Have you ever heard the old movie cliché, “What’s a nice girl like you doing in a place like this?” Those of you who might recognize my name or byline from consumer and residential technology publications over the years might reasonably paraphrase that to ask, “What’s a consumer-centric journalist doing in TV Tech?” That’s a good question, but as an introduction to my new column, “The Other Side,” allow me to explain.
Over the years, I have been involved in exactly what the name of this publication is: TV technology. I’ve worked at post and duplication facilities, helping to initiate and market new technologies; spent more late nights supervising film-to-tape transfers back in the days of 3V film chains and quad recorders; and helped install and bring up and run massive RF distribution networks for early in-room hotel pay TV systems.
On the other side of the technology fence, I led teams that developed and marketed one of the first digitally converged three-tube video projectors; spearheaded one of the first complete home theater systems (including processors, amplifiers and speakers); and, more recently, helped lead product teams for immersive home audio products that play back the content TV Tech readers capture, edit and distribute.
‘Trickle-Up’ Electronics
That has given me a unique view of how both broadcast/professional and consumer electronics products are used and, often, misused for both their intended market applications but also as a physician might say when a drug is used for something other than its main intended use, for “off-label use.” As a good example, one need look no further than the use of DSLRs and even iPhones as production-level cameras for everything from local news to major sporting events and feature films. Let’s call that “trickle up,” as it is the use of consumer market products “off-label” in professional applications.
It would be astounding if each of you hasn’t been asked more than once by relatives or friends: ‘Hey, you’re in the TV business. Can you recommend a good display, camera, speaker or amplifier?’”
On the other hand, there has always been the opposite: “trickle down.” By that, I mean the use of professional products in a consumer environment. Back in the day, I recall more than a few high-end consumer installations where one might find those old Tektronix video monitors or “professional” video projectors in home theaters. Perhaps the ultimate trickle-down was the frequent use of the original Altec “Voice of the Theater” speakers in the home, or perhaps JBL and other studio speakers in home theaters. The same for high-end, high-power audio amplifiers or Ampex 300-series reel-to-reel tape machines. The best way to picture that is to do an online search for the classic image of Frank Sinatra’s home listening system.
The digitization of everything has meant that things are clearly blending together from both sides, and my goal here is to have you meet the technology in the middle. On one hand, you get maximum efficiency both in terms of time and costs by using things originally not meant for “pros,” while on the other hand consumers get to reap the benefits of “pro/commercial” products. I’m certain that most of you know nonindustry friends who use Resolve or similar video or audio production software tools for their vlogs, or what now passes for “home movies.”
Both Sides of the Fence
Last bit of my introduction to this space: As an industry professional, it would be astounding if each of you hasn’t been asked more than once by relatives or friends: “Hey, you’re in the TV business. Can you recommend a good display, camera, speaker or amplifier?” By jumping across both sides of the fence in this column, we’ll give you some answers to those questions.
Let’s start with something everyone has and needs, and which you use every day: video displays. For last-mile, precision applications there is still no substitute for a Sony BVM series or monitors from Eizo, Flanders, TV Logic, the Dolby PRM-4220 (as a successor to the now-discontinued Dolby Pulsar) and other brands. However, for noncritical use such as viewing rooms, offices and stages where image quality and price are key, but so is cost, there are new products from consumer brands that may fit the requirements.
You may not be as familiar with TCL and Hisense as you’ve been with the legacy brands such as LG, Samsung and Sony. However, keep in mind that from a global sales perspective, those two brands are right up at the top of the sales charts with LG and Samsung. In particular, the new TCL models with their SQD panel structure and the RGB MiniLED models from Hisense have an excellent price/value benefit. Similarly, the LG and Samsung Micro RGB models will also give higher-priced, “professional” models a run for their money. Just as I’ve seen high-end LG and Panasonic OLED models used as the main and “client” monitors for color grading, expect to see these in non-consumer use sooner than later.
As an aside, the Mini and Micro RGB backlit products—not to be confused with true direct-view LED display technology (dvLED) that is common for video walls, virtual production and staging—may just be the thing to recommend when your nonindustry friends ask you, “What should I buy?” Along with the standard set by OLED, these and the (non-RGB) TCL SQD won’t steer them wrong.
Crossover in Action
As one other example of where From the Other Side will take you going forward, let’s look at one other “trickle up” product drawn from the consumer/home office space that you might benefit from on the job and on the go.
TV technology professionals are often on the go, both traveling to and from gigs, at a remote event, or in recent times possibly even at home doing remote production. Particularly since the pandemic, we’ve all gotten used to multiple screens but what do you do when you have to finish an edit on the go at an airport lounge or coffee shop?
After all, taking a wall of monitors with you just doesn’t work in an era where, to paraphrase another now-obsolete advertising slogan, “bags don’t fly free” unless you have elite-level loyalty status. TSA wouldn’t like that too much, either.
One solution I have tested and used, courtesy of a sample provided by the manufacturer, is the Tri-Screen 3 from a company with the unique name of Xebec. It lists for $699 and consists of two 13.3-inch, 1080p/60Hz screens that fold up against one another to a compact form that isn’t much thicker than some larger laptops. It fits snugly to the laptop’s screen, has one USB-C connection and, after folding out the aluminum kickstand, you fold out the monitors. You then have three screens, counting the laptop or two screens facing you and one facing behind the laptop so others can see what you are working on.
Best example: sitting in a cold Boston airport this winter, having people wonder what I was doing with an edit on three screens. That’s nowhere near as interesting as continuing it with three screens on the plane and then uploading the job as soon as I landed.
These two examples are just a hint of the crossover potential between “work and play” or “home and office/studio/remote shoot” that this column will be bringing you as we all move forward into a future that is not only mixed in terms of media, but with respect to the tools and products we all use to navigate the ever-changing media landscape.
