Except he doesn't. He says "we have 96 telephonists just dying to hear from you on fast forward". It's a joke.
Ah I see. I obviously misheard (I haven’t listened to the “clean audio” of that bit). The joke about Emma “screaming off in fast forward” makes more sense to me, to be honest.
It's a brilliant clip, such a shame it was taken down from YouTube. Just gives a great insight into what it takes to bring a live programme to air. Surprising the talkback was recorded though, is that normal?
As to other regions, presumably Carlton were presenting it to the network but had the ability to pull up a slide for their own viewers?
SayIng that, Find a Fortune was made by Granada but their breakdown in August 1999 was announced by Trish Bertram with the following generic slide in YTV-land so who knows!
I remember the full technical difficulty, as apparently shown live, shown on an episode of It Shouldn't Happen to a... All Carol could do was stand around, but there were glitches with the VT, the studio cameras, then all going into a blue screen and fuzz, but clearly, continuity was on air, as we can see here. I would prefer seeing that same horrible glitch again.
I'm sure I remember reading somewhere calling it TX is a BBC-ism, the rest of the industry used TC (for tele-cine), but with them being in Television Centre, in studios labelled TC they had to find another initialism.
Yes but they chose TK.
TX is a universal term for transmission not just the BBC.
RX is reception (or a chemist!)
DX is distant reception
Quote:
I presume the "TX A/B/C/D" feeds seen on the monitor stack in the studios at NBH are the server channels, named as such for historical reasons?
Probably more to distinguish them from record ports. I've seen that naming convention elsewhere.
At ITV prior to server playout systems, the Sony Betacart was in very widespread usage. It had 4 output channels labelled A-D, I strongly suspect the channel naming convention made its way into computerised systems - at ITV at least.
Yes, I worked at a BBC outpost that had 4 server ports called TX A-D. There they had to be differentiated as they played back clips differently to the other ports (the system saved EDLs of cut packages rather than video so only the TX ports would play mixes and wipes and other fx)
Yes, I worked at a BBC outpost that had 4 server ports called TX A-D. There they had to be differentiated as they played back clips differently to the other ports (the system saved EDLs of cut packages rather than video so only the TX ports would play mixes and wipes and other fx)
So TX are just essentially fancy VT players? Are you saying they cut the clips on the spot based on the EDLs (assume you mean edit decision lists)? What’s wrong with an editor exporting a final cut for air?
If you look at object based systems like IMF ST 2067 .....
you get used to Composition play lists CPL to create the version that you want.
So the idea has very wide uses....
Yes, I worked at a BBC outpost that had 4 server ports called TX A-D. There they had to be differentiated as they played back clips differently to the other ports (the system saved EDLs of cut packages rather than video so only the TX ports would play mixes and wipes and other fx)
So TX are just essentially fancy VT players? Are you saying they cut the clips on the spot based on the EDLs (assume you mean edit decision lists)? What’s wrong with an editor exporting a final cut for air?
This was a few years ago (blimey, almost 20 now!), with one specific system used at a couple of BBC sites (others might be the same though). When the edit suites saved a package it didn't save the video it saved what was basically an EDL and the server port did all the work on playback - though these were fairly basic systems for making news packages, no fx or anything flash.
As to why it did it that way I don't know. It saved time when saving and presumably made the edit systems cheaper as they were essentially doing an offline. But the big problem was that you couldn't delete the rushes until the package ran and was archived or deleted. And if it was played in a non TX port it didn't look as intended, which was an issue if it was being fed somewhere else.
Quantel's system (now GVG via SAM) has something called 'Frame Magic' (I think) that lets you play frames in any order, as it has a high enough bandwidth system to allow a cut-only EDL to be played live. It allows you to TX an edit without rendering the entire clip, but mixes/wipes/DVEs/Blurs etc. and audio mixes are rendered (effectively creating new frames that are then referred to by Frame Magic) prior to this in the background I think. This means that it's perfectly possible to play out a clip straight after you've made the final edit.
EVS, in a way, goes a step better, in that it lets you start playing a clip list (which can contain mixes within it), whilst still adding stuff to the end or replacing shots that have yet to TX.
