<div>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.</div>
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<div>alan rosenfeld<br><br></div>
<div class="gmail_quote">On Thu, Jan 8, 2009 at 10:33 PM, <span dir="ltr"><<a href="mailto:allanmc-avtech@comcast.net">allanmc-avtech@comcast.net</a>></span> wrote:<br>
<blockquote style="BORDER-LEFT: #ccc 1px solid; MARGIN: 0px 0px 0px 0.8ex; PADDING-LEFT: 1ex" class="gmail_quote">Speaking of the Faint of Heart.....try CUTTING the football high light package<br>on 2" tape and cueing it up (without enough time to even preview your edit) as<br>
you hear the On-Air talent call for the playback. You tend to watch that edit<br>pretty carefully and pray that it will even holds together. I'll admit to having<br>one ZINGER go on the air to the Network. And, I've seen one from my tape<br>
partner actually come apart "on air" when the head tip caught the tape and<br>actually rolled it over. I promise you the only noise worse than the head ZINGING<br>into the crumpled tape is the yelling coming through the IFB. But, I also want<br>
to tell you that there was an exhilerating high when you nailed it and it all<br>worked! Those times made all the tensions and pressure worth while. I think<br>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.<br>
<br>Allan<br><br><br> -------------- Original message ----------------------<br>From: "C. Park Seward" <<a href="mailto:park@videopark.com">park@videopark.com</a>><br>> I remember watching Laugh-In and seeing some bad splices "zing" by.<br>
><br>> I think the cut had to be within 2 microns to work correctly. The<br>> video track is 10 microns and the guard band is five so you had to be<br>> in the middle of the five µm guard band and on the start of the frame<br>
> to get it all to work.<br>><br>> Not for the faint of heart.<br>><br>> Best,<br>> Park<br>><br>> C. Park Seward<br>> Visit us: <a target="_blank" href="http://www.videopark.com/">http://www.videopark.com</a><br>
><br>><br>><br>> On Jan 8, 2009, at 3:52 PM, Phillip G. Shaw wrote:<br>><br>> > I would add to Ted Langdell response noting that the Telecine was<br>> > used to make the off-Line Production EDL.<br>
> ><br>> > The On-line (Air Master) editing was done with the Miller-editor.<br>> ><br>> > Per: Jack Calloway<br>> > "once the offline was completed, the video tape editor manually<br>> > conformed the video tape, using the Smith splicer, and making his<br>
> > cuts based on the ESG."<br>> ><br>> > to add to the description of the Smith Splicer, the developing was a<br>> > very small area of the "Control Track"<br>> > to find the nearest FRAME pulse to the ESG. The cut & splice made to<br>
> > matching frame pulses.<br>> ><br>> > I remember making edits with that spicer and the resulting Headwheel<br>> > Zing on the first pass. Butt Ugly<br>> ><br>> ><br>> > BTW: I have the only know firm ware for RCA SEP editor (in my Junk)<br>
> > 3 ROM's The RCA Time code systems where EECO supplied, looks like<br>> > Ampex did likewise<br>> ><br>> > Phillip G. Shaw<br>><br>> _______________________________________________<br>
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