§73.673 Public information initiatives regarding educational and informational programming for children.
Each commercial television broadcast station licensee shall provide information identifying programming specifically designed to educate and inform children to publishers of program guides. Such information shall include an indication of the age group for which the program is intended.
Its that time on year to spray down and clean the outside “coils” on transmitter and building cooling units. Also chain filter and belts (even before they break). We have water on site and spray clean the cooling coils. I have seen HVAC carry in water to do this.
“The Harris Sigma IPA has shut down a few times with no faults on transmitter or in logs. The green lights go out for power and IPA, sometimes the IPA voltage light is finicky, though its on now.
If I goto standby and back. It resets to normal.
I replaced an IPA power supply recently. I am not sure that is related. As this happen once before causing me to replace power supply. I reduced power to 60% for now.”
I started thinking about this overnight as I remember the frustration I had with unknown fault problems on the Analog Harris sigma transmitter. Setting up a camera to watch the fault lights. Days it dragged out, it may have been weeks. But what was the solution?Then it dawned on me, I recalled the fix, PTL, the fibers optics! On the old transmitter I had to replace the fibers, the light became weak over time. Also it was related to power and heat, but only faintly related. Weak Light in the fiber! (or weak trip point on PCB).
On the the current problem I waited till it was muted into standby again, pulled and replaced fibers one at a time, and it came back on.
Now it could also be the fiber reciever, or transmitter, or a real drop out for a moment. but in the old unit it was not.
I isolated the fiber to H13 Ion pump voltage, (the meter on pump shows a normal reading) that is the only fiber I must pull and insert to bring unit out of standby.
So if any green light fades for a moment it can cause the unit to goto standby, and stay there. The fibers are some of the green lights but not all.
looking for a green light out, or moment out, or monitor voltage at trip point. This happens at random is that is rather hard.
At this point, it looks like fiber (or related) or a moment drop out of signal.
I shut down and reseated cables and fibers, though not cables on interface board in toaster box, its interesting to note that the two fibers I “suspect” are off the ion pump board that is open to the back air chamber and bend sideways ( I fixed that) and covered with light dust really that hole through cabinet should have been closed there, we shall see how it behaves after this. I replaced the blower air filter a fram tga3916 while in there it was a very tight fit so I left the shroud or cover off and out of unit on that filter, its not going anywhere.
The GUI is a transmitter monitoring computer inside the Sigma transmitter. The touch screen failed (the video) so I built another computer for the job.
Windows 2000 computer with LPT port and 2 com ports – com 2 and com 3- all setup and tested in advance before installing GUI software the ports. Also a lan card setup on your network. I also install Tight VNC remote control software. And software to make a backup image of drive to boot to cd and restore.
WTJR has 3 Hitichia ht-10 1/2″ 3 CCD SD cameras setup in studio configuration that we have have been using for 20+ years. We produce on average 12 1/2 hour shows per week. We record live to tape. 90% of time. The show does not fot post production for graphics or open and close or powerpoint it is inserted live. The cameras are trucked in studio from set to set. They all have been rebuilt, some multiple times. We Paid approximately $30K for 3 cameras, including 3 CCU’s, two 30′ CCU cables per camera, 5″ B&W studio viewfinder, remote zoom and focus, 3 tripods with wheels and arms.
It is time to upgrade to HD. Also we need tally lights and intercom like we have now, iris control, all runing on camera cables to control room.
Sage EAS Unit, https://www.sagealertingsystems.com/ Model – Sage Digital ENDEC.
• Six serial ports, DB-9, for relay panel interface, hand
held remote control, CG control, LED display,
• Two USB connectors, for printer, additional storage
• Five GP inputs for automation interface, trigger of RWT
or forward of alerts on up to four stations
• Four dry contact closures for automation interface
SD composite video external Character Generators. (for crawl) Reported to work.
Chyron Codi (used) VDS 830/840 (used) , XBOB-4 Video Information Overlay Generator (new), Video Messenger VM-3 Message Generator .(used)
Compix ChannelBrander (? needs confirmed)
Audio: (on unit)
Sage Digital ENDEC Specifications
• Six unbalanced analog EAS monitor inputs
• One AES/EBU digital audio program in /station passthrough
• One balanced stereo analog XLR program in /station
• One unbalanced low level microphone audio input
• One unbalanced analog local audio input
• One AES/EBU digital audio alert audio insert/station
• One balanced stereo analog XLR alert audio
• One unbalanced line out – analog multi-station
interface or local audio
External switching of Audio/Video
This unit allows all subchannels to be switched to EAS channel or many channel during alert
R174A A/V Relay Panel http://www.monroe-electronics.com/CATV_PAGES/switches.htm
Part Number: R-165A http://www.go2mhz.com/SpecSheet_mhz.asp?strPagID=2229&strSolID=42
Monroe Electronics’ Model R-165A Audio/Video Relay Panel provides four, independent 2 x 1 (A/B) balanced stereo audio follow video relay switches. The switches are controlled by Monroe Electronics’ program timers, remote controls or CATV Cue Tone® receivers via contact closures or logic inputs.
Each video relay will also function as a high quality IF/RF 2 X 1 (A/B) switch, with frequency response to 950 MHz. Auxiliary relays 1 & 2 available for GPI or SAP switching. Features:
• Balanced Stereo A/V and IF/RF Switches to 950 MHz
• Contact Closure for Activation
• Front Panel Status Indicators
• All Interconnections Made at Rear Panel
• Detachable Screw Terminals for Stereo Audio
• F Connectors for Video (or IF/RF)
• Low Power Control Inputs
• Optional Redundant Power Supplies
HyperTerminalWin7 (click to download)
If you’ve recently upgraded to Windows 7 and are wondering what happened to HyperTerminal, you’re not alone! HyperTerminal was a sweet little program that let you connect to other computers, Telnet sites, host computers, BBSs, etc using your modem or Ethernet connection.
In Windows 7 and Vista, you will no longer find the HyperTer minal program. If you need HyperTerminal to control serial devices, there is a way to get it back! ****- Download and install it works for me – WTJR Engineering
The Panasonic AG-AC90 AVCCAM Handheld Camcorder features 1/4.7″ 3MOS sensors, with 2.19MP each, to capture Full HD 1920×1080 resolution video. Variable frame rates record HD video at 60p, 60i, 30p, and 24p. The camera’s fixed lens has a 12x zoom ratio, up to f/1.5 brightness, a 35mm equivalent of 29.8-357.6mm and manual control rings for focus, zoom and iris. In addition, Nano Surface Coating works to reduce ghosting and flare.
HDMI output (1080p/1080i/480p) AV Multi output (D-connector, component video, composite video and audio 2 channel) USB connector 2.5mm remote terminal for zoom and REC START/STOP 3.5mm remote terminal for iris and focus XLR audio input (x2, MIC/LINE/+48V selectable)
The tv viewer would be hard pressed to see the difference between this $5000 Tricaster 40, and the step up to the $10,000+ Tricaster line. In both cases in you want a control surface the price goes up $1,995.
Do you need the control surface? Just like the original video toaster you can also switch the Tricaster with just a keyboard and mouse. I have done this and I did not have a big problem with it at all. But it is nice for fades to have surface.
The need: Anytime anywhere local shows, local because of Copyright. Hosts and guests out of state or not watching at time program airs have made good use of this at WTJR. VOD is in addition to You Tube postings as you tube is much more labor intensive and with a multiple of weekly show your YouTube channel gets flooded with same content .
Video on Demand Computer.
A computer to record Locally produced TV shows and post to web, rename with date, reformat to .wmv windows media files for the web (or what format is required by medis server), auto FTP to FTP server or VOD media server and move local files to a storage folder. Tasks must be automatic as possible with the least operator time after programming. In addition cost is to be kept down.
Where to start:
Windows xp computer trimmed of all fat such as auto update, desktop clean up, screen saver, power savers, and all none essential start ups must be striped out. Set up the computer to log on with a password so windows scheduler will work later. This computer will be used for VOD only and it does not have to be a member of domain.
Auto FTP program (SyncBack works good and its freeware)
TightVNC for remote control
Create the following .bat file listed at end of this article. (Files on wtjr website)
Summary of tasks outline: Program all recording events , set up your recording quality, renaming batch file, recoding batch file, move batch file and Auto-FTP. After all that, shows should start appearing in your media server. (You need a FTP media server account or a regular website account). Set up VOD page on website and list the files to be served, allow for downloads and you are up and running.
Discussion: I am using audio and composite video as the program source. The video/audio is the main program out of our master control room. I had to use Video/Audio Hum eliminators as the computer is around 100? away and I had hum bars. The eliminators worked best on the source side of the wiring. I really don’t need a TV tuner card but the PVR150 is a good card for scheduling recordings and has hardware MPEG 2 encoding. I have settled on around 500 meg per half hour recording quality , You can record at a higher quality but I found this level to look nice and save recoding time, this file will have to be recoded to windows media 9 for the web, and will be deleted later anyway.
After setting up the PVR card and testing quality levels, go into WinTV scheduler and setup the record schedule of programs. The time sync D4 program is to sync your computer time so recorded shows are on time. If a time offset is needed to compensate for delay, the program Analog X Atomic Time Sync allows offsets by seconds to your VOD computer.
WinTV does not admen a date to the recorded file name.
This is a problem as when the show is listed on the VOD server, is is very helpful to have the date the show aired (or was recorded) in the file name. To solve this install a rename .bat file to rename recording with date amended. Set up the batch file to execute automatically using windows scheduler at a time after your recordings.
The shows are now being recorded in high quality MPEG file format around 500meg per 1/2 hour. That is to large for the Internet. So windows media encoder 9 is installed to covert the file to .wmv at 60meg per 1/2 hour. A batch file does this and moves to a folder called converted, and deletes source files. This batch file is a separate download and must be set up on your computer. The one setup and use has a folder called “raw” and “converted” . Anything in the raw folder is recoded with the batch file and stored in the converted folder. This batch file is executed at times scheduled with windows scheduler. The encoding levels are set by editing the encoding profile. The converted folder is auto FTPed to the media server. Another batch file moves the files locally to a storage folder.
Listing files on Website:
After the service is up and running the next problem is to list all the files on the Media server so you do not have to update the links manually each week each week. I am running the webpage on a Apache PHP server. The media server is windows. I constructed a PHP webpage to fetch the file names and display as links with the mms:// heading. In order to do this a limited FTP account had to be setup to allow downloads only. This page gets it information using the limited FTP account.
I used PHP programming but if you are on a Microsoft web server you should be able to use ASP code.
The second problem is downloading. So a Java FTP client was added to allow people to download to there local computer. This proved troublesome over the years so a direct limited FTP HTML link is used with the link hidden for some security.
Its up and running as of Jan 2009. (revised Nov 29th 2012 still going)
Video on Demand Programs:
Wintv sceduled recordings
windows Media encoder 9
windows media profile editor .prx file
auto bat file for high quality convert to wmv
auto bat file rename by date
auto bat file move to storeroom
Syncback auto ftp to load files to media server
Dimension 4 timesync program
PVR-150 record settings
Video output stream X Program
Video Rate Details X variable , 1600 bitrate to 2000k bps, GOP’s 15 , Video size 352 x 480 Audio Stereo, Mpeg1 layer2, 32 kHz 128 bit (CRC off)
windows media encoder output settings
320 x 240 482K bps
Times: 9:52pm, 3:00am
Times: 6:30am – 7:50am
WinTV record shows
Times: 430am to 9:00pm
Other Notes in reagrads to an always on computer:
*AUTO BOOT Shut Down, Restart, COMPUTER Log Off XP Using A Batch File – Undocumented feature for XP
(Ok use this to create a .bat point windows scheduler to it once a week or 2 weeks or whatever this is optional but I include here because most computers need rebooted once in a while, you must do an autolog on hack so you do not see login screen, yet you still need a password, try it first if need do hack to logon. The follow is for a remote reboot in our case the remote is windows scheduler )
Here is more then you want to know about the subject most likely but knowledge is power as they say. Remember Windows Scheduler Requires a password so be careful and test this otherwise you may disable windows scheduler kind of the domino effect.
If all you want is auto restart and reboot on power outage (make sure you set computer bios to always on) you do not need to use widows scheduler and any of the auto log on methods would work. You just manually reboot once in a while in that case. Or if you are not concerned about that just use the auto restart script.
So what if you are on a domain? The streamer or VOD computer for that matter does not have to join the domain, the mount points will work use VNC for remote connect. If you just have to join domain, (why?) ignore auto logon part or experiment with it use auto reconnect script above at min.
All the data is posted here for the idea of a computer running all the time with a min of intervention. Needless to say strip it of all software not needed including AV, and windows update, never let it go to sleep or stand by and so on, but that is the topic of another post at wtjrtv.org.
The FCC now requires the public file online. The public file though is not the complete set of records the FCC requires a TV or radio station to maintain.
This article by Melodie A. Virtue written in 2007 discusses this in great detail.
Even though it was written in 2007 it is a great guide for review of what is required and very informative.
The next step is to investigate bringing all this online, or at least shared on a computer network with a password. I will try to post on this, the topic being the Station Log online.
Jim Wilson Engineering WTJR TV
Beyond the Public File: Station Records and Logs
Prepared by Melodie A. Virtue
January 17, 2007
Broadcasters’ recordkeeping requirements are not limited to the documents that must be placed in the station’s local public inspection file. Numerous FCC rules impose additional obligations on broadcasters to maintain non-public file station records which need to be made available for FCC inspection on request.
The maintenance of complete and accurate records is an important legal requirement. Stations can be – and are – fined for incomplete records. Moreover, records provide concrete evidence of a station’s operation in compliance with the rules. For example, only with adequate documentation can a station prove that it complies with the rules that require stations to inspect the transmitter, take measurements, or calibrate equipment “as often as necessary” to ensure proper station operation. See, e.g., FCC Rules 73.61(a), 73.69(e), 73.664(b) & 73.1540.
The following is a summary of the FCC’s recordkeeping and logging requirements that go
beyond the Local Public File. Station Licenses
The station license and other FCC authorizations are to be posted in a conspicuous place, visible at all times, at the place the licensee considers to be the principal control point of the transmitter.
They can be posted on the wall or maintained in a binder at the control point. FCC Rule 73.1230. Chief Operator Designation
The designation of the chief operator, and an acting or backup chief operator in the absence of the chief operator, must be in writing with a copy of the designation posted with the station license. Television stations and AM stations using a directional antenna or operating with greater than 10 kW authorized power are required to employ a Chief Operator as an employee of the station on duty for whatever number of hours each week the licensee determines is necessary to keep the station’s technical operation in compliance with FCC rules and the terms of the station authorization. All other stations may engage a Chief Operator either as an employee of the station or on a contract basis. FCC Rule 73.1870.
Among the Chief Operator’s specified tasks is the obligation to maintain records of the
performance of his or her duties. FCC Rule 73.1870(c). These include:
1. Inspections and calibrations of the transmission system, required monitors, metering and control systems, and adjustments and repairs to them “as often as necessary to ensure
proper station operation.”
2. Periodic AM field monitoring point measurements, equipment performance
measurements (see below), or other tests as specified in the rules or station license.
3. A weekly review of all technical records to determine that required entries are being
made correctly, and to verify that the station has been operated in compliance with the
rules and the station license. The Chief Operator must demonstrate that the weekly
review has been done by dating and signing the documents, and must (i) initiate
corrective action which is indicated by the records, and (ii) advise the licensee of any
condition which is repetitive. Contract with Chief Operator
Agreements with chief operators or other engineering personnel serving on a contract basis must be in writing with a copy kept in the station’s non-public files. FCC Rules 73.1226(c)(4), 73.1870(b)(3) & 73.3613(e). Station Logs and Related Records Who Must Keep The Log
Entries must be made in the station log by a licensed operator in actual charge of the
transmitter (usually the board operator), or by an automatic logging device. FCC Rule
73.1820(a) & (b). How Readings Must Be Taken
Indications of operating parameters must be logged prior to any adjustment of the
transmitter. If adjustments are made, the corrected indications must also be logged.
Where a parameter is observed and recorded to be beyond specified tolerances, an
additional notation must be made of the nature of the corrective action which was taken.
If the value of a parameter is affected by carrier modulation, the reading must be taken
without modulation. FCC Rule 73.1820(a). How Entries Must Be Made
All entries must specify the date and time of the reading, and must be signed by the
person taking the readings (ordinarily the operator on duty). The very signature on a
station log is a representation that the information which was entered is an accurate
representation of what happened. Therefore, a false or inaccurate entry can result in a
claim that a misrepresentation was made to the FCC. FCC Rule 73.1800(a).
Corrections to the station log may be made only by striking through (not erasing or
obliterating) the erroneous information and making a corrective explanation. Corrections
must be dated and signed by the operator on duty, the chief operator, station manager, or
an officer of the licensee. No auto-log may be altered in any way after entries have been
recorded. No log or any portion may be erased, obliterated, or willfully destroyed during
the time it is required to be retained. FCC Rule 73.1800(c).
How Long The Log Must Be Kept
Station logs must be retained for a period of two years. FCC Rule 73.1840(a).
In two situations, retention for a longer period is required:
(a) Logs involving communications incident to a disaster or to an FCC investigation
about which the licensee has been notified. In these circumstances, station logs must be
retained until the FCC specifically authorizes them to be destroyed.
(b) Logs incident to or involved in any claim or complaint of which the licensee has
notice. These must be retained until such claim or complaint has been fully satisfied, or
until legal action based upon the claim or complaint has been barred by the statute of
limitations. Storage Medium
Station logs may be retained in any type of data-storage system, provided that viewing
devices are available to permit FCC inspection of logs, the logs can be restored to fullsized
copies within two business days upon request, and any corrections to logs contain
sufficient information to identify what was corrected, and when and by whom the
correction was made. FCC Rule 73.1840(b).
The official station log must include:
1. Emergency Alert System (“EAS”). FCC Rules 11.54(b)(12) & 73.1820(a)(1)(iii).
The EAS log must reflect the Required Weekly Tests and the Required Monthly Tests.
FCC Rule 11.61. Each station must send a test message once every week on random days
and times. During the week of the monthly test, no weekly test is required. The Required
Monthly Test must be conducted within 60 minutes of receipt. The monthly test message
is transmitted between 8:30 A.M. and sunset in odd-numbered months, and between
sunset and 8:30 A.M. in even-numbered months. The EAS log needs to include not only
the station’s transmission of tests but also the receipt of tests from two other sources it
monitors – its LP1 station and its LP2 station as designated by the State Plan of the State
in which the station is located. In the event a test is not received, the licensee must
determine why a required test was not received and indicate the corrective action taken in
the log. FCC Rule 11.35(a). If the EAS equipment is malfunctioning, the log must show
the date and time when the equipment was taken off line, the nature of the problem, and
the date and time when it was restored to service. FCC Rule 11.35(b). 2. Tower Lights. FCC Rule 73.1820(a)(1)(i).
Stations must log any observed or otherwise known extinguishment or improper
functioning of a structure light and include the following on the log:
a. The nature of such extinguishment or improper functioning.
b. The date and time the extinguishment or improper operation was observed
or otherwise discovered.
c. The date and time of FAA notification, if applicable.
d. The date, time and nature of adjustments, repairs or replacements made. 3. Meter Calibrations. FCC Rules 73.69(e), 73.1350(c), 73.1580 & 73.1820(a)(2)(iii).
Broadcasters must inspect transmitter, monitors, and automatic logging devices to ensure
proper station operation. To obtain reliable readings, all monitors and automatic logging
devices must be calibrated periodically. How often to calibrate is left to the licensee’s
discretion. The date of calibration of each device should be entered in the station log
along with any other resulting actions stemming from the calibration, such as
replacement of a meter or other device. The licensee may keep calibration data in a
special calibration log, but it will be considered a part of the official station log. 4. Transmitter Parameters, if required by the station license or FCC rules. FCC Rule
With the exception of certain AM stations discussed below, stations are no longer
required to take regular transmitter readings. Of course, many stations continue to read
and record transmitter parameters in an operating log as an element of good engineering
practice. The Commission’s position is that stations are free to keep such records. Note,
however, that just as a station may rely upon such records to demonstrate its operation in
compliance with the rules, the FCC also may rely upon such records to fine a station, if
they reflect operation in violation of the rules. Equipment Performance Data
Main Transmitter (AM, FM, TV and Class A TV, but not Class D NCE stations operating
with 10 watts or less).
When a new or replacement main transmitter is installed or modified, equipment
performance measurements must be taken. When AM or FM stations install
stereophonic transmission equipment, or when FM or TV stations install
subcarrier equipment, they must also take measurements. AM stations must
perform measurements annually, no more than 14 months between measurements.
Spurious and Harmonic Emissions (AM, FM & TV) and TV Visual Equipment Performance Measurements.
Equipment performance measurement data, with a description of the instruments
and procedures employed, signed and dated by the qualified person making the
measurements, must be retained at the transmitter or remote control point of the
station for a period of two (2) years. FCC Rule 73.1590(d). Visual Modulating Monitoring
Each TV station must have equipment measuring its transmitted visual signal. TV
stations that cannot operate in compliance with the timing and carrier level
tolerance requirements must indicate the date and time of the initial out-oftolerance
condition in the station log. If operation at a variance continues up to 10
days, the FCC must be notified, and if normal operation cannot be resumed within
30 days, special temporary authority must be obtained. FCC Rule 73.691(b). Applications to Modify Transmission Systems
If a license application is filed pursuant to FCC Rule 73.1690(c) for which prior FCC
authorization is not required (e.g., making specified antenna changes and ERP changes, or
replacing transmission line length or type that changes TPO), a copy of the application must be made available to an FCC representative upon request. FCC Rule 73.1225(c)(3). Note: Such applications must be made available for FCC inspection even though the time for which they needed to be maintained in the public file has expired (i.e., they can be removed from the public file after FCC action on the application has become final, unless they contain a waiver request, in which case they must be kept in the public file for as long as the waiver is in effect).
– 7 –
Information Documenting Modifications Not Requiring Prior Authorization
Informal statements or drawings depicting electrical or mechanical modifications to authorized transmitting equipment not requiring prior FCC approval must be retained for as long as the equipment is in use. FCC Rules 73.1225(c)(4) & 73.1690(e).
FM subchannel leasing agreements for subsidiary communications must be retained. FCC Rule 73.1226(c)(2).
Franchise and leasing agreements for the operation of telecommunications services on the
television vertical blanking interval and in the visual signal must be retained. FCC Rules
73.669(c) & 73.3613(e). Rebroadcast Consent
A station that rebroadcasts the programming of another station must keep on file a copy of the written rebroadcast consent of the licensee originating a program or any part of a program that is broadcast. FCC Rule 73.1207(b). Time Sales Contracts
Stations must retain time sales contracts with the same sponsor for four or more hours per day, except where the length of the event broadcast pursuant to the contract is not under control of the station (such as athletic contests, musical programs and special events). FCC Rules 73.1226(c)(3) & 73.3613(e). Antenna Structure Registration
FCC Rule 17.4(g) requires the owner of a tower that has been registered in the FCC’s Antenna Structure Registration database to display the Antenna Structure Registration Number conspicuously “so that it is readily visible near the base of the antenna structure.” The display must be weather-resistant and of sufficient size to be easily seen.
The FCC issues Antenna Structure Registrations on FCC Form 854-R. The form is an important record and although there is no separate recordkeeping requirement for it, the form should be kept where it can easily be retrieved. It may be retained with the station’s license or in station engineering records. It should not be placed in the local public file.
– 8 – Special Technical Records
The FCC has a catch-all rule, Rule 73.1835, that permits the FCC to require a station to keep operating and maintenance records “as necessary to resolve conditions of actual or potential interference, rule violations, or deficient technical operation.” “Want Ad” Sponsors
Stations that carry “want ads” or classified ads sponsored by individuals under provisions of the FCC’s rules that permit omission of the sponsor’s name in the broadcast must maintain a list showing the name, address and (when available) the telephone number of each advertiser. The list must be made available to members of the public with a legitimate interest in the information and must be retained for two years after broadcast. FCC Rule 73.1212(g). Records Needed to Respond to an FCC EEO Audit
The FCC is auditing 5% of stations each year to ensure compliance with its Rule 73.2080. In
addition to the station’s two most recent Annual EEO Public File Reports, the FCC typically
requests the following documentation in an EEO audit which is required to be maintained in the station’s business records:
1. If the station has a website, the url address for the link on the web site to the most recent Annual EEO Public File Report.
2. For each full-time position filled during the period covered by the EEO Public File
Reports, dated copies of all advertisements, bulletins, letters, faxes, emails, or other
communications announcing the position. Include copies of job announcements sent to
any organizations (identified separately from other sources) that have notified the station
that they want to be notified of job openings at the station, as described in FCC Rule
3. The total number of interviewees for each vacancy and the referral source for each
interviewee for all full-time vacancies filled during the period covered by the EEO Public
File Reports. FCC Rule 73.2080(c)(5)(v).
4. Documentation demonstrating performance of recruitment initiatives described under
FCC Rule 73.2080(c)(2) during this time period, such as participation at job fairs,
mentoring programs, etc. Specify the station personnel involved in the recruitment
initiatives. Also provide the total number of full-time employees of the station and
whether the station is located in a market with 250,000 people or more. These two
factors, as explained in FCC Rules 73.2080(c)(2) and (e)(3), determine whether the
employment unit is required to perform two or four initiatives in a two-year period.
– 9 –
5. Documentation sufficient to provide a brief description of any discrimination complaint,
including the persons involved, the date of the filing, the court or agency, the file number
(if any), and the disposition or current status of the matter regarding any pending or
resolved complaints filed during the current license term before any body having
competent jurisdiction under federal, state, territorial or local law, alleging unlawful
discrimination in the employment practices of the station on the basis of race, color,
religion, national origin, or sex.
6. In accordance with FCC Rule 73.2080(b), from the beginning of the most recent license
renewal cycle until the date of the FCC’s audit letter, any documentation describing the
responsibilities of each level of management to ensure enforcement of EEO policies and
that describes how the station has informed employees and job applicants of its EEO
policies and program.
7. In accordance with FCC Rule 73.2080(c)(3), from the beginning of the most recent
license renewal cycle until the date of the FCC’s audit letter, any documentation
sufficient to describe the station’s efforts to analyze its EEO recruitment program to
ensure that it is effective and that address any problems found as a result.
8. In accordance with FCC Rule 73.2080(c)(4), from the beginning of the most recent
license renewal cycle until the date of the FCC’s audit letter, any documentation that
describes the station’s efforts to analyze periodically measures taken to examine pay,
benefits, seniority practices, promotions, and selection techniques and tests to ensure that
they provide equal opportunity and do not have a discriminatory effect, and if the station
has a union agreement, any documentation that describes how the station cooperates with
the union(s) to ensure EEO policies are followed for the station’s union-member
employees and job applicants.
The best way to organize the station’s EEO files that will have to be provided in an EEO audit is to set up a separate file for each opening that is filled. Place in that file all the documents relating to paragraphs 2 and 3 above. Set up separate files for documents relating to broad outreach initiatives specified in paragraph 4 above, such as a job fair file, a mentoring file, or a training file, depending on which of the outreach initiatives the station chooses to perform. A discrimination complaints file should be established if any complaints are received. A file documenting the station’s self assessment of its EEO program should be established for the types of documents requested in paragraphs 6 through 8. Contest Files
FCC rules do not require licensees to maintain records on over-the-air contests and similar
promotions. Nonetheless, because contest losers are the source of many listener and viewer complaints filed with the FCC, serious consideration should be given to maintaining complete files on contest and promotions. Documentation is the station’s best defense. In addition to a complete set of rules, stations should create a separate internal station file for each contest (but do NOT place the contest file in the public file). The following materials should be preserved in
1. Rules and eligibility requirements for the contest.
2. Verification as to when the rules for the contest were broadcast or otherwise
3. Promotional materials relating to the contest or promotion, such as broadcast copy,
recordings or air-checks of the copy as it was broadcast, print advertisements, billboard
or poster layouts, direct mail pieces, bumper stickers, and promotional merchandise.
4. A listing of prizes awarded and the names, addresses (and in the case of prizes with a
value of more than $599, social security numbers) of winners. For prizes of $600 or
more, or for prizes won by a single individual in one year with a total value in excess of
$600, the Internal Revenue Service will require the station to file a 1099 MISC tax form
reporting the identity of the prize winner. The winner’s social security number must be
included in the report. The filing of the 1099 MISC form will not affect the station’s tax
liability; it merely notifies the Internal Revenue Service to be sure that the amount of the
prize is taxed as part of the prize winner’s income.
5. Prize receipts signed by winners.
6. Personal releases allowing the station to use the name, voice and/or images of contest
winners for promotional purposes.
7. Any written complaints or internal memoranda concerning complaints about the contest.
8. Recordings of any on-air telephone calls that were an element of the contest. Conclusion
The FCC takes recordkeeping seriously. Assign responsibility for FCC recordkeeping to a detail oriented responsible person. Adherence to the requirements will reduce the risk of a potentially hefty fine for noncompliance.
The information presented here is intended solely for informational purposes and is of a general
nature that cannot be regarded as legal advice. This article is current and up-to-date as of
January 17, 2007.
Upload and download files on your home PC from anywhere by turning it into a personal FTP server. With a home FTP server, you can upload and download files on your home hard drive from the office, your friend’s house, or to your laptop while you’re on the road using any FTP client. Setting up an FTP server may sound like a complicated undertaking only system administrators can handle, but it’s actually quite easy and free with open source software FileZilla. You’ve already heard of FileZilla’s FTP client application, but the FileZilla project also offers a server application for Windows. Today we’ll build an FTP server on your Windows PC with FileZilla for easy file transfers from any computer.
Note: Back in ’05, guest poster Matt Haughey covered how to set up an FTP server using Serv-U FTP—which is a fine commercial application, but its personal edition limits how many users can log into your server. We love our open source software, which is why we’re taking a look at FileZilla, which has all the features, with none of the price tag or limits.
Install the FileZilla FTP Server
The FileZilla server installation is a regular Windows “just press Next” wizard, and for most users, the suggested default settings will work. However, let’s take a look at its initial settings anyway, since they’ll affect how you work with your server. Here’s how to get FileZilla going:
Download the FileZilla server application. Even though the FileZilla FTP client is available for multiple operating systems, the server app is Windows-only (and works for Windows XP, Vista and 2000). Download it and kick off the installation wizard. As of this writing, the latest server version is 0.9.25.
Run the server as a Windows Service. First FileZilla will give you the option of how it should start up: as a Windows service or not, automatically or manually. Windows services are processes that run on your PC which you can manage from the Services management pane. There’s more on how to manage that below, but at this point, running FileZilla as a Windows service that runs automatically is the default option. If you want your FTP server on by default, choose “Start as service, started automatically (default)” as shown. Otherwise, choose “Start as service, started manually.”
In this pane you’ll also set the port for the admin interface to use. By default it’s 14147, and you’re most likely safe leaving it at that. If you do change that port number, make a note of what it is—you’ll need it to connect to the server later on.
Set the server administrative interface to launch automatically (or not). On the final installation dialog, choose whether you want the server admin window to launch automatically when the current Windows user logs on, when any user logs on, or if it should be started manually.
Run and connect to the server with the admin interface. As the installation wizard completes, set it to start the server admin interface. This is the window where you’ll configure your server and monitor its activity. The first time you run the admin interface, it will ask you for the server’s address and port. Since the server is running on your PC—the same one the admin interface is running on—its address is localhost, or 127.0.0.1. The default port is 14147 (or whatever you may have changed it to, as noted above), as shown:
If this is the only FTP server you’ll be administering (most likely it is), check off the “Always connect to this server” box to bypass this dialog in the future.
Create Server Users
If all’s gone well, your server’s up and running—but no one can use it yet, since you haven’t given anyone permission. To set up a server user, from the Edit menu choose Users. In the Users dialog on the right hand side, hit the Add button to create a new user and assign a password. Then, on the left side, select “Shared Folders” to set what folders that user will have access to on your server. Here I’ve created a user named gina and granted read access to the C:\data\ directory.
Notice you can fine-tune file access rights for each user: grant read-only rights (download only), write rights (to upload files), and whether or not the user can delete files or create directories, too.
If you want to grant several users access to your server all with the same rights and directory access, instead of creating each one individually, set up a user group. For example, if you’re sharing your MP3 directory with friends, make a user group called “music fans” with access to the correct directory and add users to that group, which automatically gives them those rights. Then, if you move your music directory you only have to edit the group, not each user in it. To manage user groups, from the Edit menu, choose Groups.
Log into the Server
Now that the server’s up and running with users, it’s time to log in and try uploading and downloading. Using any FTP client (like the FileZilla client or FireFTP for Firefox) enter the server address, user name and password.
Server address If you’re FTP’ing across your home network (like from your upstairs PC to your bedroom PC), you can reach the server by using its internal network address (most likely something like 192.168.xx.xx.) From the command line, type ipconfig to see what that address is. If you want to log into your FTP server over the internet, set up a memorable URL for it and allow connections from outside your network. To do so, check out how to assign a domain name to your home server and how to access your home server behind a router and firewall.
User name and password This is one of the users you set up in FileZilla’s admin interface, not the server admin user name. If friends, family, and co-workers will be logging into your FTP server, give them each a their specific username and password to log in (along with the server address.)
Use your FTP server to fetch files stored at home from anywhere, share files with friends and family, or back up files across your network. (Free backup software SyncBack supports backup over FTP. Here’s more on how to use Syncback.)
A word about security: FTP is not a secure protocol; all the file transfers happen in the clear, which makes them ripe for sniffing. FileZilla does support encrypted FTP access, and we recommend using that or a VPN like Hamachi to secure file transfers over the internet. FileZilla’s secure FTP server setup is beyond the scope of this article, but you can go into the server admin interface’s settings area to configure it.
Starting and Stopping Your Server in Windows Services
Finally, to shut down or restart your FileZilla server running as a Windows service, from Control Panel, Administrative Tools, launch Services. Right-click on the FileZilla FTP Server item on the list to stop it, edit its Properties, or restart it, as shown.
Other home servers you can set up yourself include a home web server with Apache, a home SSH server with Cygwin and a home VNC server to remote control your computer.
By Gina Trapani, the editor of Lifehacker, likes to FTP just about any time of the day. Her weekly feature, Geek to Live, appears every Monday on Lifehacker. Subscribe to the Geek to Live feed to get new installments in your newsreader.
____________________________________________________________________ Windows Firewall
“Setting up FileZilla Server with Vista and Windows Firewall
If you are having problems with setting up FileZilla Server to run behind Windows Firewall (specifically, it fails on “List” and the client receives a “Failed to receive directory listing” error), you must add the FileZilla Server application to Windows Firewall’s Exceptions list. To do this, follow these steps:
Open Windows Firewall under Control Panel.
Click on the link that says “Allow a program through Windows Firewall”
Click “Add program…”
Do NOT select “FileZilla Server Interface” from the list, instead click on “Browse…”
Locate the directory you installed FileZilla Server to (normally “C:\Program Files\FileZilla Server”)
Double click or select “FileZilla server.exe” and press open (Once again, NOT “FileZilla Server Interface.exe”)
Select “FileZilla server.exe” from the list and click “Ok”
Verify that “FileZilla server.exe” is added to the exceptions list and that it has a check mark in the box next to it
Press “Ok” to close the window
“RG59 HD/SDI Coaxes – low attenuation that increases maximum allowable distances 22AWG Audio Pairs – low-loss twisted-pairs for balanced audio applications Shielded 16AWG Power Pair – dual foil and braid shield for EMI suppression 4.5 GHz Coax Bandwidth – meets or exceeds SMPTE 292M and 424M standards for HD/SDI 100% Sweep Tested- network analyzer quality control for consistitent performance Color Coded Elements – uniquely identifies each channel TPE Outer Jacket – flexible and rugged for staging and remote broadcast applications
The RCC-HDP series cables are hybrid audio and video cables with a shielded power element that deliver the convenience of a single cable run for both power and AV signals. Designed for remote broadcast, staging and production environments. Each video element is a CD7559 20AWG RG59 HD/SDI coax cable that is rated to 4.5GHz for high definition SMPTE 424M, 292M and 259M video data transmission. The audio elements are made from Clark’s SPA22GS low-loss 22AWG single-pair cables. Each audio and video element is uniquely color coded for quick identification. The outer jacket is an extra-flexible and abrasion resistant TPE compound.”
You need to think of each function separate with this cable. two sdi video (one to production) one from production to camera for video timer or teleprompter and so on. This is a video line only it can not power anything (*normally). Also it has one power cable, most people would run 12-14vdc on this power cable to feed camera and monitor, most cameras (not all) take that voltage, you would then need adapters or connectors to match that cable to dc power in, on camera, and monitor, making sure its the right voltage and polarity. Then I would add the ampere of your loads camera and monitor (and maybe front monitor) and buy a 12 volt power supply to feed it from control room one per camera. Another way would be to run 120vac (wall plug) on this line to power adapters at camera, I do not think they recommend this as wire size is small, no AC ground, and it would need GFCI outlet feeding it, but I am going to talk to Clark wire and cable about it. As I really like the idea of having that at camera… but most likely the cable is not rated for that voltage and current and it will need to be a 12-14 VDC voltage. The two remain lines are audio, one could be used for tally (again with power supply for tally in control room) the other for intercom (or a mic on camera) Each end of cable would fan out to connectors, I have seen people install a black metal plate at camera to hold camera, and to hold cable to fan it out, lots of times the plate extends to front of camera and they hang a monitor there for talent as timer or prompter you get idea, also I have seen a cage to hold viewfinder. In addition this makes camera more heavy, that helps on these light weight cameras. Your little camera now looks big lol. Anyways… Just some ideas for you. This is what is happening in the old 26 pin cables, (and newer broadcast cameras also except they use fiber for video now) but not fiber for power. The exception to all this is a camplex system that multiplexes power and signals together on one cable, it a separate complete system, I do not think its up to HD-SDI but I have not check lately, that is what some remote trucks use to get by with one coax cable, (I do not recommend for a small studio, I am just pointing out the options). Jim Wilson
(only cable I think is missing would be 1 CAT 5 Network cable)
Here is Belden version minus power cable you could use audio for power but it is small gauge wire. (Some people just gotta have Belden though)
Brilliance® Digital and
Utilizing two standards-setting
Belden® cables, 1505A Precision
Video cable and 9451 Audio cable,
this new composite design provides
exceptional video, audio and power
functionality to ENG/EFP cameras.
For Fixed Camera studio installation or cameras you do not move much, also if the blue/orange color of cable is not an issue.
Within a single jacket, CRESCAT-DC-NP bundles (2) high-quality CAT5e cables and (2) RG6 quad shield coax cables along with a Cresnet control cable to facilitate fast and easy wiring for Crestron’s AV distribution switchers, room solution boxes, intercoms, and touchpanels. Inclusion of the RG6 cables allows for distribution of cable TV, DSS, baseband or modulated video, and other signals alongside the Crestron control and balanced AV signals.
TriCaster TCXD300 Portable Live HD Production
Includes Free NewTek TimeWarp External Replay Controller ($849.95 Value)Portable Live HD ProductionBroadcastLive StreamProjectRecordMulti-Channel HD SwitchingHD Network-Style Virtual SetsHD TitlingHD Digital Disk RecordingAudio Mixing
B&H # NETCXD300Mfr # XD000190-0101
The NewTek LiveControl LC-11 is an accessory for the TriCaster live switcher products. This keyboard features all the manual control of live switching, positioning and control of the software instead of using a keyboard and mouse. $1995 (est)
Efficient Production (per Newtek webpage)
Your program is broadcast, live streamed, projected and recorded—all at once: Small teams can make big live productions happen, easily. Support for up to three cameras, plus three digital media players for video clips, graphics and titles, and one input for sharing computer screens and displays from wireless iOS devices means you can do it all, even if you’re a team of one. Add in five M/E-style virtual inputs to stage live virtual sets, or create custom picture effects and presets? and your live production is ready for its close-up.
Your client expects a high-performance production on a shoestring budget: Rev up your A/V production to industry-grade HD without breaking the bank. Include SDI video support for an end-to-end digital signal, letting you hit deep into pro territory, no matter what league you’re playing in. Enjoy new standards for production value and audience approval.
Your productions on location often leave you with no room and even less time: TriCaster 300 is built to go wherever your next gig takes you, without the extra baggage. Desktop-friendly and backpack-portable. Flying, driving or hitchhiking?production is a walk in the park. Leave other systems’ complicated cabling and add-ons behind. All you need to decide is what to do with the extra room in your car or carry-on.
Live Streaming Video Simultaneously Recorded
You deliver your program to multiple destinations: You can, when both Web streaming and program recording are built right into your production operation. Maximize online views with support for multi-bitrate streaming profiles, and even access online CDN accounts and view streams in real time with a built-in Web browser. Without missing a beat, record the entire program in the background for uploading, later viewing, archiving, or saving to disk.
Stunning Studio Sets and Backgrounds
You’re updating your look and cleaning up your act: Transform your show visually, with a network-style studio setting?without the high cost or heavy construction. Broadcast live from a multi-angle, custom-branded virtual set, and complement your presentation, headline news style, with moving backgrounds and double-box effects.
WTJR engineering comments: In evaluating the Tri-caster the following should be considered. If you record live to tape or live to air, with live Graphics keyed in real time this unit can do that. It replaces the following items (for us here). “DVCpro playback deck and recorder.” The show open and close are played and program is recorded internal to unit. “Edit controller.” Editing is done internal to unit. “Switcher.” The Tricaster becomes the switcher. “Character Generator” The CG is built in, or can be run at external workstation with “live to text” upgrade. These items need to be factored in when one examines the price of the Newtek Tricaster.
Tricaster upgrade to rack mount and more pro options and design the 450 now 455 I believe.
Tricaster-450 Product Highlights
(4) Inputs (2) Outputs, HD and/or SD
14-Channel Live Production Switcher Resolutions Up to 1080p30 / 1080i60
HD-SDI, Component, Composite, S-Video In
LiveText 2 CG SpeedEDIT 2 NLE
Software Control or Optional Hardware
20 Virtual Sets
One-Button Recording & Streaming
Record Up to 20 Hours of HD Video
2 RU High (around 13K for this box)
This is a ongoing post so items will change as data comes in… (last update 6-21-12)
WTJR has 3 Hitichia ht-10 1/2″ 3 CCD cameras setup in studio configuration that we have have been using for 20+ years. We produce on average 12 1/2 hour shows per week. The cameras are trucked in studio from set to set. They all have been rebuilt, some multiple times. We Paid approximately $30K for 3 cameras, including 3 CCU’s, two 30′ CCU cables per camera, 5″ B&W studio viewfinder, remote zoom and focus, 3 tripods with wheels and arms.
The picture is now soft and mushy, whites blooming, and some video noise.
It is time to upgrade. Corporate says it would be wise to have HD capacity in the new cameras. WTJR production says they would like at least one robotic camera but like the old style studio config. Engineering says it would be preferred if all 3 cameras the same type so they match. Also we need tally lights and intercom like we have now. Accounting says as cheap as possible to get the job done with good quality.
Many things have changed over the last 20 years. We now have many different options. 1. Upgrade to current studio cameras like we have now but latest version.
2. Use small HD Robotics camera that have built in remote capability.
3. Upgrade camcorders to a studio setup.
Lets look at these options in detail.
1. Upgrade to current studio cameras like we have now but latest version.
Since we have Hitachi cameras now lets look at what they would cost today.
The studio camera packages on the Z-HD5000 range in list price from $28,830 per camera. This is a HD camera.
(See all Data at end of this post for more options and prices)
Three low noise 2/3-inch, IT-CCDs
800 TVL of resolution
58dB HDTV Signal to Noise ratio
14-bit analog to digital conversion
Optional CCU’s available with switchable 1080i/720P HD-SDI switchable outputs.
CCU HD-SDI outputs with embedded audio (2-chnl)
2 independent program returns (IFB’s) w/ incom mix.
Pros: Standard Studio Camera, with tally, intercom, all on one cable.
Studio grade camera lens with remote zoom focus on camera arm. In control room CCU’s for camera control of video shading.
Cons: Price. Not robotic. It is possible to automate this camera with a third party camera robotic system.
WTJR ENG Comments: Very good, but too much money for us. Old school way of doing things.
2. Use small HD Robotics camera that have built in remote capability.
Robotic Panasonic (or Sony) Cameras (robotic small) Panasonic AW-HE120s
$8900 per camera ***
Three 2.2 megapixel U.L.T. MOS imagers supporting Full HD video capture(1/3 progressive 2.2 megapixel, 3MOS sensor)
1000 TV lines of resolution
60dB signal-to-noise ratio
20X optical zoom lens
RS-422 serial control and IP control with dedicated RJ-45
• HD/SD-SDI and HDMI outputs are standard as well as analog component and SD composite.
• Supports international HD and SD video signal formats including: 1080/59.94p (HDMI only), 1080/59.94i, 720/59.94p, 480/59.94p (HDMI only), 480/59.94i, 1080/50p (HDMI only), 1080/50i, 720/50p, 575/50p (HDMI only) and 576/50i.
***add to price cables Remote control and Intercom and Tally (no manual zoom or focus)
Camera has built in robotics here is example controller for Panasonic camera shown.
Sub-compact remote camera controller
U.S. List Price: $2,135.00
AW-HE50 series cameras via IP, and up to five Panasonic cameras and pan-tilt heads using RS-422 serial control. The RP50 is capable of accessing up to 100 presets for each Panasonic Integrated PTZ camera (the AW-HE50 and AW-HE100), and up to 50 presets for other Panasonic AW-series pan-tilt heads.
Pros: Price. Full robotics. High Quality Picture.
Cons: Tally lights would be a custom add on from switcher. Intercom would now become wireless and need to be acquired. Small lenses. No local operation except trucking and pedstaling camera. No view finder (could be added). Light wieght needs metal plate for tripod head. Camera cable needs to be made up to have all options in one cable. Looks like a security camera.
WTJR ENG Comments : This is the future for many , but no manual control at camera we still do that.
3. Upgrade camcorders to a studio setup.
Option 1. JVC GY-HM790U ProHD ENG / Studio Camera w/Canon 14x Lens
Horizontal Resolution 1080 Lines
Signal-to-Noise Ratio Not specified by manufacturer
1/3″ Progressive 3CCDs
Modular Studio/Field Design
Bayonet Lens Mount
4:2:2 Color Space, Up to 35Mbps Bitrate
1080i/p, 720p, 480i Multi-scan
Native MOV & MP4 Recording
Dual SD/SDHC Slots
Timecode & Genlock
Add following items as required
KA-790 Studio Sled $2099
KA-790 is a mechanical adapter for studio use for the GY-HM790U and KA-M790. (ENG says: dont need it)
It supports the VF-HP790 LCD studio viewfinder on the top and stabilizes the entire system including an optional teleprompter.
A hinged side panel makes it easy to remove the camera for shoulder use.
KA-M790 Multi-core Studio Interface Unit $2,499
The KA-M790 is a small and compact interface unit that enables Studio/EFP operation.
It differs from the interface used with the GY-HD250 system in that all studio functions are now contained within a single unit attached to the camera body.
The GY-HM790/KA-M790 system is now more mobile for EFP applications.
VF-HP790 LCD Studio Viewfinder ($4,169) (what!? outrageous 3rd party cheaper or just drop it)
The VF-HP790 is an 8.4″ XGA (1024 x 768 pixels) LCD studio viewfinder designed to work with the GY-HM790U or the GY-HM700U. Designed to mount to the KA-790 Studio Sled, it is equipped with a large tally indicator and screen hood. A fully digital interface provides all of the camera’s viewfinder indications: safety markers, focus assist, power and clip management. The VF-HP790 is also provided with an HD-SDI input for monitoring an external signal.
Remote Camera Control Connector
A 6-pin remote connector provides a TTL interface to an optional JVC RM-LP25U, RM-LP57U, or RM-LP55U control unit. Extensive control options are available including shading, paint, iris, gamma level, knee, gain, shutter and black level. Functions vary with each unit.
Complete Studio Kit price and options per camera:
JVC GY-HM790U ProHD ENG / Studio Camera w/Canon 14x Lens
JVC HZFM15U Rear Manual Focus Control
JVC HZZS13U Rear Servo Zoom Control
JVC KA-790 Studio Sled
JVC VF-HP790 8.4″ LCD Studio Viewfinder
JVC KA-M790 Multicore Studio Interface Unit
JVC RM-HP790DU HD/SD Camera Control Unit
Price: $23,379.50 (so over double the camera and lens price?!)
B&H # JVGYHM790UK1
1/3″ Progressive 3CCDs
Modular Studio/Field Design
Bayonet Lens Mount
4:2:2 Color Space, Up to 35Mbps Bitrate
1080i/p, 720p, 480i Multi-scan
Native MOV & MP4 Recording
8.4″ LCD Viewfinder, Studio Sled
Rear Focus & Zoom Controls
Studio Interface Unit
Camera Control Unit
Pros: High Quality Picture and camera lens. Lots of options for studio configuration.
Cons: Price when all options added, options not cheap or reasonable price. Need camera control unit not shown. Need cable not shown.
Not robotic. It is possible to automate this camera with a third party camera robotic system.
WTJR ENG comments: The sled and viewfinder we do not need. We do need tally lights so I wonder if dropping viewfinder loses tally? We are looking at each camera separate and order parts per camera. One camera would have telemetric robotics. Maybe more robotics later.
Option 2. XF305 High Definition Camcorders (to convert to studio use with video genlock)
***Need tally intercom zoom focus added and firewire camera control software
Price: $6,995 per camera***
3 Native 1920 x 1080 CMOS Sensors
Horizontal Resolution Not specified by manufacturer
Sensitivity Not specified by manufacturer
50Mbps MPEG-2 Recording
4:2:2 Color Sampling
60p, 60i, 30p, 24p
18x HD L-Series Zoom
Multiple Bit Rates, Resolutions
HD/SD-SDI, SMPTE Time Code, Genlock
Pros: Price. Picture quality.
Cons: Add cable interface, and remote zoom focus, add intercom , add tally, Not robotic. It is possible to automate this camera with a third party camera robotic system. No real CCU but software can interface with camera.
WTJR ENG says: Lots of mixing and matching to get in studio config.
Option 2 (updated without video genlock)
The Panasonic AG-HPX170 is a handheld P2 HD camera which builds on the tradition and success of the AG-HVX200. The camera’s enhanced sensor provides lower noise levels while increasing sensitivity in low-light situations. Unlike the AG-HVX200, the AG-HPX170 does not include a tape drive, opting for a lighter and more durable frame. In this case, “less” certainly means more: removal of the deck translates into a variety of extra features, including a 75mm lens with improved wide-angle capability, vectorscope, waveform monitor, HD-SDI output, a 6-Pin locking FireWire port, and 3 focus-assist modes.Product Highlights
P2 Solid-State Technology
DVCPro HD Recording
1080i/p, 720p, 480i
60i, 60p, 30p, 24p
Variable Frame Rates
HD-SDI, Component, Composite, Firewire
Input and Output Connectors Component Video: Video Terminal (x1 Output)
Composite Video: RCA (x1 Output)
HD/SD-SDI: BNC (x1 Output)
Analog Audio L/R: 3-Pin XLR (x2 Input)
Line: Pin-Jack (x1 Output)
FireWire: 6-Pin Locking
USB 2.0: MiniB
Camera Remote: 2.5mm Super Mini (Zoom), 3.5mm Mini (Focus/Iris)
Varizoom’s VZ Pro-PZFI Zoom/Focus/Iris Controller gives your Panasonic camcorder the highest degree of lens control for nearly every acquisition situation. By combining a pressure-sensitive thumb control with a separate but easily accessed dial speed adjustment, the VZ Pro-PZFI provides exceptional control. This rugged, uniquely styled device attaches to a tripod handle or support bar and brings precision, range, and variable speed to your camerawork. Ideal for tripods, jibs, and other forms of support. $339.95
This Simultalk 24G Communication System from Eartec provides full-duplex digital wireless communication in a compact design. The SlimLine Single headset is designed for those who need comfort in addition to durability. The internal spring steel headband is adjustable to provide the right amount of tension for each user. Soft padding on the headband and earpiece provides added comfort.
The system includes 4 Simultalk 24G beltpacks and 4 SlimLine Single headsets. The Simultalk 24G beltpack is compact, lightweight, and easy-to-use requiring no base station for operation thanks to standard 2.4GHz technology. It features a built-in volume control and a talk/standby switch. The molded belt clip keeps the unit securely fastened to your clothes. $737.50List Price: $800.00
The TL-2 Tally Light is compatible with the tally outputs on the front of the TriCasterTM 300 and provides both a red program and green preview indicators for the camera operator and an ultra-bright LED tally for the on-camera talent. The talent tally can be disabled via a jumper if desired. It connects to the TriCaster TCXD300 via a stereo 3.5mm(1/8) phone jack.
Used directly with a TriCaster Studio or Broadcast you get the red program and ultra-bright talent LEDs. Again this is connected via the 1/8 jack.
The TL-XD is also compatible with the TLC-6 tally light controller for all standard def TriCasters. It connects to the TLC-6 via the RJ-45 jack and Ethernet-style cable. With this configuration you get the red program, green preview and yellow effects LEDs as well as the talent tally.
Mount this 7″ LCD monitor on top of your camera as a studio-style external viewfinder for a more comfortable shooting approach, or use it as a remote source monitor or playback screen in the field. Switch between 4:3/16:9 with a simple press of a button!
The VZ-TFT7 16:9 7″ monitor can be used a variety of ways, most importantly as a large external video display that allows the shooter to step back from the camera rather than standing hunched over while looking through a typically inadequate viewfinder. It can also be used as a lightweight field monitor, remote viewing display, or portable playback screen. This monitor easily switches between 4:3 and 16:9 aspect ratio as well as helpful image orientation controls for DOF adapters. When combined with VariZoom lens controls, you have a studio package comparable to much more expensive setups. For the greatest versatility and value, we recommend the VZ-TFT-7U kit that includes all monitor accessories, including battery, shoemount, sunhood and carrying case.
Vivid, sharp 7″ color screen in 16:9 aspect ratio
Low power consumption (12V input, 10W max)
Lightweight, compact, rugged design
Includes universal AC adapter (100-240VAC input) and 4′ RCA cable
Compatible with NTSC and PAL standards (autoswitch) $284.05
Telemetrics offers a comprehensive line of camera robotics and control systems for broadcast, industrial, educational and military applications.
Our specialized line includes: camera robotics systems including programmable computer controlled pan/tilt mechanisms, weatherproof camera robotic systems, motorized camera trolley systems, advanced control software, and a wide variety of programmable controllers.
Price will be mod per camera item.
Discussion and Data:
When looking at these numbers the question quickly becomes how much does want to spend. As all options will give HD picture output.The cheap way is to get a camcorder and convert it for studio. One of the drawbacks is no genlock on cheaper models, and what of Iris control?, Manual or Auto at camera it appears, not in control room, except via Firewire with the cannon. Also how many wires and of what type do you need to run the camcorder as a studio camera?
The next question is manual vs. robotic control. The panasonic AW-HE120s can not be run in manual mode yet have good robotics.
The “cheap way to robotics is the Sony and Panasonic cameras designed for that purpose, if you can live with a studio camera looking like a little R2D2 Unit.