I was a CMX guy as well. Got the framed certificate in a box somewhere.
I even got an original manual for the Ampex ACE editor.
My PM hated the GVG-131 but I found it kinda easy, didn't even RTFM.
Did the TD/edit controller thing as well. MY PM told me that it was
the wave of the future :>)
Richard Mills
Cinematography-Photography-Editor
Phoenix, AZ
480-840-1388 (h)
480-522-8788 (c)
On Dec 11, 2009, at 7:53 PM, johnrobmoore wrote:
> Hey I was CMX then ISC/Grass/Editware but the Calloway worked very
> much like it's predecessors. Heck they all came from CMX around
> that time. ET was using Calloways and I had many from there camp on
> staff. This was just when the first GVG-131's were out at a bargin
> of 13K for a three machine rig. Oh and the scratch and sniff jog
> pad. Don't miss that but I do miss the original ISC jog wheel, the
> latter bigger wheel with center touch jog was okay but the years of
> the scratch and sniff were painful. We had one of the first
> GVG-141's at Glendale Studios but they couldn't get it to work so
> they gave us a 41 which was more solid. The switcher was a 300 one
> of the first units and it had come from the Osmond studios in Utah.
> It didn't even have effects dissolve. They modified nearly
> everything but the ME pushbuttons to get it to work with the
> editor. Mighty sweet room when we got done. I TD'd and edited
> pilots right from the control room. No need for post just let me
> grab the edit controller and pick up from the last roll in bang
> when your done your done.
>
> --- In FinalCutPro-L@yahoogroups.com, Richard Mills
> <phxpicsnapper@...> wrote:
> >
> > Calloway edit controllers,
> > NOOOOOOOOOOOOOOOO! :>0
> >
> > Richard Mills
> > Cinematography-Photography-Editor
> > Phoenix, AZ
> > 480-840-1388 (h)
> > 480-522-8788 (c)
> >
> >
> >
> >
> >
> > On Dec 11, 2009, at 1:53 PM, johnrobmoore wrote:
> >
> > > Small world I inherited some of those Sony 910 bays when I was an
> > > editor/post supervisor on the Dom Deluise version of Candid Camera
> > > in the early 90's. First thing I did was get Calloway edit
> > > controlers to replace the 910's. The LA Unitel facility took care
> > > of the maintenance. Nothing like a good hicon reel for wacky wipes
> > > my favorite was the school of fish. Create the body with an oval,
> > > tail with a wedge wipe, modulate the wedge to get tail swimming
> > > motion. Add an eye if you dare. A-53 multipix with warp for wavey
> > > motion and slide the school in source space to move them accross
> > > the screen. Damn I think I'm breaking out in tears. Where's a good
> > > fish wipe when you need one today?
> > >
> > > --- In FinalCutPro-L@yahoogroups.com, "mhollis55" <mhollis55@>
> > > wrote:
> > > >
> > > > John, we must be the old foagies here.
> > > >
> > > > The first real 3D page turn I used was the Abekas A53D, which I
> > > used at Inside Edition. We also used it to do box turns and other
> > > transitions, as well as key effects and certain posterize,
> polarize
> > > effects. But I blew away the other editors at Inside when I used a
> > > 3/4" machine, rolling in tandem (on a Sony 910 editor) to generate
> > > really fancy wipes (that I had a friend lay off for me, white to
> > > black, then reverse from a GVG 200 switcher) using the keyer on a
> > > Grass 110 switcher. These additional wipes really impressed my co-
> > > workers, as they thought I was using the Abekas to do that.
> > > >
> > > > One of my favorite moves was to do a stretch transition,
> > > stretching a frame longitudinally or vertically as I pushed the
> > > video to the incoming picture. I invented that move (for the
> > > workgroup I was in) on the Abekas. I saw my transition ideas
> > > repeated there for years after I left.
> > > >
> > > > I then learned the ADO which did need some really odd numbers in
> > > order to do a page turn. Happily, those who developed the page
> turn
> > > didn't think that they needed anyone to actually pay for their
> work
> > > and the disk with the effect tended to come with the ADO. The next
> > > digital effect box I used was the Grass Valley Kaleidoscope which
> > > was horrendously expensive. It would do a 3D page peel with a
> front
> > > and a back and a shadow if there were enough channels. Each
> channel
> > > of Kaleidoscope cost a quarter million dollars, so to make a cube
> > > in one pass (desirable in the day of the analog 1" machine with no
> > > pre-read) one had to drop at least $1.25 million (an additional
> > > quarter million for a "combiner").
> > > >
> > > > Edit rooms were "á la carte." Generally you'd get 3 VTRs at the
> > > room rate, and then an extra $100 per hour was charged for each
> > > channel of digital effects, each machine added and, perhaps an
> > > additional $75 per hour for character generation. The highest
> > > hourly rate I billed was $1275.00, which I did for three weeks of
> > > eight-hour days. My employer was very, very happy, as that client
> > > literally paid for another digital effect device.
> > > >
> > > > Today, we look at render time. And we grumble when effects
> take a
> > > long time to render. Back in the linear world, everything was real
> > > time, so when you laid it down to tape, it was done. Rendered. And
> > > you could look at the full effect as you were building layers (I
> > > suppose that kind of workflow is available in Motion these
> days, as
> > > you can add effects while you are rolling through your timeline,
> > > but VTRs never dropped frames).
> > > >
> > > > But, when you think about it, everything done to video is a
> > > "digital effect" nowadays. A dissolve is a digitally-produced
> > > transition on a pixel-by-pixel level. Switchers did that by
> using a
> > > key ramp from one source to another, controlled by a timed
> > > transition button or a fader bar.
> > > >
> > > > --- In FinalCutPro-L@yahoogroups.com, John Heiser <jpheiser@>
> wrote:
> > > > >
> > > > > There was a number hack in ADO for creating a page turn which
> > > appeared to
> > > > > twist the page as it moved off the screen, but the original
> ADO
> > > didn't
> > > > > actually do curved surfaces. Quantel was nice but out of reach
> > > financially
> > > > > for a lot of operations. Abekas A53D had a nice page roll and,
> > > with a
> > > > > combiner for multiple channels, you could do it in one pass.
> > > Otherwise, you
> > > > > would lay off your backside pass over superblack to tape
> > > machine, and key
> > > > > that along with the frontside.
> > > > >
> > > > > ----
> > > > > John Heiser
> > > > > o2ideas
> > > > > birmingham, alabama, USA
> > > > >
> > > > >
> > > > > On Thu, Dec 10, 2009 at 11:29 AM, Marilyn Heiss <mdivah@>
> wrote:
> > > > >
> > > > > >
> > > > > >
> > > > > > As far as I know--and I am one of the editors of "mature"
> > > vintage on
> > > > > > this list -- it was a Quantel product that had the first
> page
> > > turns
> > > > > > for tape post. It might have been the Quantel 5000, or maybe
> > > page
> > > > > > turns came in with the Mirage, which is the box that brought
> > > in the
> > > > > > shattering glass effect, among others. I know the first
> > > Quantel boxes
> > > > > > that came into our edit suites at NBC NY were 2D, then one
> > > suite got
> > > > > > the multi-channel Quantel and another got the Mirage. When
> > > ADO came
> > > > > > into the picture in all suites, page turns became the
> > > transition of
> > > > > > choice among many producers--they wanted to use them for
> > > everything....
> > > > > >
> > > > > > I cut a lot of news pieces on economic issues--lots of words
> > > with
> > > > > > little video and a lot of graphic representations--in a
> > > linear room
> > > > > > using a Grass Valley 1600 switcher and a one-channel 2D
> > > Quantel. So
> > > > > > many passes, so many hours to put together something
> that, as
> > > you say,
> > > > > > is now much simpler.
> > > > > >
> > > > > > Marilyn
> > > > > >
> > > > > >
> > > > > > On Dec 10, 2009, at 8:50 AM, Sune Alexandersen wrote:
> > > > > >
> > > > > > > Hi group!
> > > > > > > I'm watching an old Norwegian tv-serie made in 1979 and
> the
> > > opening
> > > > > > > title made me think: how on earth did they achieve the
> page-
> > > turn
> > > > > > > transition before.. Eh... Fcp/Avid.. Everything!!
> > > > > > > They used a lot of effects in the good old days that is a
> > > simple drag
> > > > > > > and drop operation these days..
> > > > > > >
> > > > > > > Hope some of you with the proper mileage could shed some
> > > light on the
> > > > > > > issue!
> > > > > > >
> > > > > > > Regards from rainy Norway,
> > > > > > > Sune Alexandersen
> > > > > > > Sent whilst on the go!
> > > > > > >
> > > > > > >
> > > > > > >
> > > > > > > ------------------------------------
> > > > > >
> > > > > > >
> > > > > > > To learn more about the FinalCutPro-L group, please visit
> > > > > > > http://groups.yahoo.com/group/FinalCutPro-LYahoo!
> Groups Links
> > > > > > >
> > > > > > >
> > > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > >
> > > > >
> > > > > [Non-text portions of this message have been removed]
> > > > >
> > > >
> > >
> > >
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
>
>
[Non-text portions of this message have been removed]
------------------------------------
To learn more about the FinalCutPro-L group, please visit
http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
<*> To visit your group on the web, go to:
http://groups.yahoo.com/group/FinalCutPro-L/
<*> Your email settings:
Individual Email | Traditional
<*> To change settings online go to:
http://groups.yahoo.com/group/FinalCutPro-L/join
(Yahoo! ID required)
<*> To change settings via email:
FinalCutPro-L-digest@yahoogroups.com
FinalCutPro-L-fullfeatured@yahoogroups.com
<*> To unsubscribe from this group, send an email to:
FinalCutPro-L-unsubscribe@yahoogroups.com
<*> Your use of Yahoo! Groups is subject to:
http://docs.yahoo.com/info/terms/
Posts
