Color Frame shifts, Ha I laugh in your general direction. You weren't blessed to have the likes of Stanley Sulik at Bldg 25 ABC prospect lot. He wrote the edit ready color framing guide for all the engineers and tape ops. His motto, "Plus or Minus nothing." He even showed me how to adjust the SCH of the black generator on a GVG 10XL IIRC by adding a variable capacitor on a trace to ground and adjusting the cap would lock in the SCH for switcher black and probably background generator. Of course I would have to adjust the GVG 940 Proc amp two to three times a session to keep the bay output in proper SCH. It also helped that our sources were 3/4 inch so no color frame shifts from the color under system. When using VPR 2s and 3s almost never had a problem but I did make a conscious effort to maintain even to even and odd to odd time codes. Only repeatable issue was the way the Zeus TBC would force normal color frame when in motion control mode from the ISC controller. Not an issue unless you had made a wrong color frame edit and wanted to match into it with motion control. Somehow I felt less powerless adjusting picture centering than I do these days when I have a codec or font issue. These darn computer voodoo boxes just can't be trusted. ;-)
--- In Avid-L2@yahoogroups.com, Alan Miller <ammfx@...> wrote:
>
> I loved my Z6 and then Z6000. It could run rings around CMX but, alas,
> never caught on. In a time when H-shifts were common when matching
> in to an edit, it's ability to do multiple edits on a single pass was awesome.
> Do a cut and a dissolve to another source, trigger a title and dissolve in and
> out and dissolve to another clip all in one pass. As long as you had enough
> decks it would keep going. Pretty revolutionary for it's time.
> Alan
>
> Alan Miller
> 48 Hours Mystery
> CBS News
>
>
> ________________________________
> From: Mikeparsons.tv <mikeparsons.tv@...>
> To: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
> Sent: Tuesday, April 16, 2013 4:50 PM
> Subject: Re: [Avid-L2] Re: [FCP-L] "Twenty Years Ago Today"
>
>
> Yeah I knew microlok wasn't it but it was something like it....
>
> The z6000 was a great controller - best feature was dumping the edl as audio on the 1 inch master. Wherever the master went the edl went... I always consider it the birth of metadata....
>
> In think I have a convergence super stick manual somewhere.
> So
> Eeco had ontime
> VME had microlok
> United media had their thing
> Convergence had ?
>
> It's amazing anything got done!
>
> Mike
>
> On 17 Apr, 2013, at 12:24 AM, Alan Miller <ammfx@...> wrote:
>
> > I think you got that wrong. Microloc was standard on Videomedia Z6 editors which
> > preceeded Convergence. It had lots of unique features some of which worked really
> > well and others that were a little flakey. Like storing your EDL on the first few seconds
> > of your master tape. But Microloc saved many shows when the TC was bad. It just
> > didn't need it and was frame accurate. Eventually they added TC but always retained
> > the option to use Microloc.
> > Early Avid systems used Videomedia VLan boxes to connect VTRs and unknown
> > to most users read TC but referenced it to Microloc so it could cue back over
> > TC breaks.
> > Alan Miller
> >
> >
> > Alan Miller
> > 48 Hours Mystery
> > CBS News
> >
> > ________________________________
> > From: Mikeparsons.tv <mikeparsons.tv@...>
> > To: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>
> > Sent: Tuesday, April 16, 2013 11:55 AM
> > Subject: Re: [Avid-L2] Re: [FCP-L] "Twenty Years Ago Today"
> >
> >
> > Rush practically invented his own timecode system. My brain is foggy but the early convergence boxes were all control track tach pulses with occasional timecode updates. But it wasnt smpte i want to call it microlok but i think that's wrong. Anyway it gave you accurate edits then later there was a box you'd play audio timecode through and create an edl ... That was why the convergence always had 3 audio track control.
> >
> > They had lots of odd stuff like that from liplok which was meant to frequency shift preview sound to normal in fast scroll but actually just made a messy noise to their preference of orange vdus and insistence on calling gpis ten-coms.
> >
> > I did a lot if offline music videos in the 80s on 224s and they came with Dave bargens 409 list cleaner onboard so my conforms were damn slick which was great on a music video budget.
> >
> > Best regards
> >
> > Mike
> >
> > On 16 Apr, 2013, at 11:26 PM, "Larry" <larryasbell@...> wrote:
> >
> > > The first name came back to me, it's "Rush." Then the last name, "Hickman." Convergence guru Rush Hickman, not Hoffman.
> > >
> > > Anyone know of him?
> > >
> > > - Larry Asbell
> > >
> > >
> >
> > [Non-text portions of this message have been removed]
> >
> > ------------------------------------
> >
> > Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
> > Yahoo! Groups Links
> >
> > [Non-text portions of this message have been removed]
> >
> >
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
> Yahoo! Groups Links
>
>
>
> [Non-text portions of this message have been removed]
>
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