Federal Communications Commission
445 12th St., S.W.
Washington, D.C. 20554
News Media Information 202 / 418-0500
TTY 202 / 418-2555
DA 13-581
Released: April 1, 2013
GN Docket No. 13-86
Comment Date: 30 days after publication in the Federal Register
Reply Comment Date: 60 days after publication in the Federal Register
After the Supreme Court’s decision in FCC v. Fox Television Stations, Inc., 132 S.Ct.
2307 (2012), in September 2012, Chairman Genachowski instructed Commission staff to
commence a review of the Commission’s broadcast indecency policies and enforcement to
ensure they are fully consistent with vital First Amendment principles. In the interim, the
Chairman directed the Enforcement Bureau (Bureau) to focus its indecency enforcement
resources on egregious cases and to reduce the backlog of pending broadcast indecency
complaints. Since September 2012, the Bureau has reduced the backlog by 70% thus far, more than one million complaints, principally by closing pending complaints that were beyond the statute of limitations or too stale to pursue, that involved cases outside FCC jurisdiction, that contained insufficient information, or that were foreclosed by settled precedent. The Bureau is also actively investigating egregious indecency cases and will continue to do so. We now seek comment on whether the full Commission should make changes to its current broadcast indecency policies or maintain them as they are. For example, should the Commission treat isolated expletives in a manner consistent with our decision in Pacifica Foundation, Inc., Memorandum Opinion and Order, 2 FCC Rcd 2698, 2699 (1987) (“If a complaint focuses solely on the use of expletives, we believe that . . . deliberate and repetitivuse in a patently offensive manner is a requisite to a finding of indecency.”) Should the Commission instead maintain the approach to isolated expletives set forth in its decision in Complaints Against Various Broadcast Licensees Regarding Their Airing of the “Golden Globe Awards” Program, Memorandum Opinion and Order, 19 FCC Rcd 4975 (2004)  As another example, should the Commission treat isolated (non-sexual) nudity the same as or differently than isolated expletives? Commenters are invited to address these issues as well as any other aspect of the Commission’s substantive indecency policies. Today’s Public Notice does not alter any of the Commission’s current substantive indecency policies. While we build a record for the full Commission’s consideration, the aforementioned directive to the Bureau to focus its indecency enforcement resources on egregious cases remains in force, and the Commission and/or Bureau may take enforcement actions during the pendency of this Public Notice. For purposes of this proceeding, we are establishing a new docket, GN Docket No. 13-8All comments should refer to GN Docket No. 13-86. Comments may be filed using (1) the Commission’s Electronic Comment Filing System…..

(ECFS), (2) the Federal Government’s eRulemaking Portal, or (3) by filing paper copies.

Posted in Uncategorized | Leave a comment

New CTN Network Master Control Room Under Construction

Location: CTN Headquarters   Designer: Paul Garber   Status: Under construction 5-3-13


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Video on Demand revised 2012

word version Video on Demand




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.



Hauppauge WinTV PVR-150 PCI (video recording card)

Windows media encoder 9 software

Windows media batch convert files

Dimension 4 time sync program software

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

Tight VNC




PVR-150 record settings

Path: c:\WME\Raw\

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


Scheduled tasks

Batch Files


Times: 9:34pm

Days: All


Times: 9:52pm, 3:00am

Days: All


Times: 8:00am

Days: All

Auto FTP

Times: 6:30am – 7:50am

Days: All

WinTV record shows

Times: 430am to 9:00pm

Days: All

Files .bat:












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 )



Auto Logon

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.


In conclusion;

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


In His Service,

Jim W



Posted in Video on Demand | Comments Off

Review of “Beyond the Public File: Station Records and Logs”

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

beyond the public file PDF Format.


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
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).

Subsidiary Communications
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
that file:
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.
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.

Posted in Master Control Log | Comments Off

Online FCC TV Public File get started (1)

“The Commission adopted the public inspection file requirement to “make information to which the public already has a right more readily available, so that the public will be encouraged to play a more active part in dialogue with broadcast licensees.”
The stations File is at

Getting Started:

Posted in FCC News | Comments Off

Fillezilla ftp Server Setup

Build a Home FTP Server with FileZilla

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 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

Passive mode should now work. If you are still having problems connecting (from another computer or outside the network) check your router settings.” bottom of page

Tested on lan works WTJR ENG


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Make your Camera Cables for studio

RCC-HDP Series

RCC-HDP Series

“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)

belden NP248 cable

belden NP248 cable

NP 248
Brilliance® Digital and
Analog Audio/Video
Composite Cables
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.

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Production Control Room HD Upgrade option 1

tricaster 300-b

tricaster 300-b

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
$9,995.00 (est)



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.

Affordable HD
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.

Maximum Portability
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

Tricaster 450

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)

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WTJR Camera upgrade 2012 three cameras for local studio.

This is a ongoing post so items will change as data comes in… (last update 6-21-12)

current studio model ht10 cameras in action

current studio model ht10 cameras in action

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.

model z-hd5000_mg_0570

model z-hd5000_mg_0570

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

Panasonic awhe120

$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.

awrp50n camera robotic control

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


Price: $8995
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
FireWire Output

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.

JVC studioVF

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 Kit
Mfr# GY-HM790ST

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

cannon XF305

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)

Panasonic AG-HPX170

Panasonic AG-HPX170

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
1/3″ 3CCD
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)
Price: $3,395.00


Varizoom VZ Pro

Varizoom VZ Pro

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

Eartec SLT24

Eartec SLT24

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.

When used with a TLC-8d controller and a TriCaster 850 or 450 the TL-2 supports the red program and bright talent tally. $49.95





Varizoom VZ-TFT-7 16:9 7 Inch LCD Monitor

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

Add on Camera Robotic Systems



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.





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Leightronix Ultra Nexus Video server with external Genlock and router

What is a Nexus read here or continue on.

The problem: The Nexus has an internal video switcher but it will not genlock to an external source. Hence a switching glitch in certain cases such as live satellite to internal mpeg video player. If you use a nexus output as genlock it will fix the switching glitch, see this post. But that introduced other problems such as during a reboot as stated in that older post.

The solution: A external router with each source genlocked synced and also each audio level can be adjusted independently so they all match both video and audio and no video glitch when switching.

The items needed for a minimum set up

Leightronix Nexus video server.

External Kramer A/V 8×8 router audio on rca connectors (get a 12 x 12 if you can but 8 x 8 works)

Black Video Genlock Generator to external DA 1 x8

TBC, Framesync or Procamp/frame sync for each active channel (check ebay)
Audio level control each channel 8 in 8 out mixer to audio in router(lots of options here like rack mount line mixers adapters)

Waveform Monitor *

Audio meter(s) *

Video Monitor and router to select inputs *

Audio Monitor *

*If you have some items in house use them you can share items in Master control

Be prepared for the following if you are already using the Nexus.
One: is when you go external the inputs and outputs changes, The Six inputs are now invalid, only input 1 is used, the outputs become program 1 mpeg player, program 2 out = preview, program 3 = what is being recorded on input 1. Remember it is not switching anymore internally the external Kramer is doing that under control of nexus..
Two: You will lose your program log and it will need reprogrammed, so print it out, or just redo from scratch. I also had some problems with the library but I was able to fix it without reloading shows.
This will take some time so have a backup on air to keep station running programs.

Nexus 113011 v2

Nexus Drawing 113011v2

Nexus Drawing 113011v2

Program I used to create drawing Diagram Designer (freeware). You do not need this to view drawings above. I include this so you can make your own drawings.
Diagram Designer 1.24 (1.32MB) – Vector graphics editor for creating flowchart and diagrams.
DiagramDesigner download install file
Raw DD Drawing File zipped of drawing shown

In conclusion,
It works. The glitch is gone on switches between synced items. The other non-synced items we do not switch direct to air.
I notice no switcher time lag. In the drawing the unused Kramer 8 x 8 video outputs can be used for in house distribution.
Also some video distribution amplifiers are not show. For example each satellite has it own video monitor.
Ingest or capture is still problematic as the Nexus only has one record channel and we use that for time shifting satellite programs a great deal of the time. The solution is a Non-Linear editor computer with capture, the main draw back being it also has to be rendered to MPEG 2 format. The Leightronix solution is the Pegvault we are looking at that very closely.

Keep looking up
Jim Wilson In His Service


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Webstream WME 9 Auto restart

When streaming with widows media encoder 9 sometimes the stream goes down or locks up. This post will address these issues. (The following was done on a win XP computer and it works.)

Part one.

Encoder restart:
Based on a post here:

How To Automate Live Streaming With Windows Media Encoder, Windows media Encoder reconnect.

This article will explain how to have Windows Media Encoder automatically reconnect (always stay encoding), and also explain how to have Windows Media Encoder automatically start encoding at boot up, for example in case of a power outage.
Saving Configuration

1. Save your Windows Media Encoder configuration as
windows media pull tutorial

2. Download this Zip file and unzip the two files ( reconnect.vbs and startencoding.bat ) onto your C:      WME Download files
Testing files

3. Make sure Windows Media Encoder isn’t currently running, and test the startencoding.bat file by double clicking it. You should see Windows Media Encoder start up, and a few seconds later start encoding.

Click “Stop Encoding” in your encoder and wait 10 seconds.  You should see your encoder automatically start encoding again.

If the encoder never started encoding and didn’t display an error, make sure reconnect.vbs is located on your C:.  You may also try double clicking it manually to test if it works (while the encoder is open).
Test Passed

Start encoding on reboot.

4. If the test passed, place a shortcut to startencoding.bat in your Startup directory by dragging it to Start -> Programs -> Startup
windows media pull tutorial
Computer Settings

5. Make sure your computer is set to automatically logon.

For 2000 and XP instructions, see below

Reboot the computer and make sure Windows Media Player starts and begins encoding.  You may also want to check your computer’s BIOS to make sure the power state will always be “ON” or “LAST” after a power outage.  If it is set to “OFF”, the most common default, your computer will not reboot in the case of a power outage.

Now you don’t have to worry about power outages or network anomalies, knowing that your encoding machine will always be encoding. Enjoy your newly found freedom!

WME Download Script files mentioned in post.

Part two

How to reset a WME webstream. Sometimes the stream locks up, server goes up and down or other anomalies take place. This is one method to reset stream every 4 hours (or whatever times you choose) This also could start and stop a stream during certain hours if autorestart script is disabled that is.

Solution setup a macro to start stop encoder 2 to 4 times a day! Also disconnects users so all bandwidth is not used by someone leaving there computer on all night. But most important keeps stream up.(it automates the mouse and mouse clicks!)

(Note old method below for restart purpose use encoder restart method explained above for that this is a reset or start stop time method)

Software Needed the new version is paid, the old version is free search for it if you need free version.

nMacro Recorder 1.1

Name: nMacro Recorder
Version: 1.1
Price: FREE (only for non-commercial use)
Size: 375 KB
Release date: 23 SEP 2006
Category: Automation Tool

nmacro-recorder-1.1 (Its getting hard to find so here it is get paid version if you can but if a non-comm this is free)

Create macro to stop and start encoding of WME.
It records mouse movements and saves as a .bat or .exe file. So you can point windows scheduler to that file. Just record stop and start mouse clicks or stop and start as separate files. ( note screen size and position must be maintained of WME encoder because if it changes mouse will click in wrong place I just make WME window max size and make sure windows remembers its position)

After that use windows scheduler to run the macro at the times you choose like midnight and 6:00am. Note you must be logged in for windows scheduler to work. So make sure your automatic windows re-start* includes a autologon.

The following is optional. It is if you want an auto reboot, but you may consider a power outage an auto reboot so read on about autologin also.

*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 is all both will work)

How to shutdown a XP Pro computer when you are connected using RDC (Remote Desktop Connection) using a batch file or RPC (Remote Procedure Command) This is useful if you can’t get to the computer but have remote access to the computer via a network or the Internet.

First To show you what you will see at a command prompt ( when you type: “shutdown /?” Without the ” ” on each end.

c:>shutdown /?
Usage: SHUTDOWN [-i | -l | -s | -r | -a] [-f] [-m \computername] [-t xx] [-c "c
omment"] [-d up:xx:yy]

No args Display this message (same as -?)
-i Display GUI interface, must be the first option
-l Log off (cannot be used with -m option)
-s Shutdown the computer
-r Shutdown and restart the computer
-a Abort a system shutdown
-m \computername Remote computer to shutdown/restart/abort
-t xx Set timeout for shutdown to xx seconds
-c “comment” Shutdown comment (maximum of 127 characters)
-f Forces running applications to close without warning
-d [u][p]:xx:yy The reason code for the shutdown
u is the user code
p is a planned shutdown code
xx is the major reason code (positive integer less than 256)
yy is the minor reason code (positive integer less than 65536)

This is an undocumented feature in XP so I have not found any writeup about it on M$ and everything used here is from other sources. Do not use “cmd” to start the command interpreter (cmd.exe), but type “command” for ( Now you can shutdown the computer by typing “shutdown -s” or to restart the computer type “shutdown -r”

To create a batch file for this you can use notepad, and save the file as .bat in c: (root directory) Here are the 3 most used batch files for shutdown:
1 save as down.bat
shutdown -s
2 save as restart.bat
shutdown -r
3 save as forcedown.bat
shutdown -f
4 save as logoff.bat
shutdown -l
5 save as rpcdown.bat (replace computername with the name of your computer )shutdown -s -m \computernameand this last one is fun in an enviroment using RPC

So that’s a piece of cake, the other options are self explanatory and if you need any help creating the batch file, ask and someone will help

Auto Logon

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 widows scheduler kind of the domino effect.


In conclusion;

If all you want is auto restart and reboot on power outage 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.


In His Service,

Jim W

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Weeby Webhost and online Web Design

“Weebly’s WYSIWYG editing interface allows users to easily and quickly “drag and drop” content into the currently open Web page, which Weebly considers its flagship feature.[7] Consistent with this design are also a blog editor, a simple method of implementing and customizing its library of themes, and a policy of no forced advertising on even free accounts’ Web sites.[7] Pro accounts include more capabilities such as the adding of in-site audio or video content, up to 100MB uploads, up to 10 sites, favicon, removal of the Weebly footer message, advanced collaborative editing, HTML5 video playback and more; “premium” support, and advanced site statistics.[8] It has recently introduced a Collaborative Website Editing[9] which allows users to invite other users to edit their website. This function is similar to Lifeyo’s collaborating with other editors to edit on a website, with the exception that Weebly has separated how you can invite additional users to edit, with the Pro function allowing said user to allow invited users to edit only a certain part or only limited access, while the basic function gives the invited user complete control over editing your website.” (source Wiki)

I am a WordPress web design guy for a few years now and I like wordpress. This Blog is wordpress for example. That said our main site is now on weebly. When I saw the main CTN ( site goto weebly, I really liked the look or theme they made, so I signed up for a free account. I found the online design works well with a few limitations.


Free for basic version, cheap for pro version, we went to pro version because we wanted to embed PDF documents like our program schedule, and we wanted multiple authors for our web blog for production.

A basic theme can be designed and exported and imported to another weebly site, so the theme can look the same on multi sites.

Easy to edit, add photo slide show, you tube videos, and some HTML as needed.

No special software needed so log in any where. Yes I know wordpress can do all this BUT not as easy IMO. And it just looks right, a clean pro look.



Backup. You can backup your site but you can not restore it. You have to open one page at a time after you unzip the file and paste contents. Its meant to transfer as static HTML files to a different host. Some things will not work that require weebly scripts to run, like flash videos, and flash picture shows.

No FTP to site.

No common storeroom for pictures and videos like in wordpress.

Can not run PHP scripts, can run Java scripts but must embed script as no storeroom for Java file.

Not many widgets.

Pages can get hard to drag around on page screen if you have a lot of pages.

No email included.

In conclusion, the pros make up for the cons as it is easy to edit and looks good. I still maintain some parts on a LAMP web server. Email, Photo Album, Public file, VOD, Search engine, Engineering blog, eas files, transmitter files and some FTP file storeroom folders.

I made some Weebly training videos here is the playlist

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Sage Digital EAS CAP

Sage EAS

Sage Digital EAS 2011

The new sage unit offer some big upgrades over the old sage unit.
The LAN network connectivity is a big plus. Setup the unit on your lan from front panel, then connect via webbrowser to unit IP, download and update firmware from sage website, also down load the editing software and audio meters for your browser there.  Connect, download your profile, edit it, and upload it back to the unit. This is a good time to setup the email out function, and the FTP (to a website folder). No cap servers yet so that can not be setup.
So no printer, yes you can hook up a USB HP printer but its redundant.
So how do you print? One should ask do you need to print as this data could be kept all electronically. Still it nice to have hard records so printing is a good idea. Lets look at the log and records of EAS activity, several ways to do this, connect to unit through web browser and look at logs there, you can cut and paste or download. Check your email every alert and test can email log to you or goto website ftp folder like this 

What we do is just copy and paste from browser weekly to notepad and print and attach to station log. With the FTP function this really opens the door to online eas records and for that matter an online station log.

So did I have any issues on install? The FTP and email was a little tricky to setup as it has so many options. The CG and audio for multichannel is the next project I have to work on. It appears with six comports I could run up to six external cg’s so the video crawl may be covered if you have like we plan to 3-4 subchannels. The next issue is audio, so an audio relay may be needed for each subchannel in addition to an eas audi da to each subchannel the sage unit will trip the relay.

One interesting idea is to just have all sub channels switch to primary channel that way you only need one cg, you could mask the video with a video genlock (keyer) or just take the CG output plain (no-key) to subchannels.

In His Service Jim Wilson 09-13-2011

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Video Webstream on iPhone or Droid server side

The main problem with iPhone and most if not all android phones, is it will not play a windows media mms webstream out of the box. The server encoder level solution appears to be this,

Smooth Streaming Servers

Smooth Streaming Servers provide great new features that are not currently available through Windows Media Servers. One of the best features is video streaming directly to the iPhone, iPod Touch and iPad, without the need of an App. The Apple devices can open the video stream directly when the video feed’s address is entered into the address bar in Safari.

You might encounter this service under the name of Silverlight Streaming, because Silverlight is the only software that supports this technology. Also, you can encode your stream with Expression Encoder. It’s the only software available for this technology and you need to purchase a license in order to be able to use it.

Another great feature of Silverlight Streaming is that is optimizes playback of content by switching video quality in real time. Viewers with good internet connections will experience high quality video, while viewers with slower internet connections or slower computers, will receive the appropriate video quality for their capabilities.

The Silverlight Streaming technology provides an uninterrupted and buffer free video streaming experience, whether it’s live or on-demand and no matter the quality of the connection in use.

Smooth Streaming is especially recommended for streaming to iPhone users. The application uses the existing video capabilities of iPhone, so additional codes and settings won’t be necessary.

For live streaming and streaming for mobile devices, you must purchase Microsoft Expression Encoder 4 Pro. The software costs $199.95 and you can purchase it by accessing this link


Server side discussion here

“To create Smooth Streaming presentations, the same source content is encoded at several quality levels, typically with each level in its own complete file, using a compression tool such as Expression Encoder 3 or a product from one of our many partners. Content is delivered using a Smooth Streaming-enabled IIS origin server. Once the IIS origin server receives a request for media, it will dynamically create cacheable virtual fragments from the video files and deliver the best content possible to each end user. The benefit of this virtual fragment approach is that the content owner only needs to manage complete files rather than thousands of pre-segmented content files.

“Smooth Streaming provides media companies with a better way to make full HD on the Web a reality. It offers code-free deployment and simplified content management for content creators and content delivery networks. For end users, the improved video viewing experience will bring the reliability and quality of HD television to their favorite video Web sites.”

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Old RCA TV antenna


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Ice Storm 07

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Broadcasters permitted to cease tower light monitoring in certian cases

Broadcasters permitted to cease tower light monitoring
The FCC adopted new rules, effective March 7, 1996, that shifted the responsibility for tower lighting from licensees to the owner of the structure. In the past, licensees were required to:
[Observe] … the tower lights at least once each 24 hours either visually or by observing an automatic properly maintained indicator designed to register any failure of such lights, to insure that all such lights are functioning properly as required; or alternatively,
… provide and properly maintain an automatic alarm system designed to detect any failure of such lights and to provide indication of such failure to the licensee. [FCC Rules Sec. 17.47(a)]
… inspect at intervals not to exceed 3 months all automatic or mechanical control devices, indicators, and alarm systems associated with the tower lighting to insure that such apparatus is functioning properly. [FCC Rules Sec. 17.47(b)]
… report immediately … to the … Federal Aviation Administration any observed or otherwise known extinguishment or improper functioning of any top steady burning light or any flashing obstruction light, regardless of its position on the antenna structure, not corrected within 30 minutes. [FCC Rules Sec. 17.48]
… make … entries in the station record … [FCC Rules Sec. 17.49]
Now, the owner of the structure must perform all of these tasks. The FCC wrote, in WTB Fact Sheet #15, “Antenna Structure Registration” in the section on owner and licensee responsibilities:
Note: There IS NO requirement for an FCC licensee who does not own the structure to independently monitor antenna structure lighting.
In the Report and Order in WT Docket No 95-5, FCC 95-473, Released: November 30, 1995, the FCC discussed the licensee’s responsibilities as excerpted below (emphasis added):
53. We emphasize that under normal circumstances, we will only look to the structure owner to maintain the prescribed painting and/or lighting. However, in the event the structure owner is unable to maintain the prescribed painting or lighting, e.g., in cases including but not limited to abandonment, negligence, or bankruptcy, we would require that individual licensees on the structure undertake efforts to maintain painting and lighting upon request by the Commission. Additionally, if a tenant licensee has reason to believe that the structure is not in compliance or that the owner is not carrying out its responsibility to maintain the structure as required by Part 17 of the Rules, the licensee must immediately notify the owner, notify the site management company (if applicable), notify the Commission, and make a diligent effort to ensure that the antenna structure is brought into compliance. We are not, however, requiring licensees to independently monitor the antenna structure. Instead, licensees must assume responsibility and take appropriate action if circumstances would lead a reasonable person to question whether the structure is being maintained. For example, if a licensee becomes aware that electrical power is no longer available at the site or has rental payment for antenna space returned due to unavailability of the owner, the licensee must take reasonable actions to ensure that the structure is immediately brought into compliance. Under these circumstances, any sanction that may be directed to a licensee will be determined on a case-by-case basis depending upon the magnitude of noncompliance, its length of time, access of the licensee to the structure and the diligence of the licensee to rectify the noncompliance with the prescribed painting or lighting or to alert the Commission or the FAA.

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Sattelite Ground Pole Installation

Ground Pole/Pad Mount and Wind Loading

GROUND POLE: The major item here in setting the ground pole is plumb, plumb, plumb – make sure the pole is perfectly vertical; though first thing, check for obstacles in your viewing path and choose appropriate pole for your dish diameter (see wind loading). Rule of thumb on minimum hole diameter – four times diameter of pipe. Rule of thumb on hole depth – minimum one/third down Satellite Footprints by Dish Size – Ground Pole Installation, Pad Mount Installation, Wind Loading(below ground) and two/thirds up (above ground). Rule of thumb on gravel size for concrete – no bigger than one/half distance of pipe to side of hole. Rule of thumb on concrete type – never use ‘quick crete’, i.e. concrete with additives for one hour curing, it will crack in years to come and sometimes as little as in six months . If you are not using a premix of concrete then use the one-two-three rule: one part cement, two parts sand, three parts pea gravel. When cutting pole to length be sure ends are square – it will cause you plenty of problems if they are not. Remember that concrete shrinks when it cures (concrete does not ‘dry’, it cures) and actually pulls away from surfaces as it hardens so weld a flange, or spur, to the bottom of the pole for to anchor pole into concrete as it hardens. A flange on one side is sufficient, both sides is overkill. Sometimes I have just drilled a hole thru the pipe and stuck a rod thru the holes with no welding. When digging hole – get below frost line and flare out the bottom of the hole so concrete will make a good plug when poured (make the hole look like an elephant’s foot).

Place a thick layer of gravel on the bottom of the hole, or at least a brick but gravel ‘seats’ the pole better, and set pole in hole on gravel. Do not try toSatellite Footprints by Dish Size – Ground Pole Installation, Pad Mount Installation, Wind Loading pour the whole concrete batch at once. Make the first batch stiff (thick), position pole in center of hole, and shovel small amounts of concrete equally around the pole. If you shovel too much concrete to one side at once, especially in the beginning of the pour, it will push the pole to one side and you will lose center; be patient and take your time here. Pour enough in first batch to bring concrete about a foot up on the pole. Now take a rod, something like a piece of rebar, but a shovel handle is too thick, and gently ‘rod’ the concrete, i.e. push rod straight down thru concrete to bottom of hole – be careful not to do so in a manner that causes the pole to lose center. Do this no more than ten to fifteen times, this ensures no air is trapped in mix; if you rod more than that then the mix begins to come apart. Check pole for plumbness all around, not just on one side, with level or inclinometer – hold pole for a few minutes now (good thing for assistant or mother-in-law to do). Do not be lured into thinking that pole is plumb because top is level – that depends on the saw cut; make the sides plumb. Make next concrete batches with more water and gently shovel into hole in small amounts being careful not to pour too much at a time or you will disturb pole plumbness. The reason the second batch of concrete is made with more water is because soupy concrete cures to have more strength. Repeat rod procedure, extending only slightly to level of first pour, and check for plumbness.

Satellite Footprints by Dish Size – Ground Pole Installation, Pad Mount Installation, Wind LoadingAt this time set a PVC elbow in concrete that extends out beyond the hole wall and is against the pole and extends up the pole high enough to be above lawn mower or weed eater height. You can cap top of PVC later with downpiece – what is important now is to seal both ends of elbow with good tape to keep debris and concrete out of pipe. I have set elbow in concrete and set it above last pour – your choice – I usually set it in pour at depth below grass root level. Finish pour to top and rod last batch; sculpt the top so that concrete slopes away from pole. If you want, bring concrete to above ground level or leave below ground level so as to add a grass plug later. At this time, pole should be difficult to move because of thick concrete in first pour though later soupy pours will take some time to cure. Recheck for plumbness and push pole to any direction required to be plumb – it should not be far off, if at all, if you have been checking regularly – hold.for a few minutes while you drink a cup of coffee, tea, cola or have a smoke. In about an hour fill the pole with very soupy concrete to at least above ground level – this will add strength to the pole as well as prevent future oxidation (coming from internal of the pole) of the pole at the ground/air interface.

For four meter or larger residential antenna, use a larger diameter pipe than recommended and place a reducer cap on top when ready to install reflector, i.e. if the mount cap comes ready for a 3.5″ pipe then use a 4.0″ or greater main pipe diameter and weld a reducer cap on top with a 3.5″ diameter that the mount cap will slide on. For more info on pole diameter, see wind loading. Remember: When choosing the site for the ground pole be sure that when the dish is rotated from arc to arc it will not touch anything and that it will have a clear view of the satellite arc from end to end.(top of page)

PAD POLE: Where hard rock prohibits a ground pole, or for installations in a parking lot or on a flat roof, it becomes necessary to anchor the satellite dish with a little more creativity. The most easiest is to weld a crosstie leg assembly with a welded support brace going from each leg up to the pole; then weight down each leg to immobilize the dish. I am currently in a rent house, flat roof, so do not want to permanently install my dish in a concrete pad on the roof so I use unopened eighty pound cement bags (not quickcrete with gravel and sand but pure cement) on each base leg as a weight. With rain, over time, it will harden like a rock and mold itself to the base leg. For a rule of thumb, for an installation on a flat roof atop an office building, for a 3m dish, use a total leg base of eight to ten feet (four to five feet per side) and use something like four inch channel for the leg and one or two inch angle iron for the braces (do not use flat bar for braces but you can use round bar). In practice, position the pole and base on roof then level the base with shims so that the pole is plumb then apply leg weights (use a pile of rocks if nothing else). For my system, an eight foot dish on a one floor roof, I have two foot length legs out of one inch angle iron with sixty degree round bar braces from each leg to the side of the pole – all welded. I have come out one-half the leg distance and up at a Satellite Footprints by Dish Size – Ground Pole Installation, Pad Mount Installation, Wind Loadingsixty degree angle to the pole. Note: Often after a weld, the legs will ‘pull’ a bit. In my case, that occured however on the roof I leveled each leg with shims so the pole was plumb then piled the weights on the legs and and a few rocks around the pole. Remember to check the pole for plumbness after piling on the weights.

In lieu of the ‘crude’ system described above, you can use a combination of a mount pole outfitted with legs set onto preformed concrete end weights. Preform the leg weights, mass production style, as concrete blocks, use ready mix sacks, i.e. not large aggregate (gravel) and inset a ‘J’ bolt for both leg attachment and Satellite Footprints by Dish Size – Ground Pole Installation, Pad Mount Installation, Wind Loadingpole leveling. Concrete is stronger the soupier it is so do not wipe water off the top and if need be, on real hot days, place a burlap sack on top and wet it down after your last pour. On real cold days, add a combination of straw, newspapers and rags on top to prevent freezeing. In designing your forms use an assembly that you can bolt to a bottom plate (1″ plywood). Make the side boards at least from 2″ x 6″s to allow sufficient depth for the ‘J’ bolt. Depending on the size of dish to anchor you can make the blocks with 2″ x 8″s, 2″x 10″s or 2″ x 12″s. On the bottom of the form nail (or screw) a ‘lip’ all the way around (use a 1″ x 6″) and use this lip to bolt to the bottom plate. The lip and bolt down prevents concrete from oozing out the bottom of the form, use mimimum two bolt downs per side. When cured, remove the bottom plate and hopefully you can dump out the mold and reuse the form – concrete actually shrinks when it cures so you are making a reuseable the finished block will pull slightly away from the form and will come out rather easily but during the pour the form must be bolted down well to the bottom plate. In lieu of ‘J’ bolts, you can take a threaded rod and then thread nuts and washers to make the anchor in the block. Make a jig for the top (from a 2″ x 4″) with a center hole to place over the anchor bolt and thread a nut over the exposed bolt to keep the bolt in place and vertical and to be sure the bolt does not sink into concrete. Use the top jig, or another board, to level the top before slipping in bolt, i.e. wipe off excess concrete from pour. Use a mini-level (sometimes called a torpedo level) to guarantee the bolt stays vertical. Make the block in one pour and use medium stiff concrete at time of pour but not too stiff that bolt will not slide in easily – the bolt should slide in and concrete ooze around it easily otherwise anchor will not be set to its best capability. Remember, concrete actually shrinks as it cures so do not but in a straight bolt without something to anchor it in the concrete or you will compromise its stabilizing effect on the dish mount. Do not use anything less than a 3/4″ diameter bolt. If you are using allthread for the bolts and/or have in mind to saw off the bolt tops after concrete has cured, i.e. to level all the emplaced bolts, thread a nut onto the bolt before sawing so that after the cut you can work the nut off and reconstitute any threads damaged by sawing.

The last real option to anchor a dish without a ground pole is to pour a complete concrete pad. The Satellite Footprints by Dish Size – Ground Pole Installation, Pad Mount Installation, Wind Loadingmajor aggragation to this is inseting the bolts to correctly align with the dish pole support structure. The other option to inseting bolts is, after concrete pad has completely cured, use an epoxy system to anchor the required bolts. This technique requires drilling the proper hole into the concrete then using the epoxy system to secure bolt; a manufacturer’s variation on this is to epoxy (into the hole) the unit the bolt will thread into then, of course, install bolt. These are proven, structurally rated epoxy techniques and make a very nice installation; check with any high quality hardware store to located the product (read all instructions when using the epoxy system as there is little for error once you begin the epoxy process). To properly mark hole locations, place the mount on the finished pad then mark with a chisel where to drill or, better, drill a starter hole with a masonry drill bit before moving the mount to drill the correct size hole.

The other option, for a full ground pad, instead of inserting bolts, is to pour the pad (to level the install site) then use a brace-leg-weight system to anchor the pole. For theSatellite Footprints by Dish Size – Ground Pole Installation, Pad Mount Installation, Wind Loading pad, set the pole with legs at the proposed location and mark the size pad desired; then, remove pole out of the way (of course), build your form. For a weight anchor system, minimum pad thickness is using a 2″ x 4″ for the form edges for a 2.0m or less diameter dish and go to a 2″ x 6″ for a 3.0m dish and a 2″ x 12″ for anything greater. Be sure to frequently stake the form perimeter as concrete is heavy and will push out on the form. Nail form edges into each other. Be sure top of form is level in both directions. If pad site is unlevel and the bottom of the form is not touching the ground in any place then fill inside of form with dirt to prevent concrete leakage and pack the dirt firmly. Try to mix all concrete you will need in the beginning then shovel into form. Resist the temptation to throw in rocks/bricks, etc., to fill your pad quicker. When form is halfway filled, lay in a layer of concrete wire mesh then finish pour and level off top with a board, i.e. scrap off excess concrete. Do not scrap off excess water on top of pour; if anything, after an hour, spray more water on top of curing pad. The extra water on top will assist in preventing cracking. In laying the mesh on this small of a job, it is best to do so in middle of pour rather than lay on ground and fill concrete on top and try to ‘shake’ it up. The mesh is not so much to add strength to the concrete but to hold it together over time (maintain its structural integrity) should the pad crack (due to whatever reason). In case of excess freeze-thaw phenomena locations, i.e. in ‘cold’ country, using a weight-leg pole assembly, rather than insetting attachment/leveling bolts in the concrete, allows for easier leveling adjustment should the pole become non plumb. When running cable, bury it, if possible, to the pad then run through conduit atop pad to the pole; attach conduit with strapping clamps to concrete using plastic screw anchors inserted into drilled holes (use masonary bit) in the concrete.(top of page)

WIND LOADING:The bottom line on wind loading (on the surface of a dish) is the bigger diameter the dish the more wind it traps and the more the dish faces into the dish the more wind it traps. Mesh dishes act as solid dishes at about fifty miles per hour though will still experience approximately 40% less force than a solid dish. To calculate the pressure on the base of a pole, or where ever the pole is attached to a constraining rigid structure (for instance, side wall of a house), multiply the pole length by the factor in the chart, for the desired windspeed, to get pounds per square foot Satellite Footprints by Dish Size – Ground Pole Installation, Pad Mount Installation, Wind Loading(psf); then divide by 144 to get pounds per square inch (psi). This is a crude guide for you as other factors come in play in determining actual shear forces on a mount pole from wind – dish weight does factors in, i.e. the heavier the dish the more force it will bear if the dish begins oscillating (which contributes to fatique), and it changes the pole strength factors if you have poured concrete into the pole. From the pressure on the pole base and the manufacturer’s characteristics of the mount pole you can see if your chosen pole diameter is large enough and its thickness sufficient to resist failure under maximum winds. Believe me, nothing is more aggravating than dealing with a bent mount pole after a windstorm. Use dish manufacturer’s guidelines in choosing a mount pole – do not leave it to chance, especially on heavy large dishes. Remember, a good ground pole installation, or pad mount, and depth of pole, prevents a dish from eventually rocking or leaning in the ground but does nothing to resist shear bending above the ground. For dish diameter below 2.5m, with minimal pole height, you can use schedule 80 (USA ASTM code) 3.5″ diameter pole. For dish diameter 3.0m using and regular height poles (mesh, fiberglass or solid dish) and taller poles for diameter 2.5m, use schedule 40 3.5″ diameter pole. For taller poles above ten feet, in the previous two examples, use some type of side wall support or turnbuckle/wire rope bracing system or expect wind action on the Ku satellites. For 4.0m dishes and commerical installations (not az/el type mount), use schedule 80 pole and go to 4.0 and greater pole diameter – ask dish manufacturer. For these larger diameter dishes they often refer to the ‘pole’ as a pedestal and usually the manufacturer will recommend and provide the pedestal or a tower for dish support.

Under no conditions, use PVC (plastic pipe) for any dish mount (I have never heard of it being successful), and never underestimate the power of inclement weather to damage your dish. For commercial installations, I have installed retainer clips around dish lip attached to wire rope (3/8″ wire rope minimum) attached to ‘J’ bolts in concrete posts so if the mount failed (not the pole) then the dish would not fly around. Although we think of failure of the pole, the shear strength of the bolts in the mount are to be equally considered in your design criteria in wind loading. In summary, if you have continued worries about pole failure, have an engineer calculate wind loading forces on reflector and the force moment at the ground/air interface (bottom of pole) and choose pole diameter accordingly. I also use three support cables (3/8″ wire rope minimum) placed two/thirds of the way up the pole for stabilization when needed to stay on track in wind or for a free standing tall pole, and tighten with a turnbuckle. Weld ‘eyes/ears’ on pole for wire rope and anchor at a thirty degree angle from pole to ‘J’ bolts seated in concrete pods. Your local hardware store will have everything you need.

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Leightronix Ultra Nexus Video server part 2

The Nexus has what I would call stand alone events that override other events, you can schedule these on the WinLGX-LT tab next to the days tab. This is how we switch and send a GPO at the same time as we switch to the external 360 systems video server. As the switch is not linked to the GPO. So two events can take place at the same time (and need too).

Another interesting area is the audio recording at -10db. Well what happens when you load a file from another system that someone sent to you that has audio at +4 or +0 dB, yea its  Hot. (:Also I notice ripped DVD audio tends to be hot, working on fixes right now for this.

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Leightronix Ultra Nexus Video server

Well we got our Nexus in and its up and running, this has eliminated recording satellite programs to tape, (to ingest in our other server) in MCR, to time shift. We also have a 360 video server that we Control by GPO/GPI from the Nexus using an add on interface. The Nexus right now is doing the on air switching and sending play commands to the 360 and switching to this also. The old Matco 204B automation is in the background now as a router and to control VCR’s if needed. We ingest everything to servers, but hot switch to CTN satellite feed for some programs. On the Nexus you have 6 inputs and 3 outputs. You also have two internal MPEG players so in reality you have 8 inputs. You also have 1 Mpeg internal recorder.

You may be interested in some of the setup involved. I would like to talk about that and cover operation later. First off its unbalanced RCA stereo audio, we run it a -10db in/out, all six inputs need the correct audio level, so this may involve DA’s or rack mount line drivers ( a good one is like bands use it has meters). A line level Compressor/Limiter on outputs (at least main program) will allow the output level to be set. The Six inputs besides being able to switch on air are used for recordings on your schedule or manual ingest, that is why its important to have the audio levels correct, +4 balanced audio is way hot so run it through the correct DA or as I said rack mount line mixer, after you get all levels set by taking manual control you can walk down the line to check audio levels just make sure the output is hooked to a meter reading -10 (or -20 for that matter).

The same goes for the video set all DA’s or TBC Frame syncs to 100 IRE or less.

What of a manual ingest channel? Here is what we have, Input 1- Satellite (Sat 1), Input 2- 360 playback channel 2 (360 VS), Input 3- Satellite 3 (Sat 3), Input 4- 360 Playback Channel 3 (360 VS), Input 5- Satellite 5 (Sat 5), Input 6- Satellite 6 (Sat 6).
Input 7 is internal Mpeg1, Input 8 is internal Mpeg 2.

Here you see the first compromise, remember the inputs are used for recording, you can select any input and record on schedule, and they are used for over air switching. Two roles. We don’t record much on Sat 3, so its hooked to an external router we have, that way we can bring in what ever is on external router to ingest, Tapes DVD’s, Ect. Its manual control BTW on this old router, no problem as this is manual ingest.
So Input 3 needs a little more, it needs a audio mixer compressor on input, what ever you prefer, to set ingest level, and in an ideal word a TBC to correct color video level on ingest. (Many shows need no correction as they are already setup right BUT audio.).

Here is where things get interesting, there is no Genlock on internal MPEG players, So in our case the Sats have Genlock, The 360 Video server has Genlock, so when the Nexus switches internally between Sats and 360 VS no problem no glitch, but between Sats and 360 and Internal Mpeg player big frame glitch. The easy fix if you can handle it, is use Nexus program 2 out, leave set on Mpeg1 player and use that to DA, to be house Genlock, it works no glitch, output two is not used in our case it would be for a second channel, do not confuse this with Mpeg player 2 as that is used for preview, Mpeg player 1 can play shows back to back.

Several minor problems here, The general Idea is to have all sources frame synced and Genlocked, but what of the Nexus output of Mpeg players? its straight out, so In reality a TBC/Frame sync/ Proc amp needs to be on the output on the Nexus, no problem right? Well if you think about it, some things get dual TBC’ed or synced that way on in and out! Also what happens to your Genlock on Nexus reboot? Ahhh its not good. So The Genlock needs a A/B switch for reboot, so on reboot you go to house black. Anyways supposedly according to tech support there is certain hot switch TBC you can hang on output and leave off all the input TBC’s , but though that may work, (it has not for me) that does not solve the problem of all the inputs being different colors, video, and setup level, so they need correction sync anyway…
It works great and no glitch right now, with the draw backs mentioned above that is how we are running.
We are in the mix of hooking an external 8×8 router to see how that works, why? Well first off more inputs (you really need a 16×16 but its a money thing) and second each input can be on house Genlock/TBC, the Nexus just shows up as another input.

There is several delays, One is when you go external the inputs and outputs changes, The Six inputs are now invalid, only input 1 is used, the outputs become program 2 out = preview, program 3 = what is being recorded on input 1.
This is not how it works on internal switching.
Also the unit needs to be reprogrammed with complete schedule (at least inputs and outputs change).
And lastly the unit is in use 24-7. (:
Should be Interesting.

More later,
But did you know a simultaneous switch and GPO command is a conflict? Two events at once? There is a fix and we are doing it. Next time I will talk about that.

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