I don't care what anybody says about this guy's "mistakes"... I think he's pretty damn good to be able to coordinate all those different machines at different times, and flick everything into position in split-seconds in a frenetically-timed ballet!
Making spot reels was my first full time TV job. I had worked weekend Master Control prior. We had two RCA TR-50 quads. Playback on one, insert edits on the other. We later had a bank of six IVC one inch machines for spots and shows. It still kept a projectionist busy. True relief came with the Ampex ACR-25B and later a Sony Betacart.
What’s crazy to me is I bought a R0decaster Pro (1st Gen) and ATEM Mini Pro - both used off eBay for about $500 delivered. Between the two it never ceases to amaze me how much i can do with it. In ‘96, KSNF had a VidiFont, Grass Valley 200, mono sound board, and some effects machine (for growing, shrinking , squeezing video) that I think was based off a 80286 processor.
He's amazing. He's like DJ with videotape. I used to be a DJ that worked with VHS tapes in 1990-91. Forward, rewind, cue, pause, but not too long cuz it only pauses for like 20 seconds and then stops and loses the cue and then recue.....oooops, wrong tape.... it happens. This guy is a pro.
Lord this brings back memories. Did this same job back in 1976. . Doing all these gyrations plus keeping transmitter logs/normal control room duties.... $3/hour. Went to Georgia Tech and got an EE degree and got the hell out of that world. Retired now and this brought back flashbacks and not good ones. Rotating head and air cleaner noise was horrible....loud and very high pitched. After I left another control room engineer at the same station had a mental breakdown. First Class FCC license and $3 bucks an hour....screw that. Stay clear of broadcast work....technical people at TV/radio stations have about the same social status/respect as the janitor....and not paid much more.
Wow. Exactly what I did. Running Quad machines, keeping transmitter logs, running levels and got out with an EE degree. It was funny. When the Chief Engineer's job became available - NOBODY wanted it.
I remember at WMBD we used 2 machines, looped the tape through a mic stand and had a 10 second tape delay for talk shows. Record on one machine playback 10 seconds later on another machine.
I didn't start working for a TV station until 1995. We had it easy compared to this. We were using 3/4-inch cassettes and formatting them for playback on an Alamar 6-deck playback computer. Head clogs were notorious. Then we got our first digital player for our commercial breaks. It really helped.
We got a digital commercial playback system in 1996 (KSNF Joplin) to replace the 3/4” U-Matics. For the most part it worked very well, but I walked in one morning on a Saturday ( a roommate had gotten a job there) and he had left a beeping alarm go off for hours. I think a SCSI drive had malfunctioned. I remember it being five 9 GB hard drives which were considered huge for the time. Now you can get a 1.5 Terrabyte micro SD.
A couple of smaller broadcast stations in Hawaii also had to do it this way - copy each :30 second TV spot onto a master reel, according to the AIR LOG set by the Traffic Department. A station I had a show on only had ONE 2-inch machine - so they copied all the spots onto 3/4-inch U-Matic cassettes for airing. This station here has (4). Each 2-inch Quadruplex (Quad) VTR was about $120,000 in 1977 dollars. Bigger stations could afford a 2-inch CART machine that auto-fed small cartridges of 2-inch tape that had short-loaded spools and were moved by robotics - a miracle at the time. These machines were over $500,000 - but worth their money since spots could be deleted or changed on the fly, unlike in this case where the commercials are all pre-edited the night before. You can see a cart machine clearly explained and in action by searching RCA TCS-100.
Got in TV in 2002 at 19, DVCpro and file/tapeless were new, seeing this and coworker’s stories shows what I missed out on, especially in engineering, what a mad house TV used to be. It’s still wild, just with less staff and more automation. There needs to be a good movie/sitcom about working in TV, the stuff you cannot make up!
I used the RCA TR70 at the station I worked at and we stopped using them sometime in 1991. Not the easiest format to work with and I'm not criticizing at all, I just remember having to equalize the heads for every tape for playback because they all seemed different. I was never that fast at threading them and setting them up. I never did editing on them other than add tone to the second track during a phone number for the 700 Club and there was a 25 Hz tone recorded on the tape that really wasn't detected on old TVs but when it was rewinding or fast forwarding, you could hear a solid but varying tone where you were supposed to put the tone on the tape to activate our phone tone generator. Anyway, thank you for posting this.
I worked on quad machines. in a controlled environment, if all the recordings were made on the same machine & all the other decks lined up properly, & with modern materials used to refiurb the head tips, the way this guy is tom cruising around with his g-spools would be perfectly acceptable, & nothing wrong technically. he seems slightly over caffeinated, but I can't see what else he's doing wrong, really. yes, he takes a few shortcuts, but if the decks have been properly aligned (with interoperability being the best test of that, as it always was & always will be), no harm. so get off his back. until you've assemble-edited a hundred commercials from single-spot tapes on your night-shift, stfu.
One highly experienced tape operator. I'm impressed with the speed he threads each tape. I note these Ampex VR-1200 machines are running without their head boxes. Very noisy working in close confines with up to FOUR headwheels spinning at once! I do, however, cringe at two observations: 1. Rewinding the tapes and letting the tails flip past the heads at full rewind speed; 2. Stacking the 'spent' tapes on the console, not back in their boxes. Must have been fun correctly re-boxing later unless one threads each tape up again to indentify it? Thanks for uploading this.
That must have been costly to keep those old machines in working conditions. At that time it was surely around 2000USD to refurbish the head assembly. At that time we already used (here in former Czechoslovakia) the Pioneer magnetooptical disc for commercials and newsreels.
we rebuilt our last quad head in 2000 it was $695 ,i worked for this guys sister station in Washington we did the same thing with the quads head lit our engineers didn't mind as long as you could master load lit heads the chiefs they ran master control budget labor etc and the quicker you did your dub reels the more they saved on payroll this shift usually signed on the station too and they had to make the 2inch dub reels for muti market playback since we both only had 5 machines for commercial playback we had 4 that worked they had 5 it was a minimum wage job to all the haters saying i wouldn't hire this guy blah blah i would throw him out by his neck etc .you get a guy this good for 3.90 a hour at your shop back then ... i bet you paid 10-15 dollars a hour at this time and a more trained guy could be hired but this stations and the sister station engineers taught us all how to do it and we looked good we even color balanced and registered the PC70s we used at this time for our news. me and him at this time would walk into your plant at this time and challenge your best quad operators to a dub tape challenge and you have one hour to fill your 60min tape at and at 75 min min we would having a soda and done your guys would still be arguing over if the color bars laid down were to hot and you have 30 min laid down dubbed and when we played back both tapes to a independent viewer and have them pick the pro dubbers or the kids tapes they wouldn't be able to tell except one tape had more spots on it.
Mr Yung: As a broadcast engineer of 40+ years, working local/network air operations and co-authored a book on station operations, I highly resent your insulting attitude to the tape engineer shown building a break tape. Yes, you damn fool, given the time, you'd take a good minute or so to set up an average quad for each tape. At my first station, we had 4 quads: 2 were taken up with o'nite movie "bits" the other with a mini-dub reel of overnight spots. the 3rd machine played back spots; the 4th you edited on. I started editing at 12mid and had to be done by 6a. Dub reel went from 730a-1am. You tell me how YOU'D get that workload done? BTW, this was an independent, running breaks roughly every 6-8 minutes. Unless you kept your break structure identical from day to day with an occasional insert edit here or there (which we did do when I first started), it's impossible. And I might add a GOOD tape operator can make his playback tapes look good if they are truly pros. Clearly, you have NEVER done this kind of work and been under this kind of pressure. Regards, Nick Grbac
Nickgttv: You are so right, during my time at TV 41, in Battle Creek, we had many nights like that, we had to build a lot of spots on one tape, for the next day's broadcast for news time. I remember having to do it every now and then, but we had plenty of Engineers that did it to they were very fast, and did it just as well, so you're spot-on, this guy in this video is my hero, he is an excellent engineer in building those spots on one machine. He was using three machines to build up his master reel, but we had at our station, only two machines, to work with, the 3rd machine was building the master tape with the spots on it. Watching this young man do that with three machines, was an awesome video to watch him do his magic.
Awww 40 years how cute. You must have worked for a cable outfit. Since you are completely unaware of my background, you have some nerve criticizing people. Unlike you, I was in the NYC market, worked for one of the pioneers of television broadcasting at 19 nominated for am Emmy for quad editing. Being nominated by your peers as being one of the best, I can say with full confidence that you simple have no idea of what you are talking about. When time is money, keeping those machine running at peek performance requires care of the machines which clearly he does not have. I could line up a machine in 7 seconds and have done it many times when needed. The station can get fined if video it audio was out of spec, so it was important that every aspect of the broadcast signal was within spec. Clearly, you being a cable outfit would not have to worry about quality. And I can tell you that if this kid was to ever treat our machines like he does here, he would be escorted out of the building. When the ACR came out we would make sure we had all the carts ready for the next days broadcast. I would dub the carts for the next day WHILE we were in a show segment, this way by end of broadcast day, all the work had been done. I have worked on EVERY machine AMPEX ever made. And was an editor at the largest post facility on the east coast. Sorry, but your cute 40 yrs dont cut it. I was doing this before you were born
Ain't caffeine wonderful? Too many espressos maybe? Twitch, scratch, fidget... It will get a fella through the grave yard shift. Employers through the 80s and 90s tolerated a lot as long as people got the demanding work done. He must have been well rested. I'd like to see him pull this off on his third night in a row without sleep.
Ampex VR-1200s... heads up... no skew... scallop... video setup... interesting to see how the MCO and the VTR op ( if there was one) handled a :30 program close, 1 Min end break/ID... :30 program open and next program open break with no slates and various blacks between spots. Guess the station couldn't have ACR/TCR's. Couldn't pay me enough to do that.
What's interesting about this is that it was ancient equipment even in 1991. I thought most professional VT was one inch tape by the early to mid 80s. I'm curious to know if you could still buy new 2 inch tape reels in 1991 ?
Your station was still NTSC (non-digital) in 1991??? I have two "retired" 2" AMPEX's from a local Tulsa station that work, but I don't have NEARLY the "support electronics" to use them with ATSC. I have a (SONY) Nakamichi 1" digital R-T-R deck and a half-dozen D-BETA and D-"VHS" decks and a Mini-DV Canon (three sensor) camcorder that all work. Mini-DV decks that work well are almost impossible to buy now, except D-PAL units. At 70, I'm still making RV dealer's and mobile/modular dealer's TV commercials with the Canon. I take a couple of hours, while the "production companies" take three or four DAYS to shoot a 59 second commercial for 200 times what I charge. I could do that 7 days a week if I wanted to make a half-dozen states a week.
ATSC Standard A/53, which implemented the system developed by the Grand Alliance, was published in 1995; the standard was adopted by the Federal Communications Commission in the United States in 1996. It was revised in 2009. ATSC Standard A/72 was approved in 2008 and introduces H.264/AVC video coding to the ATSC system.
2" Quadruplex... in 1991!? That is IMPOSSIBLE! I thought 2" Quadruplex videotape reels were dropped out in the 1980s in favor of either 1" type C videotape reels or more compact Betacam SP videocassettes! How can TV stations like KIMA-TV use 2" Quad as late as the 1990s!?
I’m seeking an Ampex AVR-2 if anybody is looking to sell one for a reasonable cost or looking to rehome one. I Will travel anywhere in Canada/USA to pick it up. Thanks.
![ABC TV Videotape room tour and edit demo [720p60]](http://i.ytimg.com/vi/lXmGpLQgwAk/mqdefault.jpg)
![ABC TV Videotape room tour and edit demo [720p60]](/img/tr.png)
I don't care what anybody says about this guy's "mistakes"... I think he's pretty damn good to be able to coordinate all those different machines at different times, and flick everything into position in split-seconds in a frenetically-timed ballet!
Making spot reels was my first full time TV job. I had worked weekend Master Control prior. We had two RCA TR-50 quads. Playback on one, insert edits on the other. We later had a bank of six IVC one inch machines for spots and shows. It still kept a projectionist busy. True relief came with the Ampex ACR-25B and later a Sony Betacart.
Imagine....in the day, over a million dollars to make this room work...wow!
What’s crazy to me is I bought a R0decaster Pro (1st Gen) and ATEM Mini Pro - both used off eBay for about $500 delivered. Between the two it never ceases to amaze me how much i can do with it.
In ‘96, KSNF had a VidiFont, Grass Valley 200, mono sound board, and some effects machine (for growing, shrinking , squeezing video) that I think was based off a 80286 processor.
He's amazing. He's like DJ with videotape. I used to be a DJ that worked with VHS tapes in 1990-91. Forward, rewind, cue, pause, but not too long cuz it only pauses for like 20 seconds and then stops and loses the cue and then recue.....oooops, wrong tape.... it happens. This guy is a pro.
He Got Serious Skills !!!!
Lord this brings back memories. Did this same job back in 1976. . Doing all these gyrations plus keeping transmitter logs/normal control room duties.... $3/hour. Went to Georgia Tech and got an EE degree and got the hell out of that world. Retired now and this brought back flashbacks and not good ones. Rotating head and air cleaner noise was horrible....loud and very high pitched. After I left another control room engineer at the same station had a mental breakdown. First Class FCC license and $3 bucks an hour....screw that. Stay clear of broadcast work....technical people at TV/radio stations have about the same social status/respect as the janitor....and not paid much more.
Wow. Exactly what I did. Running Quad machines, keeping transmitter logs, running levels and got out with an EE degree. It was funny. When the Chief Engineer's job became available - NOBODY wanted it.
@@Trainwreck144what?! Who wouldn’t want to be on call 24/7 because headphones don’t work or the transmitter is iced up?
I remember at WMBD we used 2 machines, looped the tape through a mic stand and had a 10 second tape delay for talk shows. Record on one machine playback 10 seconds later on another machine.
Wow! That’s crazy.
Quite the tape slinger, excellent work with the quads!
I did this for 2 years before the station bought an ACR25 to play back the spots. Now THAT was a cool machine.
I didn't start working for a TV station until 1995. We had it easy compared to this. We were using 3/4-inch cassettes and formatting them for playback on an Alamar 6-deck playback computer. Head clogs were notorious. Then we got our first digital player for our commercial breaks. It really helped.
We got a digital commercial playback system in 1996 (KSNF Joplin) to replace the 3/4” U-Matics. For the most part it worked very well, but I walked in one morning on a Saturday ( a roommate had gotten a job there) and he had left a beeping alarm go off for hours. I think a SCSI drive had malfunctioned.
I remember it being five 9 GB hard drives which were considered huge for the time. Now you can get a 1.5 Terrabyte micro SD.
this brings back memories, we used these machines up to 1994 !!
What happened to the machines after 1994 ?
@@vcrguy1686 The station kept the tr600 and one 1200, otherwise an odetics system was installed to replace the tcr100's
A couple of smaller broadcast stations in Hawaii also had to do it this way - copy each :30 second TV spot onto a master reel, according to the AIR LOG set by the Traffic Department. A station I had a show on only had ONE 2-inch machine - so they copied all the spots onto 3/4-inch U-Matic cassettes for airing. This station here has (4). Each 2-inch Quadruplex (Quad) VTR was about $120,000 in 1977 dollars. Bigger stations could afford a 2-inch CART machine that auto-fed small cartridges of 2-inch tape that had short-loaded spools and were moved by robotics - a miracle at the time. These machines were over $500,000 - but worth their money since spots could be deleted or changed on the fly, unlike in this case where the commercials are all pre-edited the night before. You can see a cart machine clearly explained and in action by searching RCA TCS-100.
Got in TV in 2002 at 19, DVCpro and file/tapeless were new, seeing this and coworker’s stories shows what I missed out on, especially in engineering, what a mad house TV used to be. It’s still wild, just with less staff and more automation. There needs to be a good movie/sitcom about working in TV, the stuff you cannot make up!
You're insane, I love it!
Wow! What have we gottin ourselves into?
Wildin Out. He Actually running the whole setup Solo😂🤣😂🤣😂🤣
I can't believe they were still using quad in '91. I was fixing U-matics then.
Just the threading aspect alone seems like it would’ve made sense to “upgrade” to a (checks notes) 15-year old format (U-Matic)
Appreciate your skills...spent midnights cutting hundreds of dubs for distribution on those beasts!
I used the RCA TR70 at the station I worked at and we stopped using them sometime in 1991. Not the easiest format to work with and I'm not criticizing at all, I just remember having to equalize the heads for every tape for playback because they all seemed different. I was never that fast at threading them and setting them up. I never did editing on them other than add tone to the second track during a phone number for the 700 Club and there was a 25 Hz tone recorded on the tape that really wasn't detected on old TVs but when it was rewinding or fast forwarding, you could hear a solid but varying tone where you were supposed to put the tone on the tape to activate our phone tone generator. Anyway, thank you for posting this.
Making spot reels. Those were the days. Made you appreciate the TCR OR ACR.
Interesting shortcuts. 1 spot per reel, no slates, leaving the heads spinning.
I built an edit suite with three one-inch Ampex VPR3s in 1986. Quad was being phased out by then for sure but they were fine for local stations.
I worked on quad machines. in a controlled environment, if all the recordings were made on the same machine & all the other decks lined up properly, & with modern materials used to refiurb the head tips, the way this guy is tom cruising around with his g-spools would be perfectly acceptable, & nothing wrong technically. he seems slightly over caffeinated, but I can't see what else he's doing wrong, really. yes, he takes a few shortcuts, but if the decks have been properly aligned (with interoperability being the best test of that, as it always was & always will be), no harm.
so get off his back. until you've assemble-edited a hundred commercials from single-spot tapes on your night-shift, stfu.
I was out of college by 91. I bet the colleges had moved on to beta by then. 2 inch in 1991? Wow, pure profit for the local station.
One highly experienced tape operator. I'm impressed with the speed he threads each tape. I note these Ampex VR-1200 machines are running without their head boxes. Very noisy working in close confines with up to FOUR headwheels spinning at once!
I do, however, cringe at two observations:
1. Rewinding the tapes and letting the tails flip past the heads at full rewind speed;
2. Stacking the 'spent' tapes on the console, not back in their boxes. Must have been fun correctly re-boxing later unless one threads each tape up again to indentify it?
Thanks for uploading this.
The guy is looking like Marty McFly using his Time machine
Human ACR 25, my hat's off to you!
Its easy when you dont care about quality
Even U-Matic 3/4” was beginning to be phased out in ‘91.
That must have been costly to keep those old machines in working conditions. At that time it was surely around 2000USD to refurbish the head assembly.
At that time we already used (here in former Czechoslovakia) the Pioneer magnetooptical disc for commercials and newsreels.
Still cheaper on the owner to not buy half a million worth of new beta equipment. And not train new ppl.
The kid is proly the president of the network now.
we rebuilt our last quad head in 2000 it was $695 ,i worked for this guys sister station in Washington we did the same thing with the quads head lit our engineers didn't mind as long as you could master load lit heads the chiefs they ran master control budget labor etc and the quicker you did your dub reels the more they saved on payroll this shift usually signed on the station too and they had to make the 2inch dub reels for muti market playback since we both only had 5 machines for commercial playback we had 4 that worked they had 5 it was a minimum wage job to all the haters saying i wouldn't hire this guy blah blah i would throw him out by his neck etc .you get a guy this good for 3.90 a hour at your shop back then ... i bet you paid 10-15 dollars a hour at this time and a more trained guy could be hired but this stations and the sister station engineers taught us all how to do it and we looked good we even color balanced and registered the PC70s we used at this time for our news. me and him at this time would walk into your plant at this time and challenge your best quad operators to a dub tape challenge and you have one hour to fill your 60min tape at and at 75 min min we would having a soda and done your guys would still be arguing over if the color bars laid down were to hot and you have 30 min laid down dubbed and when we played back both tapes to a independent viewer and have them pick the pro dubbers or the kids tapes they wouldn't be able to tell except one tape had more spots on it.
Mr Yung: As a broadcast engineer of 40+ years, working local/network air operations and co-authored a book on station operations, I highly resent your insulting attitude to the tape engineer shown building a break tape. Yes, you damn fool, given the time, you'd take a good minute or so to set up an average quad for each tape. At my first station, we had 4 quads: 2 were taken up with o'nite movie "bits" the other with a mini-dub reel of overnight spots. the 3rd machine played back spots; the 4th you edited on. I started editing at 12mid and had to be done by 6a. Dub reel went from 730a-1am. You tell me how YOU'D get that workload done? BTW, this was an independent, running breaks roughly every 6-8 minutes. Unless you kept your break structure identical from day to day with an occasional insert edit here or there (which we did do when I first started), it's impossible. And I might add a GOOD tape operator can make his playback tapes look good if they are truly pros. Clearly, you have NEVER done this kind of work and been under this kind of pressure. Regards, Nick Grbac
Nickgttv: You are so right, during my time at TV 41, in Battle Creek, we had many nights like that, we had to build a lot of spots on one tape, for the next day's broadcast for news time. I remember having to do it every now and then, but we had plenty of Engineers that did it to they were very fast, and did it just as well, so you're spot-on, this guy in this video is my hero, he is an excellent engineer in building those spots on one machine. He was using three machines to build up his master reel, but we had at our station, only two machines, to work with, the 3rd machine was building the master tape with the spots on it. Watching this young man do that with three machines, was an awesome video to watch him do his magic.
Awww 40 years how cute. You must have worked for a cable outfit. Since you are completely unaware of my background, you have some nerve criticizing people. Unlike you, I was in the NYC market, worked for one of the pioneers of television broadcasting at 19 nominated for am Emmy for quad editing. Being nominated by your peers as being one of the best, I can say with full confidence that you simple have no idea of what you are talking about. When time is money, keeping those machine running at peek performance requires care of the machines which clearly he does not have. I could line up a machine in 7 seconds and have done it many times when needed. The station can get fined if video it audio was out of spec, so it was important that every aspect of the broadcast signal was within spec. Clearly, you being a cable outfit would not have to worry about quality. And I can tell you that if this kid was to ever treat our machines like he does here, he would be escorted out of the building.
When the ACR came out we would make sure we had all the carts ready for the next days broadcast. I would dub the carts for the next day WHILE we were in a show segment, this way by end of broadcast day, all the work had been done.
I have worked on EVERY machine AMPEX ever made. And was an editor at the largest post facility on the east coast. Sorry, but your cute 40 yrs dont cut it. I was doing this before you were born
Ain't caffeine wonderful? Too many espressos maybe? Twitch, scratch, fidget... It will get a fella through the grave yard shift. Employers through the 80s and 90s tolerated a lot as long as people got the demanding work done. He must have been well rested. I'd like to see him pull this off on his third night in a row without sleep.
Would have to love this look awesome but very stressful and little room for error.
I worked on (Engineering) VR-1100, 1200B and VR-2000B,
as well as TR-70. Later VPR1/2 & 3.
I worked on 1000 and 2000B back in the 70s and 80s . I did some time with ACR25..we did proper line ups and cleaning for every tape on the 2000B.
Ampex VR-1200s... heads up... no skew... scallop... video setup... interesting to see how the MCO and the VTR op ( if there was one) handled a :30 program close, 1 Min end break/ID... :30 program open and next program open break with no slates and various blacks between spots. Guess the station couldn't have ACR/TCR's. Couldn't pay me enough to do that.
WoW
Perfect skill
We retired our Ampex VR-1200s as uneconomical to operate in 1987. Switched to 1" and 3/4" machines.
Wow you used the VR-1200 till 87 holy smokes, Ampex still provided support to those even till the 80s?
Great video! May I suggest record a "commented" version of the video? With you narrating what is going on?
What's interesting about this is that it was ancient equipment even in 1991. I thought most professional VT was one inch tape by the early to mid 80s. I'm curious to know if you could still buy new 2 inch tape reels in 1991 ?
I still have a New in Box 2inch quad tape roll I kept as a memento. Maybe the last NOS reel? I wonder if any Quad machines still in use.
Ретро студия! В те года уже кассеты были Sony Betacam SP! И студийное монтажное оборудование.
This guy is a great drummer! :)
Being from Yakima....some of these advertisers are familiar....
My dream job!
Your station was still NTSC (non-digital) in 1991??? I have two "retired" 2" AMPEX's from a local Tulsa station that work, but I don't have NEARLY the "support electronics" to use them with ATSC. I have a (SONY) Nakamichi 1" digital R-T-R deck and a half-dozen D-BETA and D-"VHS" decks and a Mini-DV Canon (three sensor) camcorder that all work. Mini-DV decks that work well are almost impossible to buy now, except D-PAL units. At 70, I'm still making RV dealer's and mobile/modular dealer's TV commercials with the Canon. I take a couple of hours, while the "production companies" take three or four DAYS to shoot a 59 second commercial for 200 times what I charge. I could do that 7 days a week if I wanted to make a half-dozen states a week.
ATSC Standard A/53, which implemented the system developed by the Grand Alliance, was published in 1995; the standard was adopted by the Federal Communications Commission in the United States in 1996. It was revised in 2009. ATSC Standard A/72 was approved in 2008 and introduces H.264/AVC video coding to the ATSC system.
2" Quadruplex... in 1991!? That is IMPOSSIBLE! I thought 2" Quadruplex videotape reels were dropped out in the 1980s in favor of either 1" type C videotape reels or more compact Betacam SP videocassettes! How can TV stations like KIMA-TV use 2" Quad as late as the 1990s!?
Wow I hope he didn't lose hearing from those noisy heads.
Wow, you're smooth.. I've never seen anybody manipulate a 2" tape machine so quickly. btw WTF was that psychotic outburst at 3:42?
The spot kept repeating the same sentence over again and he says "Let go, you stupid..."
NOT psychotic! Venting in TV is NORMAL! Just because someone shouts in frustration doesn’t make them a psychopath.
I’m seeking an Ampex AVR-2 if anybody is looking to sell one for a reasonable cost or looking to rehome one. I Will travel anywhere in Canada/USA to pick it up. Thanks.
Commercial play out as cheap as possible.
Szaleństwo
Looks boring yet difficult.