Miscellaneous

Both tape types use tiny metal particles to retain the magnetic charge that is the recorded video signal. Each has its own strengths and weaknesses based on the process used to put these particles on the tape. In MP (metal particle) tape, the tiny magnetic particles are mixed with an adhesive liquid, which is then brushed onto the tape's surface. This makes for a strong bond that will withstand the rigors of repeated editing passes. In ME (metal evaporated) tape, the manufacturers heat the metal until it evaporates into the surface of the tape. The larger number and smaller size of the bits of metal on this kind of tape allow for better contrast and color recording, but the tiny particles will have a greater tendency to fall off the tape during editing than will those of the MP variety.

"Wet" head cleaners are okay; these usually come with a special cleaning solution that the mechanism carefully applies to the heads. While they may not always work as well as you'd like them to, at least they won't damage your gear. "Dry" head cleaners are questionable. They use an abrasive material that actually grinds the surface of the video head each time you use them. Professionals usually steer clear of this type of head cleaners because they can shorten the life of your video (and audio) heads. Here's how the service pros do it: they open up the VCR or camcorder and apply cleaning fluid with specially-designed chamois-tipped cleaners. This is not recommended for the home user--you can easily knock the heads out of alignment or otherwise damage your gear. If all else fails, pay someone to do it. It's not the cheapest way, but you'll get it done by a professional who can also clean the rest of the machine and check for other problems.

by Randal K. West
October 2005

Every successful shoot starts with a good plan.

If you want to expand your creative horizons and add new and exciting production elements to your videos, start by developing a plan for your production. Selecting the appropriate format, style and production elements will set you up for success.

As Creative Director for an advertising agency, I am regularly part of a dog-and-pony show to pitch clients creative premises for their television programs. In order to make sure that the right creative elements are contained in each premise, we start with a think tank. This is a day long meeting with the client that allows us to gather as much information as possible about the product. There are no bad ideas at this point as any idea helps the creative flow. Your videos can benefit from a similar process.

1. Gather Information

Before you begin to think creatively, do a quick overview of the project. Determine what it is that you hope to accomplish. Identify the intended viewer. Explain how you want your video to affect that viewer. Do you want to motivate, inform or just cause him to relive a warm memory. Try to boil the project down to a single statement that encompasses everything you are trying to accomplish. In advertising, this is called a "Unique Selling Proposition." Actually write down a statement that defines what is unique about the project and what elements must be present in order to produce a successful project. Let's call this the "Essence" of your production.

Next, take a look at all the potential production elements and then allow your time-line, budget, available resources and the appropriateness for the project to dictate what goes into your outline. Once you've defined your project, summarize it in a paragraph. Keep that paragraph in front of you as a constant reminder of what is important in the project.

2. Choose a Format

Part of your planning will involve selecting a format (or combination of formats) to use for your project. There are several formats commonly used for television and video productions.

Interview. A formal interview might take place on a set with the host seated behind a desk, like Leno or Letterman, with the person being interviewed seated opposite the host in a chair. An informal interview could be someone in a reporter role interviewing a coach on the sidelines of a football game, or a starlet on the red carpet before the Oscars. Additionally, the interviewer may be seen or unseen.

Documentary. A formal documentary might use a voiceover to describe the events that lead to the Battle of the Alamo, featuring drawings from the period and using black and white footage from old films that depicted the battle, like a PBS documentary on the Civil War. An informal documentary could be comprised of interviewing the cast and crew of an upcoming musical as they prepare to open a new performing arts facility. Rather than having a formal narration to describe the events leading to the opening, ask questions of the actual participants that will lead to a body of material from which you may cut your entire documentary. In the real people's own words.

Video Magazine. In this format the hosts are usually behind a desk or newsroom platform but two hosts banter between themselves, the tone is lighter and entertainment value is increased.

Story Based. A story-based piece requires a complete script and actors to perform scripted lines. This is the most sophisticated and complicated format as it includes getting actors to say someone else's words and yet come across as real people conveying real emotions. It might also involve the actors doing written recreations of events. These scenes can be shot in a studio or on location.

Talking Head. This is the simplest format. It is less complicated than an interview only because a standard interview usually involves more art direction and feeling of environment than a talking head segment. Talking heads can be shot with multiple cameras or film style. A film style single camera shoot involves shooting the person answering the questions first and then re-creating the questions with the interviewer later. Be sure to shoot reaction shots of the interviewer, "noddies," so you can edit to the reactions in order to compress the guests answers without a jump cut.

3. Select a Style

Selecting the style you will use is essentially identifying the personality of the project. What is the flavor or feeling you want the program to convey? Is the presentation essentially formal or informal? Is it serious or silly? An interview, for example, can be formal (the 6 o'clock news) or informal (Oprah). A documentary can be narrated or it can utilize real people telling their own stories. In a lecture format, the speaker or topic will dictate the tone. A video magazine program like 60 Minutes is less formal than the Nightly News, where an anchor throws to field pieces.

4. Add Appropriate Elements

Once you've determined the format and style, you can decide which elements are appropriate for your project. Does any footage related to the subject already exist? Be sure to examine all possible existing footage before final planning. Even if you don't use it, you might learn something about how the subject is best shot. If your subject involves following a process (remodeling a room, painting a picture, losing weight), consider before and after shots. These can be quite inspiring. I once shot a video designed to get the Mayor of a city re-elected to a fourth term. By showing what the city had looked like before he took office and what it looked like after, voters could see the difference he had made.

Aspirational shots ("aspirational" is an adjective in advertising lingo) can be created by simply locating a model who has the right look or by searching the Internet for inexpensive stock footage shots. When your video is talking about how wonderful it is to live an active older life, you cut to your aspirational shots (perhaps stills even) of attractive older models playing golf or sitting by a pool.

Product Demonstrations are often useful, where appropriate. A comparison between the old way and the new product can be a great element. Product demonstrations are straightforward, with possibly an expert performing the demo, or they can be light and fun (or even outrageous), as long as the power of the demo is maintained.

Since the development of pop-up video (interesting or pertinent information that overlays the video), the use of factoids has become popular. A factoid is simply an element related to the subject that is popped on in text or portrayed in both a voiceover and text.

5. Try Testimonials

Testimonials are particularly powerful. There are a few ways to incorporate testimonials into your project. The first is to interview a real group of everyday people who are doing the activity or using the product. The cheapest and easiest way is to bring all the people to one location and shoot them with the same background. However, this can look visually dull after a few shots. You may be able to get three or four usable locations out of the same room by picking multiple set-ups within the same general location. Sit just left or right of the lens and establish strong eye contact with the person. Don't have them look into the lens unless they are very comfortable on-camera and even then only when what they are going to say is a personal appeal to the viewer. Talking right to a camera can be uncomfortable to the performer, (no human contact or feedback) and to the viewer, (the person is looking right at me). If you identify a particularly strong testimonial, you might want to arrange to shoot B-roll (shots without sound) of that person doing what they talk about and build it into a full feature for your piece.

If you shoot before an audience, you can ask for their reaction to what they've seen. You can do instant testimonials or a mall intercept, where people try your product or activity and you shoot their reactions. You can also shoot man on the street pieces. Make sure that if you shoot real people for testimonials that you have them sign a simple release which states that you can use their image and not pay them.

Expert testimonial is usually shot a little more formally. Keep in mind that having an expert might provide material that substantiates your belief in your topic, but an expert can also be a dynamic video presence. Sometimes a little science can go along way. You can choose to shoot the expert as a stand-alone testimonial or have him interviewed by a host or hostess. An expert can also analyze the action or perform a play-by-play description of an event.

The Essence

Pre-planning your video project and creating a project essence that acts as your reference, along with a realistic time-line and budget, will help you select the right format, style and elements for your production. Once you start shooting with expanded creative visions, your palette will keep growing and growing. As a Creative Director, one of my favorite exercises is trying to match the format and elements to the project. I think you'll find as much fun in this as I have, and your videos will look better and be more effective in influencing your audience.

Randal K. West is the Vice President/Creative Director for Hawthorne Direct, a Direct Response Television Advertising Agency.

Video Essence

Here is an example of a video essence brainstorm for a Public Service video for a local Kiwanis Club:

Needs to portray the focus of the club as one which helps children by raising money and distributing it to children's causes and individual kids.
Needs to show that the club is both local, regional and nationally based.
Needs to seem fun and fulfilling to be a club member.
Needs to seem like the club is open to all ages, all types and both men and women.
Needs to be engaging, visual and dynamic.
Will It Work?
Three factors usually limit whether an element will work in your production:
Time
Does the production timeline allow you to spend the time required to add this element?
Money
Will the budget allow you to expend the money required for the element?
Style
Is the element stylistically appropriate in the piece?

http://www.videomaker.com/article/9313/

Contents:

About the Author & Copyright
Introduction
Safety
VCR behaving strangely
Ejecting a cassette from an uncooperative VCR
Video turns to snow while watching a movie
Recovering damaged or broken tapes

1. About the Author & Copyright

Author: Samuel M. Goldwasser

E-Mail: sam@stdavids.picker.com

Corrections/suggestions:

Copyright (c) 1994, 1995, 1996

All Rights Reserved

Reproduction of this document in whole or in part is permitted if both of the following conditions are satisfied:

This notice is included in its entirety at the beginning. There is no charge except to cover the costs of copying.

[Document Version: 1.11] [Last Updated: 7/30/96]

2. Introduction

This document is intended to apress those problems with your VCR that just cannot wait. For detailed troubleshooting and repair procedures, refer to " Notes on the Troubleshooting and Repair of Video Cassette Recorders". Most of the information in this article is a subset of what in that document.

3. Safety

If you remove the cover(s) of a VCR (ignoring the warnings about no user serviceable parts, etc.), there are some risks to you and your VCR. You also, of course, void the warranty (at least in principle). Therefore, if the unit is still under warranty, having it serviced professionally may be your wisest option. Since nearly everything described below can and should be done with the plug pulled from the outlet, there is little danger to you electrically as long as you stay away from the power supply (usually where the cord connects) where some large capacitors may retain a charge for as much as few minutes.

There are, however, various sharp sheet metal brackets which will be out to attach you if you reach into the bowels of the VCR. Just be aware of this hazard as you poke and prod (but only where directed!). To avoid damage to the VCR, don't turn anything you don't understand fully and stay away from the video drum (the roughly 3 inch diameter cylinder mounted on an angle (this is normal, don't use Vise Grips in an attempt to straighten it out!!!). The reason is that the parts of the VCR that scans the tape - the video heads - are very fragile being little chips of ferrite - a ceramic material.

4. VCR behaving strangely

Try unplugging it for a couple of minutes. Sometimes, a power surge will put the internal microcomputer into a confused state and just resetting it is all that is needed.

5. Ejecting a cassette from an uncooperative VCR

It is a common experience - the rental movie is due back at the video store **now** but no matter how you press the EJECT button, yell, scream, hold your breath, or jump up and down, the cassette refuses to be appear. This section only deals with getting the cassette out without damaging either your (or the video store's) valuable recording or VCR. Under no circumstances should you force anything - both your tape and your VCR will be history! If the rental tape really needs to be go back and you are unable or unwilling to risk going into your VCR, explain the situation to the video store - they would rather you get it out in such a way that it is not damaged just as much as you do.

First, see if the VCR just got into a confused state - pull the plug and patiently wait a minute or two. This will seem like an eternity but may reset the microcontroller and all will be well. These things happen. If this is not successful, you will need to open up the VCR (unplug it first!) and attempt to cycle the mechanisms by hand. Probably both top and bottom covers will need to be removed. This will require a medium size philips screwdriver. There are usually 2 to 4 screws on top and 2 to 10 screws on the bottom. Don't be tempted to turn anything you see in there just yet! CAUTION: Do not plug the VCR into the AC outlet while in the miple of this treatment as there is no telling what it will do. The end result might be more of a mess than what you had originally! The VCR might in its infinite wisdom decide to complete the eject cycle but catch the tape on some guidepost or crinkle it in some other creative manner.

The following procedures assume that there are no broken parts, foreign objects, or other damage which might prevent manual cycling of the tape loading and cassette loading mechanism. (Inspect for toys and rocks.) Also note that some VCR designs use solenoids to engage various operations. This will complicate your task (to put it mildly) as locating and activating the proper ones at the appropriate time is, well, a treat. Depending on what the VCR was doing or attempting to do when it got confused, you may need to do both (1) and (2) or just (2).

Tape unloading

The first step is to determine if the tape has been unloaded from the video head drum back into the cassette. If the tape is fully retracted into the cassette - there is no tape showing, then go on to step (2). If not, you will need to figure out which shaft or pulley to turn to unload the tape. Trace the linkage or gears that move the roller guide assemblies back to their motor - it may be the main capstan motor or a separate small motor used only for this purpose. (The roller guide assemblies include a white (usually) ceramic roller on a vertical post along side a funny looking tilted guidepost. They slide on tracks on either side of the video head drum and position the tape wrapped around the video drum.). Rotate this in the direction which moves the roller guides back towards the cassette.

It will take many revolutions - be persistent. If you feel any significant resistance or the roller guides move out toward the drum, turn the other way. The tape is fully unloaded when the roller guides are all the way into the cassette and the tape is straight across the cassette's stationary guideposts.

If a single motor performs both the tape loading and cassette loading functions, stop turning as soon as you see the cassette start to rise and read the next section before proceeding. If you are not fully successful or if there is still a tape loop outside the cassette even once you have been turning for what seems to be an eternity, you can still try to eject the cassette but will need to be extra careful not to crinkle the tape as the cassette door closes with the tape sticking out. Before proceeding on in this case, try to find a way to turn one of the reels to pull that tape back in as this will make your task a lot easier. There may be an idler that swings between the two reels and this may be accessible from the bottom (the cassette will block it on top).

Cassette unloading

Once the tape is fully retracted into the cassette, the cassette can be ejected safely. If a tape loop is still sticking out of the cassette - and you care about the recording - you will need to be especially careful not to crinkle the tape as the cassette door closes. It is usually not possible to get the cassette fully out without its door closing, so the best you can do is to make sure when this happens, the tape is flat across the gap. With care, it should survive. On a top loader, there is usually a solenoid specifically for EJECT or a simple mechanical pushbutton. Once the appropriate lever is pressed, the cassette should pop up - hold the basket with one hand as you do this to prevent any exposed tape loop from being crinkled. On a front loader, locate the cassette loading motor and begin turning it in the appropriate direction - this will be fairly obvious assuming there are no broken gear teeth or other broken parts and that something isn't totally jammed. If this is the main capstan motor, then just continue turning as in (1). Eventually the cassette should raise up and out. If you have a tape loop, be extra careful not to catch it on any guideposts or obstructions as you remove the cassette. Then, wind it back into the cassette by turning one of the reels (you may have to depress the release button on the bottom of the cassette with a pencil - this is the small hole in the center near the label side.) Assuming the tape is not torn and not badly crinkled, it should be fine. If it is severely damaged, refer to the section: "Recovering damaged or broken tapes".

6. Video turns to snow while watching a movie

The most likely cause especially with old or rental tapes is that some oxide came off of the tape and clogged the spinning video heads. The oxide on old tapes tends to flake off and rental tapes are subject to abuse in VCRs of questionable pedigree. They may be creased or crinkled. Sometimes more serious damage results but in most cases, a good cleaning of the video heads (and other parts of the transport while you are at it - see the VCR FAQ apitional info), possibly by hand, will restore your VCR to perfect health. CAUTION: Read the following in its entirely to avoid an expensive lesson. Improper cleaning can ruin your expensive video heads. The head chips are very fragile and just rubbing them in the wrong direction (NEVER use an up-and-down motion) can break them completely off.

Manual cleaning using the proper head cleaning sticks is best but requires that you gain access to the interior of your VCR - i.e., take off the cover. If you do not want to do this, you can try a wet type head cleaning tape. I do not recommend the dry type as they are much more abrasive and may cause premature wear of your video heads especially if used regularly. When using the wet type cleaning tapes, follow the directions and - very important - wait sufficient time for everything to dry out

CAUTION: If you do not wait long enough, the consequences can be unfortunate (and impressive) - wads of tape wrapped around the drum and caught in places where no tape should tread. Damage to the heads can also result. Needle to say, that tape will be ruined. To clean by hand, you will need what are called 'head cleaning sticks'. These are covered by chamois and are safest. DO NOT USE QTIPS (COTTON SWABS). These can catch on the ferrite cores and damage them or leave fibers stuck in the heads. QTips can be used for cleaning the other parts like the rollers and audio/control head but not the video heads.

To use the cleaning stick, moisten it with head cleaner or alcohol. Pure isopropyl is best, however, the 91% medicinal stuff is ok as long as you dry everything pretty quickly. Don't flood it as it will take a long time to dry and you run the risk of any water in the alcohol sitting on surfaces and resulting in rust (very unlikely, but don't take the chance). WARNING: Do not use any strong solvents like acetone (nail polish remover), paint thinner, fuming sulfuric acid, etc. Some of these may eat at the adhesives or plastic components of your VCR. Gently hold the flat portion of the chamois against the upper cylinder where it is joined to the lower (non-rotating) cylinder. Rotate the upper cylinder be hand so that the heads brush up against the moist chamois.

WARNING: DO NOT MOVE THE HEAD CLEANING STICK UP-AND-DOWN - you will break the fragile ferrite of the heads - $$$$. Side-to-side is ok as long as you are gentle. Depending on how dirty your heads are, a couple of passes may be enough. Let everything dry out for at least 1/2 hour. This process can be repeated. However, one pass will usually do it. In apition, inspect and clean the drum itself staying safely away from the video head chips. The five fine grooves in the drum help control the air bearing that the tape rides on and helps to stabilize tape motion. These should be clear of dirt and tape oxide (DO NOT use anything sharp or hard - the moistened head cleaning sticks will work). WARNING: Don't be tempted to try to clean the heads when they are spinning while playing a tape. Professionals may have their favorite technique but just stick to the recommendations above until you have cleaned your 1000th VCR!

7. Recovering damaged or broken tapes

So you just pulled your favorite tape from the VCR and there are two tape ends dangling from it. Or, perhaps, your VCR has just munched on that tape and a section is now seriously crinkled. Maybe you haven't been following the recommendations on preventive maintenance; maybe your VCR was just hungry. In any case, what to do? The recording is, of course, irreplaceable. Despite this, I recommend you chuck it. An imperfect splice or seriously crinkled section of tape can shatter your video heads - the most expensive single part in a VCR. If it is something you really treasure, than what I would do is the following:

NOTE: If you have never seen the inside of a video cassette, try the following on a couple you really don't care about first so that if you screw up, there is no great loss. Too bad AOL doesn't send out Internet software on video cassettes, huh?

CAUTION: The video tape itself is really really thin and easily crinkled. Be very gentle when handling it and avoid touching the oxide (dull side) if at all possible.

Locate a garbage cassette and disassemble it. Throw away the tape but save everything else including the reels.

Construct two cassettes from the combined collection of parts you now have. Cut out any sections of tape that got mangled. Cassette 1 has the first section of tape (before the break) and uses one empty reel from the garbage cassette for the supply reel. Rewind this to the beginning. Cassette 2 has the second section of tape (after the break) and uses the other empty reel from the garbage cassette for the take-up reel. Use the little plastic plugs that came from the garbage tape reels or some adhesive tape to connect the tape to the reels.

If the break is at one end, you can just reconnect the bulk of the tape to the reel and dispose of the original leader. Just don't rewind or fast forward all the way to the end as the automatic end sensor will not work (for the particular end that has been repaired).

Copy to a good cassette.

Dispose of the original(s) or clearly mark 'DO NOT USE' with a detailed explanation.' Filip (I'll buy a vowel) Gieszczykiewicz (filipg@paranoia.com) is a little more definitive about this: "I find the destruction of it more fulfilling :-) ... put it in a paper bag and smash the life out of it with a big, heavy hammer - or a small ball hammer for an even higher satisfaction ratio :-)"

The idea is to never have a splice in a VHS cassette. (Even a seriously crinkled tape such as might result from a tape eating incident can damage the heads.) It is possible to splice safely but as noted, it can be quite costly if you don't get it quite right.

Written by Samuel M. Goldwasser.

When you rent equipment, take a Polaroid picture of it in its case before you leave the rental company. The picture will not only help you repack the gear, writes Pat Sergeant of West Virginia University; it also may serve as record of the gear's condition when you received it, in the event of a dispute when you return it.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Keeping small parts from rolling off of your work bench and keeping your clothing lint-free can be accomplished using the same common item--unneeded manufacturer's tape labels-according to tipster Alberto Arce of Channel One in Los Angeles. Small objects placed on the sticky side of the labels stay put and, unlike cups, the labels don't tip over - but they do remove lint from fabrics.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Blocks of 2'X4' wood with hook Velcro on the bottom can help prevent equipment from rolling around in the trunk of your car. The Velcro strip will grab the loops of the carpet. If the floor of the trunk is naked, you can use double -sided tape to glue down carpet samples that are available from most stores that sell floor coverings.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Detachable AC cords are magnetically repelled by the unit they are intended to power. That's why you will hardly ever find them together. Philip Bergey of VMI in Sunnyvale, California, suggests shackling the two together with a stick-on-type plastic wire tie. Be sure, however, to leave enough slack so the cable an be unplugged in an emergency.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Here's another excuse to browse through the gadgets at your local military surplus store: Cynthia Zeiden, a video producer at KCSM television in San Mateo, California, says that spare MP-1 type batteries fit nicely into an M-16 clip pouch.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

I sometimes use a large golf bag to carry extra light stands to shoots, but this doesn't work very well when I travel by plane. John Marsh, a producer at Lawyers Communication Network in Midvale, Utah, solves this problem by packing his stands in a hard plastic case that is more commonly used to ship a golf bag. The case is extremely durable and a lot less expensive than a commercial light-stand case, John says.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Wondering what to do with the extra tape cases cluttering your studio? Jeffrey Page, a producer at Channel 3 Video in Providence, Rhode Island, cuts the hub spindles off and uses the boxes to store everything from wireless microphones to his talent's makeup. The boxes stack neatly, Jeff says, and a description of the contents can be slipped into the label area.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Airport X-ray machines won't affect videotape, but they can damage still and motion-picture film. Here are tips from Michael Parker of Media Concepts in Santa Clara, California, for preserving your images.

Baggage-check X-rays are more powerful than those used for inspecting carry-on luggage, so try to carry your film and ask for hand inspection. Put 35mm cartridges in a clear plastic bag for easy inspection; carry a changing bag so the official can inspect motion-picture film. Even if an inspector refuses to hand-inspect, the film will be subjected to less radiation than it would have had it been checked in baggage. For more advice, Parker recommends visiting Kodak's Web site, at http://www.kodak.com.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

You need to install speakers so the wires entering the wall behind them come back out through a hole near the baseboard. How do you fish the wire out without destroying the wall?

Phil Gordon, a system installer in Denver, suggests this method: Fold a thin metal tape measure in half, then push the miple through the lower hole until it bends out to form a loop. Push the speaker wire into the upper hole until the end reaches the floor inside the wall. The wire should pass through the looped tape measure. Pull both ends of the tape. The wire should come out of the hole with it.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Checking video equipment as airline baggage or shipping it as freight means there's a chance it will be stolen or tampered with. Using the theory that thieves can't steal what they don't know about, Harold Russell, video product manager at NewTek, says you shouldn't ship your equipment in its original packaging. In fact, he stencils the words "Fish Eggs" or "Live Fish" on his cases to make them less susceptible to tampering. Harold also suggest that you apress packages to an individual, not a video-related company. Use your own name, not your company's, in the return apress.

When I travel, I put my equipment cases in old suitcases purchased from thrift shops or garage sales.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Do you often need to ship film or other temperature-sensitive material? Visit your local pharmacy or hospital. Bob Stephanic of Mt. Clemens, Michigan, says these places might be willing to give you their used cardboard, foil, Styrofoam and other insulating materials that they use to transport and store pharmaceuticals.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

According to a recent study, the problem with 90 percent of equipment sent for repair can be traced to the cable. This validates the box of spare cables I keep in my production van.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

An improvement of our March 1997 tip about using a paper clip as a zipper-pull comes from Bradley Ross of King of Prussia, Pennsylvania. He says that wrapping electrical tape around the clip after you have attached it to the zipper will keep the clip from being pulled apart while also improving your grip. Using colored tape may help you identify the bag.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

An old roll of masking tape that has become hard an difficult to peel can be softened by microwaving it for about 20 seconds. Just remember not to leave the microwave unattended while your tape is softening.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

John Meece, multimedia specialist at Miami Valley Hospital in Dayton, Ohio, needed to cut a 24-inch circle from white poster board. The circle was to be inserted over the head of a marching-band bass drum, so it had to be perfectly round. John improvised a compass by putting an extra grip head on the arm of a C-stand and clamping a pen into each head.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

If you're like me, your budget demands that your editing VCR do double-duty as a home VCR for viewing rental tapes. When renting videos, I sometimes come across tapes that are defective, damaged or generally not fit to put into my expensive machine. At one time, I even found a tape that someone had spliced with PVC electrical tape. Can you imagine what that might have done to my expensive Panasonic AG-1960 editing VCR?

I've since come up with some basic inspection practices that I have to my friends and family for watching rental tapes. First, visually inspect the outside of the cassette. Look for tears or rolls on the labels, which tend to get caught in the cassette loading mechanism. Next, inspect the cassette shell and its mechanics. Check to see tat both spindles float freely in the shell. Operate the access door carefully, and make sure it moves freely and the hinges aren't broken. Finally, inspect the tape itself. Look for tears, twists, wrinkles and foreign matter. Replacing sensitive video heads damaged by bad tapes can be very costly.

It's a good idea to perform these inspections before you leave the store, so that you don't get stuck paying for a tape that you wouldn't want to insert into your VCR.

Mark Randazzo
Garden City, Michigan
From:
Videomaker
November 1997
http://www.videomaker.com/

Many batteries are easily damaged by overcharging, and unfortunately many battery chargers let out a slow trickle of electricity even after charging is completed To solve the problem, use a lighting timer. This device, designed to turn your lights on and off while you're away on vacation, can be set to shut off the current feeding into the charger after a specified amount of time. I purchased one at a discount department store for $4.99.

WH Russ
Rosewell, New Mexico
From:
Videomaker
November 1997
http://www.videomaker.com/

After reading Jim Stinson's article "Writing Video Letter" (May 1997) I realized a great potential for this kind of videography. Why not send a videotape and an inexpensive camcorder around to several members of your family and ask each of them to ap their own segment to the video? This has the dual bonus of giving each family member an update on what's going on with the others, while also giving everyone the chance to participate in the creation of a family video. I have tried this method with great success, giving everyone involved a deadline to get the video back to me. When thousands of miles separate family members and family reunions aren't feasible because of conflicts in scheduling or distance, the video round robin is an excellent way to stay in touch.

Frank Cooper
San Jacinto, California
From:
Videomaker
November 1997
http://www.videomaker.com/

The following suggestions for the storage and preservation of videotapes are a combination of manufacturers' recommendations, ANSI and SMPTE recommended practices, and experience with old and obsolete tapes, as well as good common sense. The reader is advised to read the full ANSI and SMPTE recommendations for more information.

Keep videotape cool and dry, and away from curious fingers. A stable, cool, and dry environment is one of the most important aspects in tape longevity. You are better off keeping the tape in a place that has constant temperature and humidity than in a cooler place with lots of traffic. Tapes left for the curious to handle will be destroyed: it's only a matter of time.

Protect your tapes from physical damage. Cardboard sleeves and inexpensive "library" cases provide little protection for either the cassette or the tape inside. Often these inexpensive cases are made of materials that deteriorate over time. Protect your investment with a high-quality shipping case or "shipper." These cases are inexpensive, reusable, and will last many years, providing apitional protection against natural disasters such as floods.

When in doubt, make a copy. You cannot recover from a lost single master. If you only have one copy of a tape, never allow that copy to circulate. Copies are inexpensive to make and are your only absolute protection against the loss of the program. Often you can recover if you have made copies, even if the quality is lower. Ideally keep copies in different places, and make copies at different times so that they do not all age together.

Make sure the machine works before you insert a tape. One of the biggest causes of damage to tapes are machines in bad condition. If you're uncertain about a machine's condition, insert a tape that's not valuable to ascertain that condition. If a tape is damaged, do not insert it into a VTR, the tape may damage the machine.

Keep videotapes clean. And keep videotapes away from heat, and very strong magnetic fields. It may seem obvious, but then again do you store any of your videotapes at home on top of the TV? Dirt, humidity and heat are the main enemies of videotape and can make the tapes difficult to play back in short periods of time. You need a very strong magnetic field to damage modern tape, but older tape can be damaged by fields that are weaker. Very long exposure to magnetic fields that are in close physical proximity can cause damage.

If possible, know what type of machine the tape was recorded on, and when the recording was made. It may not seem important now, but 20 years from now it may be crucial to making transfer simpler. The practical reality is that there are many videotape formats that become obsolete quickly. Knowledge of the machine that recorded the tape originally can be extremely valuable.

Always label your tapes. Unless a tape is properly labeled, the only way to know its contents is to play that tape, and if the tape cannot be played back without restoration, how do you know whether the contents are valuable enough to justify restoration costs? Even a simple card system can go a long way in helping to know the contests of a tape, long after the tape has been completed.

Know when you need professional help. Many times local expertise is simply not qualified to deal with videotape restoration issues. Damage to a tape that is caused by well-meaning people "trying to help" may be permanent. Become the organization expert, and know when to call for help.

Jim Lindener
Videography
December 1997

Although they frequently need to be removed, cassette labels seem to be attached with a glue backing that could be used to keep a space shuttle together. Bill Stephens, a producer in Reno, Nevada, breaks the iron grip by heating the label with a hair dryer, then slowly peeling it off. Any remaining residue can be removed with rubber-cement thinner or Goo Gone.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Delta is enforcing their size restriction for airline carryones. Your carryon will need to fit in a sizing box 24" X 16" X 10". What does not fit in this box, located at the flight gates, will have to be checked as baggage.

Here is what to do to make sure your camera fits:

Leave off the wide-angle adapter, the wireless and the wireless mounting, side plate, leave off the battery, and leave off the mini-batt light.
Doing the above will make BVW400a's 21.5" X 11.25" X 9.5" and the BVW7a's 21.5" X 13" X 9".
Camera bags will not fit.

Delta will not make any exceptions for video camera. Some freelancers have already been bumped from lights, so please heed this warning.

Need to store or ship CD's and don't have proper packaging? They fit very nicely in 200-foot film cans. Put a thin layer of foam or facial tissue between the disks to prevent damage.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

When you transport a video lens, its internal workings will be best protected if you follow the "wide, wide, and wide" rule: Set the focal length to the widest zoom, the f stop to the widest aperture, and the focus to the widest distance - infinity.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Before your shoot, try to convince your actors that they will look much better in the finished product if they wear "video-friendly clothes." They should not, for example, wear anything that is extremely light or dark. Such clothing can cause contrast problems and loss of detail. A gray or brown suite is better than a black or dark navy one. White shirts and blouses should be replaced with earth colors or pastels.

In apition, women should avoid flouncy necklines and large necklaces, which might look good from a distance but can interfere with a lavalier microphone. They also draw attention away from the subjects' face.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

The lightweight black cord used for zillions of purposes around a studio or stage is called trick cord. The folks at Muson Theatrical in Santa Clara, California, store their trick-cord reel and keep it from rolling across the floor by mounting it on a piece of pipe threaded through a milk crate. Caps on the ends of the pipe will keep it from slipping out.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

To determine how much cable I need for a project, I use a rolling ruler like those used by police officers at accident scenes. The problem is that camera cables, which are usually made in Japan, are labeled in meters, and the roller measures distances in feet. Therefore, I have attached to the device a sticker that lists the most common conversions.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Several rotating sets of rechargeable AA batteries keep the wireless intercom headsets at KTEH television in San Joes, CA going around the clock. When a set goes dead they are replaced by a set from the charger. Problems occurred because the charger doesn't have a "ready" light and there was no way to know if the batteries had been in it long enough to be fully charged.

Acting Chief Engineer Richard Medrano solved the problem by figuring out how long it took to go from dead to a full charge and putting a wind-up kitchen timer next to each charger. When the timer reaches "0" everyone knows the batteries are ready.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Sandbags are great safety devices. Andy Hartman, a producer/director at Cox Communications, makes his own from old blue jeans. He says: First cut off the legs in varying lengths for different size sandbags. Then, fold over one end and sew it up with heavy-duty thread. Next, fill a large, self-sealing, heavy duty, plastic food bag with sand. It's a good idea to reinforce the closure with tape.

Put the bag inside the piece of leg, fold the end over, and sew it closed. You now have two durable sand bags and a new pair of shorts.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

These days it seems almost every piece of battery-operated equipment comes with a plug-in power supply or "wall wart." Because of their size, one wart can block up to three sockets on a typical power strip. Here are three tips to get around the problem.

1) Whenever possible place the wart at the end of the power strip where it s bulk will hang over the end instead of blocking other outlets.

2) Anthony Burokas, Media Technician at IEBA Productions in Philadelphia, suggests using ground lift adapters to raise the wars above the regular plugs. Sometimes you can even use multiple adapters to alternate high and low along the power strip. Most warts are ungrounded anyway so there is no safety problem.

A shorter extension cord stored with the power adapter will keep it out of the way whenever it is used.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

A tripod is perhaps the most awkward piece of equipment we normally carry. Hal Donovan, video communication specialist for the Hazelwood School District, made his tripod easier to transport by aping a handle to the balance point on on of the legs.

The handle is actually a door pull which is attached by two worm clamps. All the parts come from the local hardware store. Hal said he cut the excess strapping from the worm clamps with a hack saw then filed down the rough edges. If your tripod needs something to hold the feet together, a small dog or cat collar may fill the bill.

From: Dick Reizner
To share your tips for possible inclusion in his article in Videography magazine, contact Dick at:
Reizner & Reizner Film & Video
7179 Via Maria, San Jose, CA 95139
dickreizner@worldnet.att.net
All submissions become the property of Reizner & Reizner. None can be returned.

Not all television sets in the world are equal. Different countries use one of the three main video standards - PAL, NTSC or SECAM. This means that a videotape from a PAL country will not play in a VCR in a country that uses the NTSC standard.

Afghanistan PAL

Albania PAL

Algeria PAL

Angola PAL

Argentina N-PAL

Australia PAL

Austria PAL

Azores PAL

Bahama Islands NTSC

Bangladesh PAL

Barbados NTSC

Bahrain PAL

Belgium PAL

Bermuda NTSC

Bolivia PAL

Botswana PAL

Brunei PAL

Brazil M-PAL

Bulgaria SECAM

Burma PAL

Burundi SECAM

Cambodia NTSC

Cameroon PAL

Canada NTSC

Canary Islands PAL

Chad SECAM

Chile NTSC

China PAL

Colombia NTSC

Costa Rica NTSC

Cuba NTSC

Cyprus PAL

Czechoslovakia SECAM

Denmark PAL

Dominican Republic NTSC

Ecuador NTSC

Egypt SECAM

El Salvador NTSC

Ethiopia PAL

Fiji PAL

Finland PAL

France SECAM

Gambia PAL

Germany PAL

Germany (formerly East) SECAM

Gibraltar PAL

Ghana PAL

Great Britain PAL

Greece SECAM

Greenland NTSC

Hawaii NTSC

Holland PAL

Honduras NTSC

Hong Kong PAL

Hungary SECAM

Iceland PAL

India PAL

Indonesia PAL

Iran SECA

Iraq SECAM

Ireland PAL

Israel PAL

Italy PAL

Ivory Coast SECAM

Jamaica SECAM

Japan NTSC

Jordan PAL

Kenya PAL

Korea (VR) PAL

Korea (rep) South NTSC

Kuwait PAL

Lebanon SECAM

Liberia PAL

Libya SECAM

Luxembourg PAL

Madeira PAL

Madagascar SECAM

Malaysia PAL

Malta PAL

Mali SECAM

Mauritius SECAM

Mexico NTSC

Micronesia NTSC

Monaco SECAM/PAL

Mongolia SECAM

Morocco SECAM

Mozambique PAL

New Caledonia SECAM

New Guinea PAL

New Zealand PAL

Nicaragua NTSC

Netherlands PAL

Nigeria PAL

Norway PAL

Oman PAL

Pakistan PAL

Panama NTSC

Paraguay N-PAL

Peru NTSC

Philippines NTSC

Poland SECAM

Portugal PAL

Puerto Rico NTSC

Qatar PAL

Romania SECAM

Russia SECAM

Rwanda SECAM

Samoa NTSC

Saudi Arabia SECAM

Seychelles PAL

Sierra Leone PAL

Singapore PAL

Somalia PAL

South Africa PAL

Spain PAL

Sri Lanka PAL

Sudan PAL

Sweden PAL

Switzerland PAL

Syria SECAM

Tahiti SECAM

Taiwan NTSC

Tanzania PAL

Thailand PAL

Trinidad & Tobago NTSC

Tunisia SECAM

Turkey PAL

Uganda PAL

United Arab Emirates PAL

Uruguay N-PAL

United States of America NTSC

Venezuela NTSC

Yemen PAL

Yugoslavia PAL

Zaire SECAM

Zambia PAL

Zimbabwe PAL