Not TV wall mounting

[Mark Carver]

For camera racking it's only normally a single primary Grade 1 monitor, (and associated WFM) and you are using the Joy-Stick Over-ride on the OCPs to switch between cameras.

In a large OB truck where there are 25-30 cameras, then you'll have four or five vision engineers looking after five or six cameras each on a very long desk. Again, each is only concentrating on their single monitor. The Vision Supervisor is at the end of the desk, with a router panel and is able to look at any camera and assess.

It's no where near as complicated as sound ;-)

[Dave Plowman (News]

Depends how far back you go. At one time, one monitor per camera. And a TX monitor that the joystick could switch to.

Colour, of course, made a big difference. Colour monitors very expensive and often impossible to match. But in the early days of colour in the BBC, racks still worked in mono. Colour balance was done separately. Some sense in that as exposure and black level can be set using mono.

But with cameras being much more stable these days and costs being the most important thing, I've no doubt it is all done by a meja studies type on work experience. ;-)

[Mark Carver]

You try racking a camera on a sunny winters day at a football match with half the pitch in shade, and the other in bright sun. It's still a skilled job.

[Pancho]

Ok, when you are told to mount a TV, you f*ck it.

Let's hope that when a customer asks you to screw her against the wall, you keep the drill safely in the tool bag.

[Dave Plowman (News]

You need better floodlighting. ;-)