I don't think there was much of a lip-sync issue. You don't have reporters working to camera when you want to keep it quiet. Normally it would have been mute, and where sound was necessary there would rarely be visual clues. There would also only be a few minutes at a time, which wasn't hard to fix manually.
No pilot tone on the Nagra SN. The head's small enough as it is.
Processed
know....he
You are a common LIAR.
Elsewhere it was. And occassionally it was used in the UK for special purposes.
That was the norm. You really don't know. Electronic New Gathering (ENG) only came in about 1979, and was horrendously expensive, and for many years after film was still used as the prime capture medium, mainly 16mm, the stuff you said was never ever broadcast. Only when ENG came down in price did film get pushed out.
A fried of mine used one of the first ENGs in the UK, a Sony I think, I had a go too. Heavy stuff. The men who used them had to be physically big as the battery packs weighed a ton. Many were reluctant to dump film as in comparison it was so light and easy to use. Super 8 even more so. ENG getting cheaper, smaller and lighter killed off Super 8 as a news gathering medium at birth. If ENG had not come along Super 8 would have been the norm for news gathering in the UK, it was in other places. Try taking an old ENG into a riot situation. No contest, a small film camera beats it hands down for getting in tight. If the camera is trashed in the riot the cost is not great to an early ENG setup.
You really don't know. It is clear you twiddle the bass and treble knobs in the studio
Pro film cameras were never cheap, Super 8 or 16mm. You don't trash them. I recall in 1980 a news team went into Poland when Solidarity was active and there were riots. They went in with Braun Super 8s as tourists. If they went in with 16mm they would have been turned away. They bought the film in Poland in the normal shops and came back with the images, all broadcastable, the stuff you said never was capable of being broadcast remember.
I'm really educating you. Take note. Oh, I'm also great at disco dancing.
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Witless Jerry enter the fray...and of course babbles garbage.................
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I recall some infra red/radio remote devices that could have the tape recorder in synch, so a cable link was not required. The sound and cameraman could dive for cover and be 50 yards apart and still be in synch and get the sound and pics. I used it once with a Uher and a Beaulieu camera. Worked well.
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I'd ask how you can 'process immediately' a film used for news gathering. Unless that 'news' took place outside the lab. And in case you didn't realise, labs for processing something like 8mm film are rather thin on the ground.
25 years ago - 1980 - you'd take the tape to the nearest broadcaster, BBC or ITV, and bash it down the line to your base. If urgent. Or bike it back to base. If you knew the need for urgency - ie some breaking news story - you'd arrange for a direct link to your base. And it's the same today - but with satellite comms, rather easier to do.I asked you before to quote where *I* said 16mm wasn't used, because it was the de facto standard for news use before portable electronic equipment.
8mm never was.Gettit, wanker?
Nagra make/made many models. Including a 1" C format video recorder. All the bells and whistles 1/4 studio master recorders - the Nagra T-Audio. Tiny and full aren't the sort of technical terms I know. Perhaps you'll recommend tiny 'combi's' and full 'combi's' in future - it would make as much sense.
I'm very pleased for you. Perhaps you'd get your nurse to cast an eye over the metre?
Tee hee. Now you're going back well over 1/2 a century...
One pulse per frame on 8mm? Any idea how much flutter that would introduce?
I was hoping for something like standard Nagra pilot tone. Ah well. My fault for asking a technical question of a fool.
Yup. So 'special' use only? Of course, something like a PD150 is no larger than an 8mm film camera, so I doubt there's much call these days.
You've got to realise there's no point in trying a logical discussion with IMM or Drivel as he simply makes things up...
They were not then Kodak had two in the City and West end, with only a few hours service. I recall the BBC had its own 16mm processing.
It was in other countries and would have been here...see other posts. You really don't know do you? One of thsoe sound men in a studio that no one likes. A knob twiddler. sad but true.
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...out caber tossing man spurts forth...yes he does....
..the man of caber tossing says I know about the Nagra ..a pilot tone, a pilot tone, he stamps his foot in anger ..a man is such a fool he says, knowing not of a recorder ..this is how the caber man sees the world of order
..his dream of archived cabers, it did not arise ..as sane people in this world, the cabers they despise ..they also hate the TV game; the people with disregard ..regarding one that works in there as tosser and retard
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That's as may be, but you are still a liar.
..we make thing up, the caberman said ..we took him to the doctorman to put him straight to bed ..the quack he kept him all tied up, the case it was severe ..babbling all time, about cabers, Nagras and cheap supermarket beer ..the quack he did forbid the beer, he then made such a racket ..your off Rampton and the likes to stay in that straight jacket.
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You are not having poem about yourself. Now piss off.
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Suddenly you're going from it being the standard to 'occasionally for special purposes'? Nice to see you've read and understood my posts, for once. Or have you talked again to your pal who's put you right?
Of course it *was*. There was no alternative.
Sigh. I keep on asking you for evidence of my saying this - a quote will do - but that's plainly beyond you.
You've moved back again to history. The discussion was about recent times. Or do you just live in the past?
But in any case, the transition to ENG was rapid - as the benefits were enormous. And the equipment and costs improved quickly.
On an ENG crew, the sound recordist would carry the U-Matic recorder. The camera was lighter than a 16mm one. Your 'fried' must have been a one man band with no knowledge of broadcast.
Your 'fried' was probably charging his gear to the company, so reluctant to change. Happens all the time
Perhaps you'll get it into your addled brain that Super 8 was *never* used as a *mainstream* format in the UK? Because it didn't meet specs?
Good grief. So you finally admit it? WTF has this all been about, then?
Rubbish. It's a crap domestic format. 16mm would have continued as the format of choice in news in the UK.
True. Cheap disposable rubbish. So where are your arguments about the better quality?
I've twiddled knobs worldwide. And observed. You'd do well to take advice from one who knows- not some now out of work stringer with ancient equipment.
All 'interesting' news footage - no matter how appalling in quality - will be broadcast. Don't you ever watch the news? You'll get all sorts of amateur crap shown - if it's relevant.
But surely at your age you should be resting - or possibly a gentle tea dance?
A Uher with the ability to sync? You're having a joke?
I think he's been syncopating on the UHU
Owain
Nope.
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No. Standard in other parts of the world, would have been standard here except ENG came in and became cheap rather quick. The BBC bought a whole bunch of Braun Super 8s.
Evidence is me, that is all you need. The young spotty faced ones at your work wouldn't have a clue.
Since when?
I told you that for God's sake.
He worked for ABC, a US news outfit. One worked for the Beeb.
You really are a thicko. You have to read what I write. It was used, for special purposes in the UK, and it was assessed for suitability because of the pro equipment available. Other countries used it and broadcast it for news. That means it was used. Got it? No, I'm sure you haven't
It totally met the specs, except in long shot where it could not compete with 16mm, but was fine for news. The plasticity of film made it much more appealling that video at the time. The biggest problem in the UK was that TV companies in a closed market of no competition made oodles of money and would only go for expensive kit. Another was the attitude and image from the mainstream outfits. Super 8 started out as amateur. Film stocks increased emourmously, from 1965 when it was introduced, computers made lenses very sharp in production and pro cameras followed on bringing Super 8 into the pro realm, at least for TV, where it was broadcastable, and was.
The point was that Super 8 was broadcastable, which you said it wasn't. Then you went on about it not being used for broadcasting, which it was, especially in other countries. What you said was total balls. It is fully broadcastable. It has the rersolution.
You show you ignorance. Stick to the bass and treble knobs.
It was looking to go Super 8 for local news and the likes.
16mm cameras are disposable rubbish? Not rubbish at all, just not silly money for getting piccies on air quicker. The early ENGs were not actually quicker as the system was setup for news on film and telecined.Nope. That Super 8 was of a resolution, together with filmstock and pro cameras (the Beaulieu had/has interchangeable lenses and a 16mm design of gate, not a beam splitter) high enough to be broadcast which obviously you didn't know. I even gave you a piccie of a pro camera, and you didn't even believe that. And you keep saying it is amateur crap and can't be broadcast. They more you keep saying that the bigger the idiot you look.
I wouldn't dream of taking advice from you, you are clearly lacking. Sad but true.
Quality was excellent when the lighting was good. Low light was grainy.
I'm not even 40. Boy don't you work in a boring industry.
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