[tig] Telecine suite design

Sam Holtz SHOLTZ
Sun Oct 17 02:15:48 BST 2004


Rob L. Notice how far ahead was AV in the layout and configuration of our
Telecine bays, in 1982 already were built the way described

Sam Holtz
email: samh at ieee.org and sam at ste-ca.org
19174 Doral Place / Porter Ranch, CA 91326-1223
818-366-3659 / FAX 615-658-8742

----- Original Message ----- 
From: "Nichols Craig" <Craig.Nichols at thomson.net>
To: "Andreas Wider?e Andersen" <andreas at smalfilm.no>; <tig at tig.colorist.org>
Sent: Saturday, October 16, 2004 8:51 AM
Subject: RE: [tig] Telecine suite design


thanks to Sol Designfx, division of Cutters Inc.,
for supporting the TIG.
--
The most common error I've seen is to place the monitor so that the colorist
cannot look at it without straining their neck.  Also, different operators
sometimes want subtly different locations for the controller panels, so I
stopped actually mounting them in cutouts, but rather placed them on top of
the console surface.

I have seen some rooms that have so many computers, keyboards, mice, and
monitors in them that they look quite cluttered.  So, unless they have to be
used all at once, I prefer using KVM switches and fewer keyboards, mice, and
monitors when possible.

I have always preferred either placing the scanner where it can be seen but
not heard by the colorist, or putting in machine room with a camera on it.
I have found it best if it can be located to the left or right of the
colorist in a seperate "clean" room with a window. It is also helpful if the
scanner room can be designed so that engineering can come in a separate
entrance and access the scanner without having to disturb the clients. I
prefer rooms where background noise can be at a minimum, so I try to mount
all computers and other devices with fans in the machine room.

The best rooms I've seen are neatly wired with cables dropping through walls
and attached under consoles so they are not visible.

I've used cold cathode back lighting, and also fluorescent D6500 with a
dimmable ballast, and had better luck at lower cost, and easier replacement
part availability, with the fluorescent approach.  If I were doing a room
now, I would also look into some of the fiber optic lighting I have seen
used recently.

The best rooms I have seen are client friendly and have client working space
where clients can also see the monitor, and not the colorists back.  Also,
more and more clients seem to want web, printer, and email access.

Best of luck..

Craig Nichols
Sr. Technical Support Engineer / Film
Thomson Broadcast Media Solutions
craig.nichols at thomson.net



-----Original Message-----
From: tig-admin at tig.colorist.org [mailto:tig-admin at tig.colorist.org]On
Behalf Of Andreas Wider?e Andersen
Sent: Saturday, October 16, 2004 4:47 AM
To: tig at tig.colorist.org
Subject: [tig] Telecine suite design


thanks to Sol Designfx, division of Cutters Inc.,
for supporting the TIG.
--
I'm going to build a suite here and I need some inspiration and practical
tips. Last year I was in London visiting a few Telecine houses, but didn't
take any photos. I was wondering if you would be kind a email me some
photos from your suites and perhaps some "best practices" ideas?

I'm especially interested in the controller-bench, lighting, how/where the
customer sits and how/where the scanner is placed in regard to where the
colorist works.

Best regards,
Andreas



---
Norsk Smalfilm
Andreas Wider?e Andersen <andreas at smalfilm.no>
http://www.smalfilm.no

Tel:    (+47) 38 17 99 16
Fax:    (+47) 38 02 33 84
Mob:    (+47) 90 92 61 21


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Help wanted ads are welcome here on the main TIG; blatant advertising
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For contributions see http://tig.colorist.org the "make a donation" button
at the bottom, thank you!.






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