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minicams feeding CRT monitors—Frame rate conversion—

Ted Langdell
 

Not sure what frame rates, image issues or monitor color balancing issues you’ll encounter on-set.

You might want to investigate frame rate converters made by Schindler Imaging.  Or something similar.

The Schindler units allow the playback engineer to adjust the input and output frame rates and frame sizes (IE SD to HD/HD to SD), the height and width of the displayed image to compensate for screen linearity issues, and the Color Temperature, so you can match the screen color temp to the set lighting color temp.  
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Last year, this time, we were setting up working NTSC 29.97i equipment for Seasons 2 of Netflix GLOW: Gorgeous Ladies of Wrestling, similar to what we did for Season one in 2016.

Warner Bros. Production Sound and Playback provided packages to playback files and present SMPTE bars and solid color screens onto CRT monitors we (or they) supplied.

Multiple Schindlers converted 29.97i to 24p for display on via analog composite or SDI to Multi-standard analog CRT monitors.

The show shot with a pair of (RED, if I recall correctly -not sure model) cameras shooting 24p. 

Here’s Season 1 Master Control Room w/working GVG 300 switcher and green screen provided by Schindler MVP-24. VFX used the green (or gray) and tracking to insert desired video into the screens for the short time the scene was on screen.
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They were also used in a multi-format edit suite.  Schindler boxes feeding analog signals to monitors and scopes. The decks—including the Ampex VPR-3 1” Type C machines seen below—could feed analog tape to a Schindler for conversion.  And if actual playback FROM tape was needed, playback files could be played from computer, converted to NTSC, recorded to tape, played from tape, and converted for display on the monitors.
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For Season Two, the production decided to use real video for some monitors, and green screen for others.

Season 2 w/Color monitors from Warner replacing our 9” Panasonic monochrome monitors showing live NTSC 3/4” Umatic playback through Schindler box into center Ikegami color monitor and 14” Sony BVM.  The other images are from computer files through Schindler’s to composite distribution amps and then to monitors.
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For Season 2, Schindler boxes provided green and/or Bars for a small control room set. Green screen was replaced with video from ringside camera shots inserted in post.

The Schindlers could also have handled playback from BVU-800 & 820 3/4” Umatic decks in the rack.
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The Schindler units have been out of production for more than a decade, but designer Keith Schindler reported in January that a new unit—MVP-HD24—would be in released soon.

Hope this is helpful. 

Ted

Ted Langdell

(530) 301-2931
Dictated into and Sent from my iPad which is solely responsible for weird language you may see.

On Nov 6, 2018, at 1:26 AM, Lorenzo Levrini <lorry.pearlrocks@...> wrote:

Hi all,

For an upcoming music video I need to recreate this setup from 'Maniac'. 

(See attached still)

A minimum of 6 minicams feed 6 CRT-style monitors in shot. 

I know minicam companies so my biggest hurdle currently I think is finding the right monitors that will take a modern signal.

Any leads appreciated. 

I'm in London, UK.

Thanks,

Lorenzo Levrini
DP, London

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