video-magazine-1994-11

Screen Door: Side views of 8mm Sony’s CCD-FX730V shows how LCD screen swings away for use as a monitor. Sharp’s, although its horizontal resolu- picture wasn’t great, it was adequate for the Hi8 ViewCam, and it created a con- tion (between 230 and 240 lines on the day-to-day shooting. resolution chart) was about 10 lines vincing sense of room tone during less, although this is admittedly an infi- AUDIO QUALITY recorded conversations. nitesimal difference. Despite the fact that Sharp’s Hi8 The Snap recorded far too much Everyone concurred that the Snap’s ViewCam is the only stereo camcorder room tone during each phase of the picture wasn’t in the same league as of the lot, its audio quality under real- test, making the videos sound echoey those of the other 8mm camcorders. As world conditions is not significantly and amateurish. Its auto level control Brent pointed out, “It’s very grainy, and tended to overcompensate (resulting in the auto exposure system seems primi- better than that of its some distortion) for casual conversa- tive—it hasn’t a clue how to handle sun- less-expensive _ sibling. tion at 10 feet. It recorded an obnox- light. The color accuracy is pretty good, The zoom noise on the ious click when the telephoto adapter though.” Stewart commented, “The H400U_ is’ especially was engaged (there was also a visible fixed focus caused some problems in the apparent, and can even switching of lenses). picture test,” while Lance remarked on be heard to some extent the luminance noise outdoors as well as while a subject is talk- But the worst aural offender was indoors, even though he agreed that ing—another disappoint- the color was good. ment for a_ high-end Sony’s FX730V, which generated noti- model like this. Its fre- ceable tape transport noise throughout While there’s no consensus among quency response is only the audio test. These noises could be our panelists as to which camcorder fair, and its ability to heard during all the tests, even out- had the best picture, we all agreed that record natural-sounding doors on a windy day. There were also you could get a good picture with either conversation is also not slight but discernable zoom and autofo- the Sony FX730V or one of the as good as one would cus noises. Under these conditions, it ViewCams, and that while the Snap’s hope from a_ high-end was hard to judge how it handled either model with a stereo mic. the music we used for frequency RtiEeMneOTE CONTROL The E36U, on the other hand, has very good response tests, or how it handled room =-| )95 audio quality from its tone during casual conversation. ° mono mic, and has the ° added benefit of barely AUTOFOCUS noticeable zoom noise, even in total silence. Its Of the camcorders we tested, only frequency response was three-the two ViewCams and Sony’s nearly as good as that of FX730-have any form of autofocus. Helpful Extras: The Snap uses a fixed-focus lens, which A supplied sun hood for explains why its “zooming” capability is Sony’s Snap and an optional continued on page 88 one for JVC’s SystemMax (top), and supplied remotes for Sharp’s VL-H400U and Sony’s CCD-FX730V and Snap. NOVEMBER 1994 VIDEO 51

BY BRENT BUTTERWORTH Are you overlooking video's best big-picture machines for your home theater? uppose that the members of a Front projectors offer the best big- the special demands it places on you wine-tasting club drank and your living room. We'll also take a nothing but Boone’s Farm? screen video picture you can get. But look at some of this year’s most inter- What would you think? Or if while they’re an everyday sight in esting projectors, as seen at June’s Los a self-proclaimed sports-car offices and sports bars, they’ve only Angeles INFOCOMM show, which enthusiast who drove noth- made their way into a handful of included a huge shootout of all types of ing but four-doors? Or if the homes. front projectors. And we'll give you a office fashion plate shopped only at peek at some of the new projection Target? You'd think there’s a big gap It’s time for that to change. With technologies that hold promise for the between ambition and reality, that HDTV on the horizon, with home the- future. maybe it’s time for these people to get ater growing in popularity, and with computers and multimedia becoming a FRONT-PROJECTION BASICS serious. part of everyday life, the advanced dis- play technology in front projectors Front projectors are those that pro- Most video enthusiasts fall into the Zenith’s $3,500 Pro851X ject an image onto a separate screen— same trap. They stick with readily avail- tor this reason, they’re sometimes called able direct-view and rear-projection makes more sense than ever. But get- big-screen TVs, ignoring the best video ting into front projection takes a lot two-piece projectors. There are two | monitor technology available today. more thought than simply laying down common types of front projectors: cath- front projection—even though it often the plastic at Circuit City and heading ode-ray tube (CRT) and liquid-crystal carries only a very small price premium. home to wait for the delivery. In this display (LCD). There’s also the light- article, we'll tell you why you should valve, which is currently limited to consider front projection, and examine large commercial installations (see “Light-Valves & Micro-mirrors”). CRT projectors use three picture tubes, one each for red, green and blue. The three tubes must be precisely aligned, or converged. Otherwise, objects in the picture will have fringes of one or two of the primary colors, and the picture will appear unfocused. There are two types of convergence: dynamic and static. Static convergence lets you adjust the convergence in the center of the screen using crosshairs (you’ve probably noticed this in rear- projection TVs). That gets the center in fine, but may leave the edges out of whack. Dynamic convergence allows adjustment across the entire screen. THE CASE Pagegh 52 VIDEO NOVEMBER 1994

Great Graphics: Sony’s VPH-1271Q | through a single color The difference lies in the projectors’ LCD panel. But better, horizontal scan rates—the number of brighter projectors split times per second the projector traces a the light into red, green horizontal line across the screen. The and blue components higher the horizontal scan rate, the through the use of more picture resolution the projector dichroic mirrors. They can show. use a separate, mono- Most home theaters use video- chromatic LCD panel grade projectors, which typically offer for each color, then only the 15.75-kilohertz scan rate used recombine the three by our NTSC video system. With prices Most CRT projectors include a couple and project the light out through the ranging from about $2,000 to $8,000, video-grade projectors are fairly afford- dozen dynamic convergence controls. lens. All LCD projectors suffer from two able, and they give you a much bigger But it’s a job best left to professionals— it usually takes about two hours and lots problems, to greater or lesser degrees. picture than you'll get with a rear-pro- of patience. To me, it’s like trueing bike One is a lack of contrast. CRT projec- jection set. The problem with video-grade pro- wheels, because adjusting one thing tors can shut off their light output usually throws off another. And it needs entirely, dropping to a nice, clean black. jectors is that they blow up NTSC pic- to be done about once a year (every six But because months if you're picky), because set- LCD panels are tings drift over time. not completely LCD projectors, on the other hand, opaque to the require no convergence and only a very light blasting simple setup procedure. Just point the through them, projector at the screen, zoom the lens it’s harder for so that the images fills the screen, focus them to drop to the image and you're done. It’s easier a dead black. than programming a VCR. Because of Also, LCD pan- this simplicity, LCD projectors are gen- els are made up erally considered the wave of the of distinct pic- future. ture elements, An LCD projector uses a bright or pixels, and the pixel struc- ture is usually apparent to _ some degree. Whether they’re LCD or CRT; pro- jectors fall into three classes: video grade, data grade and graphics grade. bulb as a light source, funneling its light tures to a size far larger than the cre- through either one or three LCD pan- ators of the system ever intended. The els. Because the panels are fixed in result is that the horizontal scan lines place, convergence is permanent are very visible. Some viewers don’t (although not always perfect). Single- panel LCD projectors, like the tiny, JEGTOR$800 Sony CPJ-7, simply blast the light NOVEMBER 1994 VIDEO 53

PROJEGTION Vliaglhvtes& Front-projection video may be poised for a revolution. Two end home theaters. technolgies—one proven in the field, one still on the Front projectors have always skirted Micro- drawing board—could well steal a big share of the front- projection market from the dominant CRT and LCD the line between professional and con- technologies. sumer products. The Federal Communications Commission, howev- The first is technology light valves. Light valves have er, draws a sharp line between the two been around for years—you may have noticed GE's gigan- applications. It lumps projectors into Mirrors tic Talaria light-valve projectors in sports arenas or the two classes: commercial (Class A) and sports-book areas in Vegas casinos. A light-valve projector home (Class B). While it’s technically is like a souped-up, three-panel LCD projector. It uses illegal for Class A projectors to be sold three small CRTs to create images on liquid-crystal panels. to consumers, industry insiders tell me Light from a xenon arc lamp (split into red, green and blue they frequently make their way into SPeeccbececaecmess)scespasses through the LCD panels. Sometimes it’s set home theaters anyway. straight out from the panels through a lens, sometimes the Either way, you can’t just waltz into light is recombined and sent out through a single lens. a department store and score a new projector. You have two choices: Use a Light-valve projectors can put out amazingly bright, sharp custom home theater installer (your and large pictures. best bet), or try a local pro A/V dealer. At INFOCOMM, WHAT'S SO GREAT ABOUT light-valve projec- FRONT PROJECTION? tors from Ampro, Two things: First, the picture’s big- ger. Any decent front projector can give Barco as well as you an image measuring at least six feet Hughes/JVC (fed diagonally; many run to 10 feet or more. And there’s no arguing with the by a line doubler) fact that a bigger picture gives you a lit up huge, the- more theatrical effect—treal home the- ater, instead of just a big TV. ater-size screens Second, the picture can look better with filmlike vid- than direct-view pictures. Some theo- rize that because a front video projector eo. If I didn’t directs light onto a screen, like a film projector, the look is more film-like. know better, I’d Some argue that because CRT projec- tors use separate tubes for each color, have thought I the manufacturers don’t have to worry about how well the phosphors can co- was in a movie exist—the phosphors are in separate tubes. Some say that because CRT pro- theater. jectors don’t use phosphor stripes or Power Projection: Recently, light valves have come down in price—the least Hughes/JVC’s Series = expensive model I’ve seen, Ampro’s 7000D, lists for “only” 300 ILA $47,490. Hughes/JVC has made a big splash with its pro- light-valve projector. jectors, which cost from $50,000 to more than $100,000, but it’s planning a consumer version for 1995 that will cost eenebcsectcewseesesn $2,500 and $3,000. : The other breakthrough is from Texas mind them, others can’t stand them. more. A few years ago, graphics-grade The solution is a line doubler. This projectors were rare, but they’re becom- ing increasingly common as_ the doubles the apparent resolution of an demands of computer graphics rise. NTSC frame by displaying both of the Even though they start at about fields that make up that frame simulta- $30,000, a few graphics-grade models neously, rather than one after the other. have found their way into very high- Unfortunately, because line doublers double the scanning lines, they can only be used with projectors capable of twice the NTSC scan rate, or 31.5 kHz. Such projectors are called data- grade models. They’re also capable of displaying computer images, and will be able to faithfully reproduce HDTV images when HDTV broadcasts and source devices are available. They start at about $10,000. If this seems expen- sive, consider that the currently fash- ionable rig for high-end home theater is two data-grade projectors, stacked and converged together for extra brightness. Graphics-grade projectors are essentially souped-up data-grade mod- els, capable of scan rates of 60 kHz or 54 VIDEO NOVEMBER 1994

Pocket Projector: Son’y CPJ-7 LCD projector fits in a camcorder bag. up high-end speakers without | besides. Long-throw LCD projectors worrying about the effect of | like Vidikron’s Crystal One are the eas- having a big box between them. If | iest—just set them up on a high shelf in you don’t like the look of a box hang- | the back of the room. ing from the ceiling, your installer can put in a lift that will pull the |WHAT’S HOT projector up into the ceiling, out of The best place to see front projec- sight, when it’s not used. tors on display is at the INFOCOMM You can set up a projector | show, held each summer for on a small table, but it’ll probably | audio/video professionals. (Next year’s get in the way of your center speaker, | exhibit will run from June 15 to 17 in and will take up valuable floor space Continued to p.94 dots as direct-view sets do, they’re creel ........ There’s; lot of om os cacmnne Te mak- capable of sharper pictures and higher ers, so consumers have lots of options. The most conve- resolution. Pg nient type of screen pulls down from the ceiling, or lowers ... electronically. Many, however, are fixed on a wall. Curved I say a CRT front projector can look Choices: . screens were popular in the early days of front-projection, | great because a technician comes to a | your home and calibrates it. With | ..............°...*... when every ounce of brightness was needed, but are now fi dl out of favor. direct-view and rear-projection sets, IX 3 . you're stuck with factory calibration ..... One interesting trend in screens is motorized masking Curved for different aspect ratios, as found in many movie the- (usually done in a matter of mintues) 5 aters. Draper offers a cool system operated by an infrared | that often worsens during shipping. remote that can mask vertically or horizontally. A masking system combined with Draper’s 100-inch Eclipse screen | CAN YOU DEAL WITH IT? Motored costs about $1,500. Front projection sets can be difficult | Some other companies have concentrated on creating to live with. The big problem is that you ttMore screens that meet THX specifications for sonic trans- need a totally dark room, or the picture ....:... parency. The advantage of such a screen is that it lets you put your center speaker (or all three front speakers) will wash out—no more lazy Sundays behind the screen. Uni-Screen offered the first THX-certi basking in the sun coming through the living-room windows as you watch the .. fied screen, and a Broncos cream the Cowboys. One solu- version by Stewart Filmscreen should tion is to place an inexpensive direct- view set behind the projection screen, be out by the time and only lower the screen when you you read this. The want the big picture. screens use tiny There’s also a problem with user- perforations to let friendliness. Almost all projectors are the high frequen- | video monitors only, not cies move through | monitor/receivers. In other words, there’s no tuner—and no picture-in- (lower frequencies picture, no sleep timer, no favorite- get through on channel programming. There’s usually | their own). Make sure your not even a speaker! Zenith and installer doesn’t go Vidikron have made a few projectors overboard when with all the creature comforts of your specifying screen typical Trinitron, but in the vast major- gain, which is the amount of light ity of cases, you'll have to supply the tuner (or use the tuner in your VCR) reflected back by the screen. Video and the sound system. And figuring out Max Mattos: how to get all this stuff up and running monitor maven Joe Kane (see last month’s “Home may be beyond many family members. The intgnsed Theater”) usually recommends a screen with a gain of 1.3, éOnce avpeast thesbei codncerns, front || masekiangeon this like the Stewart Filmscreen StudioTek 130. Screens with a projectors have a big advantage over Draper Eclipse screen gain of more than 1.5 give you more brightness, but fre] - other TTcVhesie:linbge,Tshtwehywearyetakttoehemyuo’pruentvceormytphleelmittet-li2es aapscepmieiuctstsbnraeaunttitoomaticf room. “ : Vy i| on the atheenctenltyepr oof ethe pihcotturea. eThey can a2lsoogeive tMheephicteueree a“n unnatural sheen. __ BB ly out of the way. This also lets you set rAeeeeceecesesonecessese NOVEMBER 1994 VIDEO 55

BY KEN KORMAN Star Power: How an A-Team Spielberg of F/X artists and Raptor, a dinosaur that created the hi-tech could take breakthroughs direction. that gave ‘Jurassic Park’ bite. rom the mythic creations of special effects pioneer Ray Har- ryhausen to the nuclear night- mare of Godzilla, prehistoric beasts have served Hollywood well as primal objects of awe and terror. A big fan of these and other Saturday matinee horror classics, direc- tor Stephen Spielberg knew just what he had to do when he signed on to di- rect the movie version of Michael Crichton’s novel Jurassic Park. “He wanted the dinosaurs to behave as ani- mals, not monsters,” explains Phil Tip- pett, the man who became the king of | stop-motion animation when Harry- hausen retired, and one of the four mas- ters of special effects Spielberg hired to conjure Jurassic magic. “He didn’t want it to degenerate into a monster movie.” Sounds simple. But after years of creating memorable creatures for block- busters like E.T:: The Extra-Terrestrial and Close Encounters of the Third Kind, Spielberg knew how difficult the task would be. Still, the director only seem- ed interested in the project if he could bring dinosaurs to life as no filmmaker had done before. To pull it off, he as- sembled an A-team of the best and the brightest in special effects, and pushed them to reinvent their own technolo- gies. It was a risky proposition. “We had no idea this was going to work at all,” says Tippett, who had won an Oscar for his work on Return of the Jedi. But the results, especially now that Jurassic Park | is available for frame-by-frame scrutiny on videocassette and laserdisc, speak for themselves. Spielberg’s four effects wizards, each a master in his own area of specializa- tion, collaborated for three years on Jurassic Park, assisted by private teams of F/X veterans. In a joint interview with Video Magazine, the four talked about how they devised the pioneering effects for the film, displaying as they talked a deep respect for one another as well as the spirited sense of rivalry that helped them raise the technological ante for movie creatures. The group consisted of: e Stan Winston, who had started as 56 VIDEO NOVEMBER 1994

soon went to work on their own to up the reality factor. A few clandestine ex- periments had staff specialists clamor- ing for a bigger share of the effects work. The painstaking process of ren- a makeup effects artist before graduat- dinosaurs, and less like a lumbering dering computer graphics had gradually ing to large-scale mechanical creations hulk. “We had a great respect for scien- improved, and they thought they could for movies like Aliens and Terminator 2: tific fact,” Winston says. “Our wish was do a better job than the stop-motion Judgement Day. to create the most dramatically accu- stylists. “Over the years—primarily with e Dennis Muren, who serves as ef- rate dinosaurs anyone had ever seen.” T2 and Death Becomes Her-our soft- fects supervisor for George Lucas’ In- Michael Lantieri also came into the ware became much more user-friendly,” dustrial Light and Magic (ILM), the project early to help Spielberg narrow Muren explains. “And our guys sudden- company that invented computer-gen- down the methods for erated special effects. creating the full-size e Michael Lantieri, who handles creations the director what are known as physical effects and had begun to envision. who cut his teeth on the ground-break- The work by Muren’s ing Who Framed Roger Rabbit. computer graphics e Phil Tippett, who originated the (CG) team and Tip- “go-motion” process, a computerized pett’s stop-motion ani- upgrade of traditional stop-motion ani- mators was intended mation. to merely fill in the Spielberg accepted the Park project gaps left by the large six months before Crichton’s best-seller physical creations that arrived in stores. He first hired produc- would account for the tion designer Rick Carter, who had im- bulk of the effects pressed Spielberg with his work on the work. But this was not director’s version of Empire of the Sun how things eventually and his TV series Amazing Stories. turned out. Carter soon had conceptual illustrators Winston’s studio and storyboard artists fleshing out ideas was assigned the mam- from galleys of the novel to inspire fur- moth task of creating ther interest, and potential funding, life-size dinosaurs that from Universal Pictures. could take direction Stan Winston soon joined the fray, from Spielberg as if ra. and assigned one of his best illustrators they were actors, as Reality Check: Raptors mixed computer graphics and rubber-suited actors. | to design a new kind of dinosaur, one new ideas occurred to that reflected the latest paleontological Spielberg on the set. This would be ly had the experience to get an image findings: the beast should be more nim- achieved in a variety of ways, but large- that closely represents what’s in their ble and bird-like than previous movie ly through puppetry. The idea was to minds.” mechanically manipulate the creatures When Spielberg and the rest of the by rods and wires, or through the hy- production team finally looked at ILM’s draulic systems created for larger crea- private test sequences, they could hard- tures like the tyrannosaurus rex. Some ly believe their eyes. Photo-realistic of the full-body movements for smaller computer-generated images had finally animals like the raptors would be han- arrived. Because the results were more dled by putting a man inside a raptor realistic than anything achieved suit. Almost everything else would have through stop-motion, the work-load, to be done by stop-motion animation— and the film’s budget, was reorganized man stars the frame-by-frame manipulation of in ILM’s favor. Jeff Goldblum small-scale, physical creations. But this Tippett and his 30 stop-motion ani- and Laura Dern traditional technique didn’t really pro- duce the realism everyone was seeking mators were suddenly left out in the in a moment for Jurassic Park. cold, wondering whether advances in of awe. computer graphics had overnight LM’s computer graphics experts continued on page 98 NOVEMBER 1994 VIDEO 57

SXIBHI-Fi 4HEAD *FLYING EAASE S45 AUTO BANa 4 OTOR EvECT HOME THEATRE These days, the makers of S'VHS VCRs too, as a wonderful tool for editing cam- Our buying guideare taking a calmer, wiser approach to corder tapes that will later be copied | selling their high-grade, high-band for 5VHS VCKs, and sent to friends or relatives. With | recorders. The format that was once picture resolution to spare—400 lines ballyhooed as “the next generation in of horizontal resolution versus the | an elite corps in thevideo,” a fit rival to the laserdisc in pic- approximately 240 lines typical of stan- | ture quality, has never made more than | dard VHS—dubs made from S-VHS push for high-enda dent in the home video marketplace. masters show little of the generational | But it has taken the high ground with a performance. image loss that afflicts conventional cadre of feature-packed decks that VHS-to-VHS copying. And of course, videophiles can overlook only at their S-VHS decks do double duty, offering | viewing peril. refined reproduction and recording of | Manufacturers have woken up and Cece ccccescccceccccscccscsccce standard VHS tapes. smelled the coffee. The unrealistic pro- | S-VHS sales stubbornly hover at | motions that accompanied the format’s BY JONATHAN TAKIFF just one to two percent of the 13 mil- introduction in 1987 have faded. So | lion VHS decks sold annually in the too, as some proponents U.S. Several major acknowledge, have efforts es tins to market S-VHS to main- Philips,M gnavox, Sam- | stream VCR buyers. Now, sung, Sanyo, Sharp and | S-VHS is likelier to be —don’'t even field | positioned as the ideal for- S anymore, and mat for critical viewers those that do offer only who have large TVs and high-quality cable or Two Supers: RCA’s $749 VR721HF (above) with satellite-fed programs that jog/shuttle buttons, and JVC’s are worth taping and BR-S378U (left), which has a viewing well. special effects processor. The format is serving, 58 VIDEO NOVEMBER 1994

BUYING GUIDE | $ || | < &> &> & 2 |b|||y|| S$yx*¢ S¥os2= ¢$ry “5a eS 2?\"$¢ ¢e Vv Oawv a ~e& || RYAS 2 SGLV ra~apA s e = as Bf 6 |rk | & Pu &62 ae ~~RS 2 i Y¥S # || &A & Rd i | oo ow oe SF SSF y | &oe egfffF SPoee FdeS aOy eee eaee Sa’! ae She tN de e e (oct iiee x} Bae o he apiece Sees | VT-S772A $899 Ge Yew Remote Y AW N Y N__ AM, Edit Switch, IR, Magic Door Tape Deck Y Loading, Titler | HITACHI Both Y HR-S5100 $899 8 N_ Remote Both N AW/S/P N N N_ AD,AR, AVL, CS, FMC, HBS, IAS, IE, JVC MBEC (Opt), ML, PFB, RT JVC HR-S7100 $1,099 8 N _ Remote AW/S/P Y NN AD,AR, AVL, CS, FMC, HBS, IAS, IE, IR, MBEC, ML, RT JVC PROFESSIONAL SR-S360U $1,130 8 N N AWS N N N_ HM,HBS, IE, Opt. Wired Remote | | JVC | PROFESSIONAL BR-S378U $1,285 NYN Deck N N Y NN CP, Opt. Wired Remote, PRE, 2AVIO, | MITSUBISHI HS-U770 $949 Video On Sound | PV-S4480 $1,099 | | PANASONIC AG-1970 $1,850 N Y — Deck/ Both Y AW N YY AB, Child Lock, CS, DS, ML, PFB, PRE, AG-5700 $1,900\" Rem. (Opt) RC, SBT, Super Quick View | | PANASONIC VR721HF $749 | PROFESSIONAL 8 Y Deck Both Y AN N YY ADS, Auto Repeat, CS, DMS, DAP, DAT, PFB, TBC, 2VCR | PANASONIC PROFESSIONAL Opt Y N Deck N AWS/P Y Y N_ AD,DYC, Edit Switch, ET, HM, Search With Sound, 2AVIO, TBC | RCA NS YAN N NN N NN __ Auto Repeat, Opt. Wired Remote, RS-232 Interface N N_ Deck Both* Y N Nee Yeh ci eke Blank Search, CS, PC, PFB, SONY SLV-R1000 $1,299 N Y — Remote Boh Y AWS N N Y_ CONS, COSH, Command Mode, CS, DMS, IE, SYE, TTS | ee KEY TO SRE Pee 2 ae Digital vata buttons instead of wheel | Y: yes, feature present; N: no, feature absent; Opt: optional. SPECIAL FEATURES. A/B: antenna A/B; AD: audio dub; ADS: auto daylight-savings time change; | Al: artificial intelligence for picture enhancement; ASD: auto S detail switch; AVL: A/V component link; BM: book mark search; CONS: control-S inpuftor | | editing; COSH: context-sensitive onscreen help; CP: color processor for F/X; CS: commercial skip, intervals vary with brand; DAP: digital auto picture; DAT: | digital auto tracking; DMS: dual-mode shuttle controls; DS: date stamp; DYC: digital Y/C separation circuitry; ET: 5-pin editing terminal (for controller, 2nd VCR or camcorder); FMC: family message center; HM: headphone monitor terminal with volume control; HBS: Hyper-Bass Sound; IAS: intelligent audio switching noise reduction; IE: insert edit; IR: illuminated remote; ML: multilingual (English, French, Spanish) onscreen operating system; MBEC: multibrand | random access edit controller; PC: previous channel monitors 2 channels; PFB: power-failure backup, varies with brand; PRE: preroll and record review; | RC: record cancel returns to previous edit point; RT: retake, moves tape using shuttle ring during record-pause to edit out segments; SBT: search by time; | SEJ: synchro edit jack; SYE: synchro edit with control L for camcorder; 2AVIO: 2 sets A/V and S jacks; 2VCR: synchronized 2-VCR remote for editing; TBC: | timebase corrector; TTS: twin tape stabilizer : one or two models. “For viewers seeking decks. The circuit allows VHS decks to base of decks would have given soft- play S-VHS recordings, albeit with the ware manufacturers enough incentive high quality playback of motion pic- performance characteristics of VHS to produce titles for the format and for tures, the laserdisc is taking the place of tape. “If other brands had gotten retailers to carry it.” | the high-quality VCR,” sniffs Quasar behind Quasi-S-VHS, we could have | marketing manager Scott Olson, whose built up a base of 30 million S-compat- Unfortunately, other makers de- company gave up on S-VHS two years ible VCRs in a few years,” says clined to spend the “couple bucks” it | ago. Panasonic’s Bill Mannion, assistant | Things might have turned out dif- general manager of the video division. cost to add Quasi-S-VHS circuits, | ferently had manufacturers followed “We'd have solved the chicken-versus- putting Panasonic at a price disadvan- Panasonic’s lead in 1991, when it added egg, hardware-software dilemma. That tage and forcing the maker by 1993 to “Quasi-S-VHS” to all its standard VHS limit the circuit’s use to “select, high- end models.” NOVEMBER 1994 VIDEO

Upper Decks: Sony’s SLV-R1000 includes cable box control, while Panasonic’s AG-1970 lets you search with sound. | S-VHS tapes (labeled T-210, ST210- XZA and STC-40 ) in full and compact sizes is also “good news for the format,” according to Bill Sims, general manager of the company’s video division. The ST210-XZA offers three and a half hours at the SP speed. The diminutive STC-40 tape, running at EP speed, can capture two hours of high-band video, finally allowing an entire school musi- cal, football game or feature film to be crammed onto a single compact cas- sette, and with higher resolution at EP than is possible with SP-recorded con- ventional VHS. S-VHS backers like Sims also cheer the arrival of the small-dish Digital Satellite System, which has begun pumping dozens of channels of pro- grams at 400 lines of resolution around the clock. For home timeshifters, only S-VHS, Hi8 (or Sony’s virtually faded ED-Beta format) can capture DSS | entertainment in all its vivid glory. | An inadvertent boost to S-VHS In fact, the software part of the S- The format is flourishing in industrial may come with the next generation of VHS equation was never really solved. and broadcast circles, with heavy-duty digital VCRs. While promising perfect Prerecorded movies and programs for S-VHS decks (and camcorders) by dubbing of camcorder tapes, digital S-VHS are virtually non-existent. San JVC, Panasonic and Sony supplanting VCRs are likely to include advanced Francisco’s Super Source Video, sole the venerable U-Matic workhorses at copy protection schemes that will supplier of S-VHS movies to hardware prices ranging from $1,100 to $9,400. impede the taping of pay-TV programs. makers and the public, is phasing out Sanyo also makes a unique pro-quality S-VHS, as the best and last of the ana- “the last of our inventory” of about 50 S-VHS_ deck with frame-by-frame | log recorders, may still be able to nab | titles, according to company president recording capability, which makes it shows its “betters” cannot. | Hamilton Bryan. Several VCR makers great for animation work. WHAT’S ON BOARD Shoppers for S-VHS decks can once packed Super Source tapes with On the consumer front, savvy shop- their decks. But now Bryan is suing the pers can benefit from the format’s many hardly go wrong with any of the models last of his clients for breach of contract, perks. A small, select crew of new fea- now on shelves. Every one is a top-of- ture-laden S-VHS models are available, the-line machine that’s chock full of claiming it abandoned a purchase order as the accompanying chart shows, from features, including on most models, in mid-deal. Not a pretty picture. Blank tape prices are also a sore Hitachi, JVC, Mitsubishi, Panasonic, quick-start mechanisms that get the point. Because of special requirements, RCA and Sony. They come with sug- system up and running in as little as 0.3 } low demand for the decks and little gested prices as low as $749, for RCA’s seconds. Other standard features | competition, S-VHS blanks easily cost VR721HE Although we set a ceiling of include digital auto tracking, video four times as much as conventional T- | $2,000 for this chart, many models are noise reduction, flying erase heads for 120 VHS tapes. For _ efficent under $1,000, which was once the least seamless segment splicing and insert timeshifters, who quickly watch and you could expect to pay, discounted, for editing, and a rash of trick-play special reuse their tapes, the premium prices S-VHS. (Arguably, prices would be aren’t a problem. But tape duplicators, effects, like variable speed slow motion. who use masses of blanks and search even lower, if S-VHS decks were to Most S-VHS decks also offer auto- begin selling in decent numbers.) If you matic operation with record-protected hard for low prices, have turned the can find them, you'll do even better cassettes, high-speed rewind, automatic | other reel on S-VHS. And the average with recently closed-out models like the head cleaning and real-time counters. guy who’s just looking to stockpile Panasonic PV-S4366, once regularly And all come with multibrand remote episodes of his favorite sitcom or sci-fi sighted at $599, or the JVC HR-S4900 controls that handle TV and VCR show? He’s just been left out in the and HR-S6900, which are virtually the functions, sometimes cable box opera- tions and, in the case of RCA’s cold. same, save for cosmetics, as the newly VR721HE a DSS receiver. THE GOOD NEWS introduced HR-S5100 and HR-S7100. continued on page 108 The picture’s not entirely bleak. | JVC’s introduction of longer playing 60 VIDEO NOVEMBER 1994

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BY SUNNY BAINS Drive, He Said: Media Lab researcher ae ,amines computer- generated video holo- gram of a Honda. I’m sorry to have to tell you this, but Chasing Holovideo: helmets or any other head-mounted your home videos are flat. It doesn’t viewing device. matter how good your camcorder is, or moving images on a virtual stage. Blocks tumble, jugglers juggle and how elaborate your editing suite. It doe- miniature lab-coated scientists stare sn’t matter that you’ve added dazzling graphics or sizzling sound tracks. They back at the viewer, floating in front of the system’s final imaging lens, tempting lack dimension. I’m not making a value you to reach out and touch their laser- saturated reds, greens and blues. But judgement, just stating a fact. Video has devoted the last eight years to giving you can’t. The images only appear to dance in real, dimensional space. no depth. video a degree of depth that has only ex- At the Media Lab, they call this At least, so far. isted in science fiction. They are build- emerging medium holovideo. ‘“‘Holo- graphic video is the ultimate visual dis- Down in the basement at the MIT | ing a real-time, interactive, three- Media Laboratory in Cambridge, Massa- dimensional display—a virtual reality chusetts, a handful of researchers have HBPL.HAEORTTR 62 VIDEO NOVEMBER 1994

play, it’s that simple,’’ says Mark Apparently, they’re expecting Princess dreds of times finer than photographic Lucente, a holographer who’s spent Leia. film; their resolution has to be much years trying to simplify the medium’s greater. mathematics. “The only way to stimu- Yet while movies were creating an late the visual cortex more effectively is impression that video holography was Second, the CCD in a holographic to plug into it electronically.” video camera would need 100 times just around the corner, researchers were more pixels than ordinary CCDs. Such a To look at this work is to glimpse a ignoring the subject. For years, no one CCD is not likely to appear anytime tantalizing vision of home video’s future. even bothered to work on the problem. soon. Even if it does, where would you Not the immediate future, but not an find a monitor with enough resolution to unreachable one either, nor an unfamil- Emmett Leith, who made the first 3-D display the image? Besides, our holo- iar one. After all, it’s been in the public hologram in 1962 with colleague Juris graphic “video camera” could still only eye at least since the miniature holo- Upatnieks, had said it was impossible. shoot in the dark, and with a laser. video of Princess Leia, Star Wars’ plucky The technical community so esteemed What use in the larger world is a camera heroine, first pleaded for Luke Sky- Leith that no one questioned his decla- that can only be used in a laboratory? walker's help back in 1977. Although ration until Benton started his holo- R2D2 broke some of the laws of physics video project in 1986. The solution, scientists discovered, to relay Leia’s cry for help, the idea of lies in a less obvious approach. The first holographic images moving, talking, Two major problems had to be step is to stop thinking of real-time holo- cavorting in fully dimensional space has solved: how to build a device with graphy in video terms and, instead, to long been the stuff of science fiction. enough resolution to display a hologram think of it as you would a computer But since Star Wars, holographic projec- graphic. Given the same Honda we’ve tion has become an increasingly fre- in video form, and how to get a holo- been looking at, what would its holo- quent motif in movies and TV shows, gram onto the display. For a long time, graphic pattern look like? High-level including Star Trek: The Next Genera- these were formidable, paralyzing diffi- ray-tracing provides the answer. In ray- tion, Superman, Wild Palms and, most re- culties. tracing, the computer moves point by cently, Tek War. Looking at a hologram of an object is point within the volume of an object, In fact, people have grown so accus- almost exactly like looking at the thing itself. Let’s say we’re looking at a small adding up the physical contributions tomed to seeing holographic projections model of a Honda. We see the Honda from all the other points. on TV shows they sometimes forget the because light bounces and scatters off technology is still fictitious. Professor planes and curves, sending some into At first glance, this might seem even Stephen Benton, head of the Media our eyes. A hologram is an artificial way more daunting than developing a multi- Lab's holography group, has a lot of ex- of producing the same effect. million-pixel CCD. For example, you perience with this. Visitors to the group’s would need a data rate of 371 gigabits/ fourth floor digs “look at everything The most obvious way to make a ho- second to perform the calculations for a we've got,” says Benton, referring to a logram is put the Honda inside a sort of hologram occupying a four- by five-inch collection of flat holographic renderings holographic camera and photo- screen window running at 36 frames/sec- graphically record the way the Honda ond showing a 3-D scene with 256 gray of cars, faces and an Absolut Vodka ad, scatters laser light. But the approach levels. That’s just too much information. “then ask, Where are the holograms?” presents problems. First, scientists have to deal with the issue of image resolu- Fortunately, a lot of the data really tion. The light-sensitive materials used isn’t necessary. At the Media Lab, Mark to record holograms have to be hun- 3 | Acousto- How Holovideo Works \" optical crystal _ converts ound NOVEMBER 1994 VIDEO 63

Tomorrow’s Reality? Luke Skywalker runs the Princess Leia holovideo in Star Wars. REAL VIRTUAL REALITY? Most people interested in interac- Lucente has spent four years trying to Media Lab colleagues designed and built learn what really matters in hologram a system that turns the holographic data tive, 3-D environments believe they computations. He and his colleagues, for Lucente can compute into sound waves. have only one option: stereo. But this example, decided the first thing to cut The waves are pumped through an means wearing glasses or goggles, or was vertical parallax information. This acousto-optic crystal, which turns it into lets viewers see over and under objects a dynamic hologram by altering its re- somehow putting your eyes up against a as they move up and down. But most fractive index. The resolution is still pair of screens. If you don’t mind the dis- people only move from side to side when coarse, but it’s good enough so that the comfort, or that your eyes will be fo- they're looking at a display. final reduction to the right resolution cused on a single plane for long times at level can be done with a pair of optical Also, since holograms provide more lenses. a stretch, which most people do mind, resolution than the eye can see, Lucente all you have to worry about is whether decided some of this could go too. After From this point on, we can think of you have a decent stock of Dramamine. paring the information content to its es- the holovideo system as a kind of movie Most people, it turns out, suffer from cy- sentials, Lucente found he (and a help- projector. The hologram inside the crys- ber-sickness (a sort of sea-sickness) ful supercomputer) could work out the when they use stereoptical 3-D systems. calculations needed to create a holo- tal is the film, and a laser provides the This may be the only option in 1994, but gram in less than a second, and transmit projection or read-out light. Because the holography is catching up. it at video-compatible rates. This was sound waves are also moving through great, if you could find some way to dis- the crystal, the hologram is moving It’s not that holovideo is ready to hit play it. too—not the way a moving image the market. Far from it. There are seri- moves, but by changing its frame of ref- ous technical problems still to be defe- BUILDING THE HOLOWARE erence, like a movie projector with a A holographic display has to have broken shutter. If the light is on all the ated. In particular, researchers are time, you see each frame skip from top having problems moving information to about 16,000 picture elements per inch. to bottom, and the image makes no This is way beyond existing technology, the display stage fast enough, and it’s at least as we’re used to thinking about sense. To “still” the hologram, scientists not yet possible to interact with holo- it—as an array of pixels, each addressed use a scanner. As the sound waves carry grams without a time lag. But faster electronically. The Media Lab’s uncon- the laser beam forward, the scanner computers with larger-bandwidth ventional solution involves harnessing a moves the the laser beam back, so the datalinks should make these problems relatively mature technology —sound, go away in the long run. which is not normally applied to dis- image stays put. Because the data is plays. coming in line by line, a second scanner When the problems are solved, ho- performs the vertical positioning. lovideo will have major advantages over The Lab starts with an acousto-optic the competition, simply because looking modulator, a small crystal that tempo- The first holovideo image appeared at a hologram is more like looking at the rarily changes its refractive index as on a two-inch square display in 1989. Vi- real thing. All the depth cues are there. sound waves move through it. (If you sually, it was only a couple of dots, but it In a stereo system with head tracking, studied physics at school, you may recall you only get some of the cues. You get that the refractive index measures the was an amazing sight. Benton says even binocular disparity, which means that ability to bend and scatter light.) Be- the researchers on the project didn’t re- each eye sees a different image; occlu- cause a hologram is basically a light- ally believe it would work until they saw sion, which means that objects in the scattering device, a change in the refrac- it for themselves. After this break- tive index is all you really need to scatter through, the work progressed faster. foreground obscure those at the rear; the light to produce the image. and you get motion parallax, so that you That original, small holovideo system is can see different points of view if you Researcher Pierre St. Hilaire and his now interactive and can project three move your head (which is accompanied colors—rich reds, greens and blues. A in stereo media by time lag, nausea and new, bigger display can work with a four- headaches). by five-inch window. Holovideo delivers binocular dis- parity, occlusion and motion parallax, (minus the time lag), plus two other im- portant depth cues: accommodation and convergence. Because your eyes and brain are, in effect, looking at a real ob- ject, they can focus naturally at different distances and converge on what inter- ests them. In a stereo system, your eyes and brain are out of sync. You may think you're looking at something near or far, but your eyes are always focused on the screen, and have to remain parallel. Re- searchers believe holovideo will be far preferable, when it’s ready. But researchers don’t expect to have continued on page 66 64 VIDEO NOVEMBER 1994

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TAPES E.ULSCa WwW. FEATURE FIUMS Backbeat Men at Work: Fred Ward (left) and Leslie Nielsen, Naked Gun’s bomber and his bumbling foe. 1994. Stephen Dorff, Sheryl Lee; dir. Ian on the personal, raising questions about witty spoofs of The Untouchables, Softly. Surround, cc. (R) 100 min. priced Lennon’s sexual orientation, it commits for rental. LD $34.95. Polygram. one unforgivable musical crime—mini- Thelma and Louise and White Heat, to mizing Paul McCartney’s contribution A tantalizing peek at the Beatles’ to the group. For real thrills, catch the crude yet hilarious hijinks inside a early days, Backbeat generates curiously electrifying soundtrack, which features little heat, given the mythic potential of the Afghan Whigs’ Greg Dulli, Soul sperm bank. the material. Capturing the fguture Fab Asylum’s Dave Pirner and other alter- Four in their dues-paying Hamburg native all-stars blasting through the In addition to familiar co-stars period, circa ’60-’61, when they were vintage songs by Chuck Berry, Little still a quintet, this earnest drama focues Richard and the like that constituted Priscilla Presley, George Kennedy and on ambitious John Lennon (Hart) and the Beatles’ Hamburg set. —Jon Young best friend Stu Sutcliffe (Dorff), who’s O. J. Simpson (providing no distasteful torn between playing bass with his Naked Gun 33 1/3: mates and pursuing a career as a echoes of his real-life situation), good painter. Sutcliffe subsequently falls for The Final Insult arty German photographer Astrid sports like Mary Lou Retton, Pia Kirchherr (Lee) and leaves the band as 1994. Leslie Nielson, Fred Ward, Anna they’re on the verge of success, to Nicole Smith; dir. Peter Segal. Surround, Zadora, Elliott Gould, Olympia Dukakis Lennon’s dismay. cc. (PG-13) priced for rental. Paramount. and Raquel Welch show up to play The leads try hard in difficult roles. After two previous Naked Gun Dorff exudes bohemian charisma as flicks, plus the Airplane! and Hot Shots! themselves in a loony Oscar ceremony Sutcliffe, but Hart can’t transcend the series, there’s nothing remotely original caricature of the angry young man. As a or surprising about Naked Gun 33 1/3: that’s far more entertaining than JtYhe | clichéd exotic chick, Lee must make do The Final Insult. Amazingly, this latest real thing. with knowing smiles and precious dia- gag-a-thon offers plenty of serious gig- log. And while Backbeat concentrates gles anyway. Thanks to the return of Crooklyn | the wonderfully deadpan Leslie Nielsen Backbeat's Fab Five as hapless Lt. Frank Drebin, the usual 1994. Alfre Woodard, Delroy Lindo, manic formula of cheap shots, parodies Zelda Harris. dir./co-wr. Spike Lee. and low verbal humor works like a well- Surround, cc. (PG-13) 114 min. priced tuned whoopee cushion. for rental. LD letterboxed $34.98. MCA/Universal. Having become a househusband who wears fuzzy slippers and bakes The Inkwell fudge, Drebin is coaxed out of retire- 1994. Larenz Tate, Jada Pinkett. dir. | ment to apprehend a bomber (Ward) Matty Rich. Surround, cc. (R) 112 min. _ | and his seductive moll (Smith). Of priced for rental. LD letterboxed $39.99. | course, the plot simply provides an excuse for any joke that can generate a Touchstone. laugh, which means everything from Here we have two childhood remi- | niscences, from an era of relative inno- | cence and abysmal fashion-the ’70s! Lee reveals surprising tenderness in Crooklyn, a look at a big family in a crowded, cozy New York neighborhood. Dad (Lindo) would rather make music than money, mom’s (Woodard) version of tough love has her shouting, “T’ll slap the black off you” and little Tory 68 VIDEO NOVEMBER 1994

EDITOR'S CHOICE” © ken koreman (Harris, in a star-making debut) is the pressuring him from 8,000 miles away to Online services, CD-ROMs, the bright-eyed little girl who learns how marry. Simon (Lichtenstein), his lover, fragile her simple pleasures are. A series suggests a storefront marriage to Wei- Information Superhighway: 1994 will either be remembered as the of comic vignettes at first, the film slow- Wei (Chin), a Shanghai art student liv- year interactive multimedia finally ly accumulates story and sentiment, ing in one of Wai-Tung’s properties. The wedding provides her with a desperate- entered the public consciousness, or culminating in scenes of love and loss ly-needed green card. But then Wai- as a time when empty rhetoric and that reaffirm Lee’s cinematic command. Tung’s parents come to New York for hype flourished as never before. Even during occasional slow spots, Crooklyn struts to a solid soundtrack of the ceremony. While multimedia’s potential is soul classics. From then on, cultures, sexes, lan- huge, its realities are very limited. Most interactive discs are slow and Alas, even the music in The Inkwell guages, generations and orientations glitchy, and even the best online ser- sounds cheesy. The film, which feels longer than it is, explores the black crash into each other like bumper cars vices are light on content and heavy community on Martha’s Vineyard. in hyperdrive. In the wild, vividly detailed title celebration and in the the- on merchandise. Where exactly can one find this spar- kling new world Drew (Tate) is a virginal 16-year-old atrical spectacle of too many people who’s still talking to a doll his late crowded into one brownstone, director of essential infor- grandma gave him. In a misguided sub- Ang Lee demonstrates how a white lie mation and capti- plot, he’s suspected of arson and visits a can take on a life of its own and how the vating entertain- best intentions can run amuck. The shrink between efforts to meet girls. timing is exquisite, and the players are ment? Sometimes Though billed as a comedy, scenes funny, sympathetic and photogenic. The Wedding Banquet is bravura filmmaking in the most un- of Porky’s-style slapstick fumble. The drama is equally problematic, with and a terrific comedy. likely places. The turgid dialog and lackluster perfor- —Sol Louis Siegel mances from actors who seem to sense most _ satisfying multimedia expe- they’re drowning in a tearjerker. The riences I’ve had Pres in recent months Inkwell plays like a cheap TV movie The Accompanist have come not as Interactive Blues you stumble upon during late-night 1993. Romane Bohringer, Elena I huddled at my computer, but as I Safonova; dir. Claude Miller. Surround. channel surfing. Hit the remote. sat comfortably on my living-room —Marianne Meyer couch operating a CD-i player via (PG) 111 min. priced wireless remote control. Introduced for rental. Columbia a few years ago as the first consumer TriStar. multimedia machine, CD-i doesn’t You'd have to look get much press anymore, but CD-i far and wide to find software has improved to the point a blander protago- where few other systems can hold a nist than Sophie candle to it. A new double-disc set Vasseur (Bohringer), called The Smithsonian Presents the Downhome Blues/Uptown the mousy 20-year- old who’s hired by Blues proves the point. Downhome Blues/Uptown Blues charismatic singer Irene Brice (Safo- ($49.98; Philips Interactive Media, 800-824-2567) introduces the great nova) in occupied American musical form through two France, circa 1942. Shy and innocent, fascinating half-hour documentaries the pianist soon consisting solely of photographs and finds herself drawn narration. In “Blues Basics” sections, current artists demonstrate instru- into the privileged but morally compro- mental styles and techniques. Once Crooklyn Heights: Tory Harris (center) in Spike Lee’s love letter to Brooklyn. mised world of Irene they have whetted your appetite, the and her husband- discs deliver an astounding 74 clas- The Wedding Banquet manager Charles (Richard Bohringer), sic audio recordings by artists like who accepts Nazi patronage with grow- Muddy Waters and Billie Holiday. 1993. Winston Chao, May Chin, Mitchell ing misgivings. Vassuer in tow, the Whether future multimedia systems Lichtenstein; dir. Ang Lee. Stereo, subti- unhappily married Brices eventually employ set-top boxes or cranial tled, cc. (R) 108 min. priced for rental. flee the Continent to London, where implants, this set will serve as a FoxVideo. Irene pursues a secret romance with model for interactive content. It’s The raucously entertaining The tragic results. user-friendly, it entertains as it Wedding Banquet starts simply. Wai- But by viewing the Brices and the informs, and it expands the horizons Tung (Chao), a Taiwanese immigrant in war soley through the eyes of the naive of anyone who seeks it out. Now New York, has never admitted his Vasseur, The Accompanist generates sur- that’s a future worth looking into. homosexuality to his parents, who are prisingly little dramatic tension. As the NOVEMBER 1994 VIDEO 69

strong, Ho decides to take on his former comrades with the help of old friend Mark (Yun-Fat), a crippled ex-gunman. What makes A Better Tomorrow unique is the almost romantic level of emotion. Despite spectacular shoot- outs, this is really a story of brother- hood, a status granted by blood (Ho and Kit) or experience (Ho and Mark). Unfortunately, Woo’s film is poorly served by Republic’s careless video release. The “full-frame” transfer leaves too much action offscreen, and the English dubbing is at the “Look out, it’s Godzilla!” level. Anyone truly interest- ed in Woo should seek this film from one of the mail-order sell-through or rental services that stock Chinese imports, and accept this only as a last resort. —M. Faust Surface Tension: Sophie Bohringer as The Accompanist, an innocent in a world of intrigues. That’s Entertainment! III young woman herself admits, life passes Ron Howard's biggest asset as a 1994 comp. B&W /color. Gene Kelly, Ann director has always been his ability to her by, giving the narrative a listless, field-marshal a lot of characters and Miller, Lena Horne, Cyd Charisse, Mickey subplots. The script by brothers David Rooney; wr./pr./dir. Bud Friedgen, Michael detached quality. Achieving a warped and Stephen Keopp is a perfect vehicle. J. Sheridan. Surround, some letterboxing, It’s loaded with incidents, snappy dia- cc. (G) 113 min. priced for rental. LD sort of transcendence, Vasseur responds log and characters the stars can sink their teeth into. Howard keeps it mov- $34.95. Collector’s edition $99.98/LD to every situation with the same slack- ing at the breakneck pace of a screw- $124.98. MGM/UA. ball comedy. He did, however, take the jawed, uncomprehending state, suggest- time to make sure the picture’s look Studio execs nixed one of Lena was as detailed and convincing as the Horne’s “Cabin in the Sky” numbers ing a less-colorful forerunner of today’s script. While it isn’t earth-shaking, or because it was “too risqué to show a meant to be, The Paper is a rousing black girl in a bubble bath.” Esther glassy-eyed slackers. JY piece of professional moviemaking. Williams inherited Johnny Weiss- muller’s Tarzan tank for her aquatic The Paper —-SLS antics. Mickey Rooney does a mean Carmen Miranda impression. 1994. Michael Keaton, Glenn Close, A Better Tomorrow Marisa Tomei, Robert Duvall; dir. Ron Whipmaster: Lucille Ball in That's Entertainment! II! Howard. Surround, cc. (R) 112 min. 1986. Chow Yun-Fat, Leslie Cheung; dir. priced for rental. LD letterboxed. John Woo. Mono. dubbed. (NR) 90 min. MCA/Universal. priced for rental. Republic. With Hollywood always going for Although he had been making films for over a decade, it wasn’t until 1986’s the big score, in money or Oscars, A Better Tomorrow that John Woo found entertaining dramas like The Paper his metier and reinvented the modern don’t get made much anyore. Here is gangster movie. After three years in the chaos of a New York tabloid’s news- room done to the max. The city editor prison, former Triad counterfeiter Ho (Keaton) is pressured by impossible (Ti Lung) tries to go straight and make deadlines, office intrigue and a very amends with his unforgiving younger pregnant wife and former star reporter (Tomei), who wants him to take that brother Kit (Cheung), a cop whose job at that prestigious paper uptown. career is tarnished by his relation to Ho. His personal life is actually well-ordered But when the pressures grows too compared to those of the editor-in- chief (Duvall), who may be dying, and the managing editor (Close), who storms around trying to keep the paper from folding. 70 VIDEO NOVEMBER 1994

These are just some of the musical the artist, gruffly portrayed by Sam STUDIO} QQ\\/ CLASSIC factoids which surface in That’s Enter- Neill, to withdraw the more provoca- wey tive pieces from a forthcoming exhibit. tainment! III, Leo the Lion’s latest But flung into the deep end of FIRST TIME ON VIDEO THIS OCTOBER! clipfest. Despite two earlier forays into Lindsay’s liberated environment, cler- the vaults there are plenty of gems left, gyman Campion (Grant) and wife Linda Darnell albeit accompanied by a clunker or two. Estrella (Tara Fitzgerald) find them- Stars In Unlike Part II, which wandered into selves or-chestrating, even particpating in, ro-mantic skirmishes between (tioPreminger’s drama and comedy, III takes a just- Lindsay’s models and the brave locals (ithCentury musicals approach, with more behind- who dare to socialize with them. The Adventure nasi the-scenes segments. (See it to believe result is some rather bold-print con- it: The making of Eleanor Powell’s elab- sciousness-raising for the couple, but the real treat of Sirens is the twisitng orate “Fascinatin’ Rhythm.”) path that gets them there. My only quibbles: Buffs who are —John Walker abreast of anniversary and laser editions will have seen several “rare” outtakes Ellea 2 e before, including “Mr. Monotony” from in Sirens Easter Parade and Singin’ in the Rain's “Lucky Star” reprise. And the annoying That’s Entertainment tradition—inter- rupting a performance for a mon- tage—continues. Where III one-ups its predecessors is in its use of technology. Split-screens pit Joan Crawford against Cyd Charisse in renditions of “Two-Faced Woman,” and convery Fred Astaire’s precision in versions of a Belle of New York dance that are virtually identical, save for the costumes. And a new Astaire-Rogers pairing is revealed when the Barkleys of Broadway credits are removed. Nine hosts glue it all together with minimal puffery, and interesting com- ments from Lena Horne. —April P. Bernard Sirens Woodstock: 25th ~_TINDADARNTLL conquers Anniversary CD-ROM theking(GEORGE SANDERS), 1994. Hugh Grant, Elle McPherson; dir. butshecan'thave theman John Duigan. Surround, cc. (R) 94 min. 1994. CD-ROM for Macintosh or MPC. priced for rental. Miramax. $59.95. Time Warner/Opcode Interactive. shereally wants (CORNIL WILDE) inDarrvi fZanuck’s “lavish and Few films have the luxury of a mar- “It’s an even better trip on CD- ket based almost entirely on the sky- ROM?” reads the promotional materials beautilul\"(Las Angeles Times) rocketing values of Hugh Grant’s win- for Woodstock: 25th Anniversary CD- [7th century swashbuckler. someness and Elle MacPherson’s ROM, and the producers of this much- anticipated disc seem to have taken the ag membership to the breasts, but the voluminous Q-factor is hippy ethic to heart. Woodstock CD- FoxVideo Movie Club just a lucky coincidence in the case of ROM elevates the concept of “light and John Duigan’s Sirens. As evidenced by breezy” to new heights with a scatter- when you purchase any his past work (including The Year My shot approach that touches on a lot of Studio Classic. Voice Broke and Flirting), the Australian writer/director is a master of texture, interesting ideas, but never seems to LOOK FOR ONE OR MORE NEW STUDIO CLASSICS and those lured to Sirens by the lyrical ON THE FIRST WEDNESDAY OF EACH MONTH. prospect of a skinny-dipping supermod- focus—they say attention span is the el are more likely to be pleased by the first thing to go. richness of the surrounding company than feel cheated by the slightness of Included are performances and her role. interviews from the new “director’s cut” video of the Woodstock feature film, psy- Utilizing the real-life character of chedelic graphics, band bios, excerpts Australian artist Norman Lindsay, from the newspapers of the time and Sirens tells the languid tale of a “pro- gressive” clergyman sent to persuade NOVEMBER 1994 VIDEO 71

it~ ce .. Present at the Creation: Ten Years After Washington, where we arrested demning the have-nots. Yuppie audi- in a detail from the Woodstock access screen. the demonstrators. That’s ences cheer this self-styled “conserva- John Ehrlichman at his com- tive rebel,” ignoring his shady past and more. But it all feels superficial. The mand post on top of the shadier agenda. Treasury building.” It’s an “album” sections, for example, only list eerie image, for anyone who Robbins comes down hardest on a lived through the Vietnam four titles for each artist, leaving out era. In another clip, we see subservient news media that thrives on Henry Kissinger giving an sound bites and buzz words, covering its many watershed releases as well as informal press conference on laziness with a mantle of “objectivity.” Aided by a parade of guest stars eager to essential data like the year each record his patio in San Clemente. “Kissinger loved to have press con- lend support, Bob Roberts is wildly was issued. And most of the news sto- ferences,” Haldeman says. funny and deadly serious. Other elements include still pic- ries trail off after a couple of paragraphs. tures, Haldeman’s appointment book While Pioneer’s Special Edition and his unedited diaries. But this CD- laserdisc will be appreciated by fans of To its credit, the disc is respectful of the ROM could benefit from expansion the film, it doesn’t offer so much that —seeing Nixon prepare for a press con- you'll need to trade in your VHS copy. music. Seven complete tunes are ference would be even more interesting Robbins talks about the difficulties of if we could see part of the press confer- low-budget filmmaking in a running ence, for instance. But overall, The analog-track commentary, pointing out Diaries is compelling stuff. —Cliff Roth continuity errors and crew members who double as bit players. A second, LADERDIOCS CAV disc features production stills, a fuzzy copy of Bob’s first appearance on Bob Roberts Saturday Night Live, and 22 minutes of outtakes, most of which were wisely cut 1992. Tim Robbins, Gore Vidal; dir. from the film. The exception is a few Robbins. Digital surround, cc. (R) 102 extra scenes featuring Gore Vidal, who min. side 2 CAV $69.95. Pioneer also wrote the liner notes. —M. Faust Special Editions. included, and when the disc glitches Like Michael Moore’s Roger and Me, (which is often), it’s the visuals, not the Bob Roberts is a left-of-center movie Crosby, Stills, and Nash that makes no concessions—and is all Long Time Comin’ sounds, that bog down. So if a splash of the funnier for it. Writer and director Tim Robbins stars in this mock docu- color and some groovy tunes for your mentary about a Wall Street trader and folk singer running for the United computer are what you seek, look no States Senate. An anti-Bob Dylan 1990. David Crosby, Stephen Stills, cloaked in the flag, Roberts’ songs further. —Ken Korman champion greed and bigotry while con- Graham Nash, Neil Young; dir. Malcolm The Haldeman Diaries: Leo. Digital mono/ Inside the Nixon stereo. (NR) 60 min. | White House side CLV. $29.95. 1994. MPC or Macintosh CD-ROM. MPI. $69.95. Sony Imagesoft. The long-delayed The Haldeman Diaries is an engaging new CD-ROM that’s both addictive laser release of this and annoying, at least for this child of Watergate. It’s organized into bite-sized # documentary, previ- morsels of information, so to experience it you must keep asking for more. ously available as a There’s fascinating material here. Japanese import, was Haldeman’s narrated home movie clips give you a real behind-the-scenes feel- timed to coincide ing that’s very different from reading text. But there are about 85 of these Bob'n Weave: with the Woodstock clips-Nixon dancing, on The Today Robbins as 25th aniversary con- Show, etc. Each lasts between 30 and 60 seconds, but you must keep selecting to Roberts (left) cert. Writer/produc- see them all. I kept wishing for a “play greetiing er/director Malcolm all” button. Leo has come up with Gore Vidal. a film that is almost Despite this, I kept getting drawn back in. Clicking on a clip titled “May perfect, emphasizing Day Protest,” I hear Haldeman narrate: performance material over interviews. “This is the May Day demonstration in Live clips span 15 years and include memorable moments from Woodstock, TV appearances by pre-CSN bands the | Byrds, the Hollies and the Buffalo Springfield (the latter, from The Smothers Brothers Comedy Hour, is worth seeing just for the vision of Neil Young, circa 1967, hunched over his guitar). Also included is a_ post 72 VIDEO NOVEMBER 1994

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Woodstock Dick Cavett Show appear- Blue Skies/Holiday Inn Godzilla (or Gojira, as it was known ance by Stills, Crosby and Joni Mitchell, in Japan) was the movie that started an as well as several more recent clips from 1946/1942. Color/B&W. Bing Crosby, concerts. Fred Astaire; dirs. Stuart Heisler (Skies), entire cycle of Japanese monster movies Mark Sandrich (Inn). Digital mono. (NR) The interviews are nicely structured 205 min. CLV 4. sides $59.95. that succeeded the world over. The and informative, and one gets to the MCA/Universal. original film, however, even in the trun- end of the film with a really warm feel- cated and edited “American” version ing for the trio. The only letdown These two pictures teleased here was a grimly serious movie comes during “Suite: Judy Blue Eyes,” make a natural double-fea- which starts out from Woodstock and ture. Both star Bing Crosby MONSTER CLASSIC suddenly cuts to a 1990 rendition of the and Fred Astaire, and both song-in a flash everyone gains 20 were scored by Irving dealing with Japan’s history as a victim pounds (40, in Crosby’s case) and the Berlin. Holiday Inn, is the enthusiasm seems forced. Otherwise, greater of the two films. It is of atomic attack. (All the Raymond this is a fine film, and the disc is well precise in every scene yet produced, although the chapter num- gently and memorably lyri- Burr footage was shot two years later by bers are off by one from the labeling. cal, and bracing in its pre- war innocence. Blue Skies B-director Terry Morse and inserted —Bruce Eder has a great title song, a good score, gorgeous Technicolor into a heavily cut-down version of the Bye Bye Birdie photography, and one great \\ dance number by Fred Japanese original.) The special effects 1963. Dick Van Dyke, Janet Leigh, Ann- Astaire (to “Puttin’ On the have held up well, the story is still spell- Margret, Paul Lynde, Ed Sullivan; dir. Ritz”), but nothing as George Sidney. Stereo, letterboxed. (NR) impressive as Holiday Inn’s binding (though it pays to own the 98- 112 min. CLV 2 sides. $34.95. Columbia “firecracker dance.” Blue TriStar. Skies’ Billy De Wolfe does a minute Japanese disc, if one under- great comic turn in a key It was the meow heard around the supporting role, but the stands the language), and the new disc world. Or at least in New York, where film’s plot and staging lack in 1963, Bye Bye Birdie uncaged sex kit- Holiday Inn’s cleverness. is superior to the old Vestron edition. ten Ann-Margret. As Sweet Apple, Ohio’s Kim McAfee, she is chosen to This two-disc set is Flaws in the film are evident, but bestow “One Last Kiss” on Presley- well-produced, and includ- esque singer Conrad Birdie, who’s been es a reissue trailer for there’s nothing jarring and the sound drafted. Holiday Inn but no other extras except for unusually thorough and picture are sharp for 40-year-old Under the helm of George Sidney background notes. The transfer of Blue material. (Kiss Me Kate), Birdie delivers when Skies is stunning in its richness and spotlighting the teens, burning up the detail. Holiday Inn doesn’t look signifi- Rodan, about a pair of flying reptiles lines in “The Telephone Hour” after cantly different from the earlier “En- Kim is pinned by Hugo (crooner Bobby core Edition” single disc, but now it’s that nearly destroy Japan, lacks the dra- Rydell), or cavorting to “A Lot of Livin’ chapter encoded and comes with digital to Do” (with Panavision-friendly chore- sound. Astaire and Berlin completists matic impact of Godzilla—the narration ography by The Music Man’s Onna will need the new edition, but Crosby is properly grim and serious, but there White). looks tired enough in Blue Skies to make it a secondary choice for his fans. —BE are no central characters to grab onto. And though Birdie lost its satiric edge—and five Strouse-Adams num- Godzilla, King It has a healthy diversity of monsters, bers-in the translation from Broadway, of the Monsters its biggest loss was in casting. Amiable however (giant insects are a nice Dick Van Dyke returns as a songwriter 1954. B@W. Raymond Burt, Takashi peddling Birdie’s farewell tune, but love Shimura; dir. Inoshira Honda. Digital touch), and the color doesn’t add to the interest Chita Rivera is replaced by the mono. (NR) 80 min. CLV 2 sides $34.95. abominably miscast Janet Leigh—as artificiality of the subject. It’s more fun “Spanish Rose” DeLeon. Paramount. then Godzilla, and the picture and sound are clean. —BE Add a dopey new subplot about a Rodan formula called “Speed-Up,” and you too may want to kiss Birdie goodbye. But 1957. Kenji Sawara, Yumi Shirakawa; dir. take a look, for a funny turn by Paul Inoshira Honda. Digital mono. (NR) 70 Lynde and for this inspiring pledge: “to min. CLV 2 sides $34.95. Paramount. be...true to Conrad Birdie and the United States of America, both indivis- ible, with liberty and justice for all.” —-APB 74 VIDEO NOVEMBER 1994

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HIGHLIGHTS Betty 1993. Stephane Audran, Marie Trintignant, Jean-Francois Garreau; dir. Claude Chabrol. Suspence, romance, casual affairs, casual betrayal, the downfall of a beautiful woman—old New Wave. Mono, subtitled. (NR) 103 min. VHS only, $89.95. New Yorker. Casino Royale 1967. Deborah Kerr, David Niven, Woody Allen; dirs. John Huston, Val Guest, Ken Hughes, Robert Parrish, Joe McGrath, Richard Talmadge. Bond comes out of retirement to smash SMERSH but has to deal with jealous, nympho-nephew Jimmy Bond. Music by Burt Bacharach. Mono.(NR) 131 min. Side 3 CAV, LD letterboxed $39.95. MCA/Universal. The Gospels, A Multimedia Guide to the Bible Windows CD-ROM version. Includes nearly The Heart Wants What It Wants: Woody Allen finally gets the girl in Casino Royale. one hour of video, an hour of audio, more designs, CD of Frederick Loewe’s score, The Story of Civilization CD-ROM than 85 illustrations and searchable and printable texts of old and new testaments more. Stereo. (G) 173 min. LD letterboxed Overview of world history documenting the with instant access. $49.95. Cinerom. $129.98. FoxVideo. economic, political, spiritual, moral and Sid and Nancy cultural heritage of mankind. CD-ROM My Fair Lady 30th Anniversary contains both DOS and Windows versions Restoration: Collector's Edition 1986. Gary Oldman, Chloe Webb; dir. Alex of complete text of Will and Ariel Durant’s 1964. Audrey Hepburn, Rex Harrison, Cox. Mythmaking biopic about the love- 11-volume book history, plus 30 minutes of Stanley Holloway, Wilfred Hyde White; dir. and-death-duo who brought a tragicomic, full-motion video, 800 photos, maps, George Cukor, wr. Alan Jay Lerner. THX ha’penny opera end to the punk world as drawings and paintings, with instant access presentation includes rare footage, docu- we knew it. Commentary by Cox and to all. $99.95. World Library. mentary, production photographs and screenwriter Abbe Wool, punk archival 3 Chains 0’Gold drawings, still frames from the original footage and stills. Stereo. (R) 111 min. LD print, portfolio of Cecil Beaton’s costume $99.95. Criterion. 1994. Formerly Prince; various dirs. 11 Labels Those easily overcome by music and romance will not be able video clips from his platinum album (the for to resist the offers they'll be getting from the big labels this one with the funny squiggle for a title) tied months. Six Rogers and Hammerstein movies are being pack- together with story. Videos include “My aged by Fox Video with an audiocassette of their soundtracks— Carousel, South Pacific, The King and I, State Fair and Oklahoma, min. VHS $19.98. LD $29.98. Warner priced at $19.98 each, and The Sound ofMusic going for $24.98. Reprise. Less Similarly from MGM/UA, Meet Me in St. Louis and Ziegfield Fol- Winter Light lies will each be accompanied by a CD of their respective 1962. Max von Sydow, Ingrid Thulin, Gunnar soundtracks for $29.98 ($19.98 without the CD). Also from Bjornstrand; dir. Ingmar Bergman. Suicidal MGM/UA, for the first time at $14.95 each, An American in man turns to priest who can only offer his Paris, Brigadoon, Gigi, High Society, Seven Brides for Seven Broth- own confusion over a seemingly meaning- | Wasa ers, Show Boat (1951) That’s Entertainment, That’s Entertainment less existence. Why didn’t Sondheim try to Male War Bride Il, Annie Hall and The Russia House. Fox Video will be sending turn this into a musical? Mono, subtitled. : Cary Grant to seduce you in People Will Talk and I (NR) 80 min. LD $49.95. Criterion. Was a Male War Bride, each $19.98, while MCA/Universal hopes your hearts will be overcome Wargames by Marlene Dietrich in Angel, Desire and Seven Sin- 1983. Matthew Broderick, Ally Sheedy, ners, each at $14.98. People seeking romance are at Dabney Coleman; dir. John Badham. The the heart of Desperately Seeking Susan, Hannah and film that launched a thousand hackers Her Sisters and The Woman in Red, each $14.98 (minimum), finally gets the big surround/ from Orion, while Passione D'Amore can be found at widescreen laserdisc treatment every Kino (along with Vagabond and Open City), $24.95 science-fiction masterpiece deserves. each). Ultimately, though, as Republic reminds us, continued on page 108 romance will only come along at $14.98 if you are among the very Young at Heart. —JK By Josef Krebs 76 VIDEO NOVEMBER 1994

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in.) they offer. It’s also one of Why Don't hand, is slightly more afford- the most versatile. Designed You Do It? able to purchase, is smaller and especially for lightweight VCR offers many more pay-per-view cameras, it sets up quickly and At NBO “Name Brands Only,” movies and even features CD easily. Sturdy legs feature three mail order Satellite TV and radio with many digital music click-stop spread angles and Home Theater are not only a selections. Both systems pro- are made of tubular hard-finish speciality, but toll-free expert vide laserdisc quality video and aluminum. Each leg has sure- technical assistance is also audio. grip, quick-acting, non-fouling available to those who want to lever locks. The Bogen 3030 QR install it themselves. NBO has For the holiday season Micro Fluid Head is a smooth been selling satellite TV sys- youllwant NBO’s Satellite TV action head ideal for VCR cam- tems and home theater, includ- Home Theater Discount Cata- eras up to 8 3/4 lbs. It weighs ing satellite programming, at log with its many gift ideas for only 2 1/4 lbs., including an discount prices since the early making home entertainment adjustable handle that can be ‘80s and has helped many more enjoyable. There is even positioned on either right or thousands of customers install a complete listing of all the left and it features a quick their own systems. And now 40 available satellite program- release plate that allows you to ming. You can receive a free change cameras or detach the percent of NBO’s current busi- copy of the NBO catalog by camera with the flip of a lever. ness comes from referrals calling 1-800-318-DISH It pans 360 degrees, can be tilt- made by satisfied dish owners. (3474). NBO has helped thou- ed up or down 90 degrees, and sands successfully install their has pan and tilt locks. In addition to NBO’s larger own home theater systems. Adjustable slot lets you posi- 90-inch full-view satellite TV Let NBO help you too! Reader tion the camera for best bal- systems, and as part of the new Service #132. ance. RCA 18-inch DSS (Digital Satel- lite System) nationwide roll- Ready, Add a Bogen Portable Video out, NBO is now offering the Aim, Cut! Dolly or the Lightweight Tripod Spreader and you have rock- new 18-inch DSS package to its The JVC GR-SV3 Compact VHS solid support for smooth pans customers. The experts at NBO Video Entertainment System is and tilts, For more information, can point out the distinct an all-in-one VCR, video cam- see your dealer or contact advantages of both systems as era, and television (with Bogen Photo Corp., 565 East each will appeal to different optional tuner), featuring people. For instance, 90-inch video messaging with a totally Crescent Ave., Ramsey, NJ full-view systems offer more new design concept. Boasting 07446-0506, 201-818-9500 or sports with more than 100 free a versatile color LCD screen, use Reader Service #131. channels and more than 20 the JVC Systemax offers new satellites from which to choose. The 18-inch DSS, on the other MENT

Se LISS BiSEIT ESTY MBG OP video applications and fresh nience in using the Compact graphers to achieve profession- comes in a high gloss black perspectives. VHS system is that compact al looking results every time. furniture-grade finish. The cassettes can be played back Features include: a variety of system’s five pieces are made The Systemax is a complete ona VHS video deck using a editing options including an up of left, center, and right entertainment system that VHS Playpak. assemble editing feature that channels plus a pair of RVSS transcends mere recording to allows consumers to easily effects speakers that total become a focus of creativity For more information, call remove unwanted footage, an $1600. On top of which you due to its versatile multi-pur- JVC at 1-800-252-5722 or use edit switch function; front could add one or more of the pose Color LCD Swing Moni- Reader Service #133. audio/video in-jacks for quick Energy AS-90 or AS-180 Pow- tor. In its lowered position, the and easy connection to alterna- ered Subwoofers (90 and 180 LCD monitor provides unique Perfect tive audio or video sources and watts, $550 and $750 ea. “feedback.” The Interface Video Mate a video dubbing function; one respectively). Shooting Position puts every- touch copying from 8mm to one in front of the lens with an New from Goldstar U.S.A., Inc. VHS, with just-fit recording; Energy’s latest entry in opportunity to join in the fun is the unique VH8™/VCR dub- normal 8mm or high band home theater, the HTS-1 loud- of video making. Alternately, bing deck, the GVR-DD1, a (Hi8) videotape playback at speaker system featured here, the LCD monitor can be raised fully integrated, combination normal resolution; four video has much of the technology into an upright position, facing 8mm and 5-head VHS VCR -a heads; a flying erase head for developed for the RVS System. the user, to serve as an extra- perfect gift idea for 8mm cam- eliminating picture noise dur- Innovations such as “point large viewfinder — showing corder owners. ing editing; and jet and logic source” driver arrangement everything in full color. search. give more accurate and precise Goldstar’s VH8™ allows The handy Video Message consumers to instantly play Goldstar’s VH8™ is cur- spatial information crucial to function is a built-in video back 8mm tapes via the rently available at better elec- realistic home theater. Three answering machine. A green VH8™/VCR dubbing deck tronics stores nationwide for a HTS-1 speakers mean that the LED indicates that a message is rather than using their cam- manufacturer’s suggested retail front hemisphere of sound is waiting and a press of a button corder as a playback vehicle, price of $899 or use Reader Ser- spectrally balanced, so as the starts video playback. Also, which places undue stress on vice #134. jet plane flies across the screen with the optional tuner, the the camcorder’s delicate head and beyond, it does not change Systemax transforms into a and transport systems. New Energy its sound character from one portable television. Home Sound speaker to the next ruining the The new VH8™/VCR dub- illusion. In addition to the monitor, bing deck also allows con- Ifthe Energy Loudspeaker there are several features that sumers to copy 8mm tapes brand is new to you, don’t feel With a suggested retail price enhance the overall simplicity onto full size VHS format tapes bad. Energy is one of the fastest of $250 each, the HTS-1 speak- and convenience of the Sys- with the touch of a button -so growing audiophile quality ers make possible an excellent 8mm camcorder owners can speakers in America. And for sounding five piece system for temax, such as QwikPix, which share the excitement of birth- this holiday season, Energy under $1000. And as your for- ensures that each “take” is 5 days, holidays, sporting events offers the best quality in sound tunes improve you can further seconds long. The lively tempo and baby’s first steps, with and performance in home the- improve your system by adding of images and scenes makes friends and family. ater systems. one or more of Energy’s pow- home videos look as good as if ered subwoofers — assuming they were made professionally. Even more important news The RVS (Reference Video of course you also want to Other features include Instant for camcorder owners is the System) is the Energy home ReShoot, Seek, 3x Power Zoom, dubbing deck’s most theater system for the buyer LCD Status Panel, Auto Date advanced, easy-to-operate and who wants Energy’s best. It and A/V Input/Output Jacks, most requested editing func- for dubbing and editing conve- tions that allow amateur video- nience. The biggest conve- ADVERTISING SUPPLEMENT - 3

Ba yy) Hoiipay GIFT GUIDE “| ~~ activate the nearest Richter suit ‘94 (uncensored!), The Fugi- march across the screen like Scale! Enjoy! tive (WS), The Pelican Brief tickertape, and flash on and off. (WS), The Three Tenors (Dodger Wipe, scroll, and tickertape Energy Loudspeakers is Stadium), and Pioneer functions offer a choice of located at 3641 McNicoll LaserKaraoke Christmas Songs three speeds. Avenue, Scarborough, Ontario, Vol. 1 & 2. Canada. Call 416-321-1800 or Character options include use Reader Service #135. The limit is two discs per title upper/lower cases, two fonts, and the offer expires 12-31-94. Video Out Just announced, the ‘94 summer four sizes, three borders, and LaserIn blockbuster hit Speed will be eight colors. Lettering has been available in THX, widescreen on included for Spanish and Laserdiscs are becoming more November 15 with a 15% dis- French as well as English. and more popular as con- count off the suggsted retail sumers realize they are not get- price of $29.95! Ifnone of these The V-6350, which is Hi8 ting the most for their dollar titles grab you, call for their free and S-VHS compatible, stores when they buy and rent videos. monthly catalog. up to 10 pages in memory. Laserdiscs have more footage, Playback of stored titles can be uncut, unedited, director’s cut, The Fan Club offers free made manually or automati- widescreen movies than its membership and an informa- cally. The V-6350 has a suggest- predecessor, VHS. And for the tive monthly catalog with hun- ed retail price of $299. real videophile, laserdiscs offer dreds of new and recent releas- incomparable audio/video es in each one. Every title is dis- For more information, call quality that VHS cannot pro- counted up to 40%, free UPS 800-231-0031or use Reader vide. ground shipping and they are Service #137. open 7 days a week, weekdays Laserdisc Fan Club, Inc. pro- 7-7, weekends 8-5 (PST). Making vides consumers with a wide Video Magic Call the Laserdisc Fan Club spectrum of laserdiscs enough at 800-801-DISC (3472) Dept. Studio Magic is the next step in to fill your home library. And V114 or use Reader Service #136. multimedia. Video production now, for alimited time only, sequencing, once only the Laserdisc Fan Club is offering Write Your domain of expensive profes- VIDEO Magazine readers a 20% sional studios, now comes to discount off the suggested retail Titles Right the desktop computer for price on these great titles: Juras- sic Park (THX, WS, CAV or CLV), Creativity is virtually unlimited ERSONAL VIDEO STUDIO FOR BOTH OF Schindler's List (THX, WS), The with the Ambico model V-6350 Flintstones (THX,WS), The Paper Video Title Writer, a color titler (WS), Sports Illustrated Swim- with dozens of options and effects to enhance any video production. Although sophisticated in design, it’s easy to use as all capabilities of the unit are illus- trated in a built-in “demo” pro- gram and there are on-screen displays during operation. Cre- ated titles can appear over live video or on internally generat- ed color backgrounds. They can cut in and out, wipe in and out in a variety of ways, scroll up and down the screen, MENT

TRTS A 8 IR SES IS TT affordable home and business Series Direct View Models is the venience, it offers some unique in soundtracks and music. For creative uses. AV35BX5. To control the many features such as the 6-PIX pic- additional convenience, the features on this set, JVC devel- ture-in-picture and full- wireless remote’s infrared vol- Studio Magic lets you dis- oped the Super Command uni- motion, normal proportion ume control code is compati- play VGA images on any TV versal remote control and an split screen. The 6-PIX feature ble with all universal remote screen — and it can capture impressive menu system. Super allows the user to simultane- controls. full-size, full-color, still images Command is a whole new way ously view the action on six and store them on disk for use to operate a TV. Super Com- pre-designated channels in Although Cerwin-Vega’s in multimedia presentations or mand is a total heads-up sys- order to determine viewing Sensurround powered sub- desktop publishing. It allows tem, using 4-way Cursor Con- preference. The full-motion, woofers were designed as com- you to connect two video trol to move the operator normal proportion split screen ponents for home theater sources as input, then add through the menu with ease. displays two equal sized 17” applications, they integrate computer graphics, sound and JVC has also included a HELP pictures. perfectly into high-end audio special effects for final output button on the remote to assist music systems. They are also to your videotape or television consumers with feature defini- For the most convenient ideal for use with A/V receivers set. But its greatest power is its tions and step-by-step operat- home theater system, JVC lacking “subwoofer out” jacks - on-line video production stu- ing instructions. Super Com- offers AV CompuLink which by connecting the receiver's dio which lets you create mand is easy to understand and links your JVC home theater speaker outputs to the sub- sequenced and visually operate. Another new Super components together for one- woofer’s high level inputs for enhanced videotapes. Command feature is Hyper touch home theater. JVC’s Pre- superb sound performance. Scan high-speed channel miere Series Televisions bring It is literally a videotape change. Channel surfers will consumers the most in The frequency response for production studio in a box. love to zoom up or down at five advanced technology, includ- both products is rated at 30Hz channels per second. ing the best in picture quality, — 150Hz, +3dB. They feature It requires an available slot sound reproduction and user- vented cabinet designs covered in an IBM PC-compatible This multi-faceted televi- friendly operation for your in black wood-grain vinyl with computer with 386/25 MHz sion also features a dark tint Home Theater System. For black knit speaker grilles and and up. M.S.R.P. is $499.95. tube with an Invar shadow more information about the may be placed vertically or hor- - mask coupled with Black Level Premiere Series, call JVC at 1- izontally. For more information call Expansion, Wide Band Comb 800-252-5722 or use Reader 408-378-3672 or use Reader Filter, Video Noise Reduction Service # 139. The suggested retail price Service #138. and Velocity Modulation allow- on the HT-10PWR is $800 and ing for the brightest, most vivid Superpower the suggested retail price of the JVC Leaps pictures. The theater-like Subwoofers HT-12PWR is $900. For more Into “95 sound is made possible information, call Cerwin-Vega through Digital Sound Process- Cerwin-Vega, the renown fami- at 805-584-9332 or use Reader For 1995, JVC introduces the ing that has six distinct modes: ly-owned and operated loud- Premiere Series - an advanced stadium, concert hall, jazz club, speaker company, introduces Service #140. line-up of televisions destined theater, game and mono. Also two new remote-controlled for critical acclaim. Why? included with this model is a powered subwoofers, the HT- Because they have all the mak- set of cordless headphones for 10PWR and the HT-12PWR, to ings of stardom...featuring new amore personal listening expe- its Sensurround Home Theater technology that not only makes rience. line. them easier to operate but improves upon both picture Not only has JVC improved Both the HT-10PWR 10- and sound. From the high- picture quality, sound and con- inch with a 100-watt built-in quality 20” stereo Premiere amplifier and the HT-12PWR model to the incredible 12-inch with a 150-watt built-in widescreen 55” projection tele- amplifier have convenient vision, every night can have the remote control capabilities —a excitement and thrill of an welcome option for managing opening night with JVC Pre- the often drastic bass variance miere Series Televisions. The flagship of the Premiere ADVERTISING SUPPLEMENT - 5

\"-HIOLIDAY GIFT GUIDE AudioQuest age. It charges your VHS or tors, the SD-P5575, SD-P5075, Knows VHS-C camcorder battery SD-P5073, SD-P4575, SD- rapidly at home or in your car. P4573 and SD-P4571. Each As a bunch of cheapskates, the model allows users to view a folks at AudioQuest have The OmniSource™ 10¢12 greater amount of video infor- always been fixated on value. will quickly discharge/recondi- mation from conventional As aresult, AudioQuest contin- tion nickel cadmium batteries NTSC programs, offering a ues to specialize in the parts of to eliminate “memory” effect, more authentic, theater-style audio and video systems where and then automatically charge the least money can make the the battery. For NOMEM® bat- experience. most difference. teries it has a “Rapid Charge To enhance the viewing Only” option. The many products offered experience, the 75- and 73- by AudioQuest have come after It is designed to charge series include a digital zoom fourteen years of hard work, most 9.6V, 10V and 12V cam- feature, which provides con- lots of R & D, and lots of fun corder batteries; including sumers with the option of using the results. Whatever Panasonic, RCA, Hitachi, JVC, watching movies in either a price range you consider, you Sharp, Quasar, Magnavox, “normal” or “full-cinema” will find that AudioQuest offers Goldstar and Minolta. viewing mode. The normal the most cost effective ways to mode maintains the recorded enhance the performance of Whether you are looking for aspect ratio, while full-cinema your entertainment system. amore versatile charger, a hard mode expands the vertical pic- ture information to better fill So, in order to avoid acquir- to find replacement or an extra the screen. For instance, a ing any more ugly ties, please charger, the Lenmar® movie recorded in the letterbox drop those helpful hints early - OmniSource™ 10¢12 will format played in full-cinema this year you would really power your needs. Lenmar mode can be viewed with mini- appreciate something from model BCR10 has a suggested mal black bands at the top and AudioQuest. list price of $89.95. Call Lenmar bottom of the screen. at 800-424-2703 for a free cata- For more information, call log on the OmniSource 10°12 Round out your home the- AudioQuest at 714-498-2770 or and their full line of Camcorder ater system with the visual use Reader Service #141. Performance Products or use excitement of a Pioneer projec- Reader Service #142. tion television. For more infor- OmniSource™ mation, call Pioneer at 1-800- 10¢12 Getting the BIG Picture PIONEER or use Reader Service Lenmar® Enterprises Inc. of Westlake Village, CA, has the Deriving the maximum enter- #143, most complete full-size cam- tainment value from high per- corder battery charger/recon- formance video and home the- ditioner available in one pack- ater sources, Pioneer Electron- ics continues to offer its com- MENT plete line of “cinema-wide” system rear projection moni-

XLO/VDO tem, pronounced it to be the each have an integral 300 watt Digital Cables very best speaker cable he had amplifier with innovative feed- Hollywood ever tried, regardless of price. forward error correction cir- XLO/VDO™ is a complete line cuitry. The three drivers in each Digital Hollywood Entertain- of cables for home entertain- For more information or subwoofer combine the high ment is your best source for ment, and includes every the name of the dealer nearest cone speed of 8-inch drivers mail order laser discs in the audio, every video, every digi- you, contact XLO Electric Com- with the large cone area ofa 15- business. They offer great tal, and every loudspeaker pany at 909-466-0382 or use inch driver for powerful, cable that could ever be need- Reader Service #144. detailed bass. The magnetically prices, great customer service, ed for even the most complete shielded VCC-1 center speaker a fantastic sales staff, anda Home Theater System. Ultra-Fidelity is perfectly matched to the great selection of laser discs. In Home unique requirements of the fact, they carry over 6,000 titles All XLO/VDO cables are to choose from. designed to work properly with Now, discerning film viewers center position. Its coincident, your other components and can experience the sonic real- co-axial driver avoids the Call them for updated new with each other, to allow you to ism and clarity that tens of response variations that plague release information and for enjoy all the performance, all thousands of uncompormising conventional center speakers. their great sale prices. All new the dynamics, and all the sheer audiophiles enjoy from their Vandersteen recommends that customers will receive an extra fun your system is capable of music systems. For almost one of their floor standing mod- 3% in addition to their stan- delivering. twenty years, Vandersteen els or their new VSM-1 in-wall dard 15%. This offer is only Audio has been an acknowl- speaker be used in the sur- good on the initial order. Act Three speaker cables are edged leader in the design of round positions. This ensures now and receive a total of 25% included in the XLO/VDO line- high-fidelity loudspeakers. that the surround speakers are off on Jurassic Park. This offer up, each designed for best per- With their vast experience, they perfectly voiced to match the lasts through the end of Octo- formance in its own particular understand that despite the front speakers. All the speakers ber, so don’t delay. application: ER-11 is a modest- current popularity of small in the Vandersteen home the- ly— priced cable for front and speakers, only full-size, high- ater system are aligned and Digital Hollywood Enter- center speakers that offers out- performance loudspeakers can phase-correct to maintain the standing clarity and definition properly reproduce the com- dimensional characteristics of (OE Tae Ee ae Sou across the full frequency spec- plex, wide-range information the original sounds. The Van- PYlO «A |= trum, and providing the kind of of a film soundtrack. dersteen system surrounds you CAE dynamics and spatial charac- with dynamic, crystal-clear teristics that make good Home The seven speaker Vander- sound that transforms your liv- tainment will help you make it Theater great! steen home theater system uses ing room into the film location. through the holiday season with a pair of full-range front speak- great laserdiscs that will make ER-12 is a 9-gauge (in “Shot- ers, two amplified subwoofers, Complete seven speaker any person grin from ear to ear. gun” mode) cable for sub- a unique center speaker and a Vandersteen ultra-fidelity home woofers, or, because it allows pair of wide-range surround theater speaker systems, includ- Digital Hollywood Enter- single cable bi-wiring, for con- speakers. Any of Vandersteen’s ing two amplified subwoofers, tainment can be reached at necting higher performance floor-standing, full-range mod- are priced from under $4400. 800-944-DISC or at Reader Ser- front and center speakers. On els can be used as the main For more information, call Van- vice #146. fronts and centers, it’s amazing, front speakers. They all share dersteen Audio at 209-582-0324 and for subwoofers, it'll pro- the high-technology Vander- or use Reader Service #145. duce (providing your woofers steen boxless design that elimi- are up to it) the kind of clean, nates the baffles around the dri- Holiday taut, bass that will crack walls. vers for enhanced openness Thumbs Up! and clarity. The 2W subwoofers ER-14 is specifically You'll shoot some great video designed for scale and rear this holiday season. But the channel applications. Like all great moments will be mixed in other XLO/VDO cables, it’s very with footage you'd rather for- modestly priced, but one major get. Now, with the Thumbs Up Hi-Fi magazine reviewer, run- ning it full-range on the main speakers of his Reference Sys- ADVERTISING SUPPLEMENT - 7

PHIOLIDAY GIFT GUIDE home video editor, you can State of the The System 2 preamps will be easily cut out the unwanted Art upgradable to THX-controller footage and save only the best! status or can be purchased AMC’s System 2 can easily turn with THX-ready controls. Thumbs Up is easy to use. your A/V components into an Just press the “thumbs up” extraordinary home theater. For more information, con- button to mark the scenes you System 2 is comprised of a pro- tact AMC at 1-800-321-6396 or want to keep. Press “thumbs fessional edition Dolby Pro Reader Service #149. down” to mark the scenes you Logic preamplifier, two audio- don’t want. Then sit back while phile-quality amplifiers and a High-Tech Thumbs Up records only your unique powered subwoofer. best and leaves the rest behind Musicians — automatically! System 2 is flexible and pow- erful enough to allow you to use Desktop Music presentation With Thumbs Up, you can your existing speakers or add specialist Edirol Corporation make holiday videos you'll be new speakers as needed. Sys- has opened up new ways to proud to show to your friends tem 2’s preamplifier has built-in interactively enjoy music with and family. special calibration circuits a computer, whether the user allowing you to balance all six can play a traditional musical For more information on speakers’ sound pressure level instrument or not. Thumbs Up and other Videon- to within 1 dB of each other. ics products, call 1-800-338- The company has launched EDIT, or write 1370 Dell Ave., In creating System 2, a direct marketing program to Campbell, CA 95008 or use AMC’s first design priority was provide “bundled” music soft- Reader Service #147. to engineer a professional edi- ware and high-quality sound tion Dolby preamplifier that synthesizer cards and modules Azden’s guarantees every movie designed to be connected to a WR2-PRO soundtrack is reproduced computer. These user-friendly without distortion. Although packages put almost anyone Want to use two wireless micro- this might seem obvious, these into the “virtual music produc- phones at the same time when distortions are actually com- er’s seat.” This music can be you're shooting a video? The monly found in entry-priced printed, played or recorded Azden WR2-PRO is the only on- home theater components. onto video presentations. camera two channel discrete wireless receiver on the market. The ultimate result is that Edirol Corp. is a division of In addition to the receiver, you with System 2, you can play Edirol International which is a need two mics, and they can be your favorite films’ soundtracks worldwide corporation provid- on lavalier (WL/T-PRO), and in state-of-the-art Dolby Pro ing software and hardware for one handheld (WM/T-PRO), or music enthusiasts. For more two of the same type. This VHF Logic or, when needed, offer information, call 1-800-380- system uses the same two fre- decorrelation for stereo signals. 2580 or use Reader Service #150. quencies as the other Azden “PRO” series mics, and has a range of more than 250 feet. For more information on Azden products, call 800-247- 4501 or use Reader Service #148. MENT

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Wholesale Connection LGD FACE-OFF include engaging the autofocus or zoom lenses, or shooting under variable light- To Order Call Toll Free continued from page 51 ing conditions. 1-800-226-2800 so limited. Only the Sharps offer manu- With the exception of the (o7[o.fe)\\51\\2)\"ats) al override of the autofocus—and that’s Handycam Snap, which uses a lithium- only accessible viaan onscreen menu. ion battery, all camcorders come with ae 1s NiCad batteries. Both the Sharp Hi8 The FX730V came out best in our and Sony’s FX730V come with the larg- PVIQ304 Call |GRAX30 = Call autofocus test, locking in after a slight et, two-hour rated battery, while the PVIQ404 Call |GRSV3 Call bit of focus hunting (pulsing back and Sharp 8mm and the Snap come with PVIQ504 Call | GRAX37_— Call forth in search of the correct setting) one-hour rated batteries. PVIQ604 Call |GRAX70 = Call under both normal and low-light condi- PV54 Call |GRAX75 = Call tions. The 8mm ViewCam takes a little FEATURES AND ERGONOMICS more time to focus than the Sony, but |CPVS64anCall_| |oGRSSZH7nARPCal.l also locks in after a few seconds, even We'll go through this section by on medium-contrast subjects in low camcorder, starting with each model’s ES1000 light. features, followed by a look at its ergonomics, then overall impressions by CC547 Call The Hi8 ViewCam’s autofocus, the panel. We should note that all the PRO843 Call however, has an unfortunate tendency camcorders require a viewing hood for PRO845 Call to hunt, especially on medium-contrast use in bright sunlight; it’s an extra-cost subjects and/or in low light. If it can’t option on all but the Snap. HRS6900 PVS4480 = Call lock in on a focus after about 15 sec- HRS4700 PV4464 Call onds, it will actually zoom out until it e Sharp Hi8 VL-H400U: 8x zoom, HRVP710 PV4462 Call can! Suffice it to say that none of the autofocus with onscreen manual over- HRVP618 PV4461 Call participants considered this feature ride, programmed auto exposure HRVP612 PV4451 Call beneficial. modes, shutter speeds to 1/10,000-sec- HRJ610 PV4401 Call ond, auto white balance with lock, PV2401 Call Neither of the fixed-focus cam- backlight compensator, electronic corders we reviewed did especially well image stabilization, letterbox-style 16:9 @ PIONEER’ Laser Disc with nearby objects when their zooms mode, digital effects (still, strobe and were engaged. At six feet, the focus on fade), external mic and headphone CLDD703_ Call | CLDV820 Call both the Snap and the SystemMax was jacks, and S-video/video/stereo audio CLDD503_ «Call _| CLDV720_= Call decidedly soft-which couldn't always be input/output jacks, four-inch LCD CLDM403_ Call | CLDS303 = Call discerned by viewing through the LCD, monitor and infrared remote. CLDA100 Call | CLDS201 Call especially in low-light or bright sunlight situations. This was the largest and blockiest A/V Receiver Home Speakers camcorder tested. Brent, Janeen and | BATTERY LIFE found it difficult to hold steady while JVC, KENWOOD, BOSE, INFINITY, The most significant fact our bat- shooting for long periods of time. | also noted that the swivel unit housing the PIONEER, TECHNICS | ADVENT, PINNACLE tery tests proved was just how much the lens was especially vulnerable to tipping LCDs cut battery life. The camcorders when I used either the record switch or & OTHERS we could test with the LCD screens the zoom, which are directly behind the both on and off showed, across the lens. Stewart, however, felt it was “the Televisions | Mini Systems board, a significant increase in battery most comfortable to hold and shoot, by life when the LCDs were not some distance, of all the camcorders.” RCA 13” - 35” PIONEER, KENWOOD engaged—anywhere from half again as Even panel members who complained much in the case of the FX730V, to about the size and weight had to admit We Carry A Full Line of nearly double for the Snap. Neither of it was ergonomically friendly. the ViewCams allow the option of Car Stereos, Radar Detectors, Home CD switching the LCDs off, which is logical, “In terms of design,” Stewart com- as both lack a second viewfinder. mented, “this is my dead-on favorite. If Players, Tape Decks it wasn’t for the image quality, this The results can be seen in the would be my first choice in a consumer- CALL FOR PRICES ON MODELS accompanying chart. In all cases, our type camcorder.” Brent more-or-less AND BRANDS NOT LISTED battery test results were higher than concurred, referring to the H400U as “a very workable design marred by a so-so HRS: MON.-SAT. 9 AM - 7 PM E.S.T. those listed in the camcorders’ operat- picture.” He liked the fact that it had ing manuals. It should be noted, how- mic and headphone jacks, and thought Prices exclude shipping & handling. Not responsible for typo- ever, that our battery test did not that “the digital effects are kind of fun” and that the “big screen would be great graphical errors. We accept MasterCard, VISA, American for watching movies on 8mm tape.” LESA Discover, and C.0.D. e@ Sharp 8mm VL-E36U: 8x zoom, autofocus with onscreen manual over- WHOLESALE CONNECTION ride, programmed auto exposure modes, auto white balance, backlight compensator, external mic and ear- phone jacks, A/V output through 1/8- inch jack, three-inch LCD monitor and infrared remote. Smaller, lighter and more rectangu- We iy FEDEX| 63-48 108th Street & U.P.S. Forest Hills, NY 11375 88 VIDEO NOVEMBER 1994 Circle 36 on Reader Service Card.

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lar than its Hi8 sibling, this ViewCam adding that “the controls are straight- LCD camcorder that’s extremely easy earned high marks from panel members forward, and will be familiar to those to use. “I wish this camcorder were Hi8 who found the H400U difficult to use. who have used a Sony before. Janeen, and waterproof,’ Stewart remarked, Janeen remarked that it was ~~ easier on however, could not reach the zoom while Brent confessed, “I’m torn. I like my arms than the Hi8...fits my hands comfortably, and felt it was too heavy. this camcorder very much, but with its much better, and is much lighter.” “My right hand is too small to hold the below-average picture and sound, it’s Brent commented on its “great fee” and camcorder with ease,” she said. difficult to recommend. For certain called it “much more comfortable than people, it would be perfect.” the Hi8.” I felt that the smaller, lighter Stewart, Brent and I all liked the ViewCam also had a more stable swivel blending of traditional camcorder FACE-OFF FINALE lens housing. While it was easy to pivot ergonomics with the LCD screen, with if desired, I didn’t feel Iwould knock my Stewart referring to it as a “good hybrid Most of our panelists agreed that shot off-balance every time I went to of old technology and new.” While record or zoom. Stewart disagreed. “I Brent called it “a really enjoyable cam- the best models, overall, for everyday found it too small for my grip,” he said. corder to use” and praised its “great “Tt didn’t feel as comfortable or pleasur- videographers were Sharp's VL-E36U able to hold.” design, useful features and solid perfor- ViewCam and Sony’s CCD-FX730, mance,” he confessed that he’d rather with the caveat that the Sony’s tape “A no-hesitation recommendation own the Sharp 8mm. transport is loud enough to be picked for fun, casual shooting,” said Brent. up by its microphone, so an external e@ Sony CCD-SC5 Handycam Snap: Stewart, however, “felt it wasn’t as nice- fixed-focus 4mm lens with 12mm slid- mic should be used whenever possible. ly finished as the Hi8 version. It doesn’t ing telephoto adaptor, autoexposure, While most panelists felt that the have the same beautiful feeling of design inevitability that I get from the auto white balance, external mic and picture and sound quality of the Sharp H400U.” Even so, he praised this model earphone jacks, 1/8-inch video/audio VL-H400U Hi8 ViewCam were lower for its tape carriage mechanism, calling output jack, three-inch LCD monitor it “less awkward to access than the side- with hood, LCD on/off switch, optical than expected, and that the design was loading Hi8,” and its external mic and viewfinder and infrared remote. uncomfortable for long-term shooting, headphone jacks. “These are definite they agreed that it possesses a number positives,” he stated. “The ergonomics are great,” Brent of high-end features that make it said, “I thoroughly enjoyed shooting extremely useful for the serious video e Sony CCD-FX730V: 12x zoom, with this camcorder.’ He added, hobbyist. autofocus (no manual override), pro- though, that “with no control over any- grammed auto exposure modes, auto thing, you can’t expect much more than All also agreed that the Sony recognizable images and _ sound.” Handycam Snap is, mediocre sound white balance, backlight compensator, Stewart agreed, saying that “despite external mic and headphone jacks, some shortcomings, this is my first and picture aside, so easy to use that its video/stereo audio input/output jacks, choice for the ‘fun’ camcorder of the a perfect choice for people who want LANC edit control jack, three-inch shootout. nothing more from their camcorder LCD monitor that switches on when than video “happy snaps.” folded out, black-and-white viewfinder Not having to worry about focus is a and infrared remote. nice change.” Janeen and | weren't All four of these camcorders war- nearly as taken with its “video rant recommendation-to distinct types “This looks like a conventional of users. For a serious videographer, the shoe-type camcorder,” Lance pointed Brownie” aspects. However, Janeen Snap would be a disaster. And for casu- out, “unless you open the LCD monitor noted that “the telephoto adaptor gives al family video, the VL-H400U would hinged to the front of the left side.” It the Snap the feel of a My First Sony cost plenty, but deliver few real benefits. has “a solid feel to it,” said Stewart, product.” But reverse these situations-put the Overall, the Snap was Brent’s and Snap in the hands of a casual shooter, Stewart’s “guilty pleasure’—a no-frills and the VL-H400U in the camcorder bag of a moderately serious shooter —and everyone would be happy. 5 a Do = 10] © Bec flSs col FAxX ORDER LINE 1-903-294-7420 FOR INFO OR CUSTOMER SERVICE CALL. 908-780-6600 iEGARTOREA/DH|OMNEGLIINSSTHATLOLAWTI MOH 8 920HF CALL aVCR'S... IN STOCK aN$900... 529,99 HRS.4900... 479.99 fe CALL me& ,2T00THX ..CALL NASONIC MIRANODELS .. CALL Py.N6D04U..S. 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° ac/ac Quick * QUICKCHARGDEIS: | CZ-200A D +16 WIPES © RECONDITIONER CHARGE IN ONE * FADES TO.8 COLORS ® CHARGES ‘2 BATTERIES CYCLE 4 *AUTO.SENSOR * IMAGE ENHANCER * COLOR CORRECTION AT ONCE ¢ Ac/pc *20 WATT. HALOGEN * JOYSTICK COLOR BALANCING * S-VHS IN/OUT “a.DC QUICKCHARGER™. ® RECONDITIONER *ZOOM CONTROL. For Sony type JXT-88 e TESTER rechargeable batteries *10 PAGE MEMORY * 8 DIFFERENT ® USES ANY CIGARETTE | APT-200 *AUTO PAN HEAD COLORS LIGHTER “ cosauauaniiiel * 4 CHARACTER SIZES } WIRELESS REMOTE 3 BATTERY * FADE IN/OUT *MULTI DIRECTIONS * SCROLL TITLE *180 TILT. ACTION. CHARGER *AC/DC uX-S300 AMBICO +4 SETS OF A/V RB-80UL *3 HOUR BATTERY. f-F ‘“. RAINCOATS INPUTS LIFETIME WARRANTY! +3 SETS-OF OUTPUTS FOR ALL CAMERAS * EDITS OF UP TO 3 VCR'S f° Y/C SEPARATOR : JX-S700 *7 INPUTS *tWO MONITOR OUTPUTS * REMOTE CONTROL * DUAL OPERATION JXT-66 +7 LANGUAGES * 4 CHARACTER SIZES *8 PAGE MEMORY * YC MIXER TM-2000 151-VRLT TITLER * 1500FT. RANGE amp CITIZEN \\ ikelite. &% 4 = WMS-PRO M329 MKII 2.9” * HANDHELD COLOR MONITOR + 250’ RANGE CITIZEN ACCESSORIES WR2-PRO_ M938 3.9” MONITOR SYSTEM. T-740 3.8” MONITOR W/TUNER ¢ 2 CHANNEL AC 6013 AC ADAPTER ¢ HANDHELD OR _ |BC-755 CAR CORD... “J TR-3O DIGITAL TUNER.. TIE CLIP * 250’ RANGE =] WIDE ANGLE AF 3.0-6 X ZOOM 2 X TELE 2.0-6 X ZOOM.. FLIP LENSE 3X TELE TR LENSE KIT |5 X TELE AF FILTER KIT... 12 X TELE

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800-3ai2e3, -2325 PROJECTORS also make small, inexpensive LCD pro- jectors, but they’re really appropriate a Vide>o for PC continued from page 55 only for presentations—the picture quality of such models is insufficient for ADDA Paiaes: Dallas). Every year, INFOCOMM hosts a projector shootout, where manufac- home theater. COMMUNI Y turers display their wares next to the The best video-grade projectors competition. All use the same brand A STAG and model of screen and the same pro- cost from $6,000 to $9,500. We loved DAYS gram material, and all are tweaked by Sony’s video-grade VPH-1000Q when the manufacturers’ technicians. we Videotested it (March ‘92), and its VGA-AVer Pro overlay card lets you mix Video and VGA graphics successor, the $6,195 VPH-1001Q, to create dynamic, broadcast quality titles and graphics. MAKING THE GRADE looks even better. It adds an infrared Bundled with the top rated Deputy CG Junior software, you can Much of the quality of a front-pro- remote control, an improved comb fil- create incredible titles with gorgeous Anti-Aliased Fonts, create ter to help eliminate dot crawl, and a jected picture rests in the setup of the 16:9 mode for widescreen movies. Two your own fonts, import frame images and computer graphics projector, so you can’t make absolute other INFOCOMM standouts in the and then mix in your own video footage. VGA-AVer Pro card is judgments based on a single viewing of video-grade category are Panasonic’s a single projector. (Although as the SVHS/Hi8 compatible with 1 meg RAM and sag99° Imaging Science Foundation’s Joel $9,350 PT-B1O10UF and Mitsubishi’s Silver pointed out during the shootout, advanced flicker stabilization. “The same guys who set up the projec- $7,200 VS-1202. tors here are often the ones training the Vidikron’s $7,995 Crystal One AVer Video Producer turns your computer into a complete dealers, so this may well represent the quality a consumer can expect.”) (“Videotests,” Sept.) was a no-show at digital effects’ generator with integrated titling and graphics. All INFOCOMM, but we like it, and we Still, the INFOCOMM shootout hear it’s winning the hearts of many the great features of the VGA AVer Pro, plus display two video showed how much difference a good home theater fans. Although it only setup can make—the Sony projectors sources on screen and create dissolves and video-to-video in the shootout looked far too dim, accepts 15.75-kilohertz signals, it uses a while the projctors in the Sony booth wipes in hundreds of patterns. Video can be scaled to fit into looked terrific. line interpolator, which is similar to a line doubler, to rid the picture of scan a graphics window anywhere on the screen. Digital frame That said, here’s a tip sheet on some lines. of ‘94’s hottest projectors. It’s based on buffer allows you to perform freeze frame effects and create | this year’s INFOCOMM shootout and e Data and Graphics Grades. When $1595” on my experience with products I attended INFOCOMM three years gradient, colored and textured reviewed in Video Magazine. ago, many of the projectors in these cat- masks for even greater looking effects. egories looked mediocre. But this year, @ Video Grade. For cheapskates like both categories were much more com- POFiIand =WARK DC A/B Wipe myself, this year’s most exciting video petitive. Almost all the CRT projectors Multiple Live projector is Zenith’s Pro851X. At looked terrific; the differences between $3,500, the Pro851X is probably the them were very subtle. There were only 26vP) Personas Sursfussi least expensive CRT front projector you a few LCD entries, which couldn’t can buy. Rumor has it that the Pro851X match the contrast and detail of the Truly integrated video editing, 2D & 3D titling, and effects | has been tweaked to solve the mild CRT units. in one easy to use, well documented package. Custom- problems of its predecessor, the modified Video Director lets you edit from any Control L PV890X. Perhaps the most surprising recent camcorder and Curtain Call lets you add titles, fades, entry in data-grade projectors is Sharp’s wipes, graphics and animation with the click of the The 851X can produce pictures mouse. Glock VGA+ broadcast quality display 54 from five to 10 feet diagonally, and XV-S90U, a $9,995 LCD model. It’s card with 1MB RAM and advanced flicker stabilization. comes with a universal remote control based on the XG-E800, a professional that also operates cable boxes and model introduced last year, but it’s \"499\"Also available: CG Suite Pro-Award winning VCRs. Zenith’s projectors are well- much brighter—it uses a 250-watt lamp established favorites of middle-income instead of a 150-watter. The projector G-lock VGA+ card with customized Prime-time home theater nuts who want a big pic- has a built-in line doubler, so like the pul titling and graphics software ture at a small price. Vidikron Crystal One, it produces a pic- ture virtually free of visible pixels and Ss | You can probably find experienced scan lines. The advantage of the XV- owners on the various online electron- S90U is that it will take signals from Buy the GVP Personal Suite Plus and custom ics forums who can suggest cool tweaks. stand-alone line doublers and comput- Companies like Runco, Ampro, Image ers with S-VGA video cards. IVIDICRAFT’modified Prime Time software *FR Amplification and GE have built pro- jectors based on Zenith chassis, with I’ve heard some installers say that Digital 4x4 matrix $ tweaks and minor upgrades. Runco’s latest projector, the $35,000 routes any one of in/out capability IDP 990, is one of the best video pro- 4 inputs to any or The least-expensive video-grade jectors ever to be available. It offers a all 4 outputs projector that produces a decent image is Sharp’s $2,000 XV-P10U, which is a maximum scan rate of 91 kHz, and *Preselect separate portable, nine-pound, single-panel Runco maximized clarity and light out- stereo audio or video switching or LCD model. The picture quality isn’t put by using nine-inch CRTs and new route audio and video together amazing, but I’ve enjoyed watching the lenses. But for most consumers, the XV-P10U at picture sizes of from four $17,995 IDP900, a smaller projector Combine multiple switchers to expand to six feet. Fuji, Sony and Panasonic with seven-inch tubes, will be more practical. I’ve seen the 900 and the 990 PowerMax Pulse-Charge 94 VIDEO NOVEMBER 1994 several times and have always been } Reconditions and quick charges impressed. | two 6V batteries in one cycle. I first saw Ampro’s data- and Fastest charge with built in graphics-grade projectors used in Cello overcharge protection! AC/DC Music & Film Systems’ New York City SOLIDE cellular Phone Accessory Kit continued on page 98 Complete package includes \" STINK fey high capacity NiCad battery, \"We ion battery eliminator (provides unlimited talk time while CQeulilcuklaCrhPahrgoenre/Bwiathtrteceonrdiytioner Charges cellular phone with battery plus a spare battery simultaneously! Available for all popular models. Circle 41 on Reader Service Card.

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suite, which is probably the best home tors have been considered among the models excepted) over any direct-view theater you'll ever see and_ hear. best. The company’s new data-grade or rear-projection set. Front-projection Ampro’s latest models, the $23,000 model, the $14,910 VPH-1252, is is where it’s at for home theater. Here’s 3300 and the $30,000 4300, both already finding its way into high-end hoping it wins the market it deserves. = impressed me at INFOCOMM. The custom installations. Barco has also 4300 won my pick as the best picture of been a long-time favorite of custom LIGHT VALVES = the show. Both handle scan rates up to installers; both of its new graphics- 90 kHz. The difference is that the grade models, the 1209 and the 808, continued from page 54 4300’s nine-inch CRTs perform slightly scan up to 105 kHz. better than the 3300’s eight-inchers. Instruments, which is working on a Obviously, video projection offers For as long as I can remember, lots of options. But I’d choose any of the Sony’s data- and graphics-grade projec- above projectors (the inexpensive LCD technology called digital micromirror SAVE 65% display, or DMD. DMD uses a panel comprising hundreds of thousands of tiny aluminum mirrors, each of which is suspended by two microscopic hinges. When You Subscribe to Electrostatic force is used to twist each VIDEO mirror up to 10 degrees in either of two directions to reflect or to not reflect light. Unlike CRTs, LCDs and light valves, DMD is a true digital display. The mirrors are on or off—there are no in-between settings. So how do DMDs achieve shades between black and white? By keeping the mirrors on or off for for only part of the duration of each video frame. magazine Texas Instruments has created CALL TOLL FREETO ENTER YOUR SUBSCRIPTION DMDs with pixel resolutions of up to 1-800-365-1008 2,048 by 1,152, which is good enough DISCOVER WHAT YOUBEEN'IVVISSIENG — for HDTV. But TI will only supply JUST CALL THE TOLL FREE NUIMIBER TODAY! DMD panels to other manufacturers. When can we expect the first DMD projectors? Maybe next year. -BB BETTER BEAST continued from page 57 VIDEO is loaded with helpful know-how and turned them into. . . dinosaurs. But techniques you can use to get maximum their animal motion know-how was re- performance and pleasure from your home quired throughout the film’s produc- video equipment. tion. “The stop-motion animators would interact with the CG guys, ex- From upgrading basic equipment to designing a changing techniques and ideas,” says state-of-the-art editing suite plus programming Tippett. “We cross-pollinated a craft.” from music to movies, VIDEO covers it all. Though the future of stop-motion ani- You'll be entertained, enlightened and always on mation is uncertain, Tippett foresees top of the latest in equipment and prerecorded more collaborations. “It’s important to tapes. The price? Only $11.97 for 12 big monthly bring traditional craftsmen into the issues — a full 65% off the newsstand cost. computer age, because they’re the ones who know how to make things look Get convenient home delivery, a great price and unbeatable in-depth good,” he says. reviews and equipment tests from the world’s #1 magazine of home video. Muren and company had two main Call Today! problems to solve as they went about creating the first all-digital dinosaur. “We had to make it look real, not like a computer image or a plastic animal,” Muren says. “And we had to give it a performance and an attitude—a heart and soul.” The computer graphics team was rewarded for its breakthrough with what amounted to 52 separate shots in continued on page 108 98 VIDEO NOVEMBER 1994