<html><body><div style="color:#000; background-color:#fff; font-family:arial, helvetica, sans-serif;font-size:14pt"><div><span>Hi Folks,</span></div><div><span>The Ampex VPR-20 had a Hetrodyne color adapter which allowed you to playback color in the field for review purposes.It had a RF (channel 3 or 4) output, I used it at NAB in 1981, on a hand truck type of camera/recorder roll around remote which I built with a 12" Sony TV set. <br></span></div><div><span>We would show it side by side with a 19" Zenith TV set next to a color monitor with the same output fed thru a external TBC in most trade shows.<br></span></div><div><span>It was based on a chip, probably from National Semiconductor.and was packaged in a shielded metal box and was about 3" x 9" x 1/2" and it was an option which fit inside the case, This was an Al Trost design and worked very well.</span></div><div><span>The Sony device was a similar design by Len Kowal ( He worked with me in Elk
Grove @ Ampex) and was built in his small San Jose shop. It was a 1RU standalone device.</span></div><div><span>This chip was the basis for the color playback on many VHS machines, and would not make Pal-M color, even if you tried to inject a proper color subcarrier, which we tried @ TV Globo in Rio during Carnival in early 80's. <br></span></div><div><span>We destroyed the chip in Globo's Advance engineering lab, which was run by Jose Dias, who was the VP of Advanced Engineering for TV Globo, <br></span></div><div><span>He got the money which started Pacific Data Images in Palo Alto in the 80's to get Pal-M color animation for TV Global. A great hands-on engineer and a good friend.<br></span></div><div> </div><div>Bye for now, Bill & Gewyn & Ginger (whoof...whoof)<br></div> <div style="font-family: arial, helvetica, sans-serif; font-size: 14pt;"> <div style="font-family: times new roman, new york, times, serif; font-size: 12pt;"> <div
dir="ltr"> <font face="Arial" size="2"> <hr size="1"> <b><span style="font-weight:bold;">From:</span></b> "COURYHOUSE@aol.com" <COURYHOUSE@aol.com><br> <b><span style="font-weight: bold;">To:</span></b> quadlist@quadvideotapegroup.com <br> <b><span style="font-weight: bold;">Sent:</span></b> Saturday, April 7, 2012 12:30 AM<br> <b><span style="font-weight: bold;">Subject:</span></b> Re: [QuadList] save htis and look tr4 converts to hi band but alsoneed modul...<br> </font> </div> <br>
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<div>you bring up an interesting point David with the BVH 500 one
inch machine.. they had a 'color adapter or something for
viewing/// we would love to find one for our
BVH 500 we also have the vpr 20? the Ampex brother
to the BVH 500... I assume it needs an adapter for good
viewing also!?</div>
<div> </div>
<div> </div>
<div>In a message dated 4/6/2012 10:16:04 A.M. US Mountain Standard Time,
david@dcvideo.com writes:</div>
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<div>Ed,</div>
<div><br></div>
<div>Congratulations on your acquisition. The TR 5 was a stripped down machine
that enabled it to be more mobile. Therefore many of the correction circuits
used to fully reproduce a broadcast quality playback picture were not included
in this machine. Although the recording will be a good one (if all is working
OK), you will only see demodulated video upon play back that will give you a
good sense that a recording was made. Without the RCA correction circuitry
such as CATC for color time base correction, CAVEC for velocity correction and
the color dropout compensator option, the recovered picture (depending on the
options used as on any 2" machine) may be raw, flickering color (if color is
present). So in the remote truck, the operator upon conclusion of a record
session could verify that a recording had been made by playing back this
"demod" picture. An analysis of the FM (RF) and control track signals on the
scope added further confidence that all was OK. An experienced operator who
knew the machine well would have a better sense of confidence than one who was
not, therefore being more at ease with a "demod" only picture. It is a bit of
a leap of faith to tell the director in the truck that all will look fine upon
playback of his show in the studio on a fully optioned playback machine.</div>
<div><br></div>
<div>Years later when the first portable field one-inch type C VTR's came out
such as the Sony BVH 500, it was typical to confirm the integrity of the
recording by observing the same "demod" only picture with no time base
correction.</div>
<div><br></div>
<div>Your might be interested to know that the RCA list price for a TR 5 was
$20, 950 in 1966.</div>
<div><br></div>
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