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<DIV>Ted save a copy of this off this
is great info!</DIV>
<DIV> </DIV>
<DIV>Ed Sharpe archivist forSMECC</DIV>
<DIV> </DIV>
<DIV>
<DIV>In a message dated 1/7/2013 8:13:31 A.M. Mountain Standard Time,
Steve.White@800CallNow.com writes:</DIV>
<BLOCKQUOTE
style="BORDER-LEFT: blue 2px solid; PADDING-LEFT: 5px; MARGIN-LEFT: 5px"><FONT
style="BACKGROUND-COLOR: transparent" color=#000000 size=2
face=Arial><BR><BR><BR><FONT face=Tahoma>Great historical perspective,
Ted.<BR>Thanks<BR><BR></FONT>
<DIV class=moz-cite-prefix>On 1/6/13 11:09 PM, Ted Langdell wrote:<BR></DIV>
<BLOCKQUOTE
cite=mid:44B66F2E-A3C1-4307-ABE4-ECE225163465@quadvideotapegroup.com
type="cite"><PRE wrap=""></PRE><BR>
<FIELDSET class=mimeAttachmentHeader></FIELDSET> <BR>
<DIV>Following up on David Crosthwait's latest post about the EOT for NBC
Burbank's Videotape Central... It played a significant role in the
development of television videotape applications beyond time zone delay
(TZD).</DIV>
<DIV><BR></DIV>
<DIV>So, we offer for you a look at a few <B>Tidbits about Burbank
Videotape Central</B> and some questions they raised as I was compiling
this.</DIV>
<DIV><B><BR></B></DIV>
<DIV><B>Automated TZD Recording and Playback:</B></DIV>
<DIV><BR></DIV>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>In a 1959 document called "Automatic
Control of Video Tape Equipment at NBC Burbank," NBC's Robert Byloff
outlined the technology and how the equipment was used.</BLOCKQUOTE>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV><BR></DIV>
<DIV>The Burbank system delayed the Eastern Time network feed for all
other time zones, so that</DIV>
<DIV>programs were seen with—at most—only a one hour difference from the
Eastern time zone. </DIV>
<DIV><BR></DIV>
<DIV>IE: An 8 p.m. ET program would be replayed for Central and
Mountain zones one hour after it fed from New York, and then replayed at 8
p.m. Burbank time for the West Coast. </DIV>
<DIV><BR></DIV>
<DIV>The system used eight Ampex Quads modified by RCA to record and play
color, and four prototype RCA Color recorders. Because color programs
occurred at random and increasing times in the network schedule, Byloff
said that colorizing all machines was done to ensure flexibility as more
color programs were transmitted.</DIV>
<DIV><BR></DIV>
<DIV>
<DIV>Recordings were made of the Eastern time zone transmissions coming
down the network line into Burbank. </DIV>
<DIV><BR></DIV></DIV>
<DIV>Since rewinding and cuing a one-hour reel couldn't be done in the
(usually two-minute) terminal break leading into the top of the hour, Time
Zone Delay recordings were done in half-hour blocks so that crossover
would happen during station breaks and be un-seen by viewers.</DIV>
<DIV><BR></DIV>
<DIV>Here's an example: </DIV>
<DIV><BR></DIV></BLOCKQUOTE>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV>Hour 1's first half-hour would be recorded on VTR 1, which would
rewind after recording and wait until the top of the hour, then play the
show back for the Central time zone. </DIV>
<DIV><BR></DIV>
<DIV>Hour 1's second half-hour would be recorded on VTR 2, which would
rewind and be ready to play the second half-hour an hour after its
recording started.</DIV>
<DIV><BR></DIV>
<DIV>Both machines would then rewind and cue in order to play Hour 1
beginning two hours later for the Pacific time zone.</DIV>
<DIV><BR></DIV>
<DIV>Each machine rewinds when finished, and is ready to record again,
catching the first and second half-hours of Hour 4.</DIV>
<DIV><BR></DIV>
<DIV>Here' a grid:</DIV></BLOCKQUOTE></BLOCKQUOTE><BR>
<FIELDSET class=mimeAttachmentHeader></FIELDSET> <BR>
<DIV><BR></DIV>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV>Each machine had input routing so that the incoming network regular
and backup lines, all NBC Burbank studios, and test signals.</DIV>
<DIV><BR></DIV>
<DIV>Each machine's output routing could feed playback to any Burbank
studio for production, and four different "delay" feeds: One-hour
delay for the Midwest, three-hour delay for the West Coast, a two-hour
delay for special purposes and a four-hour delay "for future playback to
the Pacific Northwest," which didn't observe Daylight time.</DIV>
<DIV><BR></DIV>
<DIV>A QC room in the back of the VTR area enabled monitoring of each
machine in color and monochrome, and "control of output switching is
provided there to permit switching between A and B copy tapes."</DIV>
<DIV><BR></DIV>
<DIV>Since the staggered recording/playback plan outlined above doesn't
provide for simultaneous main and backup record and play, perhaps there
were workflows that enabled that on occasion?</DIV>
<DIV><BR></DIV>
<DIV>In addition to the automated "DB Sequence" control outlined above,
the Burbank control system enabled preset operation at the
machine. </DIV>
<DIV><BR></DIV>
<DIV>An operator could arrange for a clock-time selection of input and
output routing, record or play operation, start time and duration.
After the specified duration, the machine would rewind to the
beginning of the recording and stop.</DIV>
<DIV><BR></DIV>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV><I>What's not outlined in the copy of the document I have (unknown
number of missing pages) is how the system determined the beginning of
the recording. </I></DIV></BLOCKQUOTE>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV><BR></DIV></BLOCKQUOTE>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV>A guess would be a cue tone automatically put on the cue track at
specific locations in order to tell the machine to enter "Stop" so it
didn't overshoot the head of tape and unthread... and then enter "Play"
to find a cue tone marking the beginning of the
recording.</DIV></BLOCKQUOTE>
<DIV><BR></DIV>
<DIV>The system also allowed for manual control and input and output
selection at the machine, delegation from the machine of studio control...
Stop, Play, Record, etc.,</DIV>
<DIV><BR></DIV>
<DIV>
<DIV>
<DIV>Audio and Video AGC amplifiers were used between the input routing
switcher handling feeds to the VTRs and each VTR's input.
</DIV></DIV></DIV>
<DIV>
<DIV>
<DIV><BR></DIV></DIV></DIV>
<DIV>
<DIV>
<DIV>The video AGC amps were developed by NBC and separated luminance and
chroma components. Sync was stripped, "the baseline cleaned up and
the signal controlled to a particular level," Byloff advised. "In
the chrominance channel, the burst is measured and by this means the
chrominance is held to a predetermined level." Sync was reshaped and
delayed, then added back to the signal before exiting the AGC
amp.</DIV></DIV></DIV>
<DIV><BR></DIV></BLOCKQUOTE>
<DIV><B>Burbank Adds Ten TRT-1AC's:</B></DIV>
<DIV><BR></DIV>
<DIV>In the April, 1961 "RCA Broadcast News" issue about "Color Television
Progress," NBC Burbank recording engineer Russel A. Nies reports on what was
a then recently completed installation of ten new RCA TRT-1AC color
VTR's.</DIV>
<DIV><BR></DIV>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV>The ten new machines were arranged in five cubicles. Transports
and some of the racks involved faced each other, while the color monitors
for QC were at the end of the cubicle.</DIV>
<DIV><BR></DIV></BLOCKQUOTE><BR>
<FIELDSET class=mimeAttachmentHeader></FIELDSET> <BR>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV><BR></DIV>
<DIV>
<DIV>The same "Color Television Progress" issue notes the quick playback
in Burbank of the Nov. 10, 1960 "Tennessee Ernie Ford Show," the fourth
time the show had been done on location.</DIV>
<DIV><BR></DIV>
<DIV>The show wrapped shooting at Edwards Air Force Base at 1:30 p.m.
Pacific time, with a 150 mile drive to Burbank. The tape arrived
around 5:20 p.m., and was playing back to the network at 6 p.m. from
Burbank for 9 p.m. Eastern time zone viewing. No indication of
whether there was a backup tape or just one.</DIV></DIV>
<DIV><BR></DIV>
<DIV><BR></DIV></BLOCKQUOTE><B>Burbank Pioneered Videotape Editing
Methods:</B>
<DIV><B><BR></B>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV>In the article about the ten new TRT-1AC machines, Nies outlined how
a large portion of Burbank's tape operations involved pre-recording shows
for later release. </DIV>
<DIV><BR></DIV>
<DIV>Editing from a number of different reels required consistent and
stable signal parameters, since recording sessions could span days, weeks
or months, and involve different recorders, heads and tape stock.</DIV>
<DIV><BR></DIV>
<DIV>Nies says the number of splices in an edited production might range
"from 25 or 30 to as many as 200," and the material could come from a
dozen different reels of tape.</DIV>
<DIV><BR></DIV>
<DIV>NBC's Burbank facility became the "go to" place for production and
editing when folks there developed a method of editing videotape
picture and sound separately. It was first used on <A
title=http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2011-February/003966.html
href="http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2011-February/003966.html"
moz-do-not-send="true">"An Evening with Fred Astaire</A>, a 1958 special
Fred Astaire produced and starred in that was recorded and aired on
NBC.</DIV>
<DIV><BR></DIV></BLOCKQUOTE></DIV><BR>
<FIELDSET class=mimeAttachmentHeader></FIELDSET> <BR>
<DIV>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV style="FONT-SIZE: 12px"><B>Reel from "An Evening with Fred
Astaire"during restoration process in 1988. (Screen capture from
KTLA News video)</B></DIV>
<DIV><BR></DIV>
<DIV>Called "Editor's Sync Guide" (or ESG), the process used 16mm
kinescopes of the video and magnetic film transfers of the audio.
Long-time editor Art Schneider A.C.E said the word of mouth from
Astaire "literally opened up the flood gates to producers and directors
who wanted their shows edited at NBC. "</DIV>
<DIV><BR></DIV>
<DIV>Schneider described how it worked in this webpage first posted on the
late engineer/edit system designer Jack Calaway's "Museum of Early Video
Editing Equipment and Techniques," preserved after his passing by the UK
videotape website, VT Oldboys:</DIV>
<DIV><BR></DIV>
<DIV><A title=http://www.vtoldboys.com/editingmuseum/esg.htm
href="http://www.vtoldboys.com/editingmuseum/esg.htm"
moz-do-not-send="true">http://www.vtoldboys.com/editingmuseum/esg.htm</A></DIV>
<DIV><BR></DIV>
<DIV>The Quad tape was physically spliced to conform to the film edit.
(Would be good to know more about some of the audio sweetening process
used.)</DIV>
<DIV><BR></DIV>
<DIV>Conforming the tape required the use of a special reel-holding set
up. It allowed the videotape editors who conformed the tape to roll
through the reels much like film while hearing the audio from the ESG and
show. When splicing, they had to account for the physical offset
between the sound head stack and video head.</DIV>
<DIV><BR></DIV>
<DIV>The ESG system was used to create many shows in the late 1950's to
the early 1970s. </DIV>
<DIV><BR></DIV>
<DIV>It enabled Schneider to win two Primetime Emmys: One was shared
with Craig Curtis in 1966 for <SPAN
style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px"
class=Apple-style-span>Individual Achievements in Electronic Production -
Video Tape Editing—they</SPAN> cut the 1965 Julie Andrews
special.</DIV>
<DIV><BR></DIV>
<DIV>Schneider second Primetime Emmy was solo in 1968 for <SPAN
style="FONT-FAMILY: Arial,
Helvetica, sans-serif; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px"
class=Apple-style-span>Outstanding Individual Achievement in Electronic
Production. The program: </SPAN> The pilot of "Rowan and
Martin's Laugh-In," which aired as a special on September 9,
1967. </DIV>
<DIV><BR></DIV>
<DIV>"Laugh-In" took the number of cuts per hour from perhaps 80 to
something like 400. </DIV>
<DIV><BR></DIV>
<DIV>In 2009, Schneider commented about ESG to QuadList member John Buck
in connection with John's book about videotape editing,
"Timeline." </DIV>
<DIV><BR></DIV>
<DIV>John shared Art's comments in a Feb., 2010 post to the
QuadList:</DIV>
<DIV style="FONT-SIZE: 13px"><A
title=http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-February/002208.html
href="http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-February/002208.html"
moz-do-not-send="true">http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-February/002208.html</A></DIV>
<DIV><BR></DIV>
<DIV>The show became a mid-season entry on January 22, 1968 using the ESG
system for editing, and ran 141 episodes through March 12, 1973.</DIV>
<DIV><BR></DIV>
<DIV>Others who worked at NBC at the time recalled the process to QuadList
member/former NBC Editor David Crosthwait in this January, 2010
posting:</DIV>
<DIV style="FONT-SIZE: 13px"><A
title=http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-January/001931.html
href="http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-January/001931.html"
moz-do-not-send="true">http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-January/001931.html</A></DIV>
<DIV><BR></DIV></BLOCKQUOTE><B>Burbank Adds Timecode Editing:</B><BR>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV><BR></DIV>
<DIV>By the late 1960's, time code based editing was making its way into
video editing. </DIV>
<DIV><BR></DIV>
<DIV>At NBC Burbank, the RCA TRT-1AC's, RCA Labs heterodyne color, and Low
Band recording had been replaced by RCA TR-70 series machines with High
Band Color. </DIV>
<DIV><BR></DIV>
<DIV>As outlined in the June, 1971 issue of "RCA Broadcast News,"
NBC looked into the new technology in 1967, and implemented a
special edit room in Burbank with two VTRs. Completed in the summer
of 1968, the room successfully edited a season of several prime time
programs.</DIV>
<DIV><BR></DIV></BLOCKQUOTE></DIV><BR>
<FIELDSET class=mimeAttachmentHeader></FIELDSET> <BR>
<DIV>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV style="FONT-SIZE: 11px"><B>NBC Burbank Supervisor of Videotape
Operations John Fishette mounts tape on an RCA TR-70 (RCA Broadcast
News)</B></DIV>
<DIV><BR></DIV>
<DIV>The experience led to ordering more time code editing gear, and
incorporating more complete audio and video switching. An Ampex
Slo-mo disc was also incorporated.</DIV>
<DIV><BR></DIV>
<DIV>First used for the fall 1969 season, the second room was averaging
more than 12 hours a day of use cutting the Andy Williams and Don Knots
shows, along with various specials. </DIV>
<DIV><BR></DIV>
<DIV>A third room was built for the fall, 1970 season, using the new RCA
Time Code Editor developed by RCA engineers in Camden, New Jersey with
experiences of the Burbank engineers and
operators.</DIV></BLOCKQUOTE></DIV><BR>
<FIELDSET class=mimeAttachmentHeader></FIELDSET> <BR>
<DIV>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV style="FONT-SIZE: 12px"><B>RCA Time Code Editor with programmer and
nixie tube time code display. (RCA Photo)</B></DIV>
<DIV><BR></DIV>
<DIV>Its first work was the Dean Martin and Red Skelton shows.
</DIV>
<DIV><BR></DIV></BLOCKQUOTE><B>Editing the Dean Martin Show with the RCA
Time Code Editor:</B><BR>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV>As a standard operating procedure, "Time of Day" time code was fed to
the cue track all machines in the Burbank plant, allowing operators—and
editors who often are the record engineers on shows like Dean Martin— to
easily log takes as they were recorded, using clock time.</DIV>
<DIV><BR></DIV>
<DIV>On the Martin show, two reels were generated during the Saturday
evening sessions: A live-switched reel and an ISO of a single camera
usually used for close ups.</DIV>
<DIV><BR></DIV>During the Monday/Tuesday edit sessions, shows were
assembled on one-hour reels previously recorded with time code, video
black and control track. A 15Hz frame pulse was added to the control track
to help make color framing more accurate during editing, since the TR-70's
didn't have a color framing detector.
<DIV><BR></DIV>
<DIV>The editor operated the record VTR on which the show was assembled,
along with the switcher. His assistant ran the playback VTR, its
programmer and the slo-mo disc recorder when used.</DIV>
<DIV><BR></DIV>
<DIV>If dissolves to other reels were needed a third VTR and assistant
were assigned.</DIV>
<DIV><BR></DIV>
<DIV>Contact closures at specified time codes rolled different video or
audio equipment.</DIV>
<DIV><BR></DIV>
<DIV>Credit rolls for the "Dean Martin" show used A and B reels built up
checkerboard style using the slo-mo disc to pull stills from the show.
A third playback VTR was used to roll the credits for keying over
the A-B roll pictures. The theme song was laid down from an audio deck
during the playback to the edited master. The use of time code
significantly sped up the process for building the credits.</DIV>
<DIV><BR></DIV>
<DIV>Audio sweetening was done after the master reel was assembled.
</DIV>
<DIV><BR></DIV>
<DIV>Mono audio and time code were transferred from the edited master to
two tracks of a four-track audio recorder equipped with a capstan servo
and sync track. The time code from the four-track audio recorder was
fed back to the RCA Time Code Editor so its synchronizing feature would
lock the VTR to the audio deck TC.</DIV>
<DIV><BR></DIV>
<DIV>Sweetening added audience reaction and applause to smooth out
transitions, along with equalization to match segment-to-segment sound and
additional music. </DIV>
<DIV><BR></DIV>
<DIV>The results were mixed during re-recording to the mono audio track on
the edited master.</DIV>
<DIV><BR></DIV></BLOCKQUOTE>
<BLOCKQUOTE
style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: 0px; MARGIN: 0px 0px 0px 40px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: medium none; BORDER-RIGHT: medium none; PADDING-TOP: 0px"
class=webkit-indent-blockquote>
<DIV>QuadList member and former NBC Editor David Crosthwait described
working in one of the newer rooms in this January, 2010 message:</DIV>
<DIV style="FONT-SIZE: 13px"><A
title=http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-January/001917.html
href="http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-January/001917.html"
moz-do-not-send="true">http://mail.quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/2010-January/001917.html</A></DIV></BLOCKQUOTE>
<DIV><BR></DIV>
<DIV>So, there's a little bit of NBC Burbank Quad-related history. And
now you know what I was editing all day :) </DIV>
<DIV><BR></DIV>
<DIV>
<DIV>Ted</DIV>
<DIV><BR></DIV>
<DIV>
<DIV
style="WORD-WRAP: break-word; FONT-SIZE: 14px; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space">
<DIV>
<DIV style="MARGIN: 0px"><FONT style="FONT: 12px Helvetica" size=3
face=Helvetica>Ted Langdell</FONT></DIV>
<DIV style="MARGIN: 0px"><FONT style="FONT: 12px Helvetica" size=3
face=Helvetica>Secretary</FONT></DIV>
<DIV><FONT style="FONT: 12px Helvetica" size=3
face=Helvetica><BR></FONT></DIV></DIV></DIV></DIV><BR
class=Apple-interchange-newline></DIV><BR></DIV><BR>
<FIELDSET class=mimeAttachmentHeader></FIELDSET> <BR><PRE wrap="">______________________________________________
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