WTJR has 3 Hitichia ht-10 1/2″ 3 CCD SD cameras setup in studio configuration that we have have been using for 20+ years. We produce on average 12 1/2 hour shows per week. We record live to tape. 90% of time. The show does not fot post production for graphics or open and close or powerpoint it is inserted live. The cameras are trucked in studio from set to set. They all have been rebuilt, some multiple times. We Paid approximately $30K for 3 cameras, including 3 CCU’s, two 30′ CCU cables per camera, 5″ B&W studio viewfinder, remote zoom and focus, 3 tripods with wheels and arms.
It is time to upgrade to HD. Also we need tally lights and intercom like we have now, iris control, all runing on camera cables to control room.
The Panasonic AG-AC90 AVCCAM Handheld Camcorder features 1/4.7″ 3MOS sensors, with 2.19MP each, to capture Full HD 1920×1080 resolution video. Variable frame rates record HD video at 60p, 60i, 30p, and 24p. The camera’s fixed lens has a 12x zoom ratio, up to f/1.5 brightness, a 35mm equivalent of 29.8-357.6mm and manual control rings for focus, zoom and iris. In addition, Nano Surface Coating works to reduce ghosting and flare.
HDMI output (1080p/1080i/480p) AV Multi output (D-connector, component video, composite video and audio 2 channel) USB connector 2.5mm remote terminal for zoom and REC START/STOP 3.5mm remote terminal for iris and focus XLR audio input (x2, MIC/LINE/+48V selectable)
The tv viewer would be hard pressed to see the difference between this $5000 Tricaster 40, and the step up to the $10,000+ Tricaster line. In both cases in you want a control surface the price goes up $1,995.
Do you need the control surface? Just like the original video toaster you can also switch the Tricaster with just a keyboard and mouse. I have done this and I did not have a big problem with it at all. But it is nice for fades to have surface.
“RG59 HD/SDI Coaxes – low attenuation that increases maximum allowable distances 22AWG Audio Pairs – low-loss twisted-pairs for balanced audio applications Shielded 16AWG Power Pair – dual foil and braid shield for EMI suppression 4.5 GHz Coax Bandwidth – meets or exceeds SMPTE 292M and 424M standards for HD/SDI 100% Sweep Tested- network analyzer quality control for consistitent performance Color Coded Elements – uniquely identifies each channel TPE Outer Jacket – flexible and rugged for staging and remote broadcast applications
The RCC-HDP series cables are hybrid audio and video cables with a shielded power element that deliver the convenience of a single cable run for both power and AV signals. Designed for remote broadcast, staging and production environments. Each video element is a CD7559 20AWG RG59 HD/SDI coax cable that is rated to 4.5GHz for high definition SMPTE 424M, 292M and 259M video data transmission. The audio elements are made from Clark’s SPA22GS low-loss 22AWG single-pair cables. Each audio and video element is uniquely color coded for quick identification. The outer jacket is an extra-flexible and abrasion resistant TPE compound.”
You need to think of each function separate with this cable. two sdi video (one to production) one from production to camera for video timer or teleprompter and so on. This is a video line only it can not power anything (*normally). Also it has one power cable, most people would run 12-14vdc on this power cable to feed camera and monitor, most cameras (not all) take that voltage, you would then need adapters or connectors to match that cable to dc power in, on camera, and monitor, making sure its the right voltage and polarity. Then I would add the ampere of your loads camera and monitor (and maybe front monitor) and buy a 12 volt power supply to feed it from control room one per camera. Another way would be to run 120vac (wall plug) on this line to power adapters at camera, I do not think they recommend this as wire size is small, no AC ground, and it would need GFCI outlet feeding it, but I am going to talk to Clark wire and cable about it. As I really like the idea of having that at camera… but most likely the cable is not rated for that voltage and current and it will need to be a 12-14 VDC voltage. The two remain lines are audio, one could be used for tally (again with power supply for tally in control room) the other for intercom (or a mic on camera) Each end of cable would fan out to connectors, I have seen people install a black metal plate at camera to hold camera, and to hold cable to fan it out, lots of times the plate extends to front of camera and they hang a monitor there for talent as timer or prompter you get idea, also I have seen a cage to hold viewfinder. In addition this makes camera more heavy, that helps on these light weight cameras. Your little camera now looks big lol. Anyways… Just some ideas for you. This is what is happening in the old 26 pin cables, (and newer broadcast cameras also except they use fiber for video now) but not fiber for power. The exception to all this is a camplex system that multiplexes power and signals together on one cable, it a separate complete system, I do not think its up to HD-SDI but I have not check lately, that is what some remote trucks use to get by with one coax cable, (I do not recommend for a small studio, I am just pointing out the options). Jim Wilson
(only cable I think is missing would be 1 CAT 5 Network cable)
Here is Belden version minus power cable you could use audio for power but it is small gauge wire. (Some people just gotta have Belden though)
Brilliance® Digital and
Utilizing two standards-setting
Belden® cables, 1505A Precision
Video cable and 9451 Audio cable,
this new composite design provides
exceptional video, audio and power
functionality to ENG/EFP cameras.
For Fixed Camera studio installation or cameras you do not move much, also if the blue/orange color of cable is not an issue.
Within a single jacket, CRESCAT-DC-NP bundles (2) high-quality CAT5e cables and (2) RG6 quad shield coax cables along with a Cresnet control cable to facilitate fast and easy wiring for Crestron’s AV distribution switchers, room solution boxes, intercoms, and touchpanels. Inclusion of the RG6 cables allows for distribution of cable TV, DSS, baseband or modulated video, and other signals alongside the Crestron control and balanced AV signals.
TriCaster TCXD300 Portable Live HD Production
Includes Free NewTek TimeWarp External Replay Controller ($849.95 Value)Portable Live HD ProductionBroadcastLive StreamProjectRecordMulti-Channel HD SwitchingHD Network-Style Virtual SetsHD TitlingHD Digital Disk RecordingAudio Mixing
B&H # NETCXD300Mfr # XD000190-0101
The NewTek LiveControl LC-11 is an accessory for the TriCaster live switcher products. This keyboard features all the manual control of live switching, positioning and control of the software instead of using a keyboard and mouse. $1995 (est)
Efficient Production (per Newtek webpage)
Your program is broadcast, live streamed, projected and recorded—all at once: Small teams can make big live productions happen, easily. Support for up to three cameras, plus three digital media players for video clips, graphics and titles, and one input for sharing computer screens and displays from wireless iOS devices means you can do it all, even if you’re a team of one. Add in five M/E-style virtual inputs to stage live virtual sets, or create custom picture effects and presets? and your live production is ready for its close-up.
Your client expects a high-performance production on a shoestring budget: Rev up your A/V production to industry-grade HD without breaking the bank. Include SDI video support for an end-to-end digital signal, letting you hit deep into pro territory, no matter what league you’re playing in. Enjoy new standards for production value and audience approval.
Your productions on location often leave you with no room and even less time: TriCaster 300 is built to go wherever your next gig takes you, without the extra baggage. Desktop-friendly and backpack-portable. Flying, driving or hitchhiking?production is a walk in the park. Leave other systems’ complicated cabling and add-ons behind. All you need to decide is what to do with the extra room in your car or carry-on.
Live Streaming Video Simultaneously Recorded
You deliver your program to multiple destinations: You can, when both Web streaming and program recording are built right into your production operation. Maximize online views with support for multi-bitrate streaming profiles, and even access online CDN accounts and view streams in real time with a built-in Web browser. Without missing a beat, record the entire program in the background for uploading, later viewing, archiving, or saving to disk.
Stunning Studio Sets and Backgrounds
You’re updating your look and cleaning up your act: Transform your show visually, with a network-style studio setting?without the high cost or heavy construction. Broadcast live from a multi-angle, custom-branded virtual set, and complement your presentation, headline news style, with moving backgrounds and double-box effects.
WTJR engineering comments: In evaluating the Tri-caster the following should be considered. If you record live to tape or live to air, with live Graphics keyed in real time this unit can do that. It replaces the following items (for us here). “DVCpro playback deck and recorder.” The show open and close are played and program is recorded internal to unit. “Edit controller.” Editing is done internal to unit. “Switcher.” The Tricaster becomes the switcher. “Character Generator” The CG is built in, or can be run at external workstation with “live to text” upgrade. These items need to be factored in when one examines the price of the Newtek Tricaster.
Tricaster upgrade to rack mount and more pro options and design the 450 now 455 I believe.
Tricaster-450 Product Highlights
(4) Inputs (2) Outputs, HD and/or SD
14-Channel Live Production Switcher Resolutions Up to 1080p30 / 1080i60
HD-SDI, Component, Composite, S-Video In
LiveText 2 CG SpeedEDIT 2 NLE
Software Control or Optional Hardware
20 Virtual Sets
One-Button Recording & Streaming
Record Up to 20 Hours of HD Video
2 RU High (around 13K for this box)
This is a ongoing post so items will change as data comes in… (last update 6-21-12)
WTJR has 3 Hitichia ht-10 1/2″ 3 CCD cameras setup in studio configuration that we have have been using for 20+ years. We produce on average 12 1/2 hour shows per week. The cameras are trucked in studio from set to set. They all have been rebuilt, some multiple times. We Paid approximately $30K for 3 cameras, including 3 CCU’s, two 30′ CCU cables per camera, 5″ B&W studio viewfinder, remote zoom and focus, 3 tripods with wheels and arms.
The picture is now soft and mushy, whites blooming, and some video noise.
It is time to upgrade. Corporate says it would be wise to have HD capacity in the new cameras. WTJR production says they would like at least one robotic camera but like the old style studio config. Engineering says it would be preferred if all 3 cameras the same type so they match. Also we need tally lights and intercom like we have now. Accounting says as cheap as possible to get the job done with good quality.
Many things have changed over the last 20 years. We now have many different options. 1. Upgrade to current studio cameras like we have now but latest version.
2. Use small HD Robotics camera that have built in remote capability.
3. Upgrade camcorders to a studio setup.
Lets look at these options in detail.
1. Upgrade to current studio cameras like we have now but latest version.
Since we have Hitachi cameras now lets look at what they would cost today.
The studio camera packages on the Z-HD5000 range in list price from $28,830 per camera. This is a HD camera.
(See all Data at end of this post for more options and prices)
Three low noise 2/3-inch, IT-CCDs
800 TVL of resolution
58dB HDTV Signal to Noise ratio
14-bit analog to digital conversion
Optional CCU’s available with switchable 1080i/720P HD-SDI switchable outputs.
CCU HD-SDI outputs with embedded audio (2-chnl)
2 independent program returns (IFB’s) w/ incom mix.
Pros: Standard Studio Camera, with tally, intercom, all on one cable.
Studio grade camera lens with remote zoom focus on camera arm. In control room CCU’s for camera control of video shading.
Cons: Price. Not robotic. It is possible to automate this camera with a third party camera robotic system.
WTJR ENG Comments: Very good, but too much money for us. Old school way of doing things.
2. Use small HD Robotics camera that have built in remote capability.
Robotic Panasonic (or Sony) Cameras (robotic small) Panasonic AW-HE120s
$8900 per camera ***
Three 2.2 megapixel U.L.T. MOS imagers supporting Full HD video capture(1/3 progressive 2.2 megapixel, 3MOS sensor)
1000 TV lines of resolution
60dB signal-to-noise ratio
20X optical zoom lens
RS-422 serial control and IP control with dedicated RJ-45
• HD/SD-SDI and HDMI outputs are standard as well as analog component and SD composite.
• Supports international HD and SD video signal formats including: 1080/59.94p (HDMI only), 1080/59.94i, 720/59.94p, 480/59.94p (HDMI only), 480/59.94i, 1080/50p (HDMI only), 1080/50i, 720/50p, 575/50p (HDMI only) and 576/50i.
***add to price cables Remote control and Intercom and Tally (no manual zoom or focus)
Camera has built in robotics here is example controller for Panasonic camera shown.
Sub-compact remote camera controller
U.S. List Price: $2,135.00
AW-HE50 series cameras via IP, and up to five Panasonic cameras and pan-tilt heads using RS-422 serial control. The RP50 is capable of accessing up to 100 presets for each Panasonic Integrated PTZ camera (the AW-HE50 and AW-HE100), and up to 50 presets for other Panasonic AW-series pan-tilt heads.
Pros: Price. Full robotics. High Quality Picture.
Cons: Tally lights would be a custom add on from switcher. Intercom would now become wireless and need to be acquired. Small lenses. No local operation except trucking and pedstaling camera. No view finder (could be added). Light wieght needs metal plate for tripod head. Camera cable needs to be made up to have all options in one cable. Looks like a security camera.
WTJR ENG Comments : This is the future for many , but no manual control at camera we still do that.
3. Upgrade camcorders to a studio setup.
Option 1. JVC GY-HM790U ProHD ENG / Studio Camera w/Canon 14x Lens
Horizontal Resolution 1080 Lines
Signal-to-Noise Ratio Not specified by manufacturer
1/3″ Progressive 3CCDs
Modular Studio/Field Design
Bayonet Lens Mount
4:2:2 Color Space, Up to 35Mbps Bitrate
1080i/p, 720p, 480i Multi-scan
Native MOV & MP4 Recording
Dual SD/SDHC Slots
Timecode & Genlock
Add following items as required
KA-790 Studio Sled $2099
KA-790 is a mechanical adapter for studio use for the GY-HM790U and KA-M790. (ENG says: dont need it)
It supports the VF-HP790 LCD studio viewfinder on the top and stabilizes the entire system including an optional teleprompter.
A hinged side panel makes it easy to remove the camera for shoulder use.
KA-M790 Multi-core Studio Interface Unit $2,499
The KA-M790 is a small and compact interface unit that enables Studio/EFP operation.
It differs from the interface used with the GY-HD250 system in that all studio functions are now contained within a single unit attached to the camera body.
The GY-HM790/KA-M790 system is now more mobile for EFP applications.
VF-HP790 LCD Studio Viewfinder ($4,169) (what!? outrageous 3rd party cheaper or just drop it)
The VF-HP790 is an 8.4″ XGA (1024 x 768 pixels) LCD studio viewfinder designed to work with the GY-HM790U or the GY-HM700U. Designed to mount to the KA-790 Studio Sled, it is equipped with a large tally indicator and screen hood. A fully digital interface provides all of the camera’s viewfinder indications: safety markers, focus assist, power and clip management. The VF-HP790 is also provided with an HD-SDI input for monitoring an external signal.
Remote Camera Control Connector
A 6-pin remote connector provides a TTL interface to an optional JVC RM-LP25U, RM-LP57U, or RM-LP55U control unit. Extensive control options are available including shading, paint, iris, gamma level, knee, gain, shutter and black level. Functions vary with each unit.
Complete Studio Kit price and options per camera:
JVC GY-HM790U ProHD ENG / Studio Camera w/Canon 14x Lens
JVC HZFM15U Rear Manual Focus Control
JVC HZZS13U Rear Servo Zoom Control
JVC KA-790 Studio Sled
JVC VF-HP790 8.4″ LCD Studio Viewfinder
JVC KA-M790 Multicore Studio Interface Unit
JVC RM-HP790DU HD/SD Camera Control Unit
Price: $23,379.50 (so over double the camera and lens price?!)
B&H # JVGYHM790UK1
1/3″ Progressive 3CCDs
Modular Studio/Field Design
Bayonet Lens Mount
4:2:2 Color Space, Up to 35Mbps Bitrate
1080i/p, 720p, 480i Multi-scan
Native MOV & MP4 Recording
8.4″ LCD Viewfinder, Studio Sled
Rear Focus & Zoom Controls
Studio Interface Unit
Camera Control Unit
Pros: High Quality Picture and camera lens. Lots of options for studio configuration.
Cons: Price when all options added, options not cheap or reasonable price. Need camera control unit not shown. Need cable not shown.
Not robotic. It is possible to automate this camera with a third party camera robotic system.
WTJR ENG comments: The sled and viewfinder we do not need. We do need tally lights so I wonder if dropping viewfinder loses tally? We are looking at each camera separate and order parts per camera. One camera would have telemetric robotics. Maybe more robotics later.
Option 2. XF305 High Definition Camcorders (to convert to studio use with video genlock)
***Need tally intercom zoom focus added and firewire camera control software
Price: $6,995 per camera***
3 Native 1920 x 1080 CMOS Sensors
Horizontal Resolution Not specified by manufacturer
Sensitivity Not specified by manufacturer
50Mbps MPEG-2 Recording
4:2:2 Color Sampling
60p, 60i, 30p, 24p
18x HD L-Series Zoom
Multiple Bit Rates, Resolutions
HD/SD-SDI, SMPTE Time Code, Genlock
Pros: Price. Picture quality.
Cons: Add cable interface, and remote zoom focus, add intercom , add tally, Not robotic. It is possible to automate this camera with a third party camera robotic system. No real CCU but software can interface with camera.
WTJR ENG says: Lots of mixing and matching to get in studio config.
Option 2 (updated without video genlock)
The Panasonic AG-HPX170 is a handheld P2 HD camera which builds on the tradition and success of the AG-HVX200. The camera’s enhanced sensor provides lower noise levels while increasing sensitivity in low-light situations. Unlike the AG-HVX200, the AG-HPX170 does not include a tape drive, opting for a lighter and more durable frame. In this case, “less” certainly means more: removal of the deck translates into a variety of extra features, including a 75mm lens with improved wide-angle capability, vectorscope, waveform monitor, HD-SDI output, a 6-Pin locking FireWire port, and 3 focus-assist modes.Product Highlights
P2 Solid-State Technology
DVCPro HD Recording
1080i/p, 720p, 480i
60i, 60p, 30p, 24p
Variable Frame Rates
HD-SDI, Component, Composite, Firewire
Input and Output Connectors Component Video: Video Terminal (x1 Output)
Composite Video: RCA (x1 Output)
HD/SD-SDI: BNC (x1 Output)
Analog Audio L/R: 3-Pin XLR (x2 Input)
Line: Pin-Jack (x1 Output)
FireWire: 6-Pin Locking
USB 2.0: MiniB
Camera Remote: 2.5mm Super Mini (Zoom), 3.5mm Mini (Focus/Iris)
Varizoom’s VZ Pro-PZFI Zoom/Focus/Iris Controller gives your Panasonic camcorder the highest degree of lens control for nearly every acquisition situation. By combining a pressure-sensitive thumb control with a separate but easily accessed dial speed adjustment, the VZ Pro-PZFI provides exceptional control. This rugged, uniquely styled device attaches to a tripod handle or support bar and brings precision, range, and variable speed to your camerawork. Ideal for tripods, jibs, and other forms of support. $339.95
This Simultalk 24G Communication System from Eartec provides full-duplex digital wireless communication in a compact design. The SlimLine Single headset is designed for those who need comfort in addition to durability. The internal spring steel headband is adjustable to provide the right amount of tension for each user. Soft padding on the headband and earpiece provides added comfort.
The system includes 4 Simultalk 24G beltpacks and 4 SlimLine Single headsets. The Simultalk 24G beltpack is compact, lightweight, and easy-to-use requiring no base station for operation thanks to standard 2.4GHz technology. It features a built-in volume control and a talk/standby switch. The molded belt clip keeps the unit securely fastened to your clothes. $737.50List Price: $800.00
The TL-2 Tally Light is compatible with the tally outputs on the front of the TriCasterTM 300 and provides both a red program and green preview indicators for the camera operator and an ultra-bright LED tally for the on-camera talent. The talent tally can be disabled via a jumper if desired. It connects to the TriCaster TCXD300 via a stereo 3.5mm(1/8) phone jack.
Used directly with a TriCaster Studio or Broadcast you get the red program and ultra-bright talent LEDs. Again this is connected via the 1/8 jack.
The TL-XD is also compatible with the TLC-6 tally light controller for all standard def TriCasters. It connects to the TLC-6 via the RJ-45 jack and Ethernet-style cable. With this configuration you get the red program, green preview and yellow effects LEDs as well as the talent tally.
Mount this 7″ LCD monitor on top of your camera as a studio-style external viewfinder for a more comfortable shooting approach, or use it as a remote source monitor or playback screen in the field. Switch between 4:3/16:9 with a simple press of a button!
The VZ-TFT7 16:9 7″ monitor can be used a variety of ways, most importantly as a large external video display that allows the shooter to step back from the camera rather than standing hunched over while looking through a typically inadequate viewfinder. It can also be used as a lightweight field monitor, remote viewing display, or portable playback screen. This monitor easily switches between 4:3 and 16:9 aspect ratio as well as helpful image orientation controls for DOF adapters. When combined with VariZoom lens controls, you have a studio package comparable to much more expensive setups. For the greatest versatility and value, we recommend the VZ-TFT-7U kit that includes all monitor accessories, including battery, shoemount, sunhood and carrying case.
Vivid, sharp 7″ color screen in 16:9 aspect ratio
Low power consumption (12V input, 10W max)
Lightweight, compact, rugged design
Includes universal AC adapter (100-240VAC input) and 4′ RCA cable
Compatible with NTSC and PAL standards (autoswitch) $284.05
Telemetrics offers a comprehensive line of camera robotics and control systems for broadcast, industrial, educational and military applications.
Our specialized line includes: camera robotics systems including programmable computer controlled pan/tilt mechanisms, weatherproof camera robotic systems, motorized camera trolley systems, advanced control software, and a wide variety of programmable controllers.
Price will be mod per camera item.
Discussion and Data:
When looking at these numbers the question quickly becomes how much does want to spend. As all options will give HD picture output.The cheap way is to get a camcorder and convert it for studio. One of the drawbacks is no genlock on cheaper models, and what of Iris control?, Manual or Auto at camera it appears, not in control room, except via Firewire with the cannon. Also how many wires and of what type do you need to run the camcorder as a studio camera?
The next question is manual vs. robotic control. The panasonic AW-HE120s can not be run in manual mode yet have good robotics.
The “cheap way to robotics is the Sony and Panasonic cameras designed for that purpose, if you can live with a studio camera looking like a little R2D2 Unit.
“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. 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. 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. It has recently introduced a Collaborative Website Editing 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 (ctnonline.net) 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
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
“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.
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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 form.as 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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