The Big Picture: by Frank Beacham
A Transition for Betacam
 As
if we haven't had enough milestones lately, the news that Sony is
ending production of analog Betacam was one of those periodic reminders
from out-of-the-blue that all technology is ephemeral, no matter
how much it may have changed the world.
Make no mistake about it, Betacam did change the
world.
It was 19 years ago, just hours before the start
of the 1982 SMPTE conference, when one of the first single-tube
Betacams (serial #3) arrived at my front door in Miami. (The Sony
salesman insisted I got the first U.S. delivery, but who knows?)
That first Betacam, model BVV-1, was a remarkable
invention, even though its single 2/3-inch Saticon tube couldn't
touch the performance of even today's cheapest discount store consumer
camcorders. This was a "WOW" machine, representing the end of the
era of heavy (very heavy) one-piece video components for what was
then called ENG.
How could those of us with back problems today forget
the "portable" RCA TK-76 camera, the Sony BVU-100 3/4-inch U-Matic
VCR and the Sony BVH-500 1-inch Type C field recorder, affectionately
known as the "the brick?"
ON TO THE NEWS
After the transition from 16mm film in the mid-1970s,
U-matic caught on as the format of choice for newsgathering, while
Type C dominated more critical production. The original Sony VO-3800
portable U-Matic recorder, a luggable VCR originally designed for
the industrial market, transitioned in 1976 to the BVU-100, the
first product from the newly formed "Sony Broadcast" division.
As much as Sony originally tried to position U-Matic
(and later Betacam) as strictly newsgathering products, the rest
of us – tired of hefting recorders the size of concrete blocks
each day – started using the small formats for production.
Early "reality shows," such as George Schlatter's "Real People,"
introduced ENG technology to primetime, breaking the minimum $1
million price barrier for producing an hour of network programming.
At first, none of the clients at Television Matrix,
my Miami-based video company, would use the Betacam on an actual
job. It was mostly a PR tool to impress those still shooting on
the U-Matic or Type C formats. I bought the Betacam to push the
video envelope and that's exactly what happened.
In the early 1980s, Paramount's Entertainment Tonight
was a client of my company. One of the show's reporters at the time
was a young Robin Leach, direct from his days as a tabloid newspaper
reporter. Leach saw our Betacam and was impressed. He'd been trying
to figure out how to do a new TV magazine show for under $100,000
an episode and could find no way to achieve that extraordinarily
low cost with the TV production technology of the time.
He wondered: Could Betacam break the production cost
barrier? When he asked that question in 1983, the answer was "no."
All that existed was the Betacam camcorder and a simple player.
The player would interface to Sony's U-Matic editing gear but could
not at the time be fully integrated into a 1-inch online production
suite. In those days Betacam tapes had to be dubbed directly to
1-inch for serious editing.
I called the president of Sony Broadcast and told
him of Leach's inquiry. He was intrigued and told me that Sony had
been thinking along the same lines. If I could put together the
deal, Sony would build the first interformat A/B-roll edit bay that
allowed the Betacam format to be seamlessly integrated with the
Type C 1-inch format.
The rest is a bit of video history. In the summer
of 1984, with a contract in hand from Robin Leach and an order in
place at Sony, I moved to Los Angeles and set up shop at Sunset-Gower
Studios, the former home of Columbia Pictures.
The 1984 Olympics were going on in Los Angeles that
summer and Sunset-Gower just happened to be the headquarters for
the Olympics' broadcast center. I was very aware that when the games
were over, there would be a fire sale on broadcast gear that included
routers, racks, audio components and the like. It was a good move,
because only days later the studio parking lot became a flea market
of virtually everything needed to build a broadcast facility.
EDITING LIFESTYLES
In the fall of 1984, with the support of Sony and
Jim Fancher, an extraordinary LA-based free-lance engineer, the
first Betacam/Type C interformat edit bay went into operation at
Sunset-Gower. Leach's new show, the first to use the facility, was
called "Lifestyles of the Rich and Famous." None of us,
with the possible exception of Leach himself, ever remotely considered
that the show might become a national hit.
The Betacam suite was also a hit, soon operating
almost 24 hours a day. It performed flawlessly and copycat rooms
spread throughout Los Angeles within the year. Sony even hired TV
legend Milton Berle to do an ad about Betacam's use on "Lifestyles."
My adventures with Betacam ended within two years
when I left the television production business in disappointment.
As a child of the 60s, I grew up with the simple, naive belief that
the power of television could – and would – be eventually
used to make the world a better place. "Lifestyles of the Rich
and Famous" wasn't exactly what I had in mind.
For many years I felt that liberating technology
like the Betacam had simply nurtured the worst generation of programming
in the history of the television medium. While it's hard to argue
that isn't true, Sony's invention also paved the way for the modern
"desktop television" movement, where nearly everyone now has access
to the tools to make programming of high technical quality at a
very low cost.
I learned, of course, that technology is always a
two-edged sword, rising or falling depending on how people choose
to use it. Perhaps at only 19, it's too early to write the history
of Betacam. But as the venerable format moves beyond its analog
years, I propose a toast to an invention that has truly changed
the world. The question of "for better or worse" remains
to be answered.
(Note: Sony – after selling more than 450,000
analog Betacam units worldwide – will continue to manufacture
Digital Betacam equipment, which has the capability of playing older
Betacam tapes from the analog era. The company will also continue
to make a limited line of analog Betacam players. Analog Betacam
camcorders are history.)
Frank Beacham is a New York City-based writer and
producer. Visit his Web site at http://www.beacham.com.
E-mail: frank@beacham.com
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