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| A large display sits beneath the disc ease is very good to excellent. LIVEN hatch. At its right sit a ten-digit keypad UP Performance. The MDP-333 de- | and buttons for + 10, auto program, A/V livers a horizontal resolution of 425 lines THE NEXT time, file and custom index. HOUSE- with an unweighted luminance signal- WARMING The shuttle ring spans both halves of to-noise ratio of 48 decibels and a video the panel. Nearby sit an open/close but- S/N of 47.2 dB. The weighted lumi- | ton for the disc drawer, and buttons for nance S/N is 54.5 dB and the weighted | pause, stop, chapter/track reverse and | video S\\N 54.1 dB. The chrome AM S/N chapter/track forward. The play button is 49.4 dB and the chroma PM S/N is occupies the center of the shuttle ring. | 40.5 dB. Before Pioneer’s $3,500 LD-S2 Sony uses a similar arrangement on came out, the MDP-333’s picture quali- many of its VCRs, and it has proven a | ty would have earned an unqualified ex- | Most convenient way to search and re- cellent, but given the standard set by the | turn to play. LD-S2, this player falls in the next The rear is very simple. There’s the | group—very good/excellent. power cord, an optical digital audio out- The digital audio frequency response put, standard stereo audio output and is 10 hertz to 20 kilohertz, +0.4/-0.7 dB, S-video output. Another group contains with an audio S/N over 103 dB (our output for video, mono audio and DC | measurement limit) and a dynamic power. That last jack powers an RF range of 99 dB. The total harmonic dis- adapter similar to the ones Sony supplies | tortion, rated at 0.002 percent, mea- with 8mm camcorders. This arrange- sures better than 0.02 percent, our ment isolates unwanted RF pollution measurement limit. The frequency re- from the base band video signal. Most sponse for analog FM audio material is | combi player owners use video and ster- 40 Hz to 20 kHz, +/-3 dB, down 8.3 dB | eo audio ouputs, so the RF adapter pre- at 20 Hz with an S/N of 72.3 dB and a sents no problem. measured total harmonic distortion of The remote control is a bit crowded, 0.09 percent. Audio quality for digital but an intelligent layout eases operation. material is excellent, but for analog ma- The shuttle dial sits nearest the user. A | terial it is only good/very good because silver background contains frequently of weak low-frequency response. used buttons: play, stop, pause, chapter/ Conclusion. The MDP-333’s per- track forward and reverse, index forward | formance and features belie its modest | and reverse, and intro scan. The re- suggested price of $650. Its picture qual- | maining buttons include controls for ity is very good to excellent, with special open/close, disc/TV, the onscreen dis- praise for the distortion-free scan. The play, the keypad, search, repeat, shuffle digital audio quality is excellent, and its (random), audio output selectors, vari- analog audio is rated good/very good be- able speed/step, and auto program/file/ cause of weak frequency response. Ease custom index, as well as basic controls | of operation is very good to excellent. Its | for Sony TV sets. overall rating is very good to excellent. Operation. Setting up the player is It is a good value that we recommend really easy. Sony even provides a spacer | highly. 2 sheet to level the player. If you use a ee eeconventional TV set, the RF adapter, complete with channel 3/4 switch, is TECH TIP built into the cable. Shoot everyone with the Canon Xap Shot. Then, while the party's still going, All the basic controls are on the | everyone can gather ‘round and see the right side of the player or at the back results on TV—big and immediate. Look: here's a guest endangering an heirloom third of the remote. The user can set six | chair. Look: here's a guest flirting with the custom indexes using the first six but- Tying up loose ends hostess. All captured on freeze-frames— | tons of the ten-digit keypad, along with no film, no developing. And it’s the only camera of its kind that connects to a TV | the. A/V-time auto program, file (store), | When dubbing from an audio cassette without a playback adapter. Now that it's and custom index activator buttons. deck onto videotape, I often want the easier to afford, there's no reason to be Another button repeats the entire side last notes of a piece of music to fall ex- left out in the cold. of the disc. actly at the end of a video segment. This The remote performs complex tricks can be tough to do, because few audio like multiple-speed play, analog/digital | cassette decks have real-time counters, switching for LV audio, left/right/stereo but there’s a simple solution. If you’re switching for multilingual discs, A-B/ | dubbing in 90 seconds of music, play the side/chapter repeat, search and intro | cassette through to the end of the music search. Using these features is easy once segment, stop it, flip the cassette, and you know they are there. The manual play it for 90 seconds. Now flip the tape Canon has good diagrams and excellent cross again. There will be exactly 90 seconds areferences. The legends on the remote of audio to match the end of a 90-sec- AHOT FaicN2RCSoodnio6reaerndf.rcaiolvdrtdei.miecaoretniaoln, could use more contrast for readability ond video segment perfectly. in poor light, but the basic controls are Photography for the video generation. easy to locate by touch. Operational Larry Gorney Simi Valley, California Canon U.S.A., Inc., One Canon Plaza, Lake Success, NY 11042 © 1990 Canon U.S.A,, Inc. TV image is simulated. NOVEMBER 1990 VIDEO 51

TOSHIBA TV three-level menu system is a bit tedious. interference are visible in full solid-color continued from page 45 Ease of operation is good. screens, but are masked by a normal- duction and PIP contrast. The language Performance. The CF3264K is looking picture. menu gives a choice of English, French and Spanish onscreen captions. rated at 700 lines of horizontal resolu- Accuracy of color is good to very The PIP options are familiar, but tion, which we verified to over 600 lines. good with better results on strong color some may wish for a second tuner for watching two channels rather than one Its video signal-to-noise ratio is 54.1 than on fleshtones, which show a slight video source and one TV channel. The decibels, while its chroma AM S/N is magenta tone. The fleshtone enhancer PUT FULL POWER BACK IN YOUR 53.7 dB and its chroma PM S/N is 51.6 creates more natural skin tones but CAMCORDER BATTERY dB with the noise reduction off. These turns greens yellowish and gives the en- signal-to-noise ratios are a bit below tire picture a golden shade. It can be a TURBOIntroducing: “%& what we usually measure. Some signs of pleasing effect, but since color is a mat- CAMCHARGER™ | ter of taste, you should evaluate it your- Advanced self. Picture quality is good to very good. Camcorder Battery Charger The audio frequency response at the & Reconditioner fixed-level line output is 20 hertz to 20 & Automatically recondi- tions and 100% recharges kilohertz, + 0.2/-0.8 dB. At the external your camcorder batteries. speaker terminals frequency response is Eliminates “battery 100 Hz to 20 kHz, + 0.3/-3 dB, down 19 memory” for longer dB at 20 Hz. The internal speakers pro- battery life. vide little usable frequency response be- low 100 Hz or over 15 kHz. The audio &Quick-charge mode for S/N is 66.1 dB with a total harmonic dis- fast, turbo charging. tortion of 0.9 percent. Audio quality is &Works from vehicle good to very good. cigarette lighter socket or AC wall outlet with power Conclusion. The CF3264K is a supply. handsome 32-inch monitor /receiver with Provides overcharge a fair share of advanced features. Pic- protection for battery. ture and audio quality are both good to Model Numbers: very good, and we rate ease of operation TC200-6PS AC/DC Charger/Reconditioner good because the multiple menus are for 6V Sony and Canon-lype. .. .Sug. Retail $119.95 simple (if a bit tedious). Overall perfor- TC200-12PS AC/DC Charger/Reconditioner, mance is good to very good. It may be for 12V Panasonic/RCA-lype. . .Sug. Retail $129.95 just the large-screen monitor you're TC200-6 DC Only (for 6V looking for, so it is well worth consider- Sony and Canon-Type TC200-12 DC Only (for 12V ing. Its suggested price is $1,999. = Panasonic/RCA-Type) ......... 0005 ; SONY CAMCORDER FiaScNR2Cooindea8enrfd.racdoivdl.rtieemicraoetniaoln, Turbo Camcharger not continued from page 46 only charges but also reconditions batteries to S/N of 49.8 dB. The chroma AM S/N is eliminate the memory build- up that occurs in nicd bat- 42.2 dB and the chroma PM S/N is 38.3 teries used by camcorders. dB. All these measurements except “Memory build-up” prevents chroma PM S/N are higher than for the your battery from receiving TRS, and highly competitive with other a full charge, causing it to new subcompact camcorders. Its sensi- go dead in a short period tivity is rated at 4 lux, and we measured of time. By using Turbo it at 6.2 lux for 50 IRE units. Picture Camcharger, you will in- quality is very good for 8mm. crease the life of your bat- teries. It’s that simple. The audio frequency response is 20 hertz to 12 kilohertz, +0.1/-3 dB, down Turbo Camcharger also 6.8 dB at 20 kHz. The audio S/N is 71.2 offers the convenience of dB and total harmonic distortion is 0.3 AC/DC operation so you percent. Stereo separation from line can use it away from home. sources is over 67 dB. Audio quality is very good. ARKON RESOURCES, INC. 11627 Clark St., Ste. 104 Conclusion. The Sony CCD-TR7 Arcadia, CA 91006, USA Tel: (818) 358-1133 has two big advantages over the TR5: a FAX: (818) 303-6157 longer zoom and stereo audio. It im- proves on almost all the TR5’s picture performance measurements, for a rating of very good. Only slight compromises are made in delivering stereo, so audio quality is also very good. Ease of opera- tion is very good to excellent as is its overall performance. At its suggested price of $1,400, it is a very good value that we recommend highly. Py

MONEY'S WORTH Think before you shoot MAKE YOUR continued from page 24 Keep future editing sessions in mind as NEXT SET you shoot video: Let the tape run for a the accessories, either. If a camcorder’s few seconds before and after each shot. OEFXMCSOILTRIIEDNEGS. This extra footage gives you room to battery is charged, but the seller doesn’t choose just the right starting and ending frames, and will compensate for the in- have the AC adapter, steer clear.” herent inaccuracies of most consumer editing equipment. It also assures that Woodcock offers further advice for the tape will be up to speed by the time you frame a shot. buying from classifieds: “A lot of ads say Sandy Angel D. Tabar Jr. that the equipment is ‘professional’ Cebu City, Philippines when it really isn’t. And beware of in- New math dustrial decks. Some people think indus- I’ve found a simpler method than the one Doug Bowers described (‘‘Tech trial means higher quality, but many of Tips,” July 90) to maximize SP record- ing time for programs longer than two these decks have been used as slaves in hours. Subtract the recording tape’s length in minutes (120 for a T-120 VHS duplicating houses, running 24 hours a tape) from the program time. Divide this number by two. Subtract the result from day, so they’re completely worn out. the recording tape’s length to get the time to spend in SP. And never pay the price they’re asking. John Louch You can usually talk them down —just Pittsburgh, Pennsylvania start walking out the door and see what happens.” But no matter how many precau- tions a buyer takes, no matter how new the equipment appears, no matter how little it costs, and no matter how big the used video business becomes, used equipment is still a compromise. And when you consider the work it takes to find good used video gear, the risks in- volved, and the often minimal price ad- vantages, it’s probably a compromise few videophiles will want to make. & TECHTIPS Stroller dolly While an invitation to view slides can Audio dub sub Babies are one of the big reasons people make eyelids droop, people /ike to watch buy camcorders. Luckily, a stroller TV. So instead of slides, shoot everything If you want to dub narration onto a tape makes a good accessory for both. Simply with the Canon Xap Shot—that plays but can't find a microphone, a set of per- secure a tripod to the stroller with bun- sonal stereo headphones makes a good gee cords, and you have a versatile roll- back on your TV. Ifa shot’s a dud, simply substitute. Just plug the headphones ing shooting platform. Mario Massens erase and record right over iton the flop- into the mic jack—the headphone py disk. And you can store more than speakers will work as microphones. Be- Fallbrook, California cause the mic jack is monophonic, only 5000 images in a space smaller than a one of the speakers will be connected, so Quick-draw power shoe box. Plus, now the Xap Shot is be sure to speak into both of them. easier to afford. Check out the prices; Carrying extra camcorder batteries theyre eye-openers. For more informa- Manfred Lopez around can be cumbersome, but when tion, call 1-800-221-3333, ext. 706. Westmont, Illinois you're planning to shoot for a whole day, you don’t have much choice. Instead of Canon Faking a fade filling your pockets, though, stuff the RAP SHOT batteries inside Radio Shack’s wireless Photography for the video generation. Many recent camcorders fade to white, telephone holster (stock number instead of black. However, a fade to 43-190). It’s much more comfortable, Canon U.S.A,, Inc., One Canon Plaza, Lake Success, NY 11042 FaiC2SNRcodnai9eoerndrfr.acoidvldrt.ieemicaoretniaoln, black is sometimes more dramatic. If and costs less than $5. your camcorder has a manual iris, you © 1990 Canon U.S.A., Inc TV image is simulated should be able to simulate a fade to Gene McFarland black. When you're ready to fade, put Charleston, Illinois the camcorder in manual iris mode, and slowly close the iris all the way. To bring Reliable rewinding a scene up from black, close the iris, then slowly open it until you reach the To minimize tape wear, and the possi- correct exposure. bility of snapping a videotape’s leader when rewinding, reset the VCR’s coun- Norman E. Oliver ter to zero after playing a tape for a few Hot Springs, Arkansas seconds. After viewing the tape, use the VCR’s memory rewind or go-to-zero function. This will rewind the tape and stop it just before the end. Ben Martnick Wind Gap, Pennslyvania NOVEMBER 1990 VIDEO 53

UNCHARTED BY BRENT BUTTERWORTH WATERS: A SPECIAL MULTIMEDIA SECTION Its Year One of the close look at the Add zing to your tapes with interactive '90s, but the first emerging phenome- magine traveling in a country whose multimedia system. To trade in hand- buzzword of the dec- non, “Multimedia: language you can only simply speak. drawn title cards for a computer with ade—multimedia—is Video's Newest Newspaper headlines are accessible, animation powers and a few essential already established. Wave” by Associate but not their stories. You can order peripherals. Once mastered, multimedia Its a catchy term, Editor Brent Butter- from restaurant menus, but avoid daily becomes a new and essential language of broad enough to be worth defines what specials the waiters recite. You can ask video—a language which, through use, | encountered on MTV, for directions, but not always follow confers the power to describe experi- in art and dance multimedia means for them when given. ences more precisely, more enter- circles, and in videophiles and ex- tainingly than ever before. elementary schools. plains how to bring One day, you become aware of a In video, multimedia group of tools that can give you the pow- Video makers, from professionals currently refers to a multimedia’s magic ers of literacy: phrase books, translation and would-be professionals to ordinary into your own post- services, native guides, English-language powerful, inter- production work. In maps and the like. Using them, your flu- enthusiasts, are embarking on a new ad- disciplinary way of “3 Amigas,” free- ency accelerates. Newspapers yield their ventur—tehe exploration of a multi- producing videotapes. lance writer Jim nuances, restaurants their specialties, lo- media frontier populated by new inter- cales their secret places. Your status too active formats emerging from such com- Multimedia video- McBride describes changes, as your eye becomes more panies as Philips and Sony, and by makers are learning how a trio of multi- knowing. familiar VCRs and camcorders supple- mented with a wonderland of computer to harness the vast media adventurers This is what it feels like to go from created personalized making videos with a camcorder and a devices. We're going to look at what potential of personal video systems to multimedia really means as it applies to take their productions VCR to making them with a full-bodied video, and how you can begin using it. computers—partly to to new heights. And streamline the editing in “Ultimedia,” Con- Videophiles in search of multimedia powers lean strongly process, and partly tributing Editor Bob toward Commodore's low-priced, graphics-oriented Ami- ga computers. But plenty of home video makers already to supplement cam- Barlow sneaks a have IBM PCs or Apple Macintoshes. And they’re in no corder images with peek at a professio- hurry to cough up yet more for Amigas. Happily, they the sizzle of anima- nal multimedia tion, bright graphics, may not have to. A new generation of IBM- and Mac- editing suite that ma- compatible hardware and software is bringing video-ori- clever special effects nipulates video ented work within the reach of many more people. and varied audio en- segments as easily as word processors What kind of video work can you do with that IBM hancements. For cut and paste sen- sitting on your desk? If you have Truevision’s Targa hands-on videophiles, tences. board, you can create graphics as good as those used in network news and sports programs, as well as major na- multimedia literacy We think this spe- tional commercials. Targa boards are used so widely by may soon become as cial section will give professionals that the name is in danger of becoming a important as high- you a good idea of generic term for IBM video encoders. definition TV or the what multimedia is All Targas fit into expansion slots on IBM ATs, PS/2s advent of true digital and clones. At $1,800 for the 16-megahertz version, the video. about, and how you new Targa+ is the lowest-priced Targa yet. It genlocks In this special can put it to use. computer graphics to incoming video signals, grabs section, we'll take a frames from the video for use in animations and graph- ics, performs chroma keying (the process used to put Colors and Crops: computer-generated weather maps behind TV weather- The screens above men) and provides a broadcast-quality S-video or were created using a composite output signal. Commodore Amiga with Electronic Arts’ Deluxe The Targa+ generates up to 33,000 colors, com- Paint Ill and Deluxe Video Ill. 54 VIDEO NOVEMBER 1990

systems that mix moving images, audio, graphics & effects. Our starting point is the computer, see the results on almost any news or video, graphics, text and audio, using since it is from computers that video sports program, where computer-gener- equipment that costs $5,000 instead of multimedia most immediately borrows ated graphics show statistics, introduce $1 million.” its lexicon. And capabilities. Even those show segments and sometimes just add experts who hesitate to precisely define slick touches. Multimedia has also had Unlike other multimedia sages, “multimedia” concur that it represents a an impact on educational and corporate Bushnell feels that it isn’t multimedia if merging of the video and computer video presentations, two fields in which it isn't interactive. “You've got to have fields. “All video equipment is con- complex data must be passed along in the machine making some decisions for trolled by microprocessors,” explains ways that do not put audiences to sleep. you, and you have to make some deci- Keith Nealy, who has created multi- sions for the machine,” he explains. media videos for dozens of Fortune 500 Nolan Bushnell, the founder of At- “Something has to be under user con- ari, agrees with Nealy. Bushnell is now trol— otherwise it’s just media, not mul- companies. timedia. A home video producer guiding the development of Commo- experiences multimedia, but his audi- “A few years ago, computer compan- dore’s CDTV interactive disc format. ence is only watching the product of ies realized their products could also “Multimedia is the process of adding all multimedia.” control video signals and devices by the things you can do with a comput- mimicking what dedicated computers er —the graphics, the sound, the inter- The dedicated multimedia hardware were already doing in professional video. active control—to video,” he says. “It Bushnell envisions won’t be available And they adopted the term ‘multimedia’ will give many more people the ability to until CDTV hits the market late this to describe this process.” create presentations and games. For ex- year, and the first decks using Philips’ ample, teachers will be able to produce Professional video producers have educational programs that incorporate CD-Interactive format are probably a dabbled in multimedia for years. You can year away. Many schools can use multi- pared to 16 for the Amiga. These extra colors are same thing for about the same price. RasterOps’ $2,000 ColorBoard 364 only handles video input, but an output essential if you're planning to create realistic graphics in- converter should soon be available for a few hundred Aiah stead of cartoon-like ones. In fact, some Amiga users dollars. even connect Targas to their systems, using IBM bridge boards. Truevision also has created a simpler, $1,000 al- Most IBM and Mac multimedia software costs con- siderably more than Amiga programs. But as the field raeenSeee ternative to the Targa called the True VGA, which lacks expands, the prices contract. Autodesk Animator, a $400 the Targa's frame grabbing and chroma key capabilities. It $1,000 sounds too steep, Progressive Image Tech- IBM program introduced last fall, has won plenty ofol- nology’s Video Charley may be your answer. It’s a $550 board that attaches to a $100 EGA graphics card. The lowers with professional-quality paint and animation Video Charley serves as a genlock and NTSC encoder. It produces 16 colors at once from a palette of 64. Software effects. The latest and least-expensive IBM paint pro- included with the board creates titles in three typefaces and several sizes, and scrolls or wipes titles onto the gram is Electronic Arts’ $135 Deluxe Paint Animation, screen. Video Charley also supports any EGA-compatible which performs many of the stunts that made the com- graphics software. You can see the results on Financial pany’s Deluxe Paint III the unofficial Amiga standard. News Networ—kthe stock prices scrolling under the vid- eo come from a Video Charley. Mac users pay a premium not only for hardware, but for software. For low-buck Mac multimedia, there’s Data The Apple Macintosh produces a video signal far Translation’s $400 Video Quill, which produces titles and from the NTSC standard, so Mac owners don't fare as graphics. For full-blown productions, MacroMind’s $800 well as IBM users. There are three Mac multimedia Director creates and combines graphics, text and anima- boards to choose among, all of which fit any Mac II. tion, and synchronizes the result with external sound and Truevision’s $3,000 NuVista+ gives Mac II users the video sources. awesome power of a Targa board, plus an additional megabyte of memory. Radius’ TV board does about the If all these prices seem out of reach, don’t worry. In- dustry insiders expect multimedia to emerge as the next big opportunity for computer companies, and as research and development intensify, prices for multimedia necessi- ties should fall considerably. —BB NOVEMBER 1990 VIDEO 55

MULTIMEDIA Progre j Framegrabber Memetics Framebuffer media programs thanks to computer- Multimedia is lock device feeds a VCR and a monitor. controlled industrial laserdisc players, more than just flashy effects. It’s a The audio can come from the same but for now, most multimedia laserdiscs whole new way to are intended for educational use. Con- communicate. sources normally used in home video: sumers who want to get into multimedia innovative software, to establish a the original camcorder tape, a narration have only one choice: connecting their new set of multimedia standards. home video gear to a personal computer. microphone or an audio tape deck. For The accompanying diagram shows Most computers used for personal the essential elements of a video-ori- greater multimedia impact, a better bet multimedia projects come from Commo- ented multimedia system, and how any- dore, the company that first promoted one with a home video setup—a is to generate sound with the computer. the idea. Although Commodore’s Amiga camcorder, a VCR and a TV monitor— computers were originally designed for can create multimedia videos by adding Almost any computer can control a mu- games, they also proved useful in video a computer and a few peripherals. Most production, thanks largely to NTSC- multimedia projects start with video sical synthesizer equipped with a musical compatible RGB outputs. Any Amiga footage shot with a camcorder. Video can be connected to a TV set or a VCR from the camcorder (or other signal instrument digital interface (MIDI) using a $50 encoder. IBM and Apple source like a VCR or a laserdisc player) computers still need special video boards travels to a genlock device, which syn- port. Amigas come with onboard four- chronizes and mixes the video signals costing from $500 to $3,000 (see sidebar from the computer and the camcorder channel sound synthesizers. for more about IBM and Apple comput- so that computer graphics can be super- imposed over live video. Why assemble such a complicated ers). Another big plus for Amigas is their The camcorder can also feed a dig- setup just to add pizzazz to a few home itizer or a frame grabber, both of which multitasking capability, which lets them convert individual frames of video into tapes? Because multimedia is a lot more perform two operations at once. This al- computer images that can be altered lows multimedia makers to create an an- using graphics software. than flashy effects. It’s a new way of imation with one program, while setting it to music with another. For final editing, video from the gen- communicating. “The more media you Because Commodore has a big head add, the more it can affect people,” ob- start on the competition, many more serves Arthur Asa Barber, professor of multimedia programs and peripherals broadcast communications at San Fran- have been created for the Amiga than for IBMs and Apples. And for home pro- cisco State University and author of 18 ducers whose budgets are already stretched by expensive video gear, the books on media and pop culture. “For Amiga’s relatively low price often comes as a welcome surprise. But don’t count example, seeing and hearing is more the big boys out—IBM has joined forces again with Microsoft, a driving force in powerful than just seeing. As you in- crease the number of media, you inten- sify the effect on the brain.” However, Barber warns it’s not enough to rely on new multimedia toys as substitutes for quality and imagination. “You can de- velop new technology, but if you use it to create the same old junk, you've ac- complished nothing,” he says. Multimedia makers predict a bright future for their chosen form of expres- sion. “Multimedia will change every- thing,” Nealy enthuses. “Everyone who uses communicatio—nasnd who does- n’t?—will be touched by this.” ] EBLEIROGT M 56 VIDEO NOVEMBER 1990

Sa3 AMIGASUi How a trio of savvy buffs developed their own multimedia video systems. When multimedia is the question, its practitioners are the an- Post Office: swer. The systems and the projects of the people who are cre- In his modest post-pro- ating multimedia videotapes show how this style is starting to duction suite, Tony have an impact. To better understand its potential, we talked Impoco animates com- to a trio of multimedia pioneers. Their work ranges from so- phisticated corporate videos to playful family tapes. Yet, while puter images (like the their equipment and ambitions vary as well, they all share a face at left and the — belief that multimedia is adding a new, important dimension brush below). lays them to their work with video. over video images and adds computer-gener- All three create videos that marry video, audio and computer graphics into com- ated sound for pelling compositions. All three acquired their multimedia skills through a trial-and- complete multimedia error learning process. And, since they all face familiar budgetary restraints, they productions. also all rely on Commodore's reasonably priced Amiga line for computing power. ILAPJSBC.RHAMCLIOMNAPRATEGROENOSKOCES:NON:E: The concept of multimedia originated in artistic circles, where it referred to the marriage of several media—text, graphic arts, video, audio and special effects—in the context of a single piece of work. But within the last five years, it spread to the computer field, then into video, where it is generally understood to apply to full-motion videos that include audio, graphics, animation and special effects, usually with the help of computers. Professionals have long had access to powerful multimedia systems— the slick segments that introduce most nightly news BY JAMES McBRIDE NOVEMBER 1990 VIDEO 57

programs are a familiar example. But as er. Early Amiga users, like Ricketts, had megabyte hard drive and four megabytes the cost of computing comes down— little video software to choose from, but of memory. and as more homes possess VCRs, cam- as the number of programs and periph- corders and personal computers as a Ricketts’ 2000 also includes a bridge matter of course —the promise of multi- erals exploded, so did the complexity of board that lets it run programs written media is coming rapidly within the reach Ricketts’ work. He even took on an ani- for IBM PCs, and an ASDG controller of video enthusiasts. Here’s a look at mation staff, Paul Safr, Eric Fleischer card that communicates with the laser- how three multimedia pioneers are han- and Kathy Chinnick. disc recorder. A SuperGen 2000S S-vid- dling the challenge, and the directions eo compatible genlock by Digital they're headed in. His reel now includes corporate vid- Creations and a Memetics Frame Buffer, eos brimming with animated logos and which grabs images from videotape, EDITING WITHOUT TAPE graphics, promotional tapes pulsing with round out the system. Multimedia is still a new concept computer-sequenced synthesizer sound- tracks, and art-for-art’s-sake animations Ricketts chose the laserdisc recorder even among professional videographers, that rival award-winning work produced both for its picture quality and its fast so many add multimedia capabilities to access time. He shoots video straight conventional video production setups as using much more expensive equipment. from a broadcast-quality JVC video an afterthought. However, Martin Rick- camera onto the disc. Using Gold Disk’s etts, president of Gibric Video Systems To meet the demands of video work, ShowMaker, a $400 program designed of London, Ontario, designed his editing Ricketts boosted an Amiga 2000 with an especially for multimedia editing, he can suite for multimedia production from expander board that cranks the machine immediately call up video segments from start. up to over 12 times its normal speed. the laserdisc, combine them with graph- “The basic 2000 really isn’t fast enough ics and music produced with other pro- But what really gives Ricketts’ sys- to do advanced multimedia tasks be- grams, and output the entire program to tem a unique twist is his chosen video cause so many things happen at once,” tape. medium. He has spurned the relatively says Ricketts. An unmodified 2000 can imprecise, unwieldly mechanisms of take hours, even days, to render com- In fact, Ricketts uses videotape only VCRs in favor of aPanasonic write-once plex three-dimensional objects. The ac- for his final product. ShowMaker can ex- recordable laserdisc deck. He controls actly reproduce an entire multimedia the deck with a souped-up Amiga, celerator cuts the time substantially, which he also uses to add graphics and while adding the power of its own 80- Northern Lights: sound to the images on the disc. In his Ontario studio, Ricketts has used computers in his Martin Ricketts and video work since 1982, when he pro- crew blend dazzling grammed Canadian cable advertising graphics. like the ani- channels using IBM computers. He switched to Amigas when he discovered mation at left. with they could do the job better and cheap- video images from a la- serdisc recorder. program over and over again. This way, RCAILNCADKUEESTR tapes meant for distribution carry sec- ond-generation video. Conventional video editing produces a second-genera- tion master tape, which is then dubbed for distribution, adding a generation and degrading picture quality. A laserdisc recorder, which usually costs about $12,000, may seem like a high-priced, esoteric option suited only for multimedia magnates but, sur- prisingly, Ricketts bought his deck used for $8,000 —only about twice the price of a top pro VCR. And well-heeled vid- eophiles can still get in on the deal. “The deck has recently been discon- tinued, but you can still pick one up for about $8,500,” says Ricketts. 58 VIDEO NOVEMBER 1990

Ricketts adds high-tech harmonies | with Rhodes and Roland MIDI modules, also means money. His Amiga’s dazzling which cost about $1,000 each. He se- graphics have played a big part in the quences the music using Blue Ribbon success of his event videography busi- Bakery’s $250 Bars and Pipes program. ness. “Bars and Pipes is great because it lets you go back and change the music in Until multimedia came along, he teal time,” he explains. “You can also earned extra bucks on the side by shoot- use it to control the Amiga’s internal ing weddings and special events. He ad- sound synthesizer chips.” mits his early work left something to be desired. “I was an amateur, and I knew I Although multimedia has expanded | wasn’t giving it my best,” he recalls. the scope of his work, Ricketts worries that many people think of the concept In 1985, Impoco answered an ad for as a panacea for problems inherent in video production. “There is no substi- tute for good video and editing,” he says. “The better grasp you have of the basics, the easier it is in the long run. People need to remember that they are still working with a video signal—and no amount of fancy electronics is going to change that.” WINNING WEDDINGS Like other videographers, Tony Im- poco of Springfield, Massachusetts, en- joys the creative potential of Home Cropping Network: Carol Hauk’s computer multimedia. But to Impoco, multimedia | setup turns digitized photos into multimedia videos. Video's Toasty New Treat Most top video professionals shun Amigas, opting instead =P| Det|Bs | 8 @| als Hot Toast: i |ae] we] for the superior speed and power of Sun workstations, |=] wal 7] C* J Through this onscreen IBM PCs and Apple Macintoshes. But at this summer's t ss os giNnragat.pihoIintcoaselalsboAosassruodgcgieacsattlisloendthoatftheBprVrooia-ddqecuoaasltiTteoyrasstmesurhloatlwie,mftedatihaneemwdevsAiamcloieivsgaeat-_ | = aBHUeds33n° atq yno]im=m=m “lo|cal9e0+e]F ofensdsiiocnnalsP-leoaornkidengepesPcciiesenle val a) bisri]*** |oom) may trickle down to consumer-level budgets sooner than — a) |act] SE & |6 elects j eee : anyone expcted. _ The Toaster’s birthp—l-NaewcTeek, a small Topeka, Kansas, compan—yis as unlikely as its name, but both caught the blossoming multimedia industry off guard, — thanks to the Toaster’s astonishing capabilitieIst. com bines a video switcher with hundreds of scene-transition | kbook yet. At presstime, options, a 25-font character generator, a genlock, shake out of the digital video effects, a frame grabber, a linear keyer _ - (which overlays one video source onto anothaendrd)ual — t, you need syn- frame buffers, which permit three-dimensional rendering. those fancy transitions. The Toaster includes software for titling, 3-D graphics. and animation. The Amiga’s mouse controls these cameras and umer-grade ma- tions through an onscreen display. ing, but with | eginningtosport The Toaster meets Federal Communications. le TBC capable of sion standards for broadcast video, a rare feat fo: far off. Start saving hardware. Add a couple of professional VCRs, at eady when you are. can use the Toaster to assemble an editing suiteth might hold its own with pro gear costing tens of tho Brent Butterworth 4 sands of dollars. ee PHNCSPBCHAOCHRLONULOIRATCKATOERYONOREK:SN: NOVEMBER 1990 VIDEO 59

Video Data Services, a franchising oper- post-production setup includes three title that says, “Our Home Movies.” I ation that trains and equips professional tape a lot of dance recitals, and one of videographers. “They really pushed the VCRs: Toshiba’s top-of-the-line Super my tricks is to start with a digitized still Amiga,” says Impoco, who quickly be- of the front of the program, then make it came a convert. After mastering the VHS SVF-990 and two Panasonic VHS open to reveal the initial shot of the vid- Amiga and acquiring extra video gear, AG-1830s. And his shooting gear in- eo.” he progressed to training tapes, fashion cludes a Panasonic AG-450 S-VHS shows, music videos, promotionals and camcorder and a Panasonic AG-7400 For a wedding last year, Impoco ad- low-budget corporate videos. portable VCR. ded a new medium — fabric — to his mul- timedia work. By connecting the Amiga He feels his multimedia skills help Although he uses several Amiga to an Okidata printer equipped with a him trounce the competition. “I see oth- software packages, his work reveals a heat transfer ribbon, he was able to print er people's tapes and they look good. But heavy reliance on Impulse’s Turbo Silver, a scene from the wedding video onto then I play my tape for possible clients, a program that renders and animates T-shirts. and the bar charts, the multi-colored three-dimensional graphics. “Turbo Sil- graphics and the animation blow them ver uses all the Amiga’s colors and reso- Impoco gives multimedia much of lution,” Impoco explains. “It lets me the credit for his success. “The Amiga away.” take a flat, two-dimensional picture and took me into a wholly different video Impoco's setup includes an Amiga wrap it around a three-dimensional ob- realm,” he says. “Without it, I might not even be in this business.” 2000 with an extra disc drive and three ject. megabytes of memory. He interfaces his AMAZING AMATEUR computer and video gear with a Progres- “For example, I recently designed Most multimedia makers start by ad- some pillars that looked like they were sive Peripherals ProGen genlock and a made out of crystal. All I had to do was ding a computer to their video systems. outline the basic shape of the pillars Carol Hauk of Anderson, Indiana, be- Perfect Vision digitizer. In fact, the total using the mouse, then bring the crystal gan the other way around. In fact, her cost of his computer setup is much less texture in from the digitizer, and pres- current setup doesn’t even include a to—I had crystal pillars. No other ma- camcorder. The Amiga captured her at- than the cost of his video gear, which in- chine could have given me that effect as tention when she saw how it could help cludes both professional and consumer easily. her in her hobby as unofficial family ge- machines. nealogist. “Every job leaves my studio with Impoco started in 1983 with a Ko- some graphics on it,” he continues, Hauk, a General Motors production nica tube camera and an Emerson porta- “even if it’s just a film-to-tape conver- ble VCR, but long ago upgraded to a sion. I start those out with an animated fully equipped editing suite. Today his VIDICRAFT * RANSMISSON TRANSMITTER 60 VIDEO NOVEMBER 1990

Making Multimedia Work-ATrioOfSystems 7 A multimedia system can be costly or economical, flush Tony Impoco with options or limited to a basic few. Its basic building Amiga 2500 computer $2,000 blocks should include a VCR, a camcorder or video camera, and a computer. Beyond this, the sky’s the limit. 2-megabyte memory expansion $300 Here’s how three multimedia artists - the job done. Amiga 1084S monitor $300 Perfect Vision digitizer $180 Progressive Peripherals ProGen genlock $450 Panasonic AG-450 Super VHS camcorder $2,700 Martin Ricketts _ Toshiba SVF-990 Super VHS VCR $2,200 Amiga 2000 computer GVP 33-mHz/4-megabyte expansion board $1,500 2 Panasonic AG-1830 VHS VCRs $1,800 each Panasonic AG-7300 portable Super VHS VCR $3,200 IBM bridge board $3,200 _ $1,100 _ Panasonic AG-1950 VHS VCR $1,500 ASDG serial controller (for laserdisc recorder) $250 Clarion 4-track audio oe $500 2 MacStore 360-Mbyte hard drives $4,000 each NEC DataSmart monitor $6,000 Memetics frame buffer aC Carol Hauk Digital Creations SuperGen 20008 genlock $1,600 Amiga 500 computer $600 Amiga 1084S monitor $300 Roland MIDI synthesizer module $1,000 GVP 40-megabyte hard drive $600 Rhodes MIDI synthesizer module $1,000 DigiView Gold digitizer $200 Panasonic laserdisc recorder | $8,500 Panasonic WV-I000A video camera $285 2 JVC BR-S 810U Super VHS VCRs $350 G6 540 each Toshiba M-6550 VHS VCR $400 2 JVC KY 15 broadcast cameras $12,000 each Magnavox VR-9722 VHS VCR worker, has always collected and re- way I'd ever seen to keep photos and old The digitizer acquires images home movies forever,” she says. “So I through a Panasonic black & white sur- stored family photographs. Several years went out and bought an Amiga 500, an veillance video camera. By using a ago, a friend showed her what an Amiga three-color filter wheel and taking three and a digitizer could do with still photos. Amiga 1084S monitor, a hard drive, a shots of a still photo or an object, the Immediately, she decided she had to ProGen genlock and a DigiView Gold continued on page 125 have one. “I thought this was the best digitizer.” |\\ Wireless remote audio/video transmission and reception Dual channel select switch 914 MHz or 919 MHz Baseband or\\RF switch selectable Approximate 120 ft. radius VIDICRAFT ° VIDICRAFT * A Video Technology Cofnpany VIDIVIEW |ucts vir Frequency vo FaicC3NRSodonioa0reendfr.rciaovdltrdie.imecaoretniaoln, 1-800-999-5975 NOVEMBER 1990 VIDEO 61

BY BOB BARLOW How powerful ts multimedia? An inside look at the ULITMEDIAstate ofthe art. Most home videographers would kill for The Avid system is at the cutting Before a session a chance to spend ten minutes in Basil edge of multimedia wile Yet although on the Avid/l Media its powers far exceed those available to Composer begins, Pappas’ shoe—sor, to be accurate, in his hobbyists, even to many professional ed- W anything that even chair in front of the Avid/l Media Com- itors, this will not always be the case. ‘looks like tape is trans- poser. As editor at Manhattan’s DIG- Avid defines not just the future of multi- y ferred digitally onto re- media — but what the rest of us can look movable computer hard IPIX Editorial, a state-of-the-art forward to. However, before describing disks. Video, audio, graphics - every ele- electronic video post-production house, how Avid editing works, we offer a quick ment that’s going to be in the final Pappas spends his days, and some nights, warning: Prepare to turn at least broadcast master is captured in real time with the Avid system, pasting together a little green with envy. on disk. shows for the likes of Coca Cola and With the information stored in the Showtime. All Systems Go: form of a database, it becomes possible Don Levy. president of to view any piece of it at will and quick- DIGIPIX Editorial, with ly—and to manipulate it in much the an AVID/1 Media Com- same way as a word processor manipu- poser and a series of lates blocks of text. But a look at the sys- shots from a Showtime tem’s screens, a pair of 20-inch fall preview created on Mitsubishi multi-sync monitors, alerts a AVID. viewer immediately to the fact that this is no word processor, even if the system is based on a Macintosh IIx computer. With a few whirls and clicks of the system's trackball, Pappas creates an electronic “bin” of shots from the database. Each one of these shots can be seen simultaneously, in color, with one or more of the other shots on the sys- tem’s right-hand monitor. Edit points are communicated to the system with another click of the trackball. Edits pro- ceed with absolutely no waiting for the material to be recorded, because, again, it’s all on a randomly accessible disk. If Pappas wants to capture new foot- 62 VIDEO NOVEMBER 1990

ag—esay, a snippet of3-D graphics from lets the operator see every frame of the trickles down just as rapidly.” Post Pertect, a full-service post-produc- program, with fully adjustable picture tion facility located across the hall from size. And it’s capable of two-track digital So don't feel bad. Just keep shooting. DIGIPIX— it’s no problem. He plays the audio as well. new tape to the desired section, hits Set aside some cash. And make space in “digitize,” and Avid captures the new When an edit session is complete, material at 30 frames per second. Avid can build a frame-by-frame version the basement for your new video gear— of the program from the original tapes. To anyone who’s struggled with Or—and this is usually the case at DIG- it’s on the way. r] clumsy consumer-grade controls, estab- IPIX —it will output a list of time code lishing a basic sequence is heart- numbers on a floppy disk, which is then TECHTIPS breakingly simple. Pappas “drags” shots used to control a final edit in an online with the trackball directly from the bin editing suite. “More often than not,” Zippy zooms to the left-hand record monitor. Rear- says Pappas, “the output from this room is a list of numbers.” Using your camcorder’s zoom lens and a ranging shots is just as easy. And any- few editing tricks, you can create a great time Pappas wants to see the result, he Are we telling you all this out of a “strobe zoom” effect without special hits “play” and watches the show. perverse desire to make videophiles equipment. Mount the camcorder on a squirm? Not at all. Consider this a dis- tripod, frame your subject with the lens Another useful function of Avid is patch from the not-too-distant future. zoomed all the way out, then manually its ability to display “head/tail” pairs of zoom in. Repeat the shot several times every shot, making it easy to see how Most of the technology that Pappas uses at different zoom speeds, and at different well each transition works. When ad- is rapidly trickling down to consumer shutter settings. When editing, instead justments are called for, Pappas clicks levels. of using the entire shot, freeze a frame, into the trim mode and interactively record tor a moment, then advance a fine-tunes each edit at 30 frames per “You can buy components for the few frames and repeat the process. You'll second until it’s just right. Macintosh today that give it the ability end up with an exciting, strobe-like ef- to handle high-resolution video,” Pap- fect. To soften the effect, use the footage The Avid/l Media Composer per- pas explains. “But today, it costs a lot— shot at slower shutter speeds. forms a raft of other neat tricks. It can about $3,000 just for the video board. sift and sort, which helps an operator Mario Massens find every shot whose title uses a partic- The other obstacle is storage. It takes al- Fallbrook, California ular word. It has an “undo” function, most 30 megabytes of memory to store which allows users to do just that, as far one minute of video on this sytem. That back as 32 levels. Its “film view” feature much storage is not cheap. But prices fall fast in this industry, and technology With its “Fuzzy Logic,” the Olympus VX-81 is the clear choice. With revolutionary “fuzzy logic” auto- And with its innovative horizontal- Olympus VX-81 focusing, the Olympus VX-81 8mm 8mm Camcorder—call tollf:ree Camcorder keeps your subject sharp hold design, you're able to follow the 1-800-433-0880, for literature. even when it moves off-center. With action better. The VX-81 is more stable, more comfortable. So your OLYMPUS “fuzzy logic” auto iris, the VX-81 videos come out better. can follow your subjects through Ready to start showing off dramatic background lighting changes with your videos? Get the and still Keep them perfectly exposed. OLYMPUS Olympus Corporation, Consumer Products Group, Woodbury, NY 11797-2087 aF2iRCScNoodi2naeenrdf.raciodvldrti.eemicaroetniaoln, NOVEMBER 1990 VIDEO 63

feenge BY RODERICK WOODCOCK TH LASER ED New features, a OE & ideas add dash to disc players’ appeal. For years, doubters abounded. Video experiencing so unprecedented a burst satility. Movies are moving to disc more skeptics predicted that laserdiscs would of growth that its naysayers may soon come to be seen as what Spiro Agnew quickly. Disc production is increasing. wither on the shelves. That backers, fed once called the nattering nabobs of neg- up with low sales, would one day simply ativism. Clearly, the laserdisc’s impend- New optical formats —like CD-1, CD- pull the plug. That laser buffs would find ing doom has been exaggerated. themselves orphans in a storm of VHS. ROM, CDTV and DVI—are being an- Its strength today comes from a vari- With the faith of true believers, critics ety of sources. More companies—13 at nounced at a dizzying pace. And recent pounced on the laserdisc’s disadvan- last count —are making disc players (see tages, in particular its inability to record sidebar). The invention of the combina- improvements in large-screen TV sets and its low level of consumer awareness. tion player has boosted the format’s ver- give laserdisc players better screens on But this dark horse among. formats is which to show off. A range of improvements in the ba- sic laserdisc technology underlies some of these changes. These quiet refine- ments haven’t drawn a great deal of at- tention, but they have been steadily raising the performance levels of laser- disc players, and setting the stage for the format’s emergence as a mass entertain- PHILIPS ment medium. Building on over a decade’s worth of advances, recent players include such features as time-base correction, muscu- lar transport systems, digital effects and audio circuits borrowed from the finest compact disc players. Laser decks that both play and record are already avail- able to professionals, as are computer- controlled models that let users create Picky Philips: The CDV600 samples digital audio one bit at a time, and checks each bit 256 times. their own interactive programs. > TMLPEHOSOPRTSOI:LLO 64 VIDEO NOVEMBER 1990

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LASER’S EDGE Recordability, laser's last frontier, is on the horizon. As often happens with professional LX-1000. These decks embody cumula- still frames, slow motion and clean visi- products, many of their costly features tive improvements made since the intro- ble searches. could soon trickle down to affordable duction of the format. The credit goes levels. But that’s what the future holds. largely to Pioneer, which shepherded the CAV discs could always produce In the following pages, we're going to fill laserdisc format through tough times in these effects. CAV discs spin at a con- in the gaps about what’s already hap- a decade dominated by VCRs. stant 1,800 revolutions per minute. One pened to laserdisc players, from digital CAV video frame corresponds to a single enhancements to new applications. Perhaps the most important im- 360-degree rotation of the disc. This Even laserphiles may find themselves provement is digital frame memory, surprised by the progress. which produces special effects from CLV configuration lets players produce spe- cial effects from an analog signal. To see the benefits of the laserdisc’s (constant linear velocity) discs. For the decade of development, one need look first time since the early ’80s, when stu- But on CLV discs, each frame occu- no further than such combi players as dios began releasing movies on CLV in- pies the same length of track. The frames are butted together end to end Pioncer’s CLD-3080 and Panasonic’s stead of CAV (constant angular around the disc, without regard to velocity) discs, laserdisc users can see where they fall on the disc. The outer edge of the disc may produce several 3F The elegance of a laserdisc belies the effort that goes frames from one revolution, but the into its creation. Laserdisc manufacturing is one of the number of frames per revolution de- most complex and precise mass-production processes creases as the pickup moves closer to ever devised. Production lines use “clean rooms” that the disc’s center. To compensate for this would look at home in a James Bond movie, and obey decrease, the disc spins at a lower specifications that are much tougher than those for other speed as the pickup moves closer to the electronic parts, like semiconductors. Here’s a look at center. Because the tracks are not how the process works: arranged in a consistent pattern, it’s im- Laserdisc manufacturing starts out with a master vid- possible to produce still frames or slow eotape. The composite audio/visual signal from the tape motion without storing the frames in is used to modulate the intensity of the laser beam that digital memory. etches the master disc. The master disc is a piece of pol- ished glass coated with a photosensitive chemical. Digital effects were expensive rar- ities when they were introduced. But as The laser records the A/V signal on the master disc the price of memory chips plummeted in the form of microscopic pits only .000016 of an inch from a fortune in the early ’80s to less across and .0Q0004 of an inch deep. These are so small than a dollar a chip today, manufac- that a laserdisc would be half a mile in diameter if each turers have found it possible to add digi- pit were enlarged to the size of a grain of rice. The pits tal effects to laserdisc players priced as (140 million on a CAV side) are arranged in concentric circles. low as $1,000. A stream of purified and ionized water bathes the Recent high-end players like Pan- disc, then a process similar to electroplating coats it with asonic’s LX-1000 also use digital memory a thin layer of silver. The silvered master is plated with for time-base correction. Pioneer’s new nickel to produce a metal “father.” The father is used to LD-S2 goes several steps farther. The stamp a metal “mother,” which in turn generates nickel LD-S2 digitizes the video signal as it stamper discs that are used in the mass-production part comes off the pickup, and the signal re- of the process. mains in that form until just before it leaves the player. The deck’s digital sig- This process is actually more like making waffles than nal processing components include_a coins or records. The stamper disc is loaded onto an in- time-base corrector, a luminance/chro- jection molder, with the disc’s face nearly flush against a minance separator and color noise re- flat plate. The machine injects extremely pure plastic be- duction circuitry. tween the stamper face and the plate. The plastic cures in about 20 seconds. Everything takes place in a clean While a CLV disc manages to room, like those used in integrated circuit manufactur- ing, to lessen the chance of contaminating a disc. squeeze a two-hour movie into a single disc, the break in the feature at the half- The discs are then mounted on racks and sprayed way point still presents an unwanted in- with a 0.1-micron layer of aluminum. This step is critical. terruption. Pioneer’s response to this If too much or too little aluminum is applied, the disc is problem was the LD-W1, the first ma- rejected. In the final step, a machine automatically glues chine that could play four sides of two the two halves of each disc together. A special spindle discs, each loaded into its own disc then rotates each disc at high speed to check for flaws. drawer. The LD-W1 accomplished what it was supposed to, but rather slowly and —RW noisily. Pioneer discontinued it, but in- corporated its side-changing technology 66 VIDEO NOVEMBER 1990

Readin’ & ’Ritin’: Polarizer Diagram showing how into several combi players. The side-changing mechanism con- a laserdisc recorder sists of a U-shaped track on which the works. As the laser laser pickup rides. After the laser travels heats a spot on the to the center of one side of the disc, it disc, the magnet re- follows the track back across the disc and around its edge to the other side. verses its magnetic The earliest side-changers took 20 sec- field. In playback, the onds to make the switch. The newest players are much fas— tPaneasornic’s magnetic field affects LX-200 takes only Il seconds. the angle of the laser's reflection. The analyzer and detector convert the reflected light into an A/V signal. ))Lens Analyzer Magneto-optic layer MOTOR SKILLS Electromagnet The 1,800-rpm maximum speed of cast base and a heavy chassis made from sampling errors. The circuitry reads the laserdiscs strains both the disc and the carbon steel and polymer resin. The disc's information eight times, instead of player’s drive mechanism. This is why unit’s double-shielded structure and 68- four times (as on most laserdisc players), you should never attempt to play a pound weight complete the vibration- so there’s less chance of reading it cracked or a chipped disc —it might wrong, and less chance that errors can damping precautions. degrade the sound. shatter inside the player. To cope with this stress, a player must clamp a disc TRUER TONES Taking another cue from the CD firmly onto its spindle. But the clamp With the entry of audio manufac- field, Philips incorporated one-bit sam- must also release quickly, for easy disc pling into its new CDV500 and changing. turers such as Yamaha and Kenwood CDV600 combi players. Both decks read into the laserdisc field, the newest gen- a disc’s information one bit at a time, in- Early players relied on a spring-load- eration of decks shows a heightened at- ed clamp mounted in the lid. The clamp stead of 16 to 20 bits at once, as do most closed over the disc to form a sandwich- tention to sound. Kenwood’s LVD-300, laserdisc players. The merits of one-bit type lock. But recent decks use a more Yamaha’s CDV-1700 and other recent processing versus conventional process- sophisticated magnetic clamping system, high-end decks incorporate 8x oversam- ing have been hotly debated by CD en- introduced on Pioneer’s LD-W1 and pling, a feature previously reserved for thusiasts over the last few years, but no CLD-909. The advantage, in addition to the best CD players. Greater amounts of victor has been chosen. Both ap- a firmer grip on the disc, is that it lets oversampling reduce the potential for the latching mechanism disengage itself proaches work well, and few, if any, from the disc for playback. This motion home users can tell the difference be- isolates the disc and the motor assembly tween them. from the rest of the player, reducing vi- bration. For the LD-S1, the LD-S2’s prede- cessor, Pioneer further reduced vibra- tion with a unique pressure bearing that created a cushion of liquid silicone around the motor shaft. The LD-S2 goes even further, adding a thicker spindle, a 12-pound honeycomb aluminum die- Higher Education: Industrial decks like Pioneer's LD-V2200 bring multimedia into the classroom. FOR THE RECORD Fans of the format have always BSIFIEELREPEILOREEOUMGCTSMTTARANUTMION: hoped for a deck that can record as well as play. The good news is, it’s here. The bad news is, it’s still too expensive for home use. But if disc-based video grows as fast as the number of new formats— including interactive media like Philips’ CD-I and Commodore’s CDT—Vex- pect prices to fall. And as prices fall, the technology is almost sure to trickle NOVEMBER 1990 VIDEO 67

LASER’S EDGE Three to Get Ready: Sharp's MV-D2000 functions as both a combi player and a three-disc CD changer. ee down to consumer level. utes of video or 54,000 still frames per During playback, the laser runs at side. The high-resolution mode pro- lower power so that it doesn’t alter the Panasonic’s new $35,000 LQ-4000 duces over 450 lines of horizontal reso- signal recorded on the disc. The metal optical magnetic disc recorder is the lat- lution, the low-res mode, over 380 lines. inside the disc reflects the laser at slight- est of a new breed of players (which in- ly different angles depending on the di- cludes models by Pioneer and Sony) that Instead of cutting a series of pits into rection of the magnetic field at the point uses a combination of optical and mag- a disc, optical magnetic disc recorders the laser strikes. A pickup receives the netic technology to produce high-quali- (OMDRs) like the LQ-4000 alter the fluctuating reflections, which create on/ ty video and sound. magnetism of a thin layer of metal sand- wiched between the disc’s outer glass off patterns like those generated by the The LQ-4000 can write, erase and layers. The laser brings the metal layer flats and pits ofaconventional laserdisc. rewrite audio/visual signals in two modes: a high-resolution mode that up to a temperature at which its mag- To erase a disc, the LQ-4000 flips netic field becomes unstable. A small the magnet that runs on the opposite holds 20 minutes of video or 36,000 still magnet on the other side of the disc re- side of the disc from the laser. A sepa- frames on each side of a disc, and a stan- directs the layer’s field downward. rate erase laser continuously irradiates dard mode that fills a disc with 30 min- the disc, orienting its entire magnetic field upward. Panasonic says its discs Who's Gat With so many companies jumping into the market for la- © last through one million write/erase cy- What-- cles, which would leave a videotape A Complete serdisc players, the number of single-disc and looking like used dental floss. Guide To combination players has grown from a handful to a Lasertiise Why spend $35,000 on an OMDR Players swarm. Here is a list of who makes what, with suggested when a good professional VCR costs prices rounded to the nearest dollar. about one-eighth as much? Of course, laserdiscs offer terrific pictures and Denon: LA-2000, $700; LA-3000, $1,000. sound. But their big advantage is fast ac- Kenwood: LVD-300, $700. Magnavox: CDV305, $550; CDV485, $700. cess. Decks like the LQ-4000 can find Mitsubishi: M-V7010, $1,100. any frame on one side of a disc in less Panasonic: LX-200, $850; LX-1000, $1,400. than a second, as compared to access Philips: CDV400, $600; CDV500, $830; times of up to three minutes for a VCR. | $$C26D,0V00SRSRQP60;ohaiu0C0noada;A0nyrCis:e:p,oLae:LrDrD:M:-SL-M$hD2D1SaVP0,LL2Rc-1-8DDk,30D03-:90018,3.00$0739M,3000,D,$,,,5-80$150$70$0$$.605;0895004000.000,;C;;.LDMC$M-D5LV3P0D-00--.D8292018,0000,,0$,1$$,754000$0001;;;,90CC0LL.DD--91208,0, Not many consumers-can afford a MDP-510, $1,000. video deck that costs more thama state- Yamaha: CDV-1700, $700. of-the-art home theater, but prices for OMDRs may soon plummet. “OMDRs —Brent Butterworth are expensive because they've been in limited production,” explains Tim Meyerhoff, product manager for Pan- asonic’s optical disc division. “We've re- cently arranged for full-scale production of the decks and the discs, which will 68 VIDEO NOVEMBER 1990

INTERNATIONAL TELE-VIDEO DISCOUNTS T pIsCOUNT 1-800-275-6100 (201) 944-5727 PRICES A Inquiries & Customer Service Open 7 Days From 9:00 AM ® Overnight Delivery Gu ranteed ks &h NEW!! Pro Edit NEW!! PV-610 10:1 Maxxum Zoom 1CC 520 te “Switch Hitter” f 3 Lux, Character Generator 1 Lux, Digital Effects, 10x1 Zoom, A/V dub 8x1 Zoom, 2 Lux dé 10,000 Shutter, AE Program 8x1 Zoom Auto/Man Iris-Whila Bala High Shutter, Flying 2 Yr. Warranty CC360 S-VHS Erase Head py. “645 CC560 S-VHS CC320 8x1 Zoom, Light, 2 Lux : 2 Lux, 8:1 Zoom ‘ Flying Erase Head, A/V Dub Remote Control, Hi Fi Stereo “Free Hard Case” 8x1 Zoom. HiFi Stereo, 8x1 Zoom, High Speed Shutter Slo Mo, AE Program 410,060 Pixel Dioste! Siiper Imposer Deéy-Cate-Time, Pade 2 Lux, Age Insert KDH 150 (v-101) 5 Speed Shut:er, Wireless VL-345 8x1 Zoom, Digital Remote, 8:1 Zoom, Digital Effects “USA Warranty” Super Imposer FREE CASE NEW! NEW!! 12x1 Zoom Remote 25 Zone Whike Balance “P2V0 -PC1.2P0KG.”VHS-C 390,000 Pixel 16x1 zoom, F1-2 cro, Time A/V Dub/Fade Two-Field Metering Lapse, So Mo, Drezo A/F, A/V dub, flying Flying Erase Head Backlight, “Fuzzy Logic” erase head, digital stereo recording & VL-280U Digital, Digital Super Imposer playback 4 rec heads, charac gen 1er a Zoom. “USA WARRANTY” USA WARRANTY VX-81 “Fuzzy Logic” 8x1 Zoom, 2 Lux Seer 4 yr. Warr A1 High Band!! «€ 4000 Shutter, Digital Supet Imposer 4 w/Remote 10x1 8x1 Zoorn, 410,000 Pixel Wireless Remote C8-SC8so HiFi Stereo, Digital Tilting Zoom Canon Fo Lens, CCD-V-101.... 360,000 Pixels Hi-Fi Stereo, Pro Index R-66 (TR-4) 90° Tilt Viewfinder 1 Lux, 8x1 Zoom 420 Lines of Resolution Editing, Dual Grip R-808 (V-101) ety Digital Effects, Triple Stage AF Fade, Spkr, Pro Edit, AN Dub H800 “New, A&F Focus, ‘3 Yr. Warranty” “FREE HARD CASE” NEW!! FREE CASE\"! MINOLTA Fuzzy Logic” 8-808 Hi Band!! H660/680/E640/ES! .... Wireless Remote, Neg/Pos. Switch £) 8x1 Zoom, Special Effects GRC-707 ‘ 8-406 (TR-Series) *Super A/V Performance “2 Yr. Warranty” *Plays New, Longer VHS-C Tapes AFM-HiFi Stereo, 10,000 shutter *8x1 Zoom, * Hi Fi Stereo Slow mo, digital super imposer Wireless remote control Hi Resolution Crystal Quartz Optics FAX Wide Angle 0.4, 0.6 PANASONIC MURATA RICOH TOSHIBA CANON 2x TELE 3200... NEW KXF-80 .. M-900... RF-810 .. 3300... FAX15 .. 2.5-5.0x KXF-100 .. M-1400 .. RF-850.. 3400... ZOOM auto Focus KXE=120)0.53 M-1800 .. RE-900\" 2. 3600... FAX20 .. KXF-145 .. M-1850 .. RESON es S150. es FAX23 .. Video Filter Kit (3) KXF-220 .. RE-920) FAX25 .. INC. FAX35 .. EPISON: 1000...$668; 2000...$748; 3000.. CALL INTERNATIONAL TELE-VIDEO MARKETING, JOHN STREET, FORT LEE, NJ 07024 Fiac3SRCNodnioae3enrdf.raciodvldtr.ieeimcoraentailon, NOVEMBER 1990 VIDEO 69

bring prices down. In two or three years, active multimedia presentation. And Fifth-graders nowwe should be a major presence in the unlike other proposed interactive disc professional video field, and we'll proba- bly be able to offer a $2,500 consumer use disc players formats, it’s already in widespread use. model in five to seven years.” to create and edit At Cherry Creek Elementary School Meyerhoff predicts that OMDRs interactive lessons. may also get a boost from new lasers that in Cherry Creek, Colorado, fifth- and could increasee the OMDR’s limited re- sixth-grade students used laserdisc play- cording time. By using a short-wave- ers and bar code readers to create their own learning materials. They chose the subject, wrote the text, inserted com- length blue laser to create and read puter-gencrated bar codes, and selected smaller tracks than current red lasers, Teachers use special computer software audio/visual support programs from the “an OMDR could record up to two to select specific segments of discs for in- hours of video on one side of a disc, corporation into automated lessons. The laserdisc. The end result was a precisely which would really make it competitive LD-V2200 also includes a character with consumer VCRs,” says Meyerhoff. generator teachers can use to add text edited multimedia presentation. to programs. Unfortunately, engineers have to clear Wait a minute —elementary school students editing video? Most adults can't even do that with VCRs. In fact, several technological hurdles to make A wand-shaped bar code reader laserdisc’s precise operation and clean blue lasers practical for mass production. opens up the LD-V2200’s multimedia pictures and sound may soon make it PORT POTENTIAL potential. When passed over codes in- the highest quality, easiest-to-use video cluded in a book’s text, the wand con- The addition ofanRS-232 computer verts the bar code into infrared editing system available. Laserdisc-based port to the back of a laserdisc player commands for the laserdisc player. The editing systems are just now entering film production. One example is Lu- converts the machine from a hot home deck searches for the appropriate seg- castilm’s Edit Droid, which uses ten or theater component to an educational ment and plays it back. more computer-controlled players, each tool. Schools have begun using decks For example, a book about African containing an identical disc, to rapidly like Pioneer's industrial LD-V2200 to wildlife might include a bar code inside a call up scenes. play any of hundreds of courseware chapter about lions. By passing the wand It laserdisc-based editing is simple discs. over the bar code, a student triggers a enough for kids to use, perhaps comput- The computer port allows IBM, Ap- short video showing how lions live. This ple and Amiga computers to start and system combines screen text, video, au- er-controlled, recordable laserdisc sys- stop discs, and to access still frames. dio and printed materials into an inter- tems will get desktop video into the home of the average consumer. = i SOUTHEAST'S LARGEST LASERDISC DEALER MAIL ORDER SALES: * QUER 4,000 TITLES IN STOCK * 20,000 DISCS AVAILABLE FOR SALE * ORDER 1-2 DISCS FOR 10% DISCOUNT OR ORDER 3 OR MORE FOR 15% DISCOUNT * WE CAN TELL YOU WHAT IS IN STOCK WHEN YOU CALL * ALL IN-STOCK TITLES SHIPPED SAME OR NEHT BUSINESS DAY * ALL NEW RELEASES AVAILABLE ON STREET DATE * FREE CATALOG UPON REQUEST IN GEORGIA OUTSIDE GEORGIA 404-439-1580 1-800-347-1941 HOME THEATRE SYSTEMS SPECIALISTS ATLANTA AREA RETAIL STORES: * OVER 4,000 DISCS AVAILABLE FOR RENT * OUER 4,000 DISCS IN STOCK FOR SALE AT 10% OFF RETAIL PRICE HOME ENTERTAINMENT EQUIPMENT Speakers TU Projection Audio Laserdisc Pioneer Pioneer Pioneer Pioneer Sony Elite Sony Tangent by Klipsch Yamaha Monster Cable Yamaha MB Quart Hatachi Fosgate Vidikron Audio Source Hammond Square Jamo 5942 Roswell Rd. M&K GSasetesecor§ Atlanta, GA 30328 Loehmann's Plaza nea) Mail Order Store 404-256-1822 2430 Cobb Pkwy. VISA 390 Main Street B‘J‘ZU“a/1PTIOjaUe0IEONIPOE4uINeDIoBeDanUSyiUpSOpJmeUyI rna, GR 30080 Hiram, GA 30141 DoS 404-955-8909 404-439-1580 FAH 404-439-0969 SSS a 70 VIDEO NOVEMBER 1990

ACCOESSORY dPRICE Bit RMEnAKERON CITIZEN VIDICRAFTL *”” 4;|L'| CMoay(nloaD-lun3ao'dnrw2yeCir9onelgs-8ohrmreoymvooitVueiiwondr)tgeooVworHhneMSavotineivwtiodre,o Mounts VWdoiruDraeRlVlFe-cshs1saw0inrtn0ecemhlotsseeelleeAccuttadbsilwoei/tVchi(,adpep9ro1o4x.TMr1ha2zn0s.mfti.otrrtaed9ir1u9s)aMnhdz.recBeapsteibonand camera, ost the spot. (TV Tuner Available) | $169.95 AZDEN (_ 2 WMS-PRO ot iid pasar HmiigchropPehrofnoermsaynscteemVHfoFr with v(i2d5e0oft.craanmgeer)as . |\\Power:4 CaATrED $1 09.95 __| : sRODUCTS- INCORPORATED “=\"3SSS i SS POW-200 12h0oo0ouuatsr.we.a.Ctactwurir/itrnThevroneuutrtctekfr/ra,ogmRneVonw/e’rator! 10 to 15 volts DC) Vivitar VVamilTodueFnmoo-ip6ntour9dim0po0qdluegifscl.ukid ane age detachable Aulvl ViCn -11telecine- ulaltf6o9r.6m8\"reHleiagshe, / CPohnovteortser/,FiTlrmasn/sSfliedres to $49.95 video tape $94.50 3' Fa4aNicodnoier0df.ciolrtemiaotniaoln, 1 -800-9 0-601 5 sae Toll Free a | ]C . 928 a<ee<s Poaoci— OMSi-nhFRMimD-piFEpBn-teRd8I-c5No(UGnPPdSSTi)tIt.iiNongoFYrOoowuuRuinntdMdhmAabTuylnIalOnepkNsas:ywaobrtYyrhoaeuVnrItwSmyiAsay ,eycaMrro/derCsqd,uee:arsnDtidbsecyd.S,.m2oaicARlmmEeeo.TrnUx.pn,hiocenhene.cyk: ReBeoprraem.oSnseefnyrtiadftraaoirtrvtiedeevsaeers.tiaorAnealarlenruoamrvebadenielrra.spblapclrekoamgpitnlgy .lcAai i

TN BY STAN PINKWAS \\STALLATI\\ OFTHE MONTH DESERT CLASSIC Vacationing in style with audio/video in every room and total interactivity. “Installation of the Month” premieres this enough audio muscle to service a quar- | issue as a new Video Magazine feature. tet of smaller retreats. With nine “enter- tainment zones” spread across more Each month, with the cooperation of the Custom Electronic Design & Installation than 6,000 square feet, this five-bed- Association, we'll look at an outstanding room Indian Wells vacation villa is a home entertainment system. California desert classic. The magic lies in the way everything The hills beyond the golf course shim- in the interior’s design successfully con- mer with a sun-drenched energy. The spires to conceal the complexity of this greens sparkle. But the house beside the home’s electronic life. The graceful, course pulses with the bright rhythms of | flowing rooms, a long quiet corridor, the a remarkable entertainment system: casual outdoor pool landscaped with nearly a dozen big-screen televisions and thick-trunked palm trees barely suggest a flock of VCRs complemented by the audio/video power available at the touch of a few buttons. Numbers tell part of the story; in this case they're awesome. The system's 129 State of the Hearth: j4 components include 11 TV sets and Living room with a TV £z seven VCRs, most by Mitsubishi; 60 nook at the rear speakers, most hand-painted to match (above) and an elegant the decor of their settings; and 14 CD fireplace features 30- players and audiocassette decks with ap- inch tube TV sets and propriate numbers of tuners, amplifiers built-in speakers, while The Custom Electronic Design & In- and equalizers. Eight thousand feet of the private office (right) stallation Association is a nationwide cable and 11 remote control panels has a self-contained non-profit trade organization made weave the network into a whole, and re- A/V system that can be up of companies that specialize in in- veal the installation’s secret. isolated from the main stalling electronic entertainment, network. The components are designed to be automation, security and “totally interactive,” explains Vince communication systems in the home. Taylor of V. Frederick International, the CEDIA may be contacted by tele- company that created the system. The phoning 1-800-CEDIA30 or writing: house’s electronic zones consist of each CEDIA, 10400 Roberts Road, Palos bedroom, an office, the living room, the Hills, IL 60465. dining room and an outdoor area. In ad- For additional information, dition to a central system based in a circle No. 130 on Reader Service Card. nook off the living room, each zone is continued on page 120 72, VIDEO NOVEMBER 1990

Private Access: A/V designer Vince Taylor with the system’s primary components and one of its 11 con- trol pads (above); and the master bedroom (left), which has a mon- itor and a VCR that lower out of sight into a custom marble wood cabinet. PFIJWIHMORHNOAHIETGNTROEES:, NOVEMBER 1990 VIDEO 73

HAST TEST OF THE HRT 2-DECK VGR We explore the VCR-2, a new dubbing Just Do It: A single remote operates both cassette wells plus a menu of onscreen dubbing functions. deck that breaks the dual- well barrier. Go Video's VCR-2, the first dual-deck sette well can be used to play back or re- glitches at edit points. VHS VCR in the United States, has fi- cord, and both are controlled through On the plus side, the VCR-2 has nally arrived. The VCR-2 eliminates dubbing hassles: You don’t need patch an extensive menu system and a unique some nice features, such as remote load, cords, you don't have to select the re- which finishes loading a tape that is par- corder input, and you don’t need to use remote. tially pushed into the slot, and remote two hands to start two machines at the eject, which does the opposite. These same time. Just load the original in deck Even with all these features, there features make tape unloading and re- 1, the blank in deck 2, and hit the “Copy are some limitations. The VCR-2 has loading effortless, which is important be- Tape” button. Of course, this doesn’t only one tuner, so a user can only tape cause heat generated inside a VCR can work if the original tape carries Macro- one broadcast program at a time unless damage tapes left to sit. Also, a user can he attaches a separate tuner, like one disable some of the VCR-2’s automatic vision copy protection signals. features, such as auto play, auto rewind, But Go Video didn’t stop with this. VIDEOTEST NUMBER 564 and remote load and eject. The VCR-2, which goes by the model from a TV set. Nor does it have hi-fi au- Description. The GV 2000 is | dio, which is typically present in ma- number GV 2000, also boasts two fea- chines in this price class. The two-head warm gray with touches of red, white decks produce annoying noise bands tures we've never seen before: a 100-year during searches at SP and LP speeds. and gold in legends and logos. At 20-1/4 While Go Video bills the VCR-2 as an inches wide and 16-1/2 inches deep, it is | calendar (good to 2089) and a 16-event editing deck, the absence of frame ad- larger than most VCRs we encounter. timer. The $1,000 deck’s more conven- vance and slow motion make precise cu- tional features include linear-track ster- eing almost impossible. And because The top of the front panel holds the eo with Dolby noise reduction, a 155- there is no flying erase head, the VCR-2 power switch and the two tape hatches. channel tuner, two-speed locking search leaves moire patterns and occasional A center band contains two identical and onscreen programming. Either cas- sets of controls, each with buttons for 74 VIDEO NOVEMBER 1990

All Systems Go: The VCR-2 combines two VHS cassette wells in a single body for simplified dubbing, except for tapes with Macrovision anti-copy coding. stop/eject, play, rewind/search, fast for- | tracking and sharpness, plus buttons for These include buttons for stop/eject, | ward/search, pause/edit, source and re- menu, down, save, next and escape. The play, rewind/search, fast forward/search, pause/still, source and record. Buttons cord. Each set of controls has three right compartment holds identical ro- for menu, save, escape and cursor arrows operate the menu system. Nearby sit source indicators. A display window sep- tary controls for deck 2, and buttons for buttons for power, TV/VCR, copy, counter and reset. The group in front | arates the control sets, and surrounds VCR, down, up, time/counter and reset. comprises a ten-digit keypad and but- the copy tape button, which has an inset The back panel supports the power tons for display, last channel viewed, | channel up and channel down. The indicator light. cord, F-connectors for RF input and group nearest the user determines which source feeds the output: deck 1, deck 2, Centered on the bottom band are a output, a channel 3/4 RF output selector tuner or A/V in. TV view button (which selects the and RCA-type jacks for video and stereo Operation. Operating the deck is source for the output), and controls and audio input and output. There are also indicators for deck 1, deck 2, tuner, au- rotary still-frame tracking controls for dio/video input, VCR and TV. Covered deck 1 and deck 2. compartments sit at either side. The left The wedge-shaped remote provides one contains rotary controls for deck 1 a separate set of controls for each deck. GoVideo GV Video Heads: viewed. channel up, Timer: antenna transformer Chroma PM SIN: Dual-Deck 2 per deck channel down. 10-digit 16-event. lifetime calendar deck 1—38.4 dB, SP; VeR-2 keypad and a TV view RESULTS 37.8 dB, LP; 37.2 dB, Cue & Review switcher for deck 1. Special Features: EP; deck 2—39.2 dB, DATA (Search): deck 2, tuner and A/V in auto channel-change, Horizontal Resolution: SP; 38.2 dB, LP; 36.4 locking—5/7x, SP; 5/7x, channel lock. counter 200 lines dB, EP Suggested Price: LP; 9/21x, EP Counter Digits: 4 memory, still frame, $1,000 auto rewind. auto play Video S/N, Un- Audio Frequency Re- Fast Forward/Rewind Linear Audio: stereo speed select, remote weighted: sponse, -3 dB: Weight: Time: load and eject deck 1—42.4 dB, SP; SP—100 Hz-5 kHz; 26 pounds 4-1/4 min for T-120 Tuning Method: 43.1 dB. LP: 40.1 dB, LP—100 Hz-2 kHz; cassette one tuner—frequency Absent Features: EP: deck 2—44.1 dB, EP—100 Hz-1.7 kHz Dimensions: synthesis flying erase head, audio SP; 44.1 dB, LP; 42.1 4-1/4 x 20-1/4 x 16-1/2 Remote: dub, video dub. hi-fi dB, EP Audio S/N: 38.4 dB inches (h/w/d) IR wireless with two Channel Selectors: AFM audio. separate Power Requirements: sets of buttons for stop/ programmable up/down eject. insert edit, pro- Video S/N, Weighted: Audio Distortion: 120. VAC, 60 Hz eject, play, rewind/ scan on VCR, scan plus gram start locator/index/ deck 1—49 dB, SP; 1.9 percent Power Consumption: search, fast forward/ direct access on remote cue, frame advance, 49.7 dB, LP: 46.5 dB, 60 W search, pause, source slow motion, speed EP; deck 2—51.6 dB, RATINGS switching and record; Preset Method: play. visible fast forward SP: 51.1 dB, LP; 49.5 Tape Format: and a single set of but- auto program plus add/ and rewind dB, EP Picture Quality: VHS—two transports tons for power. TV/ erase from scan se- fair/weak VCR. copy tape. coun- quence Accessories: Chroma AM S/N: Tape Speeds: ter/time. reset, menu, remote control with bat- deck 1—49.1 dB, SP; Audio Quality: SP; .LECEP save. escape, up. Broadcast Tuning tery, instructional 46.8 dB, LP; 42.9 dB, poor down. previous. next, Range: 2 to 13, 14 to 69 videotape, 75-ohm an- EP; deck 2—49.5 dB, LMPEHOSORTSOISL:LO display. last channel tenna cable and SP: 47.5 dB, LP; 41.2 Operational Ease: Cable Tuning Range: dB, EP good 2 to 13, 4A to W+58 Overall Performance: fair i ar veo) A es tte NOVEMBER 1990 VIDEO

straightforward but frustrating, because Inside Story: A look at the VCR-2’s interior shows disappointment is the VCR-2’s perfor- unlike most VCRs, the VCR-2 does not mance. The problem starts with picture have a buffer that remembers com- how the twin cassette wells are arranged. quality, which combines outstanding mands. For example, to go from play to video and chroma signal-to-noise ratios tions available from the front panel, and with only 200 to 210 lines of horizontal rewind, a user must hit stop, wait for the adds a direct-access tuning keypad that resolution. the deck to fully halt, then hit rewind — doubles for menu selection and entries, punching stop and rewind in rapid suc- a dedicated button to call up the master The picture has a soft feel: features onscreen display and a last-channel- smear, hair looks a bit leathery and trees cession doesn’t work. Similarly, one deck viewed button. Ease of operation from and grass display a green that seems to must finish loading before the second the remote is good. bleed. However, the high video and deck can be loaded. You can’t hurry chroma outputs produce stronger color things up. Yet this simplicity can be ap- Performance. While the absence in copies and maintain resolution levels pealing. of a few features and the way some con- well. trols work can be frustrating, the biggest Controls for the menu system are or- As the data in the box shows, deck 2 ganized more clearly on the remote than performed slightly better than deck 1 in on the front panel, but since the menu our test. Since deck 2 serves as the re- blocks out much of the screen, making corder in standard copy operation, this adjustments interrupts any program you difference may be intentional. Picture may be watching. The dedicated but- quality is fair to weak. tons for output source switching are Audio quality, too, is disappointing. more convenient than the single button We measured frequency response, at the on the deck that cycles through the op- tions. -3 dB (half power) points, as 100 hertz to The remote performs all the opera- continued on page 125 LONG ROAD TO A FAST START Should Americans acquire a taste for Go-Video’s VCR-2, Go-Video filed a multimillion-dollar federal antitrust complaint backing up its charges. the Scottsdale, Arizona company will march a giant step Go-Video also faced problems on a second front. closer to triumphing in its remarkable effort to develop and market a dual-deck VCR. For more than six years, Movie studios hated the idea of a VCR that could copy pre-recorded films at the touch of a button, bypassing Go-Video has struggled to overcome so many obstacles that the mere debut in stores of its long-anticipated, re- the anti-copy systems then beginning to spread through peatedly delayed product is itself an achievement. the industry and depriving Hollywood of sales. R. Terren Dunlap, Go-Video’s evangelistic, Japan- A year after filing suit, Go-Video won its U.S. patent. bashing CEO, has cast Go-Video as an American David Shortly afterward, it agreed to include circuits that slinging its innovative dual-well deck against a corporate would respect the Macrovision anti-copy system. Ap- Goliath of Japanese VCR makers. Yet so confident is peased, Jack Valenti, head of the Motion Picture Dunlap of success that he predicts the VCR-2 will do to Association of America, bestowed upon Go-Video the single-deck VCRs what Xerox copiers did to carbon studios’ blessing. paper. In 1989, Go-Video settled portions of its suit, winning The VCR-2 is not the first dual-deck VCR to sur- some $2 million, which it used to fuel further develop- face. Samsung and Sharp have tested consumer models ment. More important, Samsung agreed, as part of the in past years, Sony fields an 8mm industrial version, and settlement, to manufacture the core of the VCR-2. In a company called Amstrad is planning an entry in Bri- short order, Go-Video found a company to distribute the tain. But none has successfully tapped the kind of mass VCR-2, hired Intel to manufacture a special micro- market Go-Video believes is waiting to be courted. processor for the deck’s dubbing operations, and turned Go-Video’s story began in 1983 when Dunlap co- up at that year's Consumer Electronics Show in Chicago founded the company with $60,000 drawn against a to demonstrate a prototype. clutch of personal credit cards. Within a year, Go-Video, Another year of design changes and fine-tuning fol- while operating as a video production service, had drawn lowed, amid some doubt within the industry that a up plans for a dual-deck VCR and applied for a patent. product would ever emerge. Now it has, and Dunlap says But by 1987 prospects seemed bleak. Go-Video had the first 30,000 decks are already sold. He expects Go- hit a wall in its search for companies to supply parts for Video to grow fast and promises that new products are in i its VCR. Dunlap believes this was the result of a conspir- the works. And Dunlap reminds anyone still skeptical 1 li acy among Japanese and Korean companies to boycott about Go-Video’s intent that “Everything we've done, his effort. Led by Dunlap, a former prosecuting attorney, i4 they said we couldn't do.” —Stan Pinkwas i4 KLARPRLYAN | | \\ | 4i 76 VIDEO NOVEMBER 1990

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PROGRAMMING Film of the Month Back to the Future | Westward Ho! Part HI Christopher Lloyd (left) moment. Michael J. Fox explores new and Michael J. Fox 1990. Michael J. Fox, Christopher Lloyd, dimensions in blandness, the running ride the range in Mary Steenburgen; dir. Robert Zemeckis. gag about Marty's temper having long Back to the Future 118m. (PG) Hi ss ce no list price. LV ago worn thin. While giving the lonely- Part Ill. $34.98. MCA/Universal. V image: good. guy Doc a soul mate was a nice touch, Christopher Lloyd simply dulls the char- Back to the Future Part Ill offers a With the flagging momentum of a acter’s lunatic edge to show gentler host of sly pop-culture asides to tickle a long-distance runner, the Back to the Fu- emotions. You'd think this excitable knowing audience, from Marty's version ture series staggers to a close in its third oddball would have a more distinctive of Michael Jackson’s moonwalk, to his installment. If Part II carried manic be- reaction. The graceful Mary Steen- pseudonym (Clint Eastwood), to an ap- havior to the point of hysteria, Part III burgen’s beatific smile remains her pearance by rockers ZZ Top as members moyes to a slower tempo, dropping good greatest asset, and trusty Thomas F. of a hillbilly band. Despite the unfailing ol’ Marty McFly (Michael J. Fox) and Wilson portrays another comically wick- good humor, however, the film seems. Doc Brown (Christopher Lloyd) into the ed villain with impressive gusto. (But played out, even decadent, more con- Wild West for weary sagebrush antics. enough already with the manure.) cerned with self-referential dead ends Halfway through this endless two hours, than telling a story. Supposedly the last you'll be begging for our heroes to crank of the series, the film does leave open up the DeLorean time machine and go the possibility of further sequels. Thanks somewhere — anywhere! but no thanks. “It’s a long story, Doc,” says Marty at —Jon Young the start of the latest round of time-trav- el misadventures. Now there’s an under- NOVEMBER 1990 VIDEO 79 statement: It’s hard to imagine the uninitiated making sense of the narra- tive in midstream, since even a veteran viewer will have trouble keeping the pieces in order. Of course, coherence isn't the point. In jumping pell-mell through time, Future makes a cheerful mockery of any pretension to logic. Part III finds Marty following Doc to Hill Valley circa 1885, where the mad scientist has settled in happily as a blacksmith. McFly’s mission: Get them both back to the 1980s before Doc is gunned down by outlaw “Mad Dog” Tannen (Thomas F. Wilson), an ances- tor of perennial bully Biff. Among other complications, the DeLorean’s out of gas, which hasn’t been invented yet, and Doc has fallen in love with sweet school- marm Clara Clayton (Mary Steen- burgen). It shouldn’t be giving too much away to note that all ends happily after a drawn-out climax involving a runaway train. The more leisurely pace of II] may have been designed to spotlight the ac- tors rather than gimmicks, but the lead- ing men seem unprepared to seize the :

BY SOL LOUIS SIEGEL Se ee Drama 4i Shot with wide-screen pans in vast spac—ewhsich is why you'll want the amea Food For Thought: letterboxed version of the film, though Dinner is no easy task two pan-and-scan versions, including an in The Cook, the Thief, R-rated one with 23 minutes removed, His Wife, and Her Lov- are also available — the movie is a politi- er (left), while Michael Caine finds a deadly cal allegory in which Greenaway seems new route to success in to take delight in continually shoving A Shock to the System. the disgusting and appalling in our faces. The formal beauty of Richard’s dishes and the quiet passion of the lovemaking are overpowered by Albert’s cruelty and gluttony. In this picture, art and love may elevate the world but it’s bestiality that rules it. Cook isn’t remotely likeable, or meant to be. Despite its billing as a black comedy, it isn’t particularly funny, ei- inema Paradiso, last year’s Oscar- as effectively as anything since E.T. winner for Best Foreign Film, may The Cook, the Thief, His Wife & Her be the best movie ever made about Lover presents a vision of Hell to con- going to the movies. In a sleepy trast with Tornatore’s Paradiso. Director post-World War II Sicilian town, life Peter Greenaway’s Inferno is presided centers around work and the local bijou, over by Albert, a gangster who holds a second home where dreams are fed court nightly at the haute cuisine restau- and sorrows forgotten. Moviegoing here rant he owns. Here he obscenely spews is a communal experience —the whole his presumed knowledge and wisdom spectacle of life, from conception to when he isn’t busy gorging himself, or in- death, plays out under the leaky roof of flicting physical and verbal abuse on D rn }: ait the Paradiso. anyone in sight. Prone to Violence: Fred Frenger (Alec Baldwin) Toto (Salvatore Cascio), a little imp Georgina (Helen Mirren), his wife, leaves a string of bodies in his wake in Miami Blues, if ever there was one, is the most movie- finds an escape when she spies Michael ther. It is physically overwhelming, but obsessed of the lot, sneaking in to watch (Alan Howard), a quiet, gentle fellow, pretty obvious in its arguments. the new pictures before the local priest eating alone in a corner. With the con- has the kisses edited out, and continu- nivance of the long-suffering chef (Rich- Strapless, directed by playwright ally pestering Alfredo (Philippe Noiret), ard Bohringer), they contrive to have David Hare (Plenty), is less stylish but the projectionist. Alfredo obviously sex in the various back rooms of the more sophisticated than Cook. Lillian, loves the fatherless Toto like the son he kitchen between courses, while Albert is (Blair Brown), an American doctor liv- never had, even when he’s chasing him busy finding new ways to terrorize the out of the projection booth for the ump- staff and the patrons. ing in London, encounters a mysterious teenth time. The boy finally gets himself businessman (Bruno Ganz) who wages -REVIEWEDtaken on as an apprentice; he’ll have to continued on page 100 do a little growing up before he learns that there’s more to life than the movies. CINEMA PARADISO Fonda; wr./dir. David Hare. 103m. (R) Giuseppe Tornatore’s vision is un- 1989. Philippe Noiret, Salvatore Cascia; Hi cc $79.95. LV $34.95. RCA/Colum- wr./dir. Giuseppe Tornatore. 123m. (NR) bia. V image: fair. abashedly idealized — you may remem- A SHOCK TO THE SYSTEM ber the entire picture as being sunlit, Hi sub. $89.99. HBO. V image: good. 1990. Michael Caine, Elizabeth McGovern, Peter Riegert; dir. Jan even its movie-theater scenes. The THE COOK, THE THIEF, Egleson. 90m. (R) Hi cc $89.99. HBO. V image: good. town’s “characters” are presented in HIS WIFE & HER LOVER MIAMI BLUES broad strokes, the incidents in operatic 1990. Richard Bohringer, Michael Gam- 1990. Fred Ward, Alec Baldwin, Jennifer bon, Helen Mirren, Alan Howard; wr./ Jason Leigh; wr./dir. George Armitage. fashion. Cascio hogs the screen as easily dir. Peter Greenaway. 123 min. (NR) Hi 97m. (R) Hi cc $89.98. Orion. V image: as he snatches film strips from the pro- cc $89.95. (NR) let. $89.95. (R) 100m. good jection-room floor, and Noiret’s perfor- $89.95. also sp. sub. version. Vidmark. mance is a career highlight. The movie V image: good. loses some of its charm when Toto grows into a love-struck adolescent, but the fi- STRAPLESS nal scenes push the emotional buttons | 1988. Blair Brown, Bruno Ganz, Bridget — 80 VIDEO NOVEMBER 1990

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BY JON SILBERG Comedy Reach For the Sky: from the killers, which sets into motion Robin Williams and Private Benjamin meets Lethal Weapon. You get the idea: Mel Gibson takes Fran Drescher are held enough punishment to kill 20 men and hostage in Cadillac laughs it off, while Goldie Hawn worries Man (above). while Mel more about chipped nails than flying Gibson and Goldie bullets. Hawn make a lofty es- Director John Badham (Saturday cape in Bird on a Wire. Night Fever, Stakeout) does manage to keep plenty of bullets flying, as is his spe- ar and away, the most noteworthy with depth to spare. Even minor play- cialty. The action is fast-paced enough comedy title this month is Mystery ers—the night clerk (Screamin’ Jay to keep the formula plot within a step or Train. This quirky independent pro- Hawkins) and the bellboy (Cinque Lee, two of audience expectations. Bird on a duction from director Jim Jarmusch Spike's brother) — are better drawn than Wire is a simple formula picture, but it any of the characters in the three movies has no pretensions to being anything (Stranger Than Paradise, Down By Law) below. more, and its stars can carry it for what tells three separate stories of very differ- it’s worth. ent people who find themselves in the In Bird on a Wire, Mel Gibson is Rick same squalid Memphis hotel on the Jarmin, a man whose past involvement Even big stars cannot always save a same night. with international drug smugglers has picture, as I Love You to Death and Cad- forced him into permanent exile as a illac Man prove. First, I Love You to First we meet Jun and Mitzuco, a Ja- participant in the witness-protection Death has Academy-Award winning ac- panese couple on a pilgrimage to the program. As it happens, the same day tor Kevin Kline playing such a broad his enemies track him down at the gas caricature of a human being, it makes homeland of their idols, Elvis Presley station in which he works, his former his role in A Fish Called Wanda seem and Carl Perkins. As the couple explores lover, Marianne Graves (Goldie Hawn), subtle. Pizza man Joey Boca is a real inadvertently stops in for a fill-up. womanizer, a Lothario for the anchovy the desolate back streets of Memphis, set, and his wife, Rosalie (Tracy UIl- Marianne accidentally rescues Rick man), is so in love she is blind to his ac- delighted to be in this mecca of popular tions. “I’m Italian,” he rationalizes, “I culture, the film presents a portrait of REVIEWED have lots of hormones in my body.” America that would make anybody When asked what kind of marriage he homesick for Yokohama. After an unim- BIRD ON A WIRE could have with this philosophy, he ex- pressive visit to Sun Records, they check 1990. Mel Gibson, Goldie Hawn; dir. plains, “It’s a good marriage. I buy the into the seedy Arcade Hotel, where ev- John Badham. 110m. (PG-13) Hi ss cc food and she cooks it.” That's fine with ery room displays a different likeness of no list price. LV $34.98. MCA/Univer- Rosalie until she accidentally sees her Elvis. Despite the cultural differences, sal. V image: good. husband with another woman. we can all identify with Jun and Mitz- uco’s bickering into the night. | LOVE YOU TO DEATH continued from page 98 The other two stories involve a 1990. Kevin Kline, Tracy Ullman, Wil nabella Sciorra; dir. Roger Donaldson. woman stranded in Memphis en route to 97m. (R) Hi cc $94.98. Orion. V image: Rome with the remains of her late hus- liam Hurt; dir. Lawrence Kasdan. 97m. good. band. She winds up sharing a room with (R) Hi ss ce $92.95, oe aes Vv Night Shift: Cinque Lee and Screamin’ Jay a local chatterbox, who talks incessantly Hawkins behold life in a Mystery Train hotel. image: good, about her British boyfriend. After a visit from Elvis’ ghost, we join the last story, MYSTERY TRAIN which is about the chatterbox’s British 1989. Nicoletta Braschi, Joe Strummer, boyfriend (The Clash’s Joe Strummer) Screamin’ Jay Hawkins; dir. Jim Jar- and his buddies, inept even as thugs, musch. 110m. (R) Hi ce $79.98. Orion. and their attempt to rob a liquor store V image: good. and hide out at the Arcade. CADILLAC MAN Jarmusch's slow, deliberate style al- 1990. Robin Williams, Tim Robbins, An- lows him to invest his odd characters 86 VIDEO NOVEMBER 1990

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BY MARK FLEISCHMANN Special Interest ctor, director, producer, comedian, tically fishes to retrieve it. Unknown Chaplin is a cinematic motherlode. composer, dancer, stunt man, blithe spirit: Charlie Chaplin wore a lot of The Prisoner Video Companion is hats, and thanks to Unknown Chap- something less than a full documentary lin, a documentary series compiled by and something more than an extended trailer devoted to Patrick McGoohan’s Kevin Brownlow and David Gill, stu- The Prisoner. Learn how McGoohan dents of film history and anyone who ap- turned down the role of James Bond to preciates a spectacle can watch him don become the anti-Bond in his anti-au- and doff these hats, one by one. James thoritarian TV series of the late ’60s. Testimony from McGoohan, his collab- Mason’s narration and a rich, sensitive orators, and his contemporaries is glaringly absent, though a voice-over orchestral score take turns accompany- sprays dramatic highlights with equal ing highlights and outtakes covering parts useful anecdote, revealing inter- pretation and lame plot summary. The most of Chaplin’s career. Some of the idealistic rads who wrote the commen- tary try their best to locate the 17 epi- outtakes hadn’t been seen in 70 years— sodes’ ‘‘subversive nature,” but and only thanks to the rank insubor- McGoohan’s allegorical masterwork re- dination of studio underlings who re- sists any ideology but a fierce, pure liber- fused to consign them to the flames do tarianism. It answers nothing; it’s more a procession of elaborately crafted ques- they reappear, miraculously, in this as- tions, searing and surreal. tonishing three-volume series. Vienna 1900 was produced in asso- ciation with the Pompidou Center in “Volume 1: My Happiest Years’’ continued on page 100 paints a portrait of an instinctively im- REVIEWED provisatory artist in rare filmstock so UNKNOWN CHAPLIN tich in gray scale —never having been Comp. 1983. Vol. 1: “My Happiest tecopied—that it could have been shot Running on Empty: Patrick McGoohan runs for of- Years.” Vol. 2: “The Great Director.” fice in a scene from The Prisoner Video Companion. Vol. 3: “Hidden Treasures.” Charlie yesterday. Chaplin thought nothing of Chaplin; nar. James Mason; writ./prod. rehearsing on film, often shooting doz- Austin and other collaborators. Pro- Kevin Brownlow, David Gill. 55m each. ens or even hundreds of takes for a ceedings come to an end just as Chaplin Hi $19.99/vol., $39.99/set. HBO. V im- scene, using the rushes to refine brilliant joins First National, builds his own stu- age: good. dio, and prepares to concentrate more sequences. Some are on quality than quantity. THE PRISONER VIDEO COMPANION 1990. Patrick McGoohan. 55m. Hi famous; others re- By today’s standards, Chaplin argua- $19.98. MPI. V image: excel. mained on the cut- bly went too far. “Volume 2: The Great ting-room floor till Director” demonstrates that he was a VIENNA 1900 woefully inefficient filmmaker. Stuck for 1986. Dir. Jean-Louis Fournier. 53m. Hi this series first aired inspiration, he walked off the set of The $39.95. Home Vision. V image: excel. on PBS. Gold Rush and stayed off for months. Watching the obsessive genius at work LOST MAN’S RIVER The program reveals more neurotic perfectionism 1989. Peter Matthiessen; dir. Noel skips past Chap- than he ever intended the public to see, Buckner, Rob Whittlesey. 56m. $29.95. lin'’s apprentice- yet there is wonder here, a continuous Mystic Fire. V image: good. inventiveness that springs both from the ship with Mack genius of Chaplin and the selectiveness Art Attack: Sennett to his of the documentarians. Numerous inter- Gustav Klimt’s Judith ee thicken the loosely biographical in the documentary days at Mutu- plot. Vienna 1900. al, grinding out cookie-cutter co- medies with Edna Purviance, Eric Campbell, Albert By “Volume 3: Hidden Treasures,” the narration begins to fall silent for lengthy stretches of eloquent visual comedy from works both known (Lime- light, Modern Times, City Lights) and un- known (The Professor, How to Make Movies). In one of many memorable Lost and Found: | scenes that never made it to the big Unknown Chaplin screen, Chaplin takes an army exam in includes footage unavailable for 70 silhouette. A doctor seems to jam a spoon all the way down his throat, then a pair of pliers— which apparently falls years, ! down Chaplin's gullet as the doc fran- 88 VIDEO NOVEMBER 1990

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BY MARIANNE MEYER Kidvid usic tapes remain a staple of the Pennsylvania Piper: Pittsburgh-based Frank Ca- since the action sequences, like that on made-for-kidvid field. The highly the water rides, or “Splish Splash” done repeatable nature of songs makes pellis songs typify the best in music for kids. to water diving and porpoise acts, work them a natural for a child’s home so well. The best part of the tape, in fact, video library and, especially for youngest Pop on the Wall.” The kids and situa- is the end credit sequence when the mu- viewers, the “bite-sized” length of the tions are cute, but not gaggingly so, and sic plays over thrilling P.O.V. camera material doesn’t snap short attention little touches, like the use of wild animal shots from the front car of a rollercoast- spans. As a bonus, willing parents can footage in a hiking sequence, display the er—and there’s not a kid in sight! learn a few new tunes for lullaby time or extra attention that makes Kidsongs travel diversion. This month’s mixed bag such a success. As with big-budget theatrical re- of kidvid song collections arrived in leases, “sequelmania” can take a good pairs, and in almost every case, one title Too bad Ride the Rollercoaster didn’t idea and run it into the ground. That from each pair has a clear edge over the opt for the same tried-and-true formula. seems to be the case with another suc- other. Its premise has instant kid-appeal — tape cessful kidvid series, Babysongs. The One of the strongest series in origi- the gang as they cut loose on the rides in original Babysongs and its companion, nal kidvid programming has been Kid- a Magic Mountain amusement park More Babysongs, feature delightful origi- songs, an ongoing set of original music (two obvious plugs are no doubt a pay- nal tunes set to simple live action se- videos created by a team who’ve done back for use of the facilities). An early quences with occasional animation or promo clips for major rock acts. Kidsongs number, ‘Whole Lotta Shakin’ Goin’ puppetry. The song titles, like “Today I are low on glitz and high on youthful On,” is sung with great you-are-there Took My Diapers Off’ or ‘Mommy spirits, featuring a pleasant bunch of camera angles on three different roller- Comes Back,” may sound pretty tedious pre-teens lip-syncing to old favorites coasters, and makes for a rousing start. to an adult listener, but they relate to while zippy editing and kid-ready loca- Unfortunately, the show then veers off toddler concerns in a direct, comforting tions (a farm, a sports field, etc.) provide into lame musical vignettes that rein- way, and the simplicity of emotion and visual hooks. force negative behavior. Do we really Among the new Kidsongs titles, A need an ode to fast food that shows the continued on page 106 Day at Camp is clearly superior, a kids stuffing their faces with junk, or an- straightforward trip to the open spaces, other battle of the sexes played to “Any- REVIEWED starting with the happy campers on a thing You Can Do, | Can Do Better”? bus ride (“The More We Get Together”) The nadir is a version of “Little Deuce KIDSONGS and ending with their own variety revue. Coupe” set against a bumper car chal- 1990. “A Day at Camp” (29m.), “Ride Along the way, the kids do their thing to lenge in retro ’50s gear, the girls preen- the Rollercoaster” (27m.). $14.95 ea. a bunch of old reliables including “On ing passively in poodle skirts while the View-Master/Warner. Ages: 2-10. V im- Top of Spaghetti” and “Little Bunny boys play little greasers. age: good. Foo-Foo” (did the fairy really say “I EVEN MORE BABY SONGS don’t like your attitude?”) and a camp- The Kidsongs kids are at their most 1990. 32m. $14.98. Hi-Tops. Ages: 1-6. fire medley that, gratefully, does not in- appealing as a musical mob with no fea- V image: good. clude all 100 verses of “100 Bottles of tured players but this tape makes the BABY SONGS PRESENTS mistake of bringing a few kids front and JOHN LITHGOW’S KID-SIZED CONCERT Something in the Air; Film and Broadway Star center and (big mistake) asking them to 1990. John Lithgow. 32m. $14.98. Hi- John Lithgow strums through a Kid-Sized Concert. “act.” This only accentuates Valley Kid Tops. Ages: 2-6. V image: good. stage brat tendencies. A shame, really, FRANK CAPPELLI & COMPANY 1990. “Slap Me Five,” “All Aboard The Train.” Frank Cappelli. 30m. ea. tktk ea. AGM. Ages: 2-7. V image: good. SESAME SONGS 1990. “Sing Yourself Silly,” “Monster Hits.” 30m. ea. $14.95. Random House. Ages: 2-7. V image: good. 90 VIDEO NOVEMBER 1990

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EDITED BY STEVE DALY Directory HIGHLIGHTS OF THE MONTH Henry: Portrait of a Serial Killer Back to the Future Part Ill 1986 (released '89). Michael Rooker, Tom 1990. Michael J. Fox, Christopher Lloyd, Towles, Tracy Arnold; co-wr., dir. John Mary Steenburgen, Thomas F. Wilson; dir. McNaughton. Documentary-style character Robert Zemeckis. Sure, Part II was a let- down, but why did so many critics also study portrays assault and murder in sick- deride this well-crafted wrap-up to the eningly realistic fashion, to no discernible time-travel trilogy? Not inspired, but cer- dramatic end. 90m. NR (released unrated tainly entertaining. 118m. (PG) ss cc no list when distributor could not overturn price. MCA/Universal. MPAA's X rating). $79.98. MPI. Bird on a Wire High Fidelity 1990. Mel Gibson, Goldie Hawn, Keith 1989. Dir. Allan Miller. First-rate documen- Carradine; dir. John Badham. Relocated _ tary about Guarneri String Quartet federal witness (Gibson) meets an old flame examines how quarrelsome relationships (Hawn), and together they flee some nasty offstage fuel group's artistry in performance. government agents. Ludicrous, gratingly sexist cross-country farce, composed entire- 85m. V only. $39.95. New Yorker. ly of cribs from other films. 113m. (R) ss cc no list price. MCA/Universal. Jetsons: The Movie 1990. Anim. Voices of Mel Blanc, Tiffany; Common Threads: Stories from the Qullt pr./dir. William Hanna, Joseph Barbera. 1989. Nar. Dustin Hoffman; co-pr./dir. Rob- George and family halt an environmentally unsafe mining operation. Stick with the TV reruns. 82m. (G) ss cc $22.95. LV $34.98. MCA/Universal. ert Epstein, Jeffrey Friedman. How family Man of Marble and friends coped with deaths of five peo- ple who had AIDS. Shattering Genius of Jazz: Composer and pianist Thelonious 1972; released ’77. Jerzy Radziwilowicz, Monk's remarkable talent shines in Straight, No Chaser. Krystyna Janda; dir. Andrzej Wajda. Stu- documentary, Oscar-winner for year’s best. dent filmmaker in Poland retraces life of a 79m. (NR) $25.00; proceeds will be do- \"50s bricklayer first lionized, then vilified nated. HBO. tronizing, racist slapstick shtick. 98m. (PG) by the government. Remarkable drama’s ss cc $89.95. RCA/Columbia. theatrical debut was long delayed by cen- _aS The Gods Must Be Crazy Il sorship battles with Polish authorities. 1990. N!Xau, Lena Farugia, Hans Strydom; The Guardian wr./dir. Jamie Uys. And you'd be crazy to 1990. Jenny Seagrove, Dwier Brown, Carey 160m. sub. let. V only. $79.95. New Yorker. rent this dog —which adds sexism to the Lowell; dir. William Friedkin. Evil nanny. first film’s already-offensive brew of pa- Okay chiller delivers only the requisite Thelonious Monk: Straight, No Chaser shocks. 92m. (R) ss cc $92.95. MCA/Uni- 1989. Color/B&W. Nar. Samuel E. Wright; versal. co-pr., dir. Charlotte Zwerin. Acclaimed documentary shows jazz giant in perfor- Labels You'll laugh, you'll cry, you'll get a bargain with four mance and on the road in New York, For Atlanta and Europe, ca. 1968. 90m. Less $19.95 reissues from RCA/Columbia: outstanding co- (PG-13) cc $89.95. LV $29.98 Warner. medies Tootsie and Holiday (with Katharine Hepburn and Cary Grant), plus the sober biblical epic Barabbas and Pretty Woman supreme TV-movie tear-jerker Brian’s Song. 1990. Julia Roberts, Richard Gere, Hector Elizondo, Laura San Giacomo, Ralph Bel- CBS/Fox rounds up five winners and a dud in a lamy; dir. Garry Marshall. Executive hires $19.98-per-title “Critics’ Choice” package that includes prostitute to be his escort for the week and falls in love. Reprehensible premise made Working Girl, Say Anything (a real charmer starring John utterly charming by droll Gere, drop-dead- Cusack), A Room with a View, The Gods Must Be attractive Roberts. 117m. (R) ss cc $19.99. Touchstone. Crazy, M*A*S*H and, last and definitely least, Gold- Q&A ie Hawn as a wild-west hooker in The Duchess and 1990. Nick Nolte, Timothy Hutton, Ar- mand Assante; wr./dir. Sidney Lumet. the Dirtwater Fox (a frontier Pretty Woman it ain’t). Portrait of New York City's police force as a cauldron of ethnic hatred. Nolte, playing | A “Jazz Ensemble” from Warner puts the mo’ a corrupt cop under investigation, excels despite muddled script. 132m. (R) ss cc better price of $19.98 on feature films Bird, Round $92.99. HBO. Midnight, The Gib, Pete Kelly’s Blues (with its original Rachel and the Stranger stereo soundtrack remixed for Dolby Surround), 1948. B&W. Loretta Young, Robert Mit- chum, William Holden; dir. Norman Foster. and Young Man with a Hom. Other's may prefer Visiting Indian scout (Mitchum) sparks Warner’s “Rough ’n’ Ready” promotion, featuring The Sea Wolves, Victory, Instant Justice, Above the Law, Cleopatra Jones, Cleopatra Jones and the Casino of Gold (yes, it was made long before the Indiana Jones series), The D.I. and Bloodsport, plus martial- arts titles Kung Fu, The Yakuza, Enter the Dragon and The Tamara Dobson as Cleopatra Jones Big Braul. —SD See next page for key to abbreviations. VIDEO NOVEMBER 1990

jealousy in unappreciative husband (Hold- DIRECTORY in love with Spanish woman who continu- en). Chestnut from the RKO studio, a ally spurns him—otherwise “you wouldn't pleasant mix of romance, music, comedy Strongest segment features Remar as artist and western action. 79m. $19.98. Turner. who strikes regrettable bargain with gar- love me any more,” she reasons. Moments goyle-like creature. 93m. (R) ss cc B of wry insight outnumber lulls in director's The Spider’s Stratagem $29.95 V $92.95. Paramount. final film. 103m. (R) LV let. sub. dig. 1969. Alida Valli, Giulio Brogi; dir. Bernar- $49.95. Criterion. do Bertolucci. Moody, intricate political Teenage Mutant Ninja Turtles whodunit filmed for Italian TV, based on 1990. Judith Hoag, Elias Koteas; dir. Steve Vital Signs Jorge Luis Borges story about a man who Barron. Make that Ninja Turkeys. Witless, investigates his father’s murder. Ultimately grimy-looking live-action feature spun off 1990. Adrian Pasdar, Diane Lane, William incoherent, but dazzlingly photographed by from popular comic books and cartoon TV Vittorio Storaro. 97m. sub. V only. $59.95. series. 95m. (PG) ss cc $24.99. Family. Devane, Norma Aleandro, Jimmy Smits, New Yorker. That Obscure Object of Desire Laura San Giacomo; dir. Marisa Silver. Ser- Stanley & Iris 1977. Fernando Rey, Carole Bouquet, An- gela Molina; dir. Luis Bunuel. Frenchman viceable med-student melodrama follows six 1990. Jane Fonda, Robert De Niro; dir. Martin Ritt. Corny drama of adult illiteracy students through rigors of internship. 102m. benefits from De Niro’s fine, subtle perfor- mance. 104m. (PG-13) ss cc $89.98. MGM/ Md ss cc ae 98. CBS/Fox. > UA. 1, “comp. compilation Stroszek ezd. colorized 1977. Bruno S., Eva Mattes, Clemens Scheitz; dir. Werner Herzog. Three down- Bseescassette _ and-out Germans journey to midland America. Oddball comic odyssey, evidently _V: VHS: cassette one of the inspirations for Jim Jarmusch’s 8: 8mm. cassette Mystery Train. 108m. sub. V only. $79.95. minutes New Yorker. LV: vi 8.3 Ot available DATE \"mar. narrated by : Tales from the Darkside: The Movie | Varies acenrdingto | CAV format. _. | NR: not tated 1990. Deborah Harry, Christian Slater, ‘toyfpprogeram. _ ETCETERA 1 pep y David Johansen, William Hickey, James Re- Films: original =AAUDIO — es MPAsfatngs | RE:reissue mar, Rae Dawn Chong; dir. John Harrison. theatrical release. isavaibleinfois a oe PO-3,R,X) | sim: simulated | Variable horror omnibus, strictly for buffs. 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SCIENCE FICTION/HORROR DIRECTORY Kaye; pr./dir. Bert I. Gordon. Missing-per- son case leads investigator to siren with All New Tales from the Crypt House of Dark Shadows 1990 comp. 3 episodes from cable-TV hor- 1970. Jonathan Frid, Grayson Hall, Kathryn occult powers. 90m. (R) St cc B $29.95 V tor omnibus based on '50s horror comics. Leigh Scott, Joan Bennett; dir. Dan Curtis. no retail price. Paramount. “Only Skin Deep”: Leah Thompson; dir. First of two features sparked by soap-opera Howard Deutch. “Lover Come Hack to series: Vampire Barnabas seeks mortality so COMEDY Me”: Amanda Plummer; dir. Tom Holland. that he can marry. 98m. (PG) $19.98. “Collection Completed”: M. Emmet Walsh, MGM/UA. Ghosts Can't Do It ; Audra Lindley; dir. Mary Lambert. 87m. (NR; mature) ss cc V only. $89.99. HBO. The Monster of Piedras Blancas 1990. Bo Derek, Anthony Quinn, Leo 1958. B&W. Les Tremayne, Forrest Lewis, Brain Dead John Harmon; dir. Irvin Berwick. Hungry Damian, Don Murray; wr./dir. John Derek. 1990. Bill Pullman, Bill Paxton, Bud Cort; undersea creature becomes fisher —and eat- dir. Adam Simon. Clients at “New You” er—of men. 72m. $14.98. Republic. Dead billionaire’s ghost (Quinn) returns to memory-revision clinic wind up loboto- mized. 85m. (R) ss $79.98. MGM/UA. Night of Dark Shadows his wife (Derek) in body of a well-built 1971. David Selby, Lara Parker, Kate Jack- The Fearless Vampire Killers, or Pardon Me, thief. A cast and premise to make camp But Your Teeth Are in My Neck son, Grayson Hall; dir. Dan Curtis. Dismal 1967. Jack MacGowran, Roman Polanski, sequel dumps bulk of series’ original char- fans rejoice! 95m. (R) ss cc V only. $89.95. Sharon Tate, Alfie Bass; dir. Polanski. A comic rewrite of Dracula that suffered acters. 95m. (PG) $19.98. MGM/UA. RCA/Columbia. heavy editing and re-dubbing when first re- Planet Earth Loose Cannons leased in U.S.; video version restores cut 1974. TVM. John Saxon, Janet Margolin, 1990. Gene Hackman, Dan Aykroyd, Dom footage, orig. dialogue tracks. 111m. (NR) Ted Cassidy, Diana Muldaur; wr. Gene DeLuise, Ronny Cox, Nancy Travis; co-wr., $19.98. MGM/UA. Roddenberry, Juanita Bartlett; dir. Marc dir. Bob Clark. Mismatched undercover Daniels. Future ruled by women who subju- cops take case CIA couldn't crack. 94m. The First Power gate men. 74m. $59.95. Unicorn. 1990. Lou Diamond Phillips, Tracy Griffith, (R) ss cc $89.95. RCA/Columbia. Jeff Kober; wr./dir. Robert Resnikoff. Con- Playroom victed serial killer's execution unleashes 1990. Chris McDonald, James Purcell, Vin- Nightlife equally murderous psychic entity. 98m. (R) cent Schiavelli; dir. Manny Coto. ss cc $89.98. Nelson. Archaeologist uncovers haunted tomb. 1989. Maryam d’Abo, Ben Cross, Keith ie (R) ss (Ultra-stereo) $89.98. Repub- Szarabajka; dir. Daniel Taplitz. Vampiress ic. quits life in the ghastly lane for a doctor, but soon bloodsucking ex-lover interferes. Satan’s Princess 93m. (PG-13) $79.95. MCA. 1990. Robert Forster, Lydie Denier, Caren S*P*Y*S 1974. Donald Sutherland, Elliott Gould, Zouzou, Joss Ackland; dir. Irvin Kershner. KGB wants two CIA agents killed ASAP. 87m. (PG) $59.98. CBS/Fox. > Pro knows editin lfyou're tired of the runaround, the hidden costs, and high pressure salespeople - call Pro Video now! You'll feel confident and secure once you've spoken with our courteous and informative Sales staff. All merchandise includes a USA manufacturer's warranty, factory sealed boxes with a 10-day money back guarantee” No additional charge for credit cards or C.0.D. ever! OPEN SATURDAYS!! 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94m. B $29.95 V no retail price. Prism rett. Musical. Remastered edition includes CHILDREN’S short Mighty Manhattan, New York's Wonder — NOVEMBER Bugs Bunny on Parade City. 98m. dig. $34.98. MGM/UA. | 1990 comp. Anim. New-to-video cartoons, including “Buckaroo Bugs” (1944), “Jack Queen Christina Wabbit and the Beanstalk” (’43), “Super Rabbit” (’43), “Elmer’s Pet Rabbit” ('40), 1933. B&W. Greta Garbo, John Gilbert. “Hold the Lion, Please!” (42). 45m. $12.98. MGM/UA. Drama. Includes trailer. 100m. dig. $34.98. — Largest Canon Bugs Bunny’s Festival of Fun MGM/UA. a. Video Dealer! 1990 comp. Anim. New-to-video cartoons “Wacky Wabbit” (1942), “The Wabbit continued from pagé 86 1-800-222-1557TOLL FREE ORDERS ONLY Who Came to Supper” (42) plus “Hare Ribbin’,” “Baseball Bugs,” “Rhapsody Rab- Bent on revenge, she enlists the help | INQUIRIES: (503) 227-6008 bit.” 45m. $12.98. MGM;UA. 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Droll, After several attempts fail miserably, deadpan pooch in “Dixieland Droopy,” “Droopy'’s Double Trouble,” “Three Little mother and daughter feed him enough Pups,” “Senor Droopy,” “Droopy Lepre- chaun,” “Daredevil Droopy.” 45m. $12.98. poisoned spaghetti to finish off the Ital- | MGM/UA. The optional VL-20 ian army, with the effect of making him can run on the BP- Pink Panther Cartoon Festival: slightly drowsy. Devo tries shooting E722 resi Pack Pink at First Sight for SB:PrOx imately 1990 comp. TV short “Pink at First Sight,” Boca in the head, causing him to suf- 35 min. ona single plus theatrical cartoons “Psychedelic Pink,” charge. “Super Pink,” “The Hand Is Pinker Than fer...a little headache. Desperate, they | the Eye,” “Pink Pranks.” Anim. 45m. said Qs Canon = O6 $12.98. MGM/UA. convince Harlan and Marlon to shoot | the indestructible man in the heart. Af-— Canon 8mm VIDEO CAMCORDER The Clockmaker 1974. 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is with a few carefully planned acci- OPECIAL INTEREST continued from page 80 dents. This wickedly amoral thriller has continued from page 88 an extensive and successful campaign to more intentional laughs than most co- Paris and purports to be “the recollec- win her over. But she learns what we al- tions of a Viennese girl in Paris.” How- ready suspected— that he’s too good to medies. Its terrific cast plows into the ever, the essences of both the girl and be tru—seoon after her randy, irrespons- Vienna itself remain obscure while the ible kid sister (Bridget Fonda) informs material with gusto— Peter Riegert and documentary proceeds about its real her that she’s pregnant. business —the art, architecture and lit- Swoosie Kurtz seem to have as much fun erature of Vienna at the turn of the cen- Hare’s rather ordinary story idea is tury. Included is everything from the really a carrier for his ideas about the playing. people practically begging to be revolutionary introspections of Sigmund textures of human lives. The emotions Freud and the fearsome self-portraits of aroused by Lillian’s ill-fated affair murdered as Caine has in obliging them. Egon Schiele to the atonal chamber mu- change the way she looks at her life and sic of Arnold Schoenberg. Much is made work; her sister, who cleans up her own Miami Blues deals with a couple of of the romantic city’s “artificiality,” but act, leads the way. this seems to be merely an excuse not to fellows who are equally good at sniffing probe deeper beneath its ornate surface. There is also political material, hav- Despite rushes of constantly surprising ing to do with the Thatcher govern- out trouble, the charming Junior (Alec visual beauty, the program dies ofamus- ment’s dismantling of the people- ty museum-like preciousness. oriented British health system which Baldwin) and the grizzled, potbellied had attracted Lillian to London in the Lost Man’s River sets writer and Zen first place. This is kept in a human con- Hoke (Fred Ward). The big difference is naturalist Peter Matthiessen adrift in text, and the characters are fully formed the everglades of Florida. Excerpts from and superbly acted. Strapless makes a that Hoke is a veteran Miami homicide Matthiessen’s new book Killing Mr. Wat- convincing case that people can change, so—bnased on the life of the outlaw and if they do they can change the detective and Junior is a career socio- Edgar “Bloody” Watson— alternate with world. Matthiessen musing before the camera path who, smelling Hoke on his tail, about this “place of uncommon beauty In A Shock to the System Michael Caine plays an executive who decides bushwhacks him and steals his gun, continued on page 106 that the best way to change his own life badge, handcuffs and false teeth. He then uses the first three to assume his identity. This is seamy-side crime drama, laced with dark humor and directed by George Armitage in a plain, unemphatic style. Armitage has enough confidence in his material and cast to avoid heavy mannerisms. Ward and Baldwin reward him handsomely with their perfor- mances, but Jennifer Jason Leigh, as Ju- nior’s sweetie, steals the picture from both of them. a S RCA CAM- Mark FEATURES: Camcorder PRO Video CORDERS Hi-band 8mm LIGHTS video @ Hi-Fi TRIPODS C390 is stereo @4 Lux CC40S / te! © 410,000 CC415 pixels @ Auto Tracking auto CCS10 focus system e@ 7 High speed shutter speeds up to CCS520 1/10,000 of a second @ Includes sportsfinder CCS60 @ 10X power zoom with macro focus @ Built in titler with auto date/time @ VR740HF Flying erase heads @ Wireless remote control e Self timer @ Time lapse GE CAM- GE VCR’S recording @ Plus many more features ! Professional Camcorder Soft CORDERS VG7610 Other CANON Camcorders ‘WIRELESS MIKES Carrying Cases CG9906 VG7675 E51, E06, E640, H800 CG9907 VG7685 Plus we stock the CG9908 VG7920 Canon accessories for their products CG9911 ©VG7925 FREE! Zi 220 \"Hor 13\" CG9915 VG7980 CATALOG PANASONIC CG9920 VG7985 TV/VCR COMBOS. Camcorder & VCR We Stock RCA & COD ATnelgeepLhoEtNoS&ESWide JBoo es Fer GE Accessories!! Most Brands!! S rree 1-800-368-5020 bYbie DISTRIBUTORS ® For a more detailed description of our camcorders, VCR’s, & Video Accessories, as well as our terms & 116 PRODUCTION DRIVE conditions of sale, refer to our video catalog. YORKTOWN, VIRGINIA 23693 ‘BOSUJ[DPOU/GDOINOFUPADJUODIDKDGBHWYSJIPOPJDU) 100 VIDEO NOVEMBER 1990