Video
Equipment
Screens
Typical Screen Sizes, 4x3 aspect ratio
10’6” x14 ’ | 12’ x 16’ | 15’ x 20’
Typical Screen Sizes, 16x9 aspect ratio
10’ x 18’ | 11’3” x 20’ | 13’6” x 24’
Projectors – Minimum
Sanyo PLC XF-35
6,500 Lumens
Christie LX-66
6,600 Lumens
Projectors – Medium
Preferred choice for most screens & environments.
Christie LU-77
7,700 Lumens
Sanyo PLC XF-41
7,700 Lumens
Projectors – Large
For the largest screens & challenging ambient light.
Christie Roadrunner LX100
(also EIKI LC-XT3)
10,000 Lumens
Sanyo PLC XF-45
10,000 Lumens
High-End Projectors
not typically worth the expense
for our application
Barco SLM R9+
9,000 lumens
Barco SLM R12+
12,000 lumens
Digital Projection
HIGHlite Series
8,000, 10,000 & 12,000 lumens
Lenses
Sanyo LNS-01
Short Fixed
Throw Ratio 1.2:1
Screen Size:
Distance from Screen:
10’6” x 14’ | 12’ x 16’ | 15’ x 20’
16.8’
|
19.2’ |
24’
Sanyo LNS-W02
Short Zoom
Throw Ratio 1.35 – 1.8:1
Screen Size:
Min. Distance:
Max. Distance:
10’6” x 14’ | 12’ x 16’ | 15’ x 20’
18.9’
|
21.6’ |
27’
25.2’
|
28.8’ |
36’
Lenses
Sanyo LNS-S01
Standard Zoom 1
Throw Ratio 1.8 - 2.9:1
Screen Size:
Min. Distance:
Max. Distance:
10’6” x 14’ | 12’ x 16’ | 15’ x 20’
25.2’
|
28.8’ |
36’
40.6’
|
46.4’ |
58’
Sanyo LNS-S03
Standard Zoom 3
Throw Ratio 2.6 – 3.5:1
Screen Size:
Min. Distance:
Max. Distance:
10’6” x 14’ | 12’ x 16’ | 15’ x 20’
36.4’
|
41.6’ |
52’
49’
|
56’
|
70’
Lenses
Sanyo LNS-M01
Semi-Long Zoom
Throw Ratio 3.5 – 4.6:1
Screen Size:
Min. Distance:
Max. Distance:
10’6” x 14’ | 12’ x 16’ | 15’ x 20’
49’
|
56’ |
70’
64.4’
|
73.6’ |
92’
Sanyo LNS-T02
Long Zoom
Throw Ratio 4.6 – 6.0:1
Screen Size:
Min. Distance:
Max. Distance:
10’6” x 14’ | 12’ x 16’ | 15’ x 20’
64.4’
|
73.6’ |
92’
84’
|
96’
|
120’
Switcher/Scalers
Lowest-cost (typically not available for rent)
Kramer
VP-719xi
Kramer
VP-723xi
Switcher/Scalers
A good solution, also not typically in rental inventories.
Extron DVS-406
Switcher/Scalers
Professional-level devices
Analog Way Smart Fade
Analog Way Graphic Switcher II
Switcher/Scalers
Probably the most popular, available for rent worldwide.
DVD Players
Acceptable “high-end” consumer-level devices.
Denon DVD-2910
Marantz DV-7600
DVD Players
HIGHLY recommended industrial-level
Pioneer DVD-V7400
Denon DN-V200
DVD Players
HIGHLY recommended industrial-level
Pioneer DVD-V8000
DDR Devices
Digital Disk Recorders
Doremi V1
Sony DSR-DR1000
Audio
Before you start mixing . . .
training…
– listen to great material
– go to shows
– critically evaluate how others mix & their process
– listen on good systems
– do you understand the audible spectrum?
Before you start mixing . . .
technique
– gain structure (setting a mic pre properly)
– Equalization
– signal routing
– dynamics (compression, limiting, leveling)
– mic technique (where to place mics for optimal
audio)
– effects- proper use of effects- creatively placed,
not distracting
Before you start mixing . . .
aptitude
– console
– outboard equipment
– speaker systems
– monitors
– microphones
– cables (yes! believe it or not!)
– backline gear (musical gear- amps & pre-amps)
– process: do you know how to achieve your
objectives?
When you are mixing . . .
understanding
– do you know the show flow?
– do you understand the overall objective for the
weekend?
– do you understand the creative intent?
When you are mixing . . .
communication
– can you effectively communicate what you need
when you need it?
– have you considered when you will need to
communicate?
– is there a “chain of command” you need to
communicate through?
When you are mixing . . .
presence
– are you living in the moment?
– ready for the next cue?
– ready to respond to a change in the plan?
– eyes on the stage!
– evaluate the level of audience engagement…
When you are mixing . . .
teamwork
– we’re all in this together- parts of a whole…
– it’s no fun to work w/ someone who’s cranky…
– …or full of themselves…
Crew Communication
All production disciplines (sound, lighting, video) must be cohesive and
integrated.
In addition to being always aware of what’s going on, this can be achieved
through constant communication--and the ability to take instant direction
from their producer, stage manager or technical director.
As the live host walks up, the lighting should be changing as the video is being
cued up.
When the host finishes the introduction, the video should be “un-muted” at
the audio console, as the lights are changing, and video dissolves from
graphics to message playback.
These are examples of how the production team should be working in concert
to help create seamless, integrated transitions.
Crew Communication
This can be accomplished through close proximity of all production
disciplines. If the sound, lighting, and video operators—along with their
director (stage manager, producer, etc.) are close & within earshot of each
other, it is possible to create this level of integration.
More practical, however, is to have all production disciplines connected
through a production communication system (such as Clear-Com,
Telex/Audiocom, Portacom, Production Intercom, etc.).
Please note that two-way radios or cell phones rarely add to the
“cohesiveness” of a production, and can be a hindrance. Many GLS venues
already have a com system in place or perhaps it can be provided by the
equipment vendor.