You can keep stuff from breaking during preformance just by breaking it ahead of time.
Kick stuff, I do. It's the best way to find the weak spot's.
I've actually never had anything really important break during a preformance that there was any thing I could do about it, mabey hit it with a stick, but that's about it.
jbl's evo system is the closest thing that I can think of to what you're looking for. It is however intended for the link betwene the mixer and the speakers.
the solution that I would use in your case is just to get a lecturn that has a built in pa system. you could plug in any mic you want. I recoment the old war horse the sm58, but if you're hung up on lav mic's there are many to choose from.
The big box was very likeley a dimmer rack, the buzzing was caused by the fact that at least one of your S.C.R. dimmers was on it's last leg. When the R.F. Choke starts failing on dimmers they throw out a very broad range of radio signals. This would also account for your problems with wireless mics.
The head sets failing was likeley caused by a short in your head set cables, this kind of thing happens all the time. One branch having a short can bring down the whole system.
Dimmer racks seem like they could cause cancer, the radio waves that they put out when they have failed are much stronger than cell phones.
The dimmer room in my current theatre is about 15' by 15' and filled to the brim, the noise from all the buzzing, and cooling is absoluteley amazing.
No one in theatre uses coax, but I do agree about the shielding.
Wired comunication systems are the only way to go, wireless GMRS is great for when you're running around during load in, stirke, or restorations, but during the actual preformance you don't need to really go anywhere, you just need to cue people.
The army field band dosen't even use head sets, they have the phone hand sets, and flashing lights. For years theatre's just used cue lights, turn it on for warn, off for go. Fancy shmansey wireless is still too unpredictable.
I actually really like the wired clear com. There are no batterys to buy, and no interfearance.
The audio quality is as good as anything out there, the system is full duplex, so you can talk over each other. It uses standard xlr cable, so if you have a house snake you can just run it along that.
Try to get a used system, the equipment lasts forever.
My only warning about clearcom is to make shure that you don't have any short's in you cables, they can bring down the whold system. Also be cautious running it along with electrical cables, they can induce hum.
We use clear com during all our major preformances. We back it up with gmrs, wihch is another option, think of gmrs as being super walike talkies, the big benifit of gmrs is that you are assigned your own channel by the fcc, and the range is a few miles.
The wired clear com is still the standard in the entertainment industry, gmrs is also popular for non preformance comunication, but almost evryone I know of uses wired clear com for preformance.
Get the most basic clear com unit you can find, and a few headsets, you can expand to more headsets when you need, they'll be available just about forever.
make it work like it wasen't ment to. I'm a fan of doing things the hard way, esentially to do it the hard way you'd need to rip apart an old 8mm camera, and adapt it's film feed mechinisim to that of the scanner.
The Scanner is ment to feed 35mm film only. another way of doing this would be to just make your 8mm film look like 35mm by making a card stock holder for the film, you'd just need to figure out how to do it.
I've used film scanner's before. I've also assembled digitised photo's into stop motion animation. I've never done both together.
It could be a very long process, just as a warning.
From my experiences with 8mm and 35mm film, the two use a substantially different feed system, adapting the mechinisim in the scanner could be a major hastle.
This is basically how film is scaned for digital color correction and editing, just on bigger equipment. You could retain all the quality of the film origionals. I also should warn you to make shure that you are using some type of compression when you capture the video, uncompressed 640x480 video is around 25Megs per second. MJPG would be the best quality, with the least processor overhead.
So a step by step.
1 get the film to feed through the scanner. 2 scan film one frame at a time, use the scanner's automation ability to output the images to sequentially numberd.jpg files. 3 you now have a lot of.jpg files. 4 use your editing, or composing program to assemble the still's back into video. (work at a 24 fps frame rate, show each still for 1 frame, you should be able to automate this process) 5 render what is esentially a very fast slide show into video. 6 you may need to color corect the video. 7 output to any format you want, this process would allow you to make divx, mpg, minidv, what ever formats you want, plus you will still have the origional avi file that you rendered so shifting formats in the future should be no problem. 8 convince umax that your scanner arived that way, it is a manufactureing defect, and you deserve a new scanner.
The problum you are having is from the diffrent frame rates of your film to the video camera. The camera is rolling at 29.97 fps (ntsc). The film at somewhere around 24 fps.
You either could find a video camera which would allow you to change the frame rate, under cranking the video camera, or to over crank your projector, you'd get change in the speed of the video. A simpler option is to change your exposure time on any camera to be as slow as possable.
The ideal solution to your problum is to use a film scanner that provides automated roll film scanning. Nikon coolscans are the top of the line, I've used several and they seem like they could be modified to feed the 8mm film. The price tag could be prohibitive, espically just to tear the thing apart. I would recomend the umax powerlook 180. http://www.umax.com/scanners/index.jsp?cate=Scanne rs%3A+35mm+Film+models&skunum=SPKG-15111
Scan each individual frame, assemble at 24 fps in your favorite editing system, and output in the format you want. I've used a similar method in adobe premier to do stop motion animation, and time lapse photography.
The only way to really prevent music piracy is to either publish really bad music that no one wants, or just come up with a format that can't be played at all.
but he's using single images. using 2+ allows you to triangulate the third dimension. the consistent environment created in a flat bed scanner would make this very difficult.
Entropy is the general trend of the universe, not a constant progression. Life forms can and do increase order by their immediate actions. This however increases entropy through the energy they exert in doing so. For example an air compressor would seem to violate the principle of entropy by increasing the order in the universe by creating pressurized air that can be made to do work. However throughout the existence of the air compressor it is actually increasing entropy by being manufactured, consuming energy, being repaired, and eventually breaking. The small amount that it reverses entropy is nothing compared to the amount of energy that it consumes. So in effect it is taking a step forwards at the expense of taking two steps back. So why can't you un-cook food. It would seem only to require the rearrangement of the molecules in the food. Infact it could be said that the act of eating food would be a process of un-cooking it. We dismantle the food by digesting it, the vast majority of the food is used for energy or to make repairs, a small amount of the food is integrated into what ever ate it. In effect un-cooking that afore mentioned burnt roast. The roast is uncooked appearing to violate the 2nd law of thermodynamics but the vast majority it's energy is lost as heat, so in the process entropy is increased.
Entropy as a trend not a constant state. At any one time locally entropy can appear to go backwards.
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You can keep stuff from breaking during preformance just by breaking it ahead of time.
Kick stuff, I do. It's the best way to find the weak spot's.
I've actually never had anything really important break during a preformance that there was any thing I could do about it, mabey hit it with a stick, but that's about it.
http://www.jblpro.com/evo1/evo_main.htm
= pr e&brand=SOUND-CRAFT&pc=A1+
jbl's evo system is the closest thing that I can think of to what you're looking for. It is however intended for the link betwene the mixer and the speakers.
http://www.camcor.com/cgi-bin/bcatalog.cgi/area
the solution that I would use in your case is just to get a lecturn that has a built in pa system. you could plug in any mic you want. I recoment the old war horse the sm58, but if you're hung up on lav mic's there are many to choose from.
The big box was very likeley a dimmer rack, the buzzing was caused by the fact that at least one of your S.C.R. dimmers was on it's last leg. When the R.F. Choke starts failing on dimmers they throw out a very broad range of radio signals. This would also account for your problems with wireless mics.
The head sets failing was likeley caused by a short in your head set cables, this kind of thing happens all the time. One branch having a short can bring down the whole system.
Dimmer racks seem like they could cause cancer, the radio waves that they put out when they have failed are much stronger than cell phones.
The dimmer room in my current theatre is about 15' by 15' and filled to the brim, the noise from all the buzzing, and cooling is absoluteley amazing.
No one in theatre uses coax, but I do agree about the shielding.
Wired comunication systems are the only way to go, wireless GMRS is great for when you're running around during load in, stirke, or restorations, but during the actual preformance you don't need to really go anywhere, you just need to cue people.
The army field band dosen't even use head sets, they have the phone hand sets, and flashing lights. For years theatre's just used cue lights, turn it on for warn, off for go. Fancy shmansey wireless is still too unpredictable.
I actually really like the wired clear com. There are no batterys to buy, and no interfearance.
The audio quality is as good as anything out there, the system is full duplex, so you can talk over each other. It uses standard xlr cable, so if you have a house snake you can just run it along that.
Try to get a used system, the equipment lasts forever.
My only warning about clearcom is to make shure that you don't have any short's in you cables, they can bring down the whold system. Also be cautious running it along with electrical cables, they can induce hum.
We use clear com during all our major preformances. We back it up with gmrs, wihch is another option, think of gmrs as being super walike talkies, the big benifit of gmrs is that you are assigned your own channel by the fcc, and the range is a few miles.
The wired clear com is still the standard in the entertainment industry, gmrs is also popular for non preformance comunication, but almost evryone I know of uses wired clear com for preformance.
Get the most basic clear com unit you can find, and a few headsets, you can expand to more headsets when you need, they'll be available just about forever.
make it work like it wasen't ment to. I'm a fan of doing things the hard way, esentially to do it the hard way you'd need to rip apart an old 8mm camera, and adapt it's film feed mechinisim to that of the scanner.
.jpg files. .jpg files.
The Scanner is ment to feed 35mm film only. another way of doing this would be to just make your 8mm film look like 35mm by making a card stock holder for the film, you'd just need to figure out how to do it.
I've used film scanner's before. I've also assembled digitised photo's into stop motion animation. I've never done both together.
It could be a very long process, just as a warning.
From my experiences with 8mm and 35mm film, the two use a substantially different feed system, adapting the mechinisim in the scanner could be a major hastle.
This is basically how film is scaned for digital color correction and editing, just on bigger equipment. You could retain all the quality of the film origionals. I also should warn you to make shure that you are using some type of compression when you capture the video, uncompressed 640x480 video is around 25Megs per second. MJPG would be the best quality, with the least processor overhead.
So a step by step.
1 get the film to feed through the scanner.
2 scan film one frame at a time, use the scanner's automation ability to output the images to sequentially numberd
3 you now have a lot of
4 use your editing, or composing program to assemble the still's back into video. (work at a 24 fps frame rate, show each still for 1 frame, you should be able to automate this process)
5 render what is esentially a very fast slide show into video.
6 you may need to color corect the video.
7 output to any format you want, this process would allow you to make divx, mpg, minidv, what ever formats you want, plus you will still have the origional avi file that you rendered so shifting formats in the future should be no problem.
8 convince umax that your scanner arived that way, it is a manufactureing defect, and you deserve a new scanner.
-good luck if you want to try it.
The problum you are having is from the diffrent frame rates of your film to the video camera. The camera is rolling at 29.97 fps (ntsc). The film at somewhere around 24 fps.
e rs%3A+35mm+Film+models&skunum=SPKG-15111
You either could find a video camera which would allow you to change the frame rate, under cranking the video camera, or to over crank your projector, you'd get change in the speed of the video. A simpler option is to change your exposure time on any camera to be as slow as possable.
The ideal solution to your problum is to use a film scanner that provides automated roll film scanning. Nikon coolscans are the top of the line, I've used several and they seem like they could be modified to feed the 8mm film. The price tag could be prohibitive, espically just to tear the thing apart. I would recomend the umax powerlook 180. http://www.umax.com/scanners/index.jsp?cate=Scann
Scan each individual frame, assemble at 24 fps in your favorite editing system, and output in the format you want. I've used a similar method in adobe premier to do stop motion animation, and time lapse photography.
good fiberglass is about R5 per inch, this stuff being 39 times better would be about R-195 per inch.
The only way to really prevent music piracy is to either publish really bad music that no one wants, or just come up with a format that can't be played at all.
but he's using single images. using 2+ allows you to triangulate the third dimension. the consistent environment created in a flat bed scanner would make this very difficult.
this trick would be very very easy to fake. using the 2d images to create 3d models would be nearly, if not entirely impossable.
Entropy is the general trend of the universe, not a constant progression. Life forms can and do increase order by their immediate actions. This however increases entropy through the energy they exert in doing so. For example an air compressor would seem to violate the principle of entropy by increasing the order in the universe by creating pressurized air that can be made to do work. However throughout the existence of the air compressor it is actually increasing entropy by being manufactured, consuming energy, being repaired, and eventually breaking. The small amount that it reverses entropy is nothing compared to the amount of energy that it consumes. So in effect it is taking a step forwards at the expense of taking two steps back. So why can't you un-cook food. It would seem only to require the rearrangement of the molecules in the food. Infact it could be said that the act of eating food would be a process of un-cooking it. We dismantle the food by digesting it, the vast majority of the food is used for energy or to make repairs, a small amount of the food is integrated into what ever ate it. In effect un-cooking that afore mentioned burnt roast. The roast is uncooked appearing to violate the 2nd law of thermodynamics but the vast majority it's energy is lost as heat, so in the process entropy is increased.
Entropy as a trend not a constant state. At any one time locally entropy can appear to go backwards.