[QuadList] Question for any ex-NBC types out there (Tony Quinn)

[allanmc-avtech at comcast.net]

Bicycle tapes.   
It was amazing to see how often we would use NEW tape stock on the shipped bicycle tape spots....only to see it replaced by some station down the line out in the field.   Cause, I frequently got CRAP tape back and have also seen tapes stapled, scotch taped, and even paper clipped together.  Never was a dull moment in the tape room. 

Allan 


 -------------- Original message ----------------------
From: "Alan Rosenfeld" <abrosenfeld at gmail.com>
> Speaking of bad splices making noise, nothing worse than a head exploding
> from a bad splice.  I was in the tape dub room at Editel NY one day, they
> were burnishing recycled bicycle stock that had come in from the road.
> Evidently a tape snapped at one of the tv stations and they decided to fix
> it by stapling it at the break...we heard that one go over the head.
> 
> alan rosenfeld
> 
> On Thu, Jan 8, 2009 at 10:33 PM, <allanmc-avtech at comcast.net> wrote:
> 
> > Speaking of the Faint of Heart.....try CUTTING the football high light
> > package
> > on 2" tape and cueing it up (without enough time to even preview your edit)
> > as
> > you hear the On-Air talent call for the playback.  You tend to watch that
> > edit
> > pretty carefully and pray that it will even holds together.  I'll admit to
> > having
> > one ZINGER go on the air to the Network.   And, I've seen one from my tape
> > partner actually come apart "on air" when the head tip caught the tape and
> > actually rolled it over.  I promise you the only noise worse than the head
> > ZINGING
> > into the crumpled tape is the yelling coming through the IFB.   But, I also
> > want
> > to tell you that there was an exhilerating high when you nailed it and it
> > all
> > worked!   Those times made all the tensions and pressure worth while.   I
> > think
> > most tape op editors would have to admit that they enjoyed working under
> > pressure and being on top of a demanding technical art form.   Those were
> > fun days.
> >
> > Allan
> >
> >
> >  -------------- Original message ----------------------
> > From: "C. Park Seward" <park at videopark.com>
> > > I remember watching Laugh-In and seeing some bad splices "zing" by.
> > >
> > > I think the cut had to be within 2 microns to work correctly. The
> > > video track is 10 microns and the guard band is five so you had to be
> > > in the middle of the five µm guard band and on the start of the frame
> > > to get it all to work.
> > >
> > > Not for the faint of heart.
> > >
> > > Best,
> > > Park
> > >
> > > C. Park Seward
> > > Visit us: http://www.videopark.com
> > >
> > >
> > >
> > > On Jan 8, 2009, at 3:52 PM, Phillip G. Shaw wrote:
> > >
> > > > I would add to Ted Langdell response noting that the  Telecine was
> > > > used to make the off-Line Production EDL.
> > > >
> > > > The On-line (Air Master) editing was done with the Miller-editor.
> > > >
> > > > Per: Jack Calloway
> > > > "once the offline was completed, the video tape editor manually
> > > > conformed the video tape, using the Smith splicer, and making his
> > > > cuts  based on the ESG."
> > > >
> > > > to add to the description of the Smith Splicer, the developing was a
> > > > very small area of the "Control Track"
> > > > to find the nearest FRAME pulse to the ESG. The cut & splice made to
> > > > matching frame pulses.
> > > >
> > > > I remember making edits with that spicer and the resulting Headwheel
> > > > Zing on the first pass. Butt Ugly
> > > >
> > > >
> > > > BTW: I have the only know firm ware for RCA SEP editor (in my Junk)
> > > > 3 ROM's The RCA Time code systems where EECO supplied, looks like
> > > > Ampex did likewise
> > > >
> > > > Phillip G. Shaw
> > >
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> >
> >
> >
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> 


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