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

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

AW-RP50
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

jvcgyhm790u

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
HD/SD-SDI,
FireWire Output

Add following items as required

JVCstudiosled

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.

JVC_KA-M790multicore

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 # JVGYHM790UK1
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: This appears the best match for us but 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)
***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 3

Add on Camera Robotic Systems

telemetrics

Price: PENDING

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:
3x Hitachi ZHD5000 Studio Cameras $28,830 x 3 = $86,4902
3x JVC JVGYHM790UK1Studio Camera setup $23,379.50 x 3 = $70,134*@
( 1 “raw Camera” Price: $8995 , $27K for 3) If we minus Viewfinder and studio sled subtract $6268 ( $17,111.50 x3 =) $51,334.50@
3x Panasonic AW-HE120s $8900 x 3 = $26,700 + controller $2,135 = $28,835*
3x Cannon XF305 High Definition Camcorders $6,995 per camera = $20,985 **@

* add cables and tally Intercom to replace what we have now
** add cables and zoom focus tally intercom to replace what we have now
@ no robotics , robotics must be added to a least one camera (est $5000+)

When looking at these numbers the question quickly becomes how much does want to spend. As all options will give HD picture output.
The next question is manual vs. robotic control. The panasonic AW-HE120s can not be run in manual mode yet have robotics.

_____ More Data Below _____________

#1 Hitachi Camera Options

Z-HD5000-FT – $28,830
Z-HD5000 HDTV Camera Fiber Optic Studio Pkg
I million pixel CCD’s, 900 lines of resolution, 1080i
4 HD-SDI out; 2 SD-SDI out, return video, & prompter
Includes: Z-HD5000 Camera Head and TA-Z3 tripod adapter
VF-HD500 5″ Monochrome CRT studio viewfinder with AT-500 mount
CU-HD500 Fiber Optic Base Station 19″ rack mount with SDI, HD-SDI, 4:3 & 16:9 o
CA-HF1000 Fiber Optic camera head adapter
RU-1000VR small remote control with 30-ft cable

Z-HD5000-FT1 – $36,440
2/3″ HD5000 HDTV Fiber Optic Studio Pkg with lens
I million pixel CCD’s, 900 lines of resolution, 1080i
4 HD-SDI out; 2 SD-SDI out, return video, & prompter
Includes: Z-HD5000 Camera Head
TA-Z3 Tripod Adapter Plate
CU-HD500 Fiber Optic Base Station 19″ rack mount with SDI, HD-SDI, 4:3 & 16:9 o
RU-1000VR Remote Control Unit with 30-ft cable
CA-HF1000 Optical Fiber Camera Adapter
VF-HD500 5″ Monochrome CRT studio viewfinder with AT-500 mount
XA20sx8.5 BRM Fujinon HDTV lens without extender
MS-01 Fujinon rear lens control kit

Z-HD5000-ENG1 – $39,025
2/3″ HDTV Fiber Optic ENG Studio Pkg with lens
I million pixel CCD’s, 900 lines of resolution, 1080i
4 HD-SDI out; 2 SD-SDI out, return video, & prompter
Includes: Z-HD5000 Camera Head
TA-Z3 Tripod Adapter Plate
CU-HD500 Fiber Optic Base Station 19″ rack mount with SDI, HD-SDI, 4:3 & 16:9 o
CA-HF1000 Fiber Optic camera head adapter
RU-1000VR small remote control with 30-ft cable
VF-402 2″ CRT ENG HDTV Viewfinder
XA20sx8.5 BRM Fujinon HDTV lens without extender
MS-01 Fujinon rear lens control kit

Z-HD5000-FT5 – $43,725
2/3″ HD5000 HDTV Camera Fiber Optic 720P Studio Pkg with lens
900 lines of resolution with 1080i output 16:9
4 HD-SDI out; 2 SD-SDI out, return video, & prompter
Includes: Z-HD5000 Camera Head
TA-Z3 Tripod Adapter Plate
CU-HD1000 half rack fiber optic CCU with 1080i, 720P, 480i, & composite outputs
RU-1000VR Remote Control Unit with 30-ft cable
CA-HF1000 Optical Fiber Camera Adapter
VF-HD500 5″ Monochrome CRT studio viewfinder with AT-500 mount
XA20sx8.5 BRM Fujinon HDTV lens without extender
MS-01 Fujinon rear lens control kit
Requires RM-HD1000 dual rack mount for CU-HD1000

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.

Drawings:
Pdf
Nexus 113011 v2
Jpg

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
Nexus112111

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

Part one.

Encoder restart:
Based on a post here:
http://www.serverroom.us/mediapulltutorial

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 C:encoderconfig.wme
windows media pull tutorial
Downloading

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.

http://www.nkprods.com/nmacro/

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 (command.com) 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 (command.com. 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.

http://www.wtjrtv.org/engineering/wp-content/uploads/2009/01/passwordsxplogon.txt

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

http://www.weebly.com/

“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 (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.

Pros:

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.

Cons:

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

http://www.youtube.com/playlist?list=PL1F92CB07A21569D0

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 http://wtjrtv.org/eas/ 

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

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.

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.”

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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