of NTSC, nor could the machines be over-ridden.



The Sony 2000, VPR 3, MII etc all are Field 1 (one) machines. Some of the 
old interface I2 were not required as more syncro control was delegated to 
the smarter machines.



Cesium:  The change out to cesium was not a trivial task. When 30 rock 
upgraded in ~1985 all the old Sync Generators were replaced, ZSDs (zero 
studio delay) installed and NBC "Miller Time"  was invented. The remote Rube 
issue was not cured by simply upgrading to cesium. NBC hated GEN lock with a 
passion, the prime example of the CBC Gen-locking all of Canada to a truck 
at the Montreal Forum, was not to be done at the NBC network. Dr no & Dr 
no-no tried ZSD's, GVG phasing DA's and every other invention to prevent the 
hard HIT taken when Gen locking or unlocking a 30 rock integration Studio. 
The real solution was provided by 1988 with GVG 's "Soft" Gen lock Sync 
generator. It sensed a source hiccup and free ran until the source 
stabilized and then very slowly gen locked again.



BTW: My NBC sources of prior operational history was gleamed working with 
Howie Atlas (xmsn) and  Sal Benza (AKA as the Ayatollah) of field 
operations. The Operation Crew of the1984 Convention was the swan song of 
the pioneers. Sal Benza taught me more about Network Television than I 
taught him engineering, those guys did things right, but just did them the 
hard way.



Cheers,