video-magazine-1995-05

wavsees «sz HOW TO Choose & Use Home Theater © eeeT OeTp Cee err \\y | Subwoofers |\\| DUAL Sig PROGRAM Ray Looser Lise Weyl Rit bower’ TIME BASE /VeLociy CoRRECTOR RlWNC) ‘Theater Master . Cnlighlened «Nudto ‘SsVudlofhile Bho SV Consianden Designs ELITE All You Need To Know— Plans, Products, Dates Key Features For A/V Perfection All-In-One Solution For Movies & Music 35-Inch StarSight TV, Data-Grade Front Projector, Low-Cost Combi Player, S-VHS VCR, Hi8 Viewcam

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VIDEO... FEATURES DIGITAL SURROUND, THE NEXT BIG SOUND? : 44 How AC-3 may power a quantum leap in home theater audio. By Jonathan Takiff 52 REINVENTING A CLASSIC 56 How a THX 30th Anniversary Sound of Music laserdisc unites 48 a film with its creators. By Chris Chiarella HOME THEATER FORUM: THE SYNTHESIS SOLUTION Cinema audio specialists bring it all home for movies and music. By Anthony Chiarella ANATOMY OF A RECEIVER Features and strategies to help you choose a home theater command center. By Ron Goldberg TAPES i pists REVIEWS / Tim Burton’s Ed Wood, Quiz Show, The Specialist on tape; 60 The Long Riders, Oklahoma and Hard Boiled on laserdisc; This is Spinal Tap and 20 Years of Pop Culture on CD-ROM, more 61 68 EDITOR’S CHOICE / Sega 32X. By Ken Korman Cover: DIRECTORY / The latest releases on tape and disc 28 EAD's Theater- VIDEOTESTS JVC HR-S7100U S-VHS VCR, Master control center with AC-3, Sharp VL-H410U Hi8 Viewcam, flanked by Runco’s MPiitosnuebeirshCiLD3-5S-1In0c4h C3o5m8b0i3 TPlVayewri,th StarSight Guide, AC-3 ready LJR-II Ampro Model 1200 Front Projector laserdisc player DEPARTMENTS CHANNEL ONE / A tale of two formats and Pioneer's VSX-99 Elite FEEDBACK / Letters from readers 6 receiver with AC- FAST FORWARD / Meryl Streep, Video Toaster Flyer, 3-D projection, 10 —_3. Photograph by 10 Years Ago, more 2 eid Cia NEW PRODUCTS / An LCD Handycam, VideoGuide, a digital camera, more by Singer, Ltd., HANDS-ON TEST / Micro cameras and a desktop movie maker 16 —_New York City. 20 HOME THEATER / Subwoofer secrets—the lowdown on low sounds 22 Video Maga CAMCORNER / How a do-it-yourself skill school helps videomakers flourish 24 Volume XVIX OFF THE AIR / Lost in the vaults—10 films that video forgot 106 Number 2 RY Video, ISSN 1044-7288 is published monthly except bimonthly July/August by Hachette Filipacchi USA, Inc., and managed by Hachette Filipacchi Magazines, Inc., 1633 Broadway, New York, N.Y. Audit Bureau 10019. Second class postage paid at New York, N.Y. 10001, and at additional mailing offices. Printed in U.S.A. One year subscription rate for U.S. and possessions, $17.94, Canadian $26.20 of Circulations (includes 7% GST); GST registration number 130479439. Authorized as second class postage by the Post Office Department, Ottawa, Canada, and for payment in cash. One year subscription rate for all other countries, $24.94. Cash orders only, payable in U.S. currency. Address subscription orders, change of address, correspondence and inquiries to: VIDEO, Box 56293, Boulder, CO 80322-6293, or call toll-free 800-365-1008. Change of address takes 60 days to process: send old address label, new address, and zip code. All material listed in this magazine is subject to manu- —facturer’s change without notice, and publisher assumes no responsibility for such change. Postmaster: Send address changes to Video, P.O. Box 745, Mt. Morris, IL 61054-1473. Customer service numbers 1-800-601-8345 or 1-815-734-1283. Video is a trademark of Hachette Filipacchi. USA, Inc. Copyright 1995, Hachette Filipacchi USA, Inc. All rights reserved. Printed in USA. 4 VIDEO MAY 1995

Blown Away “1291301 4 The Silence Of 0805309 Ace venilirar “1242908 cpoee ay pee The Lambs “0681106 *1154905 Pet Detective *1302900 Savi ng Ss! E.T.: The Extra- Four Weddings And A “1134006 Terrestrial 0911107 Funeral *0615005 Sleepless In Seattle Falling Down 1335801 Citizen Kane (Remastered/ Watership Down *1147008 50th Anniversary) The African Queen 0633008 P |us 1 Mo re At G reat Starman “0172304 (Remastered) 0600304 _i a Age Of Innocence “1207307 SBleievtelrejauice *0275800 Letterbox Crooklyn “1293505 The Exorcist la Jaws *0844605 Running Scared 1251305 Under Siege “1077908 pegens an : The Seventh Sign *0591404 The Pelican Brief Fright Night *0182006 No Escape *1288505 CLUB FAVORITES The Prince Of Tides *0847103 The Client *4300409 Indochine (Subtitled) *1188903 Guarding Tess *1299700 The Fugitive *1197706 Philadelphia *1251404 48 Hours (Remastered) *1315308 tfiepany In The Line Of Fire “1190107 ri ame racula seisimi un = “1174804 The Last Action Hero Close Encounters Of The oe BO Third Kind The Flintstones 1154806 (Special Edition) “1273002 poki edClapton: ei Unplugged \"1297308 Chinatown BlaDdireercutnonre’rs: CuTthe *4097906 1038405 Manhunter 0202507 Terminator 2: Grumpy Old Men \"0514406 Judgment Day *0233205 The Hunt For *1251503 Cliffhanger “1149301 Red October *0825000 Demolition Man *1199306 puieiiara * weBTEOY Unforgiven (1992) *1084003 Die Hard 2: Die Harder *0041806 BriKdwgaei ORnesTthoeredRiver *1143809 The Piano *1237809 joniGur EAeoHe Carlito’s Way *1229301 Star Wars *0056408 The Empire Strikes Back “0091009 pt fespsela A Few Good Men 1106301 NEW RELEASES And The Indecent Proposal *1142009 Basic Instinct *4033208 Natural Born Killers *1327709 Monty Python's <- 0523902 RProibnicne HOofodT:hieves *0976803 :On Deadly Ground *1251909 Wolf 4*1314905 *0181008 Heaven And Earth The Meaning Of Life Batman (1989) 7 Star Trek: *0203505 1251701 aiverade *4285501 Batman Returns 0642504 The Motion Picture Big *1336601 The P; ea “1029909 Star Trek II: \"0201301 ‘ Use Goodfellas vial ee - FeSe ogre 7 *0969808 The Wrath Of Khan * 0201608 Meee 0650309 Back To The Future erage oe eneRambo: ToFnirst Blood \"0211409 Star Trek Ill: outa Back To The Future The Shadow Batman: Mask Of The *0921304 The Se¥ arch For Spock * 1297001 Part Il Phantasm “0497008 Star Trek IV: A Clockwork Orange *1356005 Back To The Future ee Des Soot. Ces, “1238906 *0151704 The Voyage Home “0430603 The Running Man *1316108 Part il & Remains Of The Day i at \"4252204 idle id ee Witness (Remastered) *1315407 Blue Thunder sala Un 5 The Sound Of Music *1232503 *1121300 Time Bandits *1330109 Moonstruck aan ce g Aliens *0003905 “1154400 (Remastered) Scent Of AWoman = 0826008 8 Alien 0360909 Suan u 74147008 Ladyhawke *1356302 s Ali;en 3 The Firm 1033109 0000208 *0220509 nae eee 2001: A Space Odyssey “0844308 © pea pr = 1042506 Ghost = esloo ge 1104900 “1261106 The Naked Gun 33 1/3 — “1286707 3 jout Nothing AES My Cousin Vinny Warrior paboane The Final Insult 12 85600 S Weiazaerds ; Conan The Barbarian *1051309 Highlander *1285808 *1328103 ~ Hard Targe ST07I3V4G9E0n5E H lome Al Alone 2: *1297209 Ph antasm ul Lost In New York *0559005 Bad Girls Outland za‘9D BDrruacgeon:LeeTheStory “4105907 The Abyss x 1150705 Patriot Games TMhoehicjLlaasnts Of The * 1071406 IFnatthheer Name Of The *4247709 The Wizard Of Oz Maverick (1992) *0881102 Backdraft Recerer The Bodyguard Pradatoy City Slickers Il: The Legend 0001404 “0104307 Of Curly's Gold Predator 2 1296805 Here's a great way to build a collection by the date specified. And you'll always Columbia House Laserdisc Club of your favorite movies — on laserdisc! have 14 days to decide; if not, you may Just write in the numbers of the 3 return the selection at our expense. Dept. WOW, P.O. Box 1112, Terre Haute, Indiana 47811-1112 laserdiscs you want for $1.00 each, plus shipping and handling. In exchange, you Money-Saving Bonus Plan. If you Yes, please enroll me under the terms outlined in this advertisement. As a member, |need buy only simply agree to buy four more laserdiscs continue your membership after fulfilling 4 more selections, at regular Club prices, in the next 2 years. in the next two years, at regular Club your obligation, you'll be eligible for our Send me these 3 laserdises for $1.00 each-plus $1.50 each shipping and handling (total $7.50). prices (currently as low as $29.95, plus generous bonus plan. 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igle- of VIDED. two formats magazine Editor, Stan Pinkwas Senior Editor, Peter Barry Technical Editor, Lancelot Braithwaite Associate Editor, Stewart Applegath Assistant Editor, Josef Krebs Entertainment Editor: Ken Korman This month’s cover story, by contributing editor Jonathan Takiff, will tell you all Contributing Editors: Bob Angus, Frank Beacham, you need to know about Dolby’s new digital surround system, a six-channel Anthony Chiarella, Bruce Eder, M. Faust, Ron sound processing technology known by the abbreviated handle AC-3. The story Goldberg, Ty Harrington, Tom Heald, David is packed with information about how AC-3 will be applied, how it works, how it sounds, and about the first generation of AC-3 components. We first reported Lachenbruch, Timothy Liebe, George Mannes, AC-3 was on the way last June, and predicted it would take about a year to land on shelves. This seems to be the case. Don’t be put off by the fact that the first Marianne Meyer, Kevin Miller, Cliff Roth, Sol Louis decoders and laserdisc players will be relatively expensive. This is partly because Siegel, Jon Silberg, Tom Soter, Jonathan Takiff, they’re made by high-end audio companies with exacting specifications. AC-3 is John Walker, Rich Warren, Scott Wasser, Stewart intended for the masses and components with a wider range of prices will be arriving as the technology establishes itself. And we’ve little doubt it will. Wolpin, Roderick Woodcock One of the intended uses for AC-3 is as the audio component of the digital Art Director, Marshall Moseley video disc format developed by Toshiba and Time Warner, which is expected to Assistant Art Director, Nadira Abdul-Kadir be introduced sometime next year. DVDs are going to shake up the video world Art Assistant, Gary French in a big way with their ability to hold high-quality versions of complete movies Marketing Director, Luanne Rao on individual five-inch CDs. This applies whether DVDs come in one format or Production Manager, Gary M. Krystofiak two, holding 10 gigabytes per disc or 7.4. The Sony and Philips camp, which has Production Assistant, Kim Lau developed a DVD format with the latter capacity, surprised many industry Typesetting, Janet M. Holland watchers, including ourselves, by promising to forge ahead with its system despite a massive display of corporate firepower from Toshiba, Time Warner and TONY CATALANO a gold-plated phalanx of allied film studios and manufacturers. Vice President and Group Publisher Indeed, the format war over DVD that many industry players had hoped to JAY ROSENFIELD avoid is already going on between backers of the two systems out of sight of the Publisher buying public, with advocates making numerous claims about each DVD's capacity, cost, compatibility, deliverability and user friendliness. We'll have more CONSUMER ELECTRONICS GROUP to report about this in coming months, but none of this jockeying for advantage ADVERTISING undermines the DVD’s remarkable promise. VP and Associate Publisher: e Scott Constantine 212.767.6346 Finally, a personal note. This isssue is my last as editor of Video Magazine. The Regional VP/Ad Director, East Coast: publication, as reflected in the accompanying masthead, has been acquired by Charles L. P. Watson 212.767.6038 Hachette-Filipacchi Magazines, publisher of Stereo Review, Popular Photography and other fine technology-oriented magazines. It’s been a great ride helping to Regional Account Manager, East Coast: chronicle the growth of home video over the past decade. I’ve enjoyed it Christine B. Forhez 212.767-6025 immensely, as well as the opportunities I’ve had to meet and speak with our readers over the years. Products that once seemed the stuff of science fiction Midwest Advertising Manager: have become everyday conveniences and, as the still newer technologies we’ve Jerry Stoeckigt 312.923.4804 been covering establish themselves, the story can only get better. Regional VP/Ad Director, West Coast: Bob Meth 213.954.4831 West Coast Advertising Manager: Paula Mayeri 213.954.4830 West Coast Sales Assistant: Nikki Parker Assistant to the Publisher: Aline J. Pulley Operations Manager: Sylvia Correa Advertising Coordinator: Linda Neuweiler Sales Assistant: Yvonne Telesford National Record-Label Sales Representatives: The Mitchell Advertising Group (MAG Inc.) Mitch Herskowitz 212.490.1715, Steve Gross 212.490.1895 HEM VIDEO magazine (TM) IS PUBLISHED BY Hachette HACHETTE FILIPACCHI Filipacchi MAGAZINES, INC. Magazines Cen S Chairman: Daniel Filipacchi, President, CEO, Stan Pinkwas & COO: David J. Pecker, Executive VP and Editor Editorial Director: Jean-Louis Ginibre, Senior VP, Global Advertising: Paul DuCharme, Senior VP, Director of Corporate Sales: Nicholas Matarazzo, Senior VP, CFO, & New Business Development: Paul De Benedictis, VP, Marketing Director, Corporate Creative Service Director: Lynn Chaiken, VP, General Counsel: Catherine Flickinger, VP, Manufacturing & Distribution: Anthony Romano, VP, Circulation: David W. Leckey, VP, Research & Marketing Services: Susan Smollens, VP, Communications & Special Projects: Keith Estabrook, VP, Magazine Development: Marcia Sachar, Creative Production Director, Global Marketing: Jean Pierre Labatut 6 VIDEO MAY 1995

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VIDEO ADVERTISER Letters from our readers Ke Vabemer-beconvttlyop 3-D unmasked retailers in a bad light! We do not sell an James Mattison’s “Feedback” letter ESP unless the customer requests one. IWEcVcdaabate mVE-bat-ec-yapioyg (March) about “Video Magicians” Instead, we have prospered by providing (Jan.) could use some help. The 3-D FAST Electronic, discuss- effect observed by placing a dark filter friendly, personal service. It is unfair to over one eye is known as the Pulfrich imply that all retailers are after the es desktop video editing. illusion. It is based upon the fact that quick buck. Many of us are more inter- the rods and cones that make up the ested in developing long-term relation- What is Non-Linear video retina have different response times to ships. Most electronics fail early on if editing? light. By placing a neutral density filter they are going to do so at all, so a man- over, say, the right eye, the cones are in ufacturer’s warranty will provide for Non-Linear editing is the com- most problems. mon term used in describing the effect shut down, leaving the rods, computerized style of editing. which react more slowly to light, as the Steve and Rosemarie Fry Basically, you take your footage from Tahoe City, California your camera and digitize it to your basic sensor. When one views an image computer’s hard disk. From here you Pressure tactics have the ability to randomly piece having certain side-to-side movement, You certainly hit the nail on the head clips of video together, and when it the filtered eye sees the moving object with your article on extended service is assembled to your liking, you at a point slightly behind that of the plans . As a former store manager for a record your video back out to tape. uncovered eye, producing a time paral- You can find products with these lax the brain interprets as spatial paral- capabilities ranging from $1,000 to lax. The effect can be quite good, $50,000 depending on your needs. though most commercial users of the One of these products is the Movie technique fail to impress for more than Line from FAST Electronic. The a few moments at a time. Movie Line combines innovative hardware with the leading video Daniel L. Symmes editing software, offering a very President, 3D Video powerful solution to your video edit- Woodland Hills, California ing needs. Nobody missing What type of computer will I require? I believe Ken Korman is mistaken when A 386 or better PC with at least he says Once Upon a Time in the West 8 MB of Ram is all that is needed for the Movie Line. Hard disk storage was the only Sergio Leone western not requirements vary, depending on the length of video you wish to produce, to feature Clint Eastwood (“Editor’s but a good rule of thumb is 10 MB of available storage for every minute of Choice,” March). I’m sure I came across video you wish to edit (this includes audio). a western on the American Movie What is included with the Classics cable channel titled My Name now-defunct major retailer, the pressure Movie Line? is Nobody featuring Henry Fonda. to sell ESPs was enormous. For the com- The Movie Line features include non-linear editing, 2-channel Check it out! Tim Catley pany, it was much more important to switcher, titling and keying capabili- meet ESP sales goals than hardware ties, video overlay, and built-in TV- Youngstown, Ohio Tuner. The Movie Line also comes bundled with Adobe Premiere, sales goals. I saw many people fired for AutoDesk’s Animator Pro, and XingCD for creating CD-ROM titles. Editor’s Reply: Good guess pardner, not meeting them, and the stress was The Movie Line from FAST has a but Nobody’s director is spaghetti auteur horrendous. I left the profession suggested retail of $995. Tonino Valerii. because I couldn’t continue being part of the deception. Ed Hedrick Not so fast Manassas Park, Virginia Now that you've explained in detail how to install a CD-ROM player on a For the record The Mitsubishi 1250 Front Projector in PC (“Hot-Rod Your PC,” Mar.), perhaps April’s “Videotests” should have received you could write a similar one on a V-Rating of 4 instead of 3, which appeared due to a production error. a installing a CD-ROM on a Macintosh. It would go like this: Plug CD-ROM player into Macintosh. Turn on Macintosh. B. Freer Freeman Send letters to Feedback, Video Magazine, 460 West 34 Street, New York, NY Arlington, Virgina 10001; fax to 212-947-6727, or send via CompuServe to 75147,1255 or the Inter- Warranty interest net to 75147,[email protected]. I read your article on extended war- Letters may be edited for clarity and ranties (“Warranty Roulette,” March) space. with growing dismay. You certainly show 10 VIDEO MAY 1995

The people at Lucasfilm THX know Program establishes test procedures about sound. They know that cables and solid, measurable performance standards for cables. make an important difference. And they And that’s why Lucasfilm THX certi- fies the performance of XLO/VDO\" know that, especially cables, and zot all the others. XLO/VDO is the complete line of for Home Theater, you cables for home entertainment” CoERo CPE can’t expect to get the from XLO Electric Co., Inc., whose very best possible products are recognized every- COMPATIBLE WITH sound from your sys- where as “The Best in the World.” DOLBY® PRO LOGIC® & ALL OTHER SYSTEMS tem unless the cables you use are just as good as your other components. That’s why the Lucasfilm Home THX nLO/VBO XLO Electric Company, Inc. » 9480 Utica Avenue, Suite 612, Rancho Cucamonga, CA 91730 « Phone (909) 466-0382 + Fax (909) 466-3662 THX is a registered trademark of Lucasfilm LTD. Dolby and Pro Logic are registered trademarks of Dolby Laboratories Licensing Corporation. All rights reserved.

7 \\) oe FORWARD DMA’s Prince with a roadster in Z-space. Mery] Streep, Is Z-Space ze place for 3-D? stuntwoman Imagine video Advances in digital technology al- low crafty filmmakers to fake just about images so real, you reach anything. Action sequences that once re- quired the best stunt men now typically out to touch them. call for state-of-the-art computers. But when it came time to design the thrilling That’s what Dimen- | whitewater rafting sequences of The Riv- er Wild (MCA/Universal cassette and sional Media Associates laserdisc), director Curtis Hanson (The Hand That Rocks the Cradle) decided there of New York says it has was no substitute for the real thing. with its new High Def- “Curtis said, It would be so good if it were really you, ” remembers River Wild inition Volumetric Dis- star Meryl Streep with a laugh and only a slight roll of the eyes. “And I said, ‘But play. The system projects ifit’s really me, I could die and your movie 3-D images of objects, both stationary and in full-motion, that look as if they’re suspended in real space, not on a screen. The most rivet- ing example I saw was of a free-standing perfume bottle that appeared to float in the air over the projector at DMA’s downtown lab. I could actually walk around the small image and shine a flashlight on it. DMA president Jonathan Prince says the system can take images from any video source, including CD-ROMs, and project them as aerial images in an | | area Prince calls “Z-space” that can range from inches to 20 feet, diagonally, with vertical and horizontal fields of view up to 120 degrees. You can see some of these images floating in front of the display windows at Bradlee’s, a de- partment store on Manhattan’s Union Square. DMA says it is working on a variety of projects, including some with game companies to produce low-cost home units, and says that a TV-style display for under $400 could be avail- able by 1996. —Stewart Applegath + l’ water, ruining the shot. It was the end of Video’s tapeless new high Flyer Fearless: Streep at the oars on a wild ride. along day’s shooting, and Streep said that will be over.” she thought she was too tired to do it again. Streep plays a former rafting guide on Hanson asked her to do it anyway. “She kind a family river excursion who gets hijacked by a band of fleeing thieves. Not known of zigged when she should have zagged and When the Video Toaster debuted as an action star, Streep nevertheless rose in 1991, it offered unprecedented value for to the occasion. According to one of her got thrown over,” Hanson explains. “She instructors, she actually became a pro- creating special effects, animation and ti- fessional-grade rafter by the time filming went a couple of hundred yards tossing and was complete. “I was motivated by fear,” tles. NewTek, the Toaster’s creator, is again Streep told Video Magazine. turning in the so-called Maytag effect. She at the cutting edge of desktop editing with the Video Toaster Flyer, a tapeless, or non-_ Both Streep and co-star Kevin Ba- was angry—at me. But Meryl got over it. linear, editing system. Instead of copying con each took at least one major spill in the churning water of the film’s Montana It was the nature of the beast in making this video from one cassette to another, | and Oregon locations, giving director video and audio signals are digitized Hanson a couple of unforgettable scares. movie.” —Ken Korman and stored on hard disc drives. You can One climactic scene in particular seemed to stick with the cast and crew. __THENUMBER _ edit, trim, refine and revise to your heart’s content, without worrying Twice Streep had flawlessly executed Percent of homes with four about generation loss—and without one of her most difficult whitewater se- or more 1 V sets. quences. Then it was discovered the cam- waiting for tapes to cue. Non-linear era had been knocked askew by the powerful systems have been around for years; 12 VIDEO MAY 1995 witness Avid’s professional system and Adobe Premiere. What makes the Flyer a breakthrough is its ability to deliver what NewTek says is D-2

TIMESHIFT TEN YEARS AGO IN VIDEO MAGAZINE “By the end ofthecentury, theredefi- Japan’s video giant Matsushita recently an- nitely will be,inmy view, big-screen nounced a completely new type of flat, col- TVs, flat-screen TVs and computer-TV or TV. According to spokesmen, the new Video hybrids in many, many homes,” Dummies is the technology has “no size limitations.” The book beat perfect antidote to those poorly writ- model shown in Tokyo had a 10-inch picture, ten VCR and cam- was 14 inches high, 14.6 inches wide—and Here’s a corder instruction only 3.9 inches deep... Projection TVs are sell- quarter of in- manuals, and ing like oversized hotcakes and just may be- triguing new would make a per- come the newest video craze. Americans books to add your fect gift for a be- bought almost 200,000 in 1984 and are ex- video reading list: ginning video pected to gobble up a quarter-million _ * Being Digital hobbyist. (Alfred A. Knopf; * Interactive more this year...Re- New York) by Nicholas Negroponte ex- Television (McGraw-Hill; New York) by cently released fig- plores new possibilities in an age of dig- Winston William Hodge offers technically ures prove that the ital technology. Negroponte, inclined readers a good Beta format continues head of the Media Lab at the overview of the digital tech- to lose its place in our Massachusetts Institute of Tech- nologies being used to cre- hearts—despite all nology, has a long track record ate interactive multimedia the diehard reports for making predictions that TV systems. Video-on-de- come true. In this well-written mand, image compression, that Beta does every- tour of the digital landscape, he video servers and set-top thing a VCR should | asserts that video rental stores will boxes are discussed in detail, do, only better than if, be driven out of business in less along with other important VHS...Is that a color than 10 years by more efficient parts that make up the new TV in your pocket? It mates forms of digital delivery, that any- engines of video. could be. Sanyo is going fo sell a 3-inch flat- one will be able to operate as an * The Fall of the U.S. tube color model in Japan this fall for about $385...A Texas motel has been found guilty unlicensed TV station, and that Consumer Electronics In- individuals will be able to run dustry: An American Trade of signal theft in a suit brought by HBO, ES- electronic video services over Tragedy (Quorum Books; computer networks in the same Westport, CT) provoca- PN and a local cable company...Magnavox, way that 57,000 Americans now tively chronicles a decades- Philco and Sylvania have a new kind of cam- run computer bulletin boards. long trade battle waged by corder for those legions of VHS owners in- ¢ VCRs and Camcorders for Dummies Zenith Electronics against what's described terested in one-piece shooting. It uses a full-size VHS cassette, not the mini TC-20...The (IDG Books; San Mateo, CA) by Video as “a powerful international conspiracy Magazine contributing editor Gordon that once monopolized worldwide ra- parents of nearly 1,100 Nashville children McComb and Andy Rathbone is aimed at dio—and later television—manufacture.” “techno-klutzes” and may just be the sim- Author Philip J.Curtis, a lawyer who par- feel safe tonight—“videoprints” of their kids plest, most basic home video book ever. ticipated in many of the actions described are on file with the Nashville Police De- It promises to end blinking VCR clocks, in the book, argues it was no accident that partment thanks...Video stores are setting but delivers much more. From editing and consumer electronics manufacturing up drive-through windows so renters don’t hook-ups to troubleshooting, all the ba- shifted from the U.S. to cartelized Japan- have to shut off the Chevy and face the el- sics are here in short, reference-size bites. ese companies. —Frank Beacham ements or long lines; drive-through giant broadcast quality at a reasonable price. Be- Now about that price: The Flyer goes Fotomat is testing the idea in 54 sides video, the Flyer can record and mix for $4,995, but you'll also need a Toaster, four sets of synchronized stereo sound tracks, a Commodore Amiga computer (U.S. courts stores...Video pirates will have a tough time with CD-quality. will soon decide who takes over Amiga man- ufacturing from the bankrupt Com- getting counterfeit copies of RCA/Columbia Instead of standard MPEG video com- modore), as well as a time-base corrector, pression, the Flyer uses a proprietory sys- and a couple of hard disc drives with at least tapes into retail stores. The programmer now tem that NewTek says provides higher a gigabyte each (the bigger the drives, the quality images with fewer artifacts. Flyer edit- more video you can record). This means stamps its cassette packages with “Au- ing is simplified by a storyboard-style in- you'll need from $12,000 to $15,000 for a terface. Each video clip, audio clip, complete Flyer system. That’s not peanuts, thentiseal,” a “latent image” anti-coun- but it’s less than a tenth what this capa- transition, animation or graphic element bility cost using videotape a decade ago, and terfeiting system....Now you can get appears as a single box in the storyboard sequence. All the special effects of the Toast- less than half what non-linear, broadcast- quarterback Dan Fouts to throw that surprise er can be used as scene transitions. Audio quality Avid editing systems still cost. and video can run for different time dura- bomb on third-and-one with Halcyon, a new tions, to create split edits. — Cliff Roth interactive videogame system from RDI. “It’s the answer to a dream people have had for centuries,” says RDI president Rick Dyer, “to take part in a story and make decisions that affect the outcome.” . APRIL 1995 VIDEO 13

a poe BY STEWART APPLEGATH_ reine=. SONY’S SWIVEL SHOOTER emma Lssinauarseseeiva Sony’s CCD-TRV30 ($1,099) is a ATTENTION GRABBER | palm-sized 8mm camcorder with multiple shooting and viewing With Casio’s svelte QV-10 LCD digital | still camera ($700) you can see the | options, thanks to a three-inch images you shoot thanks to a 1.8-inch | color LCD screen. Mounted on a LCD color screen. You can watch your | 270-degree swivel, the screen swings out from the side of the pictures ona TV, record them ona chassis to reveal a speaker and VCR, or transfer them to a personal other controls. You can shoot computer. Up to 96 images can be using the LCD or a traditional stored or deleted in the camera. The viewfinder, get in close with a 12x variable-speed zoom, or add zing QV-10 employs a high-speed shutter to your footage with such digital effects modes as black-and-white, and an aperture-priority automatic mosaic and sepia. And you can exposure control so you can capture watch your videos on the LCD screen all you see. (For more info, circle 109 using a built-in stand. (For further info, cir- on your Reader Service Card) cle 113 on your Reader Service Card) MOVE TO THE GROOVE WORLD AT YOUR WINDOW Sennheiser’s IS 850 Digital cordless VideoGuide’s interactive onscreen program guide ($99) is designed as a stand- infrared headphone system ($1,295) alone companion to any new or older TV. It comes with a allows you to cut loose without sacri- universal remote and provides up-to-the-minute, seven- ficing audio quality. With a high-resolu- day TV listings, including times, stations and descriptions. tion analog-to-digital converter and an Also included in the basic subscription fee of $4.95 a anti-aliasing filter, the headphones month are one-touch VCR recording and thematic sorting reduce noise and artifacts as they of program listings. For small additional fees, VideoGuide process incoming frequencies. The lets viewers access news reports from AP and UPI, and headphones run on two AA batteries sports scores with summaries of games and games-in- that Sennheiser says will give you four progress. (For more info, circle 102 o¢ n your Reader hours of listening freedom. (For more info, circle Service Card) 101 on your Reader Service Card) 14 VIDEO MAY 1995 ONKYO A/V RECEIVER Onkyo’s Integra TX- SV727DSP A/V receiver ($750) is one of the first pow- ered by Motorola’s 24-bit 56004 digital signal processor chip. The microprocessor promises enhanced performance, features and functions. Onkyo says it reproduces the complexity of a live soundfield and improves channel separation and signal-to-noise per- formance. The TX-SV727 is rated at 100 watts per channel stereo and allows multiple source assignment: You can watch hi-fi TV in one room and play CDs in another. (For more info, circle 104 on your Reader Service Card)

SLEEK SANYO > Affordable and simple describe Sanyo’s VM-PS12 8mm camcorder with a breakthourgh suggested price of $499. With a 3x mechanical zoom, optical viewfinder, auto shut- ter speed adjustment and auto white balance, the PS12 gives you the ability to record without complication. It includes a flying-erase head for clean stops and starts, high- speed picture search and an AC adapter/charger that “refresh- es” your battery. (For more info, circle 111 on your Reader Service Card) v IMAGES IN A SNAP Play Inc.’s Snappy Video Snapshot ($199) claims to be the world’s first high-definition video grabber. Snappy connects easily to your PC or laptop parallel port and can gobble any video source, be it tape, TV, laserdisc or camcorder. Play says Snappy brings sharp, network-quality stills to PC owners by using a custom-made HD-1500 chip. With the graphics tools that are included, you can retouch video stills and dis- tort, composite or morph yourself into someone or something else. (For more info, circle 107 on your Reader Service Card) SMoAnaNnYce’sROMORCM1S0,0 O($N6E99)SiOs UaRmCulEtireoom audiao/evideo SUITE EDITING> switching system designed to service several rooms with a minimum of fuss. The MRC100 frees you from selecting Videonics’ Edit Suite ($699) A/B roll, a source on your receiver: Just switch on your VCR, multiple-format edit controller is designed to make video editing laserdisc player or other home theater equipment, and the easier. It’s compatible with other switcher senses the signals and sends them to your moni- mixers and can manually or automatically control up to tor. You can also operate music components in one room four source decks and at the same time you're watching video one recording VCR. in another. (For more The suite includes a info, circle 106 on professional-quality your Reader Service Card) jdoegc/isshiuotntlelistwhseteolr,ageed/ietx-port (which allows off-line work to be trans- ferred to more sophisticated systems), a backlit LCD display and support for most control protocols. (For more info, circle 108 on your Reader Service Card) <CANONADE “SLEEK AND SMART Canon’s SV-15 loudspeakers ($199/pair) can also Soundstream’s Touche Re3 programmable remote be used as satellite-surround speakers in your control ($249) can down- home theater room. By using an acoustic mirror to size your remote control disperse high frequencies, Canon says the SV-15 workload. Not only can it program multiple com- creates a stereo image over a larger area than con- mands under a single but- ventionally designed speakers. With built-in mag- netic shielding, you can also use the SV-15 on or ton, it can set an interval near your TV without worrying about distortion. for the release of each (For more info, circle 110 on your Reader command. As a result, Service Card) your amplifier can power up before your laserdisc begins to play. The Re3 can learn component codes and comes with a 170-piece custom-labeling set. (For more info, circle 105 on your Reader Service Card) MAY 1995 VIDEO 15

HANDS-ON TEST Micro cameras and a desktop movie maker SuperCircuits’ PC-14P and a tie or a cap. They'll even drill peep Macromedia Director 4.0 PC-15P micro-video cameras holes through buttons. for Mac and Windows You've seen their images in hidden-cam- We tested two of SuperCircuits’ Macromedia’s Director 4.0 is a powerful era interviews on 60 Minutes and point- smallest, most advanced models, the timeline-based computer program that of-view shots during sports events. PC-14P Microvideo Pinhole mono- helps users control the animation of They’ve probably recorded your own chrome camera ($249) and the PC-15P such elements as Color Pinhole Microvideocam ($579). videos, graphics, text image in casinos, By using three-piece “pinhole” optics, and audio to create rather than larger conventional lenses, hotel lobbies and the cameras offer incredible 90-degree Desktop Auteur: Director screen and windows department stores. angles of view with a depth of field showing cast members, score and controller. ranging from 1.5 inches to infinity. The Mighty Minis: cameras were part of a super compact multimedia productions. A relatively The PC-15P covert video taping system that includ- simple scripting language, LINGO, lets color micro ed a two-pound Sony EVO-220 8mm you add interactivity to your desktop VCR ($1,095) and a tiny condenser movies. Regarded as the number one camera (left), a microphone ($9.95). The recorder is authoring program for the Mac, Director condenser mic usually worn in a fanny pack, also is now available in a Windows version, included, often hidden under a jacket in and both are compatible with each and the PC- the small of the wearer’s back. other: Any movie created in Mac 14P black-and- Director can play on Windows Director white camera The PC-15P is billed as the world’s smallest color pinhole video camera. It without conversion and vice versa. You (below). consists of two folding circuit boards can also create “projectors” that will that measure only 1.65-inch square. A Now they’re poised 1/32-inch lens hole, about the diameter play your movie on other computers to take off in the of a straight pin, is used for viewing. Our that don’t have Director. review unit came mounted inside a plas- worlds of comput- tic case two inches square and three- Elements to be included in the er imaging, tele- quarters of an inch deep. The camera movie can be created within Director, conferencing and draws power from a seven-cell AA bat- but files can also be imported from pro- © robotics. Welcome tery pack or a 12-volt 200-milliamp AC grams like Adobe Photoshop, an audio to the incredibly shrink- power supply. editing program like Macromedia’s ing world of micro- SoundEdit 16, an animation program video cameras. These At 330 horizontal lines of resolution such as Swivel Pro, or as a QuickTime are video cameras and a low-light capability of 2.5 lux, this movie, They can then be added to, mounted on match- tiny camera delivered a sharp color manipulated, or animated in a Director book-sized circuit image that compares in quality with boards, cameras so many full-sized, single-chip consumer movie. small they can be camcorders. There are no controls. You Director uses a film metaphor. Cast hidden in a necktie, just plug it in. As the camera moves, an behind a coat but- members appear in a window as thumb- ton or in a baseball Undercover: 5 Sony’s EVO-220 8mm VCR, a nail images of your original photos, cap. Yet, they’re so suitable recorder for covert cameras. drawings, videos or whatever. They can good their images can be aired on net- be dragged or copied to a stage window, work TV. auto iris adjusts to the changing light where cast members perform, or to a SuperCircuits of Austin, Texas (800- conditions. score window, before they appear in 335-9777; online at [email protected]) your movie. The score is a grid of 48 is a major supplier of tiny cameras and The PC-14P says SuperCircuits, is channels that determine the length of accessories to clients ranging from the the world’s smallest pinhole video cam- time an element remains on stage. Each TV networks to the CIA. These days, continued on page 34 SMLEUOSPRESRI however, with micro camera prices start- ing under $150, video hobbyists are dis- covering a previously unaffordable cate- gory of equipment. All the micro cameras sold by SuperCircuits use single 1/3-inch CCD sensors. Most offer between 380 and 450 TV lines of resolution and run on compact battery packs. And any can be custom installed. SuperCircuits will weave its cameras into a shirt, a jacket, 16 VIDEO MAY 1995

square in the grid is a cell, and each cast AAAAAAAAAAAAAAAAAAAAAAAAAA at one hour and 50 minutes in SP member can be dragged into a cell, then Then I set a second program for the expanded over as many frames as Two hours plus same channel to start recording at 50 required. minutes to the hour (the same time When I want to timeshift a two- the first SP recording finishes) in EP Director also has two audio chan- hour-plus movie in SP mode on my mode. This would be sufficient for a VCR, but I only have a 120-minute 135-minute movie. You'll see a small nels, a LINGO script channel, a tape, I set my timer for one program glitch at the joint between the two palette channel, a tempo channel, a transitions channel (with 50 transi- segments, but the entire movie fits on a 1-120 tape. tions, including dissolves) and an LouisNemeth “ink” selection menu, all of which allow virtually limitless control in Port Colborne, Ontario, Canada transforming copies of the cast mem- bers and the way they perform. AZDEN QUALITY SOUND LINGO lets you handle more com- LETS YOU GET THE WHOLE PICTURE. plex events, and control cast mem- bers so they will respond to a viewer’s Your camcorder’s built-in microphone picks WMS-PRO up sounds from all directions, including those you input. don’t want. When shooting from a distance you To include an element, like a video can’t record your subject's voice clearly. Azden, the leader in professional microphones for edited in Premiere, just use the Import videography, offers a full range of options to command, drag the video to the stage make your sound as good as your pictures. and position it where you want it to play. It will appear as a cell in the score “PRO” series wireless microphones: window. Alternatively, a cast member ¢ Powerful VHF professional wireless systems with a range can be positioned in the score and it of over 300 feet. * 2 Switchable frequencies for noise-free automatically appears on the stage. It performance. ¢ Belt-pack transmitters (WLX, WMS). can then be expanded over as many ¢ Miniature receivers with supplied shoe mount and velcro. frames as required by highlighting a WMS-PRO: Comes with 2 mics (lapel and handheld) which strip of cells and executing an In- plug into the transmitter. Between command from a pull-down menu. The content of each cell or WHX-PRO: Wire-free handheld mic with built-in transmitter. strip of cells will play in the order it is laid down along the timeline in the WLX-PRO: Lapel microphone system. score when the movie is activated through a VCR-like control panel. CAM-3: A mini 3 channel mixer for recording sound from Using LINGO instructions these ele- 3 add-on-mics, while you're shooting. Only 2-1/8” x 3-1/4” it ments can also be told to perform can be attached to your camera or clipped to the handstrap. Needs no batteries. Cables included. more complicated actions, like contin- uing to play in loop until a further HS-7V: Headset with boom mic for adding narration as CAM-3 you shoot. Also use it to monitor instruction is given. However, amazing sound you're recording. non-interactive multimedia movies can be assembled without using ECZ-990: A 7” long directional mic. LINGO instructions. Zoom in on your subject’s voice, reducing Director 4.0 includes more key- Ya AJAZDEN'side noises. Range 35-40 feet. board shortcuts and standardized com- 147 New Hyde Park Road, Franklin Square, NY 11010 mands than earlier versions, the abili- (516) 328-7500 FAX (516) 328-7506 ty to make 32,000 cast members for Distributed in Canada by GENTEC each movie (up from 512), twice as many channels, limitless Director movie size (up from 16 megabytes), a better search function, and better playback performance and memory management. I was still left wishing for a limit- less supply of RAM for playing even short movies I’d created and for importing large files. However, Director no longer crashes when run- ning out of RAM. It simply stops and warns the user there’s no memory left, and that it’s time to save the file. Overall, Director 4.0 does a great job helping mere mortals create interac- tive productions. It can be used by novices to get impressive results, while desktop auteurs willing to invest some time (there are five instruction manuals), can assemble complex, sophisticated works. —Josef Krebs Circle 4 on Reader Service Card. MAY 1995 VIDEO

HOME BY ANTHONY CHIARELLA THEATER Subwoofer secrets — the lowdown on low sounds Looking to shake up your system? if apartment dwelling imposes limits on Choose a couple of videotapes or Because of their impact on home the- your listening pleasure, high power or laserdiscs and, if music is a priority, one or two CDs with which you are familiar. ater sound, powered subwoofers have prodigious output capability should As you visit dealers, evaluate each sub become a hot category, prompting most rank as low priorities. On the other using the same cinematic and musical selections. If possible, have the salesper- speaker manufacturers to add one or hand, matching a large amp and speak- son partner the subwoofer with speakers similar to ones you own. | advise against more models to their mix. In fact, a ers with a small, low-powered subwoofer adhering rigidly to a predetermined powered subwoofer provides the bass would be a mistake. As a rule of thumb, budget. Base your decision more extension and volume augmentation a subwoofer’s internal amplifier should on the ability of the subwoofer to satisfy your needs than on its necessary to transform your hi-fi into a produce at least as much continuous cost. A component that doesn’t fullfill its owner’s expectations is home theater. By removing the a poor value, no matter what price was paid. burden of low bass reproduction MAKING IT from your main speakers, a sub- WORK woofer can actually improve Although the theory and practice of sub- midrange and treble perfor- woofer setup could fill volumes, the basics are mance. But simply running off to easy to understand. A subwoofer should blend the local sub shop and blindly seamlessly with the main left and right brandishing a credit card could channel speakers. It should augment the bass be a mistake. Given its ability to and volume capabilities of the system without rattle a room, adding a sub- ever calling attention to itself. In-room sub- woofer is akin to bringing home woofer performance is primarily siected by location, gain (vol- an attack dog. ume) level matching and crossover fre- quency, and we’ll consider each of these Happily, knowledge of the factors. e Location. Subwoofers work best breed can prevent catastrophe. when they are along the same wall or in the same plane as the main speakers. If you choose the correct sub- Locating subwoofers directly against walls or in corners is not recommended, woofer for your system and opti- as such positioning results in bass rein- forcement or reflection, manifestations mize it to work with your other of which include boomy, uncontrolled or uneven low-frequency response. If components, the results will jus- possible, experiment with positioning until the subwoofer occupies a space tify the time and money you that provides maximum coherence with the main speakers while producing a spend. In this article, we’re going minimum of low frequency overhang to talk about what you'll need to Low Riders: (boom). ¢ Gain level-matching. The most know to select and set up a sub- Velodyne’s slot-loaded woofer, and recommend a few ULD15 (above) and Miller & common mistake in subwoofer set-up is models worth your attention. Kreisel’s V-125. choosing a gain setting that is excessive The selection process begins relative to the main speakers. In fact, a with an assessment of your listening wattage as one of your power amplifier’s continued on page 34 room and audio components. Start by main (front left or right) channels. asking and answering a series of ques- Consider the primary purpose for tions. How large is your room? If the which the subwoofer will be used. Are space can only support frequencies you principally interested in home the- down to 30 Hertz (as is the case with ater performance, or music? For motion any room not wider or longer than 28 pictures, the emphasis should be on fre- feet), it makes little sense to purchase a quency extension and output. However, subwoofer capable of reaching all the when stereophonic reproduction is a way down to 20 Hz. How much bass do significant goal, driver speed and pitch your current speakers generate? If you definition (qualities typically found in own large, floorstanding speakers and more expensive units) become more have a spacious room, a high-powered subwoofer with extended low bass important. Where will the subwoofer be locat- would be a logical choice. Conversely, a ed? Determine if there are limitations pair of small, high-quality “mini-moni- on the physical size of the enclosure. If tors” might be best served by a smaller the unit will go in a cabinet, be sure the woofer or a pair of woofers, perhaps sub you choose will fit. When placing a with a servo control or accelerometer to subwoofer near a TV tube, video shield- improve pitch definition. ing becomes desirable. Asking these Do you prefer high or low listening questions will help you rule out inap- volumes, and what sort of power ampli- propriate units, and focus on sub- fication do you employ? If soft to mod- woofers that will meet your needs. erate playback levels are satisfactory or Now, it’s time for auditioning. 18 VIDEO MAY 1995

CAMCORNER BY SAUL HELD How a do-it-yourself skill school helps videomakers flourish Does your camcorder make idle compa- including a citation for “Best Humorous edit desk: the Titlemaker and the MX-1 ny for the socks in your dresser drawer? Film” from the Cannes International Video Mixer and special effects genera- Are its appearances limited to family Amateur Film Festival. Wally did all the gatherings? If you lack the motivation work on his productions, including tor. We also have five color monitors, to work with video on a regular basis, lighting, editing, special effects, titles, Shure and Radio Shack audio mixers, consider the approach a group of friends music, voiceovers and sound recording. an equalizer and an assortment of and I have taken to improve our skills, microphones, lights, adapters and and work on interesting video projects, Our video club meets twice a tripods. We have stayed for the most including full-scale, hour-long produc- month. We usually offer a lecture or a part with Sony equipment, because it is demonstration about a subject, such as all LANC-control compatible and be- tions. shooting techniques, transferring films cause I’ve had years of experience with or slides to video, editing, recording the company’s broadcast gear. Three years ago, we formed a video methods or make-up techniques. club at Wynmoor, a large retirement We’ve even shown members cinematic Where does the money for all this condominium in Coconut Creek, tricks, such as how to make and use equipment come from? Funding comes Florida. We wanted a place where fake blood or gunshot wounds. We videomakers could edit their videos at teach editing on a one-to-one basis. from four sources: a $25 initiation fee, whatever level of sophistication they There is no better way to learn than by using the equipment with an instruc- $10 annual dues, contributions from the chose. Today, our club is thriving. We tor who is directly supervising your local community council, and proceeds have attracted 35 members and become work. Judging by the feedback we get, from the sale of VHS tapes of theatrical a hub of community activity. the members love what we’re doing, performances by Wynmoor’s talented and the results bear this out. Their residents. The performances include Although most members are begin- videos keep improving. revues by our dance troupe, choral con- ners when it comes to video, I’m a certs and occasional theater pieces. We retired broadcast engineer. When I To do our work, we’ve accumulated always have an eager market for VHS started my career at CBS-TV back in an array of components. For 8mm and 1951, the only way we could record a Hi8 work, we have Sony’s EVS-3000 copies among the cast, the crew and show was to run a 16mm film camera in and ECV-100 VCRs. For VHS and S- other participants of the shows. front of a black-and-white TV monitor. VHS, we use a Sony SLVR 1000 VCR. I saw cameras progress to CCDs, and Two Videonics products round out our Some club members have even videotape move from two-inch helical undertaken full-fledged video produc- Club Video: scan to half-inch Beta. I also used VHS, The author tions of community theater pieces, even (left) and though none had made a video before. S-VHS, 8mm and Hi8. Wallace Shaw The club’s first video was a 40-minute Our other video club instructor, Dr. man the con- bedroom comedy IfYou Play You'll Pay, in trols at the which a man returns to his hotel room to Wallace Shaw, is a retired anesthesiolo- Wynmoor video find a call-girl in his bed. A later produc- gist with a wealth of experience in film club. Above is tion captured An Affair in the Park, a and videomaking. When we met, I dis- more of their one-act play about a widow who flirts covered he was once among the best- club’s video with a widower on a park bench. known amateur filmmakers in the U.S., equipment. with a closetful of awards to prove it, Actors rehearsed, sets were built by the Wynmoor woodworking club and lighting was arranged. A local furniture store lent us furniture for use as props, and the community council contributed a few hundred dollars to help cover the cost of videotape, lumber and deliver- ies. Hollywood, eat your heart out! We shot our first production in a large room in Wynmoor’s clubhouse. The area was divided into a set, a studio area, and a control and recording room. We mounted two camcorders, a Sony CCD-V701 and a Nikon VN-750 on tripods and used a wheelchair for dolly shots. The S-video output of each cam- era was fed to the control area with 50- foot S-video cables. Both camcorders were recording and backup tapes were run on two Hi8 VCRs. A video switch- er was used to match the two cameras for exposure and white balance. We continued on page 35 MAY 1995 VIDEO 19

JVC F MENU ME ® POWER ee ed ol SPECIFICATION MECHANISM STOP/EJEC m/s wweROKnTO TAN oame N ee rod dee @ REG /ITE S-VHS VIDEO L A acaartl R INSERT SP/EP TIME TV/ VIC JVC S-VHS VCR eee cuitry to improve luminance and chro- minance signal-to-noise ratios. Many of By Lancelot Braithwaite PRICE: $1,100 its features are carried over from the On sheer picture perfor- mance JVC has been lead- V-RATING: VVVV\\\\ HR-S6900, including R.A. Edit, which ing the VHS and S-VHS is an eight-scene random assemble edit pack for some time, and its BETTER —> system, and implementation of AV latest top-of-the-line S-VHS VCR, the Compu Link that integrates operation PICTURE 4 fs of JVC components to include video. In | HR-S7100U, continues this tradition. an all-JVC system, AV Compu Link JVC has found a winning combination of SOUND FOR does little chores like turn on a compat- performance and features and has fol- lowed the old saw, “If it isn’t broken, FEATURES ible JVC TV, set the source and preset the volume of a compatible receiver don’t fix it.” The HR-S7100U is very VALUE O 4. 4 4) when a cassette is inserted in the VCR. much like the HR-S6900 (“Videotests,” Sept. 93) in sharing the same basic fea- RATINGS ARE RELATIVE TO THOSE On the audio side, there is an intel- OTHER S-VHS VCRs ligent audio switching-noise reduction JVC multiburst pattern shows very good frequency circuit, and a switchable Hyper-Bass cir- response for S-VHS signals (right) and good fre- ture pack and a lower price. cuit that delivers a contoured boost to quency response for VHS signals (left). The HR-S7100U lives up to its frequencies below 1,000 Hertz to pro- ture package, but with small improve- billing by making remarkably clear ments in performance. copies even through multigeneration duce more theater-like sound. Carried | dubs. It uses advanced processing cir- All S-VHS VCRs give higher quali- ty recordings than VHS, whether SPECS AND Fast Forward/Rewind bi-directional search of up | S/N Ratios (dB): recording in VHS or S-VHS; however, MEASUREMENTS Time: approx. 2 min. for to 9 marks; blank tape unweighted luminance prices for S-VHS decks have been com- 49.6 SP, 47.7 EP; weight- ing down. JVC has two levels of S-VHS Brand & Model: JVC | Jacks: front in S-video; Analog Audio: |inear machine: the HR-S7100U, with a sug- HR-S7100 video, stereo audio, mic, mono; hi-fi AFM stereo | ed luminance 52.9 SP, gested price of $1,100; and the HR- remote pause; front out 51.0 EP; unweighted v; ideo $5100U, which has a more modest fea- Price: $1100 none; rear in S-video, Preset Method: auto video, stereo audio, anten- | 46.2 SP; 45.4 EP; weight- 20. VIDEO MAY 1995 Weight & Size (h/w/d): na/cable RF; rear out preset plus manual 14.6 pounds; 4-3/8 x S-video, video, stereo ed video 51.6 SP, 51.3 EP; 18-1/8 x 15-1/4 inches audio, RF, R.A.Edit, rear | add/erase chroma AM 48.7 SP, 44.8 bi-directional AV Compu | Cable Tuning Range: Power Use: 29 Watts Link/Swap || 4E3P.:7chErPoma PM 47.8 SP. 113 channels Tape Format & Speeds: Remote Pause: front Audio Frequency S-VHS/VHS; SP/EP panel Master Edit CTL in Timer: 1-year/8-program Response: hi-fi 20 | (JVC camcorders only); | Hz-15 kHz, +0.0/-3.0 dB; Video/FE Heads: 4/1 rear R.A.Edit output com- Key Features: slow linear, -3 dB 100 Hz-10 patible with most VCRs via | motion, full repeat, insert kHz, SP; 100 Hz-4 kHz, Cue & Review Search: | IR remote | edit, auto headcleaner, AV | Ep locking or non-locking; SP PER 2IX Remote Control: |R Compu Link/Swap, ii | wireless with jog/shuttle R.A.Edit, cable box con- | Hi-Fi Dynamic Range: Multi-Speed Shuttle trol, VCR plus+, “2! Hyper-Bass, family mes- 88.8 dB Play: bi-directional still, sage center two slow, 1x, and four fast | Program Start | Linear Audio S/N: 47.2 speeds | Locator/Index/Cue: RESULTS | index with auto mark and dB | Horizontal Resolution: S-VHS 400 lines; VHS 240. | Audio Distortion: hi-fi lines 0.3%; linear 1.1% LVPMEIHOSODRTESOI

TESTS BY BERGER-BRAITHWAITE LABS over from previous SHARP HI8 VIEWCAM the operative words here. Sharp has models are a VCR remedied the two most salient weak- T IN/OUT Plus+ timer, and a By Stewart Applegath nesses of its predecessor, retained its cable box control Camcorder manufactur- special effects and manual controls and that works with ers are faced with a dilem- now, at $2,499, added a 16x digital both the standard ma in making a brilliant zoom and the Viewcamport docking timer and the VCR product better: How to base to enhance charging and playback Plus+ timer. upgrade without upsetting the balance ease. Sharp can now evangelize LCD that made the original model a winner. doubters with conviction. Among the more Sharp has successfully responded to the unusual features challenge with its VL-H410U Hi8 This Viewcam gives you the free- are jog/shuttle dials Viewcam. Smaller, lighter and easier are dom to participate in and enjoy the on both the VCR events you are shooting. With the color and the remote, ARP VL-H410U LCD, you can show those around you and a jog dial that what you're recording on the spot. With works in both for- Hi8 VIEWCAM this redesign, controls have been relo- ward and reverse, PRICE: $2,499 cated and more sensibly placed. For unlike those on example, the main power switch is now some lower-priced models. The VCR V-RATING: VVVV\\ under your right thumb, beside the offers a Super DA-4 (double Azimuth) head system, a flying erase head, gold BETTER —P screen. Conversely, the stereo micro- plated A/V and S-video inputs, insert phones have been moved out of the way edit capability, pre-roll editing with SPIOCUTNUDRE of roving fingers on the front-center of compatible JVC camcorders and VCRs, the LCD unit. multibrand TV control from the FVAELAUTEURES remote, a multi-language onscreen dis- The Viewcam has two sections play and menu driven option selection. joined by a swivel, which lets you turn Some features not included are color the LCD screen 270 degrees in almost coding of front panel inputs, manual control of hi-fi level during recording, continued on page 29 an earphone jack, and manual index mark/erase. Although the deck does not have recordable titles or graphics, it has a family message center with some mem- orized phrases like Happy Birthday and Don’t Forget, plus a user-compos- able message feature using the keypad to select letters. A green light on the front panel alerts family members to the message, which reappears when the button is pushed. In short, JVC has taken our earlier beefs seriously, improved features we’ve commented about critically, added some real- ly useful features of its own as well as some of the best-liked i features of other machines, and carried this winning combination over to the HR-S7100U. The HR-S7100 looks a lot like the previous model, but is black rather than titanium gray. It con- tinues with a more user friendly but less decorative front panel. There’s no door cover- continued on page 27

Grid Guide: Mitsubishi's remote includes full StarSight controls MITSUBISHI 35-INCH STAR- DIRECT-VIEW MONITOR offers its own custom look to the basic SIGHT TV StarSight display and feature package. eeccesece By Kevin Miller The guide appears on the screen PRICE: $3,199 The trouble I have with with a touch of the remote, and is intu- watching 35-inch direct- V-RATING: VV V\\\\\\’ itive and easy to use. While watching a view TVs is that it can be tough going back to my BETTER —}P particular channel, you can use 31-inch set. Four inches StarSight’s browsing function to show makes a big difference when you're a PICTURE what programs are on other channels, widescreen laserdisc lover. The latest how much time remains on any of the 35-inch entrant is Mitsubishi’s top-of- SOUND shows, and even what the shows are the-line CS35803, a feature-packed FEATURES about. With the Mitsubishi set, you'll tabletop set that comes at a suggested also receive a fuller description than price of $3,199. Any 35-inch direct- StarSight Grid Guide. StarSight is a with the Zenith version of the StarSight view set this costly better perform well week-long program listing system that’s interface. because, let’s face it, you can get some continuously updated through signals fine 45- to 50-inch rear-projection sets from local PBS stations. Profiled in last To learn more about a program, sim- ply press Info. To start or schedule a at this price, as “Big-Screen Brouhaha” month’s “Hands-On” look at the Zenith VCR recording, press Rec, and to see (Feb.), our rear-projection shootout SM-3589BT8 TV, the first TV to fea- additional listings, press Page +/— . showed. ture StarSight, this onscreen program StarSight is a subscription service, and guide will shortly be offered by a num- the CS35803 comes with a free month If it’s features you're looking for, ber of manufacturers. Mitsubishi’s set is of StarSight access. If you like the ser- youll like what you find with this the second TV to offer StarSight and Mitsubishi. For example, a common fea- vice and wish to continue, you're billed ture on sets today is channel lock. This a hookup fee of $15 and a monthly fee set takes the idea a step further with parental lock. This allows you to lock continued on page 31 out either individual channels or access to the entire TV, and only a four-digit SPECS AND Broadcast Tuning cable box control, VCR Color Temperature: code will reaccess viewing. It’s a fail-safe MEASUREMENTS Range: 2 to 13, 14 to 69 control low 7,940, middle 8,600, way to prevent kids from watching too cool 9,860 degrees Kelvin much TY, although it may not do much Make & Model: Cable Tuning Range: Headphone Jack: none | before calibration; 6,600 for your parental popularity rating. Mitsubishi CS35803 125 channels | after on low. There is a Super Quick View function Remote Control: Internal Audio Amplifier | that allows you to program in your Power: 7 +7 Watts favorite 10 channels, then view them Accuracy of Colors: instantly with the touch of a button. Price: $3,199 IR wireless good The set also has picture-in-picture, but adds a couple of twists; in particular, Weight & Size (h/w/d):_ || aIn.pButsc:entaenrtecnhnaannAe,l anitn;en- RESULTS Audio Frequency snap shot and replay functions. 187 pounds, 29 x 36.5 x Response: line—20 23 inches $-video—ext 1,ext 2, ext Horizontal Resolution: Hz-20 kHz, +0.8/-1.8 dB; However, the set’s most useful and 3; video—ext 1, ext 2, ext 410 lines speaker term, 0.3 dB, 40 interesting feature is the long awaited H2-17 kHz Power Consumption: 3; left and right audio— Picture S/N Ratios 235 Watts ext 1, ext 2, ext 3 (dB): video 56.4, chroma Audio S/N: line 79 dB; AM 64.2, chroma PM 63.7 speaker term. 67 dB Screen Size: 35 inches Outputs: Ae through diagonal antenna A, subwoofer, Screen Brightness: Total Harmonic 73.2 ftlamberts before cal- | Distortion: line 0.1%; Aspect Ratio: 4:3 S-video monitor, video ibration, 19.2 after tuner and monitor, stereo | speaker terminals 0.4% audio tuner and monitor, 22 VIDEO MAY 1995

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PULSEFLOW PIONEER PRICE: $299 to the video in jack on your processor, COMBI PLAYER __V-RATING: receiver or monitor. By Peter Barry SPIOCUTNUDRE BETTER ae Operation couldn’t be simpler I’m one of those who FVAELAUTEURES think that the arrival of either. There’s nothing happening on digital video discs (DVD) 0 q 234 5 the front panel except basic open/close and the likely (as of to- RATINGS ARE RELATIVE TO THOSE for the CD or LD drawer, plus controls day) format war between the two vari- for play, fast forward, review, stop, eties of DVD created by Sony and FOR OTHER COMBI PLAYERS pause, and power. The rest of the func- Philips on the one hand, and Toshiba tions are on the remote, which does not and Time Warner on the other, will 97, whose image sharpness is yet to be feature a jog/shuttle dial. The remote usher in not the demise of the laserdisc, dethroned. can freeze single frames and advance but its heyday. DVD won’t be here until frame by frame on CAV discs only. And 96 at the earliest, then it’s going to Besides playing laserdiscs, the CLD- it has skip, for finding the start of songs require the purchase of a new player S104 has one of the new separate draw- and new software to use it. I think this ers-within-a-drawer for five-inch music or movie chapters, and scan, which is | will give laserdiscs a window of four or CDs. As a combi player, it also handles digital fast forward. The scan feature, more years as the collector’s medium of CD-Video discs and VSDs (video sin- choice. In fact, the laserdisc format is gles), eight-inch LDs and 12-inch however, leaves something to be laserdiscs. desired. Sometimes the frames jarred so Pioneer multiburst pattern, showing a resolution of much I couldn’t tell what I was looking about 400 lines, is typical of basic LV players. It’s a breeze to hook up. Plug it into at. For moments such as these, there is an outlet, and run the left and right clear scan: Hit the display button and still improving, as demonstrated by the RCA jacks for audio out to a surround then scan forward or in reverse, and the THX-certified releases. But nothing will machine plucks an image from every 10 | make laserdiscs more viable than processor, an audio/video receiver or a or so frames and holds it clearly so you | Pioneer’s new CLD-S104 combi player. monitor. A single composite video cable can see where you're going. connects to the video output and heads What makes this product so impor- Because the CLD-S104 is aimed | tant to the state of laserdisc video? Its chiefly at folks who have never owned a suggested price, which is a cool $299. laserdisc player, the functions it doesn’t This puts it a full $120 less than the include should not worry anyone. This next closest offering. Best of all, the CLD-S104 comes from the maker of continued on page 33} our laserdisc reference player, the CLD- SPECS AND Cue & Review Scan Digital Audio: Pulseflow | weighted, chroma AM MEASUREMENTS Search: 10x, 30x D/A converter stereo/two | 49.8; chroma PM 45.3 mono and clear scan Key Features: still frame Make & Model: Pioneer Remote Pause: SR (CAV only), bi-directional Audio Frequency frame advance, bi-direc- CLD-S104 | remote in and out tional slow motion (1/2x, Response: digital rated | 1/8x, 1/30x CAV only), bi-directional speed play 4 Hz-20 kHz; digital mea- | 2x Oo(CAV only), repeat play, | Price: $299 Remote Control: |R digital TBC, one-shot sured 10 Hz-20 kHz, Weight & Size (h/w/d): \"eles fmuenmcotriyon,s last memory +0.0/-0.96 dB: analog 12.8 pounds: 4-3/4 x | Jacks: SR remote in; DC measured 20 Hz-20 kHz, 16-5/8 x 15 inches out to RFU, mono audio, left audio, right audio, +3.1/-2.6 dB Power Use: 30 Watts SR remote | | D&ymneaamsiucredRa9n4ged:B rated | Disc Formats & Program Start ee ||A98uddiBo; Sm/eNa:surdiegdital95.r9ateddB; Locator/Index/Cue: Speeds: LD 12- and Horizontal Resolution: | @alog measured 65 dB 8-inch, CDV 5-inch, CD 5- frame, time, chapter/track 390 lines ae Ce and 3-inch; CAV 1,800 and points A-B S/N Ratios (dB): | Audio Distortion: digi- unweighted video 45.7, | tal rated 0.0045%, mea- rpm, CLV 1,800 to 600 weighted video 52.4, sured 0.004%; analog rom, CDV video 11-12 | 0.03% m/sec., CDV audio and CD | Analog Audio: hi-fi AFM stereo/two mono 1.2-1.4 m/sec 24 VIDEO MAY 1995

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AMPRO FRONT We hooked the AmPro up to the FRONT PROJECTOR PROJECTOR PRICE: $6,995 ! $3,500 Dwin LD-2 line doubler By Peter Barry V- RATING: (“Videotests,” April). The Dwin took Over the next decade or the composite analog output from our PICTURE CLD-97 laserdisc player and digitized it, two, home theater sys- then doubled the scan rate from 15.75 FEATURES tems are going to repre- to 31.5 kHz. You're not getting twice as sent what swimming pools much information, you’re getting it VALUE 02 FOR did in the ’60s and ’70s. twice as often and it is overlapped to fill Your neighbor’s getting one, and youre in the normally visible scan lines. RATINGS ARE RELATIVE TO THOSE next. And when you think about it, why OTHER FRONT PROJECTORS not? Most folks who bellied up ten to The AmPro 1200 came from the fifteen grand for a pool back then could factory set up for a floor mount and a SPECS AND with VGA connector or only use it three months a year, and the 100-inch diagonal screen. Mike Levy MEASURMENTS R, G, B, composite/ pool required lots of cleaning and from Total Media Systems was on hand horizontal syne, vertical chemicals. Not so a home theater. Once to calibrate the projector. The pre- Brand & Model: sync on RNC connec- installed to your liking, it obeys your scribed distance from the screen to the AmPro 1200 tiors; with termination every remote command 365 days a year front edge of the projector is 90 inch- switch with minimal maintenance, and doesn’t es. However, we found that at 90 inch- Price: $6,995 by law require a fence. es, the image was not quite filling the Outputs: loop If you're considering taking the screen. To do so, we backed the pro- Weight & Size through RGB+S plunge and going with a front projec- (h/w/d): 100 pounds, tion system, the higher pricetag togeth- jector to 93-1/2 inches and raised it 20 10-1/2 x 31 x 25 RESULTS er with the installation procedure inches off the floor. We were shooting inches demands that your picture quality justi- the image at our 100-inch diagonal Horizontal fy the extra effort. Front projection sys- Da-Lite Model C screen with a gain of Power Resolution: tems can provide a 100-inch picture TO Consumption: 400 lines that delivers a true theater experience. 250 Watts You're not simply watching TV any We ran the projector for a few hours Picture S/N Ratios longer. to stabilize the image, then put on Screen Size: (dB): RGB better All of which brings us to the AmPro Reference Recording’s A Video Standard adjustable 5 to 25 than 58 1200 front projector. Like the Mitsubi- laserdisc to check different test pat- feet, diagonally shi VS-1250 (“Videotests,” April), the terns. Our out-of-the-box look found Screen Brightness: AmPro 1200 is a data-grade monitor. the gray scale to be well delineated, but Aspect Ratio: 4:3 measured 14 footlam- This means it has a scan rate of 31.5 slightly on the green side. The bright- and 16:9, switchable berts on 100-inch unity kHz. Unlike the Mitsubishi, which also ness was set too high, with the bright gain screen before scans at 15.75 kHz, the AmPro has a white objects in scenes showing bloom- Speakers: none calibration; 9.55 after single, fixed scan rate. This means you ing at the edges. A look at the needle calibration need to mate it with a line doubler to pulse pattern showed a bend in the nee- User Controls: watch video (and connect it to a com- power, brightness, Color Temperature: puter for VGA graphics display), since dle, which indicated the contrast was | contrast, static 6,100 Kelvin the 31.5 kHz scan rate is double the set higher than the power supply could convergence, input scan rate of NTSC television and video. termination Accuracy of Colors: control. We backed the contrast fairly good onscreen 26 VIDEO MAY 1995 far down until the needle pattern Inputs: analog RGB+S indicators straightened out. seas eed EST or 9s

Checking the multiburst pattern, tic/glass hybrids in this projector, have sides. To the left of the hatch is a larger which lets us look at detail in different | no color filtering. Filtering keeps the power button with an indicator and two | frequency bandwidths, we found the colors of the individual red, green and | rows of smaller BB-sized ones for menu, 1200 delivering a good amount of blue guns truer by limiting the bleeding family message, hyper bass, select, and detail. The Dwin line doubler comes set of one color into another. Without the channel/set. To the right are larger but- up to be used with this AmPro, so its filters, the colors seem less bold and dis- tons for stop/eject and play, smaller ones settings at midpoint were all correct, tinct. The lenses of the Mitsubishi 1250 for record/ITR and pause, and a except for sharpness, which we lowered do have color filtering, which is an jog/shuttle dial. This layout makes it from 31 to 21 on the Dwin’s onscreen improvement; however, the Mitsubishi’s easy to operate almost all the functions graphic. Turning to the resolution chart, price is $1,000 higher. | without having to open a door. we saw 400 lines for both horizontal and Nevertheless, the AmPro 1200 can Centered below the cassette hatch vertical resolution. Color rendition out deliver a big impact picture, particularly is a large comprehensive display. The of the box was very good. when mated with the Dwin. The pro- areas to the left and right of the display When AmPro configures this pro- jector gave a solid showing overall, and are bare, but for logos, and are actually jector for 100-inch screens (it can is worth considering. a compartment covers. Behind the door reconfigured to a different size screen if at the left are jacks for a microphone, S- you choose), AmPro technicians set the For further information: AmPro, 617- video, video, left audio, right audio and | blanking on all sides so the image can- 932-4800; Total Media Systems, 516- remote pause. The pause jack is intend- not go any bigger. Blanking masks the 777-7058; Dwin, 818-956-1608. ed for use with JVC camcorders; other edges with black. We could not com- O-VAS VGR remote operations should be through pletely square the image to our screen the rear connector. Behind the door at or get the lines on the crosshatch pat- the right are buttons for R.A. Edit. tern perfectly parallel. In the center of the rear panel is a Levy pulled out his trusty Philips continued from page 21 large depression with S-video connec- color analyzer and measured the light tors for input and output; RCA-type pin output of the projector at the screen. It | jacks for video input, video output, a read 14 footlamberts, a high number for stereo input and outputs, and mini jacks image brightness and three footlamberts ing the cassette hatch and frequently for R.A. Edit output and AV Compu above the theatrical standard for a 100- used controls. Yet the VCR has a clean, Link/Swap. We would prefer to see the inch screen. However, this is somewhat uncluttered look and is rather hand- jacks grouped as inputs and outputs misleading because we still needed to some with its highly polished wood rather than as an audio group and video lower the brightness level. Color tem- perature was 6,000 degrees Kelvin, as judged on the 100 IRE high-output window. This is below the NTSC stan- dard of 6,500 degrees, explaining the shift toward green rather than the usual | blue tint seen with higher temperatures. By carefully adjusting internal con- | trols, Levy was able to raise the temper- ature above 6,100 degrees, which is fair- ly good. By adjusting the green controls Bier mNa down, we ended with the picture slight- ly blue. The adjustments also improved the focus, but we could not fully delin- | eate the double lines of a line doubler | on the convergence pattern. This tells us the spot size of the lenses is not fine enough for this level of resolution. We were now measuring a lower, still very good 9.55 footlamberts of brightness. We then started spinning our refer- ence laserdiscs, which included Termin- eDEALER INQUIRIES WELCOME e PICTURE IMPROVING ENERGIZER CABLES ator 2: Judgment Day The Abyss, Speed @FULL WARRANTY eLOWEST PRICES eBULLET PROTECTORS & IMMUNIZERS | and The Piano. We found the projector | delivered a satisfying image with ade- eNEW INTELESTAR® @WE CARRY ALL MAKES AND MODELS | quate brightness. Comparing scenes on MEMBER OF THE NATIONAL CONSUMER CABLE ASSOCIATION UgaJB“jOAdp9a1i1PeAIedJDaByS different discs, we noted that though M--AOrder Toll Free:Multi-Vision | detail was good, the edges of objects lacked sharpness. Video noise was low. 800-835- 2330able TV & Vidag Equipment| Looking at the underwater scenes in the THX-certified version of The Abyss also showed the limitations of the lenses. The blues were not as pure as we have Order by C.0.D., Check-Via-Phone or VISA / MC @2) seen them, and reds in the explosion scenes of Speed and Terminator 2 Please have the make and model # of the equipment used in your area. showed more orange than usual. We felt MULTI-VISION ELECTRONICS INC. the color inaccuracies were due to the fact that the lenses, three-piece plas- MAY 1994 VIDEO 27

Blockbuster Hit of 1994 due group, but this is a minor point. combine scenes randomly chosen from Late April on LaserDis< .... The remote control has been the same tape. You select an “in” point Tom redesigned to expose only frequently used buttons, which are backlit at the and an “out” point for up to eight cuts gre Hanks ;, touch of a button. A small compart- ment in the remote holds a 10-digit key- that are preserved in memory. The Forrest pad that does triple duty for the digits, manual programming, and letters for jog/shuttle dial lets you select a precise @® Gump leaving family messages. Most of the infrequently used functions are handled frame for a start or end point, but the through a simple menu system. Switches on the side let you choose manual warns that the actual edits may be off as much as two seconds or 60 frames. The R.A. Edit controller plugs into the back of the VCR and shares a jack and cable with the cable box con- troller. It allows IR remote control of most common brands of VCR in the editing proccess, and provides basic transport controls. Other Top” \\ ya he : Using the HR-S7100 is usually sim- A aca isec “The 1; Ounceg, ple, but sometimes a bit awkward. The He OaoSh BFwt lon Kin9” controls within the front-panel com- partment are similarly shaped and col- titles... ored, except for a tinted background The Shawshank Redemption around the R.A. Edit buttons. You must depend on the tiny graphic on each but- Sat AR Gk re ton to differentiate them. Most of these functions are not duplicated on the remote, including S-VHS, insert edit, audio dub and R.A. Edit mode. Other minor annoyances include video and audio jacks that lack color coding, the absence of manual add or erase index- ing, and auto indexing that’s only avail- able at the start of a recording from stop. Some users will also miss the ear- phone jack. The manual’s table of con- tents is sketchy and you have to guess Shadow Wile Lies where to find information and how to JURASSIC PARK = CLITHEENT operate some features. A complete index would help. But there are plenty of redeeming features, including next function mem- Mention this Ad and get a 20% discount ory, which lets you enter a second oper- off the Suggested Retail Price on the Titles ation before the first is finished, and listed above, (Offer expires 7/31/1995) eject after rewind is over. And the Call for our FREE Monthly Laserdisc Catalog! Hundreds of New and Recent whether the remote will control the TV onscreen display is really useful. This is Releases. All, at least, 15% OFF S.R.P.! or the VCR, and choose between two JVC VCR command modes just in case an admirable deck when it is operated PLUS... you own more than one JVC VCR. from the remote. The editing features OVERNIGHT The cable box controller is a second DELIVERY remote control that plugs into a jack at may seem heaven-sent to a less critical the back of the VCR and emits signals to control most of the boxes used by user, less so to those who require precise cable systems. It comes hinged to a base with a sticky back that you secure where editing. We rate ease of use as very its emitter can point at the cable box window from close range. The base also good. has a clip to hold the cable to the VCR. Overnight Delivery Only $2.75 per Order*! The cable box controller is a set-it-and- Most of the luminance and chro- forget-it device that requires no atten- 1 or 100 discs - you pay only $2.75! *Orders tion after the command code is set ma AM signal-to-noise ratios are can include “Pre-orders” and “Back-orders!” other than battery replacement . among the highest we’ve measured, (Continental U.S. shipments only - certain A third remote connects the same areas and shipments over 5-lbs. may require point on the VCR’s rear panel and con- and the few that are not are highly trols a second VCR in the R.A. Edit an extra business day) process. In addition to the jack for the competitive. Picture quality is excel- cable, it has touch pads for 10 digits, Every Laserdisc title available at up to 40% OFF! MBR set, rewind/search, fast forward/ lent and earns our top rating. The +search, play, pause, stop and recorder standby (record pause) for the selected Hyper-Bass system is more useful on VCR. R.A. Edit is a nifty editor that can Laserdisc Fan Club, Inc. TV sets and audio systems without 28 VIDEO MAY 1995 ~ 1058 E. 230th St. * Dept. V55 adequate low bass, but probably won’t 730 EAN CLUB= Carson, CA 90745 be needed with a well designed audio <> (800) 801-DISC(3472) system. Audio quality is good to very om PA good and rates a 4 even though it FAX (310) 952-3000 could stand some improvement in hi- Open Monday - Saturday fi frequency response. The HR- For your FREE Laserdisc Catalog, please S7100U offers a very wide range of complete and mail the coupon below: features, and delivers an overall per- Name: formance that’s very good to excel- Address: lent. At a suggested price of $1,100, it is a superlative recorder and player. City, State, Zip Code: We recommend it highly. . “2JU9Z1OP9e9s1p1eNe1gIe9ayS

‘HIS VIEWCAM Home Base: tains a new, 35 percent lighter lithium- The VL-H410U ion battery. continued from page 21 includes a small remote control All the editors and staff at Video any position relative to the camera unit. and a docking Magazine noticed the Viewcam’s size This allows shooting from high or low unit (below) that and weight differences immediately. angles, and you can turn the LCD stays plugged into The VL-H410U feels more balanced around, shoot yourself and see the your TV or VCR. when you hold it in one hand. Although image right side up thanks to an image- I found the right handgrip on the flipping feature. Your right hand grips a newly textured handle flanked by H400U more comfortable to hold, I effects controls, a zoom/tele rocker tog- have a large hand. Staff here preferred | gle, a record start/stop button and the new Viewcam over its predecessor topped with the camera lens cylinder. by a margin of two to one. Sharp has The recorder/LCD unit has a leg that also added a molded hangrip to the folds out, so you can leave the Viewcam LCD unit, which allows better left- standing without worrying about it handed purchase. falling over: On the handle of the H410U, Sharp One of the drawbacks of the earlier includes a “snap” feature for five-sec- VL-H400U Viewcam was its size and ond stills; a “still” feature for indefinite- | weight. Even with image stabilization, it duration freeze-frames, and a “strobe” was difficult (and a bit tiring) to get a feature. The new lithium-ion battery steady picture. With the new H410U, loads from the bottom, which is an Sharp offers a 30 percent reduction in improvement on the H400U’s side-load | total weight. The lens/handle element is panel. Although these batteries are narrower, and both the handle and the lighter, they are expensive and more dif- LCD segments are shorter from top to ficult to replace. bottom. Additionally, the handle con- The left-hand section of the Viewcam incorporates the LCD screen, a tape carriage unit and LCD and play- back controls. Its design has been signif- icantly improved. You can now load tape cassettes from the top, which is eas- The Swiss Army Ch oer 4-level LED battery capacity indicator cso “Rapid Charge Only” feature for NoMEM” Batteries Direct power supply for most 8mm and VHS-C 6V camcorders L10V ‘AC power adaptor Reconditions and charges one or two batteries sequentially Introducing the OmniSource™ Plus. We call it a charger power is concerned, you never know what you'll need until you need it. But that hardly does justice to the most versatile and convenient, do- everything power manager for camcorder enthusiasts. Sure, there are chargers that'll do some of these things. But only the OmniSource Plus does all of The OmniSource Plus automatically reconditions and charges one these things. Ask your Lenmar dealer about the or two nickel-cadmium batteries. It rapidly charges NoOMEM® memory- OmniSource Plus. It’s the ultimate power tool free batteries. It tests the battery power level. It powers VHS-C and 8mm no camcorder bag camcorders directly. It works from the home AC. It works from the car’s should be without. —_cawcorber peerorMANce prooucTs DC. It does practically everything but edit the footage. Because where For the name of your nearest Lenmar dealer, and a catalog of our other Camcorder Performance Products call: 800/424-2703 ©1994 Lenmar Enterprises, Inc. Circle 8 on Reader Service Card. MAY 1994 VIDEO 29

_ SMPEEACSSURAENMDENTS| Auto Focus: Viewcamport: monitor RESULTS contrast type TTL, switch- input, DC out for RFU; Brand & Model: in/out S-video, video Horizontal Resolution: Sharp VL-H410U able to manual with push in/out, in/out for stereo camera 400 lines; Hi8 button control audio play 380 lines; 8mm play Price: $2,499 Includes Weight & Size (h/w/d): Shutter Speeds (sec.): Tape Format & Speeds: - lines; viewfinder 350 Guide To normal, 1/100, 1/250, Hi8/8mm; SP ines Surround camcorder 2.2 pounds; 1/1000, 1/4000, 1/10,000 Sound. battery 0.4 pounds; 5-1/2 Video/FE Heads: 4/1 Picture S/N Ratios x 7-8/8x3-5/8 inches White Balance: auto Audio Catalog with WB lock Cue & Review Search: (dB): unweighted lumi- Power Use: 8.8 Watts. At Cambridge SoundWorks we make speakers Image Sensor: _ Viewfinder: 4-inch LCD, forward 7x; reverse 4x nance 42.4, weighted : and music systems designed by Henry Kloss 1/4-inch CCD: 410,000 without diopter, and luminance 48.5, (founder of AR, KLH & Advent). We sell Fast Forward/Rewind them—and components from companies like gross pixels — on-screen indicators Time: 8 min. 15 sec. for unweighted video 41.2, Sony, Pioneer, Philips, Carver and others— 120 min. cassette factory -direct, with no expensive middlemen. Lens: F1.8: 8x (4.58-36 weighted video 47.4, For example, a Dolby Pro Logic Surround Remote Control: itt te 42.9, chroma Sound system with Model Six speakers, rear mm) power zoom full Viewfinder Controls: IR wireless speakers, a Sony Pro Logic receiver and remote range + 2xdigital extension is only $747. Call today and find out why backlight, brightness, Analog Audio: Audio magazine said we may have “the best Filter Diameter:37mm linear none; AFM stereo value in the world.” color, tint : Approx. Battery Life * Call toll-free for factory-direct savings, Minimum Focusing Key Features: 4-inch i. focus/no zoom): ¢ Save hundreds on components and systems Distance: 39 inches tele; VCR Controls: rewind, LCD viewfinder, 1/2 inch, wide-angle play,fast forward, stop, Viewcamport, monitor 12T0-L1m;in9,0 min., BT-L11: from Cambridge SoundWorks, Sony, Pioneer, sti speaker, digital image sta- Philips, Carver and more. bilization and zoom Audio Frequency ¢ Audio experts will answer your questions Microphone: Response: 40 Hz-7.5 before and after you buy, 8AM-Midnight stereo electret condenser kHz, +0/-3 dB, -3.8 dB at (ET), 365 days a year-even holidays. 20 Hz, -7.5 dB at 20 kHz ¢ 30-Day Total Satisfaction Guarantee on all Jacks: external mic, products. Audio Distortion: 0.4% e 7-Year Parts & Labor Speaker Warranty. stereophones, multipin connector for tuner: SoundWorks amplified subwoofer/satellite ier than using the the side-load mecha- There are a number of new zoom nism of old. There are speaker volume, options available through the menus on $199speakers, the H410U. You can choose a simple 8x color, tint, backlight and brightness con- zoom or a digital 16x capability that “This is the best $199 trols under the screen. The mode display picks up where the 8x zoom leaves off. ou can spend The 16x zoom gives the image a n yourself and button accesses white balance, and grainier, digital look and you'll probably your computer.” focus/menu controls, and shutter speeds | need the image stabilizer at this magni- Bill Machrone ranging from 1/60 to 1/10,000 second. fication. (The image stabilizer did a PC Magazine The Viewcam offers an automatic full- good job, but degrades image quality range inner-focus lens, which includes somewhat and crops about 25% of the 1-800-FOR-HIFI auto macro, and manual focus controlled image when in use.) There is also a We Know How To Make Loudspeakers. by two playback buttons. zoom “extend” function, which adds a double zoom for quick close-ups. SOUNDWORKS Sharp has responded to criticism of its LCD. The Viewcam’s color screen The most noticeable addition to the 311 Needham Street, Suite 102 MAY , Newton MA 02164 and its legibility in bright, ambient light Viewcam package is the Viewcamport. Tel: 1-800-367-4434 Fax: 617-332-9229 are much improved. Sharp has reduced This is a docking device with audio/video screen reflectivity by adding a black jacks and a separate AC adapter/battery Canada: 1-800-525-4434 Outside U.S. or Canada: 617-332-5936 matrix, and the Viewcam’s screen no charger unit, which slips inside the port. ©1995 Cambridge SoundWorks. longer looks washed out in bright out- The Viewcam sits on top, locks down door light. However, you might still with a sliding lever and releases with the consider Sharp’s accessory flip-up touch ofabutton. When attached to the screen protector and sun shade ($59). Viewcamport, the Viewcam’s battery can It further enhances screen readability be charged automatically inside the cam- and protects the LCD when it’s not in corder. These same bottom connections use. allow you to use the H410U with Sharp’s Viewcamteleport, which sends still Hidden under a new flip-up panel images from the Viewcam over regular above the screen are controls for the phone lines. You can also charge a sec- fader (to white), slow-motion playback, ond battery by attaching it to the backlight, picture gain (indicated by a exposed terminals on the Viewcamport. cat’s-eyes icon on the screen), VIR Sharp has relocated the audio/video record, full-auto mode, counter and jacks from the Viewcam’s body to the back return search. There are also menu but- of the Viewcamport so you can leave it tons for functions like “widescreen,” connected to your TV or VCR. Here, which adds black bands to the top and Sharp sacrifices some convenience-it is bottom of the image, and ancillary con- nice to have these jacks when you take the trols like date/time and remote comman- Viewcam visiting. However, Sharp says it der. The LCD screen also displays “tape remaining” and battery life information. now has an adapter (VR-410 ABN, $29.95) for the side port which remedies The Viewcam’s VTR/playback but- the problem. Perhaps Sharp will add a tons run along the bottom of the LANC adapter for editing in future. brushed-steel LCD faceplate, and Sharp The picture performance of the now groups the microphone and head- phone jacks just below. The H410U also H410U was somewhat below average, but includes an edit-search function, pro- at the high end of this category. This was gram search for 10 scenes and a quick- surprising in light of the H400U’s improved return button, under the flip-up panel, tape carrier with full-sized head drum. that returns the tape to the end of the There was quite a bit of luminance noise last-recorded scene and the Viewcam to record standby mode. 30 VIDEO MAY 1995

and a somewhat low chiara pious,hus temperature setting, as read on the found all three settings were putting out high-output IRE window, the gray scale an extremely high 73.2 footlamberts, color rendition was accurate. Conversely, measured 7,940 degrees Kelvin with the well above the 30-footlambert standard Philips color analyzer, a professional for direct-view monitors. So much on the audio tests our results showed that installer’s tool. At the middle tempera- brightness is not good for delineating ture setting, the gray scale read 8,600 the H410U fared slightly better than its degrees, and 9,860 degrees Kelvin at the fine picture detail, subtle shadings or cool setting. Note that the cool setting the rendition of blacks. Watching the | predecessor. Transport noise was average has the highest measured temperature. set on the low setting at this point In this instance, cool is a description of showed oversaturated colors, with for an overall rating of average. color; the higher temperature shifts color toward the blue portion of the blooming in the reds, video noise and a While the VL-H410U may not offer spectrum and toward a cooler, brighter lack of detail. image. The low setting is often called the picture performance of top Hi8 mod- To adjust the set, I began by staying warm; the temperature will be cooler, put at the low temperature setting els, our overall rating reflects the fact that but the color will be less bright and shifted toward red, so that browns and because it was closest to 6,500 degrees this Viewcam is one ofa kind and a real joy reds give the image a warm look. Kelvin. Checking the set’s remote con- trollable picture adjustments, I found to use. The 30% lighter body, better out- Manufacturers are adding adjust- them all at middle positions of the able color temperatures so they can onscreen graphic. Frequently, when door shooting, and a large feature package keep the brightness level high to help adjusting brightness (black level) and contrast (white level), the brightness should all inspire anyone still hanging back their sets stand out in showrooms, and needs to be brought down and the con- so you can keep the level high (at the trast needs to be raised to achieve to take a closer look at this camcorder. If cool setting) for rooms with lots of acceptable light output from a set. This ambient light. The low and middle set- proved true for the Mitsubishi. All the you haven't tried the Viewcam yet, this picture controls needed to be adjusted tings are appropriate for movie watch- down from the middle positions, except model may convert you. Having redefined ing, and rooms where the lighting can for contrast, which I raised to the two- be dimmed. The warmer look and lower thirds position. what it means to shoot video, Sharp con- temperatures move the set nearer to the NTSC television standard of 6,500 These adjustments can be easily | tinues to find new ways to bring a great made with Reference Recording’s A degrees Kelvin. In terms of brightness, I Video Standard laserdisc. If you don’t || idea toa larger audience. ry ‘DIREET-VIETW V continued from page 22 under $5. The CS35803, like Toshiba’s | 35-inch CN35D90 TV (“Videotests,” Apr.), also offers three color tempera- ture settings—low, middle and cool—and remote control access for calibration purposes. When we checked the low- PANASONIC PB50 Orig. PAN. RAPID CHARGERS PANASONIC. PB80/88 Orig.PAN CAMCORDER CHARGER/DISCHARGER SONY NP77H 2400 mah... 6V, 7.2V, 9.6V runs from house or auto. SONY 8mm 1500 mah 1 hr. time for Sony, Canon, Panasonic, RCA/Hitachi CANON 8mm 2000 mah... & most other brands PALMCORDER 2000 mah. Charges 1 battery $44 Charges 2 batteries $69 JVC GR-C9 Type C SHARP BT 21/22. SHARP BT 70/80 2400 mah. ct RCA/HITACHI 8 mm 2400 mah.............39. \\e SONYSALE Sq NEW External Power pac+ oh Original Sony Brand 5 to 7 hours of recording time. NP-500H Lithium lon NP-80 Powerpac+ includes: =6volt @ 10 amps 1200mAH 7.2V. 2700mAH 6V sealed lead acid battery. $54.00 $54.00 =Heavy duty pouch and belt. =A charger for charging at home / (optional charging cord for car). #An adaptor of your choice. «12 volt@7 amps $95 $85 RAPID CHARGER/DISCHARGER BATTERY TECH, INC. (SAKAR BRAND) For Sony Battery Can Use in House Or Car 800-442-427528-25 215TH PLACE, BAYSIDE, N.Y. 11360 = FAX:718-631-5117 Discharges And Charges In One AMERICAN Automatic Cycle EXPRESS NSO iy af cc ] Circle 9 on Reader Service Card. MAY 1994 VIDEO 31

have this, ieee che Baminenieeet | ing this procedure several times and while watching a scene you're familiar obtaining the same results, Icontacted a_| with. Look for detail, like a tweed pat- technician at Mitsubishi who successful- tern on a sport coat, to appear in dark ly calibrated a set he had on hand. areas, then stop just before the detail The Academy for the Advancement of While the picture I obtained was | High End Audio wishes to congratu- becomes too dark. The peak light out- better than the picture with the factory late Hachette Filapacchi Magazines put of the Mitsubishi after adjustment setting on the low color temperature | (HFM) on its recent acquisition of was 19.2 footlamberts, which is quite VIDEO magazine. While we have acceptable for a 35-inch tube. position, the way the set throws off the | always enjoyed a most pleasant and low output was a concern. I expect to be productive relationship with everyone I set the sharpness control to the able to calibrate a TV this costly to a at VIDEO, we're confident that given minimum level on the graphic, as dic- high degree of accuracy, particularly HFM's considerable resources and tated by the multiburst pattern on our when the manufacturer gives installers fine people, there will evolve an even test laserdisc. A general rule to follow is the ability to access the drive and bias better VIDEO magazine, which is to lower the sharpness level from its fac- controls via remote control. great news for regular readers. tory setting—watch the edges of objects I watched several laserdiscs while In fact, this change at VIDEO is sym- and make sure there is no outline or evaluating the CS35803, including Hot bolic of the marriage of audio and halo. The color setting ended up correct Shots Part Deux, a Sony test disc called video and the explosive growth of at about the one-quarter level on the Take 5, and scenes from Jurassic Park. home theater during the nineties. As control scale, and tint looked right at Colors and fleshtones were rendered | publishers of Stereo Review and just under the middle position. The quite nicely after calibration. The sound | Audio magazines, HFM understands other parameter that’s important to on the set is typical for a direct-view the importance of the audio to the adjust is a function called color bias, for monitor, with two speakers and a small video experience, and vice-versa. which the Mitsubishi has settings of subwoofer. Go with a separate sound average and correct. The correct setting system if you want the sonic goodies All of us at the Academy look forward defeats the fleshtone circuitry, which that lie hidden on movie soundtracks. to working with the new VIDEO to averages hues by making anything close inform and entertain readers about “the The CS35801’s picture is enjoyable, | best” that our industry has to offer. to the color of flesh the same color as although not the best I’ve seen on a 35- | flesh. I don’t care for this circuit, and Chris Browder, B&W Loudspeakers, I'm thankful Mitsubishi gives viewers inch set. Still, if features grab you, this President of the Academy for the set is loaded and definitely worth con- Advancement of High End Audio the option of turning it off. sideration, especially with the inclusion THE ACADEMY I found the gray scale delineation to of StarSight. FOR THE be disappointing. Shades from white to 5 ADVANCEMENT dark gray were not well-defined, which AAAMAAAAAAAAAAAAAAAAAAAAAA This column is presented by The Academy for the Ad- indicates the power supply cannot con- vancement of High End Audio, an organization dedi- cated to the recognition of excellence and the promo- trol the differentiations. After adjust- tion of greater awareness of high end audio. ment, the picture had a generally blue look, which was not unusual. Color ren- dition was good in other regards, but video noise was problematic, even after adjusting the video parameters and Day for night bringing the set into its linear, or opti- If you can manually control exposure mal, working range. Noise in a picture is and white balance with your camcorder, | often a function of the line amplifier, then you can do “day for night” exterior | though I hesitate to say this was the shots in your video (scenes which sup- case here. The line amplifier has a posedly take place at night, though shot bandpass filter that allows the signal to during the day). First, set your exposure pass through before it is amplified into to underexpose one stop, then set the | the picture you see. If the bandpass is white balance for the “indoor” setting. | natrow, more noise is introduced, and This will cause everything to take on a then amplified, creating a poor signal- dark, “bluish” cast that simulates night. to-noise ratio, which is what I believe is Note: If you do this, be sure not to happening in this set. shoot in direct sunlight, or the shadows ‘To calibrate this set with the color will give the whole show away. analyzer, I followed Mitsubishi’s service manual instructions for accessing the Two hours plus drive and bias controls. When I calibrat- When I want to timeshift a two-hour ed the set, it was right on 6,500 degrees Kelvin in the low and high output win- plus movie in SP mode on my VCR, but only have a 120-minute tape, I set dows. But the set would only hold the my timer for one program at one hour temperature while in the Service Man and 50 minutes in SP I then set a sec- mode, a mode designed to help techni- ond program for the same channel to cians make adjustments. After memoriz- start recording at 50 minutes to the ing the settings and returning to normal hour (the same time the first SP record- viewing mode, I measured the high-out- ing finshed) in EP mode. There is a put IRE window at 6,600 degrees Kelvin small glitch at the joint between the and the lowest output window at 4,000 two segments, but the entire movie fits degrees, which is plus green. The set- on a 1-120 tape. tings I had calibrated were not being Louis Nemeth memorized in the software. After repeat- Port Colborne, Ontario Canada 32. VIDEO MAY 1995

COMBI PLAYER movie. While colors were pretty good, reds looked slightly boosted and others a bit muted. For example, the red in the continued from page 24 down vest worn by Tommy Lee Jones in The Fugitive was overly strong relative to player does not flip the disc over at a side other colors in the scene. However, the Ken Crane’s Is The Largest change, and it has no digital effects. The S104 held its own against the Marantz Laser Disc Mail Order | pause frames are blue, so you wouldn’t LV-510, an excellent full-featured Retailer In The U.S. | want to leave the player in pause for long laserdisc player priced at $799. * Fastest Availability On New Titles! periods or you could risk a burn-in effect In the audio department, the S104 * Most Orders Shipped Same Day! * 20% Discount On All Titles! on your monitor. holds its own as well. It delivers a credible * Free 2nd Day Air UPS Shipping But it sure does play laserdisc movies. image left to right, but one lacking in depth. The dynamic range also left some- In The Continental U.S.A. Plugging in The Abyss, after running the * Visa, Mastercard, Discover, AMEX, Checks, And C.O.D. combi player a few days to break it in, I thing to be desired, an impression also * $1.50 Handling Charge supported by our measured specs. The was immediately impressed by the picture presentation was flatter and thinner than Per Order Shipped. | quality. Technical editor Lancelot Braith- more expensive players, an attribute that | waite concurred, and noted that its image also proved to be true for audio CDs. But Suggested Retail On was superior to the best S-VHS images. one could hardly expect better perfor- ¢ Every Pre-Ordered mance at this breakthrough price. New Release Color accuracy was pretty good, and clar- ity surprisingly good. The overall movie There’s nothing better than the pic- * Every Title In Stock experience was extremely satisfying. We ture and sound a disc player can deliver ¢ Every Back-Order installed the player in our Home Theater Through May 31st, 1995 over a good home theater system and, at Includes FREE Facility’s reference system, which has a $299, the Pioneer CLD-S104 makes this 2nd Day Air Shipping newly installed Barcovision 701 front pro- film experience accessible to more folks Titles must ship between jector linked to a Dwin LD-2 line doubler. these dates So Order Early than ever, and that’s great. If everyone While no consumer would play the $104 buys a player, maybe more shops will rent PHONE US AT... | witha high-resolution system like this, the laserdiscs and we'll all benefit. When it 1-800-624-3078 comes right down to it, my only real gripe 1-800-626-1768 | set-up immediately showed how watch- 1-714-892-8369 | able this player's picture is. about the CLD-S104 is that it should (Fax Number) At a price of $299, some trade-offs ForA Free Catalog | are inevitable. The picture displays con- have arrived sooner. . Ken Crane’s LaserDisc siderable video noise, which appears as 15251 Beach Blvd. graininess, and a loss of visual depth and CAPTIVE AUDIENCE?? Westminster, CA 92683 sharp edges. Video signal-to-noise num- bers, coming in below 50 decibels, bear MAY 1994 VIDEO 33 | out this impression. But the level is far from unbearable. Even on a big projec- | a. | tion screen, your eyes adjust in a few | moments and the picture is pleasing over- *CABLE TV CONVERTERS* all. Video noise from the player was still apparent on ‘Toshiba’s very sharp CN35D90 35-inch direct-view set, but did not limit our enjoyment at watching a No) ON 1 @)OO)O) Od fd . Bee BeEOCkKER ist S10] NC] AN SSS) toe @)adad=i | @) PIONEER WE CARRY ALL MAJOR BRAND NAME CABLE TV CONVERTERS Ee. : mote control _ * YOUR SATISFACTION IS OUR #1 PRIORITY ! * 30 DAY MONEY BACK GUARANTEE ! wm forPioneers * 1 YEAR WARRANTY ! WE SHIP C.O.D. ! * OUR UNITS ARE GUARANTEED TO WORK !! : CLD-S104 oe PLEASE HAVE THE BRAND NAME & MODEL NUMBER OF YOUR CABLE COMPANIES CONVERTER, BEFORE CALLING. WE WILL MEET OR BEAT ANY VALID PRICE QUOTE. UNLIKE SOME OF OUR COMPETITORS, WE ARE HAPPY TO SPEND THE TIME TO ANSWER YOUR QUESTIONS CONCERNING THE PURCHASING OF OUR EQUIPMENT. VISUAL COMMUNICATIONS INC. FORCACLATLAL1O-G71O8R-2I2N9F-O2RM3A5T8ION *** FOR ORDERS ONLY **FRIENDLY - PROFESSIONAL - SERVICE- SINCE 1975 1-800-GO-CABLE 20-04 UTOPIA PARKWAY SUITE 236 WHITESTONE, NY 11357 BY PURCHASING CABLE EQUIPMENT FROM VISUAL COMM. THE CUSTOMER AGREES TO COMPLY WITH THE FI RAL LAWS REGARDING PRIVATE OWNERSHIP OF CABLE TV EQUIPMENT, IF YOU ARE UNSURE OF THESE LAWS CHECK WITH YOUR LOCAL OFFICIALS. ANYONE IMPLYING THEFT OF SERVICE WILL BE DENIED SALE OF EQUIPMENT. Circle 10 on Reader Service Card.

OSFLOAS eeECYMSR HANDS-ON TEST tion; in the case of digital tuners, select ueepBbo the “manual tuning” mode.) The hissing continued from page 16 you'll hear approximates white noise, oess” and will have a relatively flat, broadband era. It’s significantly smaller than its output. Raise the volume of your receiv- WT*sHaaIYau4E]GwyNpoVdo!uysupinsbs color counterpart, the PC-15P and er or preamp/processor to a comfortable comes encased in a rubber sleeve 1.25 listening level, then adjust subwoofer f++mfmf= inch square by half an inch deep in the level until balanced, full-frequency out- center. It runs for three hours on a sin- put is obtained. The signal should ap- C1RSCoi2eanrracdvdl.iecsrSBJPS8aeoe1eO|UyABDDqQ]DOo©4F6uWO)YgIi96yEl9D9y91PUHI4DGYWOD gle nine-volt transistor radio battery, pear to come from the main speakers and can easily be sewn into clothing or only. If, at the listening position, sound hidden in the most cramped space. can be traced to the subwoofer, the gain Image quality is crisp and well defined, level should be lowered. with 380 lines of resolution from it’s 1/32-inch lens. Low-light sensitivity is a Fine tuning with recorded music or remarkable 0.02 lux. SuperCircuits movies is recommended. Male voices tightly claims this camera “can practi- should not betray an unnatural chesti- cally see in the dark!” ness, which indicates overly prominent mid- and upper-bass, and blockbuster The cameras can be set up to record in scenes like the train wreck in The a variety of ways. In fact, SuperCircuits Fugitive should be reproduced without owner Steve Klindworth suggests that overhang or boom. micro-video hobbyists on a budget may wish to use the cameras with a subcom- * Crossover frequency. Unless you are pact camcorder from Canon or JVC. employing a stereophonic pair of sub- These camcorders are small enough to woofers, the frequency at which the sub- be concealed under clothing and can woofer crosses over to the speakers record the images from the microcam- should be kept as low as possible. era, Klindworth said. Frequencies above 70 Hz are no longer monophonic (or omnidirectional), but Indeed, the SuperCircuits catalog possess a directionality that can be cap- quickly dispels any notion that tured in the stereophonic recording microvideo is only about surveillance. There are wireless systems with a 1,000- process. As a result, crossover in the 70- foot range (requiring no FCC license) 90 Hz range is generally considered ideal. that allow videomakers to acquire shots from about any point of view one can If your subwoofer has a crossover imagine. The company even sells a 1.7- control, experiment by using a record- ounce postage-stamp-sized video/audio ing with a strong sense of stereo separa- transmitter with a 3,000 foot range. tion, such as a symphony. (Bear in mind Customers, says Klindworth, have that as the subwoofer’s signal is derived mounted cameras in radio-controlled from left and right channels, crossover helicopters, planes and kites for aerial tuning should be accomplished in the video, in miniature underwater sub- stereo mode, with the center and sur- marines and in model race cars. round channels off, to avoid a mislead- For those who don’t want to build ing result.) Start with the crossover set their own, SuperCircuits offers a variety to its lowest frequency value. While lis- of camera mounting products. They tening to the recording, raise the con- include Neck Tie Cam, Clock Cam, trol until the soundstage starts to nar- Rotocam (for 360-degree coverage), row and individual images congregate Peeping Doom (with remote pan, tilt toward a point between the speakers. and zoom), Phone View for video tele- phony, and Rearview Mirror Cam “for Now, lower the control until maximum cabs and cops.” —-Frank Beacham stereophonic effect is restored. As with gain level matching, the ability to dis- HOME THEATER tinguish the subwoofer as a discrete continued from page 18 sound source, or the imposition of a hollow, chesty quality upon male vocals listener should not be able to detect the are telltale signs that too high a presence of a properly adjusted sub- crossover frequency is being employed. woofer. If you don’t have a pink noise generator and a spectrum analyzer at And now to the subs. While there your disposal, a proper level can be achieved by setting your FM tuner to a are many fine subwoofer manufacturers, spot on the dial where no station exists. the brands described below have estab- (First disengage the “FM muting” func- lished themselves as inveterate crowd pleasers. ¢ Audio Products International. Canadian speaker giant API markets high quality, reasonably priced sub- woofers under both the Mirage and Energy names. Although they lack the speed and airiness of the best, most expensive models, the $550 Mirage PS- 12-90 (also sold as the Energy AS-90) conveys the punch and power of motion 34 VIDEO MAY 1995

picture soundtracks without break- There was also a third mic fed into the ing the bank. same mixer which allowed communica- * Miller & Kreisel. One of the oldest tion from the stage manager and from manufacturers of powered subwoofers, the studio floor. Those of us in the con- M&K has recently revamped its prod- trol room could communicate with the uct line. The V-125 ($695) and the camera operators and the stage manag- dual-driver MX-90 ($995) combine er by using a microphone that fed an musical delicacy and brute force in amplifier, then split to 50-foot cords | compact, attractive bass enclosures. ending in individual headphones. The | ¢ Definitive Technology. Hands output of the audio mixer was fed to the down, Definitive offers the most bass for two VCRs, and back out to the external the buck. Definitive’s PF-15 ($699) is mic inputs on the two tripod-mounted the least expensive powered subwoofer camcorders. We monitored both audio to employ a 15-inch driver, while the and video action using two color moni- PF-1500 ($995) employs more power tors connected to the two VCR outputs. and a larger cabinet, with pulse-altering Errors were made and difficulties results. Want more? The PF-1800 were encountered. For example, camera ($1,599), with its 18-inch woofer cone people accidentally shot over the tops of and massive amplifier, should easily pro- our eight-foot-high sets (which were vide enough bass output to prompt a later raised to 10 feet). But such prob- visit from the local noise police. lems were just part of the learning ¢ Velodyne. When bass quality is as process. important as sheer quantity, Velodyne’s At the editing stage, we used the slot-loaded, accelerometer-controlled A/B-roll method. We started two VCRs ULD series sets the standard. This is a simultaneously, or “in sync,” by finding choice where performance, not price, is the same frame on each tape that indi- the primary consideration. cated the beginning of the take (this is | With a little effort, you can not only where the clapper is invaluable). We fed select the ideal subwoofer, but set it up our video mixer with our VCRs’ S-video to coax better performance from your outputs and recorded the “switchered” home theater system than you ever output on a third VCR. We had already believed it possessed. rT laid in the titles at the beginning of the third (master) tape, and now added the dramatic material and closing credits. For strength & versatility plus Music and sound effects were added portability & \\\\ affordability. later on the EVS-3000 PCM audio continued from page 19 track. From this completed master, we used a slate clapper and live audio produced our VHS copies. identifications at the beginning of each take to mark scenes for later editing. We premiered our production in a For sound, we used two wireless 200-seat theater room at the clubhouse, Providing remarkable rigidity Lavalier microphones attached to the coupled with light weight (only clothing of the two principal actors. free of charge of course. Our first two 11 Ibs., 6 0z.), the all-aluminum The mic outputs were fed from the 3140 features double-strut, cen- wireless receivers into an audio mixer. videos were well received, and more are ter-braced construction. Extends to 73\" (with Mini Fluid Head) and on the way. For amateurs, a video club folds to a compact 32%2\"' for easy travelling. is a wonderful opportunity to learn and Also available in black anodized perform. Our members enjoy what feidnuischa,titohne 3a1n4d0 iisndausntartiuarlal usfeo.r Ask your dealer or complete the they’re doing, and their skills grow more coupon below. sophisticated with each project. 7 Converters and Descramblers Ad illennium Same Day Shipping We don't sell anything’ we wouldn’t buy ourselves. ) SGNTERPRISES on most orders! Bogen Photo Corp., 565 East Crescent Avenue (It's full of stars lia |= olOF. VOY E: P.O. Box 506, Ramsey, NJ 07446-0506. We offer a Galaxy Please tell me more about the 3140 Tripod of selections Name ¢ Best Prices Street ¢ Eliminate equipment rental fees City ¢ Personalized friendly service Telephone ¢ Free Tech Support ¢ Thirty day money back guarantee ¢ 13 month written warranty ¢ Unique Buy Back Option 13729 183 N. © Suite 610-124 © Austin, TX Circle 13 on Reader Service Card. CSRC1oaeie4nradcvd.lieecre

BY JONATHAN TAKIFF “i Data Central: Zoran’s 38001 AC-3 decoding chip, the first for Dolby’s new process. Can AC-37 power a quantum leap in home theater audio? le larentine the plans, products & dates you need to know. Ge: i Over the past eight years, the nel audio/video receivers with Dolby Pro- guys at Dolby Laboratories, Logic outsell conventional stereo rigs in Inc. have done one heck of a job selling the entertainment the US. world on the multichannel But beginning this summer, Dolby home theater sound experi- and an elite front guard of audio/video ence built around Dolby Pro- manufacturers will launch an exciting a Logic processing. You know, surround-sound improvement-an all-dig- that wondrous matrixed ana- ital, six-channel theater sound system log sound encoding/decoding system that called Dolby Surround Digital AC-3 that “folds” four channels within a compati- mimics performance qualities found in ble two-channel stereo signal. The phe- today’s best Digital Dolby-tuned movie nomenon’s grown so big that multichan- palaces. On the home front, we’ll hear AC-3 first through laserdiscs and laserdisc players, outboard processors and inte- grated A/V receivers from mainstream, | upscale brands Pioneer, Denon and | Yamaha as well as through premium com- | ponents from specialty outfits Audio | Design Associates (ADA), Enlightened Audio Designs (EAD), Perreaux and Runco. Not into laser? Fear not. Laserdiscs are 36 VIDEO MAY 1995

YAMAHA . just the first path of entry for Dolby ASuatpoar DLausaer Ssinee gyn Surround Digital. AC-3 will be making an impact in an ever widening circle of au- Tes Bas7eVex dio applications. Perhaps most significant for the long run, AC-3 has been adopt- ed as the standard for the multichannel audio transmissions that will accompany America’s high-definition TV broadcasts. By next summer, you'll also be expe- riencing multichannel AC-3 sound through a new generation of digital ca- ble TV decoders that General Instru- ments is building for cable systems from TeleCommunications, Inc., the nation’s largest cable operator, and through third- | generation direct broadcast satellite re- ceivers from Primestar Partners. And that’s just the half of it: e More than likely, AC-3 will also be used for scores of multichannel sound- tracks for the promising Digital Video Disc format, the five-inch multi-gigabyte movie discs due to be introduced around the middle of next year. ¢ Some telephone companies are test- ing AC-3 as part of their “video dial tone,” which will deliver video-on-de- mand services through fiber optic phone lines. ¢ Dolby Pro-Logic will remain the system of choice for VHS hi-fi tapes and NTSC TV programs, which are likely to maintain their dominance at least until the calendar rolls past 2000. But multi- channel digital audio will be featured in the next generation of digital videotape | recorders, which are coming soon to co- habitate with HDTV. WHAT’S THE DEAL? Charter Members: The first AC-3 components include Yamaha’s seven-channel RX-V2090 A/V receiver, Why the rush to adopt AC-3? EAD’s Universal Disc Transport, and Runco’s THX-certified LUR II laserdisc player. Because it’s a sonic dazzler that raises the The six digital channels of AC-3 analog surround sound system which has, high-water performance level of home sound are compressed into a slim data at best, 30 decibels of channel separa- theater to keep pace with the discrete stream of 384 kilobits per second. Even tion and which cannot decode more than digital sound improvements developed one dominant signal at a time. In AC-3, for the prints and reproduction systems though this is a lower bit rate than is each of the six channels can carry a dif- used by movie theaters. Better yet, AC- needed for just one channel on CD, the ferent signal simultaneously. A sound en- 3 makes surprisingly small demands on six digital channels of AC-3 maintain gineer has virtually 360 degrees of pan- the software that carries it. As such, it’s the same purity of digital separation, fre- ning options. quency response, broad dynamic range As a result, AC-3 makes films, con- the ultimate cheap date, discrete yet for- and freedom from noise as a CD. certs and sports events more enthralling ward, all over you in no time. Moreover, Better still, AC-3 suffers none of the and pleasurable. It plops us into the midst Dolby has done its usual superb job of channel bleed-through or steering anom- of an extremely realistic three-dimen- market analysis and promotion. It built a sional soundfield. Even behind your back, alies, like audible sound level pumping, case for AC-3 that’s hard to argue with, that would be expected in a matrixed establishing it within the audio/video in- dustry as a de facto standard before com- petitors even woke up and smelled the coffee. MAY 1995 VIDEO 37

DIGITAL SURROUND you'll know where the enemy’s lurking, Gold Standard: ADA's Olympus III surround sound decoder couples AC-3 with electron vacuum tubes. how the wind’s blowing, down which foul line the fly ball’s sailing. Hz (+/-0.5 dB) and eats only a tenth as videogames. Moreover, Pro-Logic hard- much data-stream space as the full-band- ware’s become very affordable. Nowadays, The process uses the same number width channels, Dolby modestly says its you can buy a decent Pro-Logic surround of speakers as Pro-Logic, so you'll be able system possesses 5.1 channels, creating a receiver for $250. to maintain this element of your system, potential point of confusion for con- if the drivers are of equal temper and sumers. To us, AC-3’s still a six shooter. Should you choose to step up, the task will prove relatively easy, although timbre. However, AC-3 assigns the signals PRO-LOGIC COMPATIBLE alittle differently, and puts heavier strains costly, as was Pro-Logic, ifyou’re an ear- on speakers, especially subwoofers. Just because AC-3’s coming in, no- lyadopter. All AC-3 decoding chips, com- body thinks Pro-Logic is going away. ing first from Zoran and built into pre- Today’s analog Dolby Pro-Logic “Dolby Pro-Logic will be the mainstream Surround is described as a 3/1 system. In home theater product and AC-3 will as- amps, decoders and A/V receivers, are other words, three channels (left, cen- sume the high-end position, as Pro-Logic required by Dolby to also digitally de- ter and right) are spread across the front, once did over Dolby Surround,” says code matrixed surround signals in the or screen side, of a home theater. A sin- Roger Dressler, technical director of the Pro-Logic mode. And any laserdisc pro- gle channel with a limited bandwidth of Dolby Laboratories Licensing Corp. grams that feature six-channel AC-3 from 100 to 7,000 cycles, which is used Exploiting the universal presence of two- won't do so at the expense of the PCM channel audio to find paths to consumers, stereo tracks that fold in Dolby Pro-Logic mostly for special effects, is fed to two matrixed analog Dolby Surround pro- surround. separate rear or surround speakers. cessing will remain on a skadillion VHS On laserdiscs, multichannel AC-3 is By contrast, AC-3 is a 3/2 system. VCR tapes, broadcast and cable TV pro- being modulated as a radio frequency sig- The digital Dolby array offers three chan- grams, C- and Ku-band satellites, thou- nal that claims the spectrum space pre- nels in the front and two distinct, dis- sands of laserdisc titles and some viously occupied by the right AFM audio crete surround channels in the rear. And channel. That’s half the original analog stereo sound path for laserdiscs. When the stereo surround tracks are every bit the equal of the three fronts in terms of possessing full-range frequency response (20 to 20,000 Hertz, +/-0.5 decibels) and other sonic qualities. In addition, AC-3 delivers the punch of a true, dedicated special effects chan- nel that’s limited to non-directional bass sounds, like thunder, rumbling dinosaurs and exploding bombs. Such sounds are best reproduced by a powered subwoofer capable of sustaining 115-decibel signals. (The other AC-3 channels are contoured to max out at a 105 dB sound pressure level, as are all Dolby Pro-Logic signals.) Because this hard-rocking effects chan- nel has a limited bandwidth of 20 to 120 Digital Domain: EAD's Theater- Master, the first high-end D/A converter with AC-3 and Pro-Logic processing. 38 VIDEO MAY 1995

Left channel Center channel Right channel Left surround channel Right surround channel Subwoofer studios are mastering discs for AC-3, the Left channel remaining (left) AFM channel will deliver Center channel Right channel a monaural, hi-fi soundtrack, so as not to Surround channels “orphan” owners of first-generation laserdisc players, the ones built before Dolby AC-3 1985. data stream This “easy backward compatibility” Left channel argument helped AC-3 win favor with Right channel the hardware and software members of the Laser Disc Association of America Digital Paths: and the Laser Disc Association of the Chart shows how AC-3 Pacific. The two trade groups have en- distributes signals to dorsed AC-3’s concept of using the ana- speakers, and its log track to carry new multichannel compatibility with other sound, while maintaining the PCM tracks audio systems. Logic laserdiscs means dealers can main- Mono tain a single inventory and that new ti- tles can rapidly proliferate, from zero to compatible surround, if the original the- they’re already building a library for the possibly 100 by this Christmas, predicts next generation of products, should they Dolby. Participating studios include atrical print was mixed in digital multi- chose to upgrade later. channel. Pro-Logic lovers can pick up Twentieth Century Fox, Paramount and AC-3 discs with the happy realization continued on page 74 Live, with others still to be announced. In addition to new titles, the studios are likely to re-press older laserdisc titles with DIGITAL THEATER SYSTEMS: AC-3's MULTICHANNEL GHALLENGER Seen e eee eeeeeeseneweecens Reet eee amen eee e eee n reese ene eases eee ee eee ee eee sE ee eSH SEO DE SEH HE OEESH SESE HEESEETESEODESSEROH HE EH ETOH TE EHH EHO HE EHH HE Dolby Surround Digital AC-3 is not the only advanced its data rate of 384 kilobits per second and 11:1 compres- multichannel sound process in the works. A competing sion ratio. system called DTS, by Digital Theater Systems, the world’s leading theatrical motion picture digital audio sound com- To bring their technology home, DTS developers say they pany, could challenge AC-3’s bid. Utilizing a high-quality would seize the 1.5-megabit PCM stereo track space on yet economical reproduction system that synchronizes a laserdiscs and leave the old original CX-encoded AFM soundtrack pressed on a CD to an optical film print, DTS stereo tracks intact for compatibility, to be played as is or has persuaded nearly 5,000 theaters to use its system. This decoded with Dolby Pro-Logic. Beard argues that the “FM is triple the number of theaters that have installed Dolby analog tracks significantly exceed the dynamic range, fre- quency response and noise performance of the medium for Digital Surround and Sony Digital Surround Sound, com- which the ‘master’ stereo track of all movies is mixed, the peting multichannel sound systems for movie theaters. motion picture stereo optical soundtrack.” According to Beard, Nuoptix builds the optical simulators and optical DTS was introduced in June, 1993 for Jurassic Park, soundtrack recorders “used by every major motion picture the decade’s biggest smash. Not coincidentally, Jurassic’s cre- company in the world, so we are very familiar with this ators, Steven Spielberg and Universal Studios, are part- process and its limitations.” ners in the sound company, along with DTS parent Nuoptix, Inc., a huge supplier of sound equipment to the motion Extracting a six-channel DTS mix off a laserdisc’s PCM picture industry. Last year, DTS encoded 65 films for tracks would be relatively easy. In fact, laserdisc players MGM/UA, Universal, Paramount and New Line. This year, with digital audio outputs are already up to the mission. it will produce “another 80 or so” with its digital mulitichan- Unfortunately for DTS, though, the Laser Disc Associations nel process, says DTS president Terry Beard. of America and the Pacific have voted to keep the PCM tracks intact, siding with a plan proposed by Pioneer and On paper, DTS appears to have built the superior mouse Dolby to seize one AFM track for surround sound, which trap. DTS packs its six channels of digital surround into a is precisely the agenda of the Dolby AC-3 multichannel sys- 1.5-megabit per second data rate, the same used for a two- tem. Ln channel CD, and employs a mild 3:1 digital data compres- sion ratio with 20-bit digital-to-analog converters. These If DTS chooses to market its system to the laserphile appear to be more like hi-fi specs than the AC-3 system with continued on page 78 MAY 1995 VIDEO 939

| BY RON GOLDBERG The home theater revolution owes its success to a lot of soliders, but few have Hih,q | | carried the awesome electronic burden of the audio/video receiver. In one 19-inch Features and wide box, we find a command center for strategies to all the audio functions of a fully inte- help you choose grated system, plus a good portion of the video functions. The success of any home a home theater theater installation is going to owe a lot Hh command center. ‘ to this crucial component. As a result, virtually every audio man- ufacturer has jumped onto the A/V re- ceiver bandwagon, so much so that a straight stereo receiver without some kind of surround sound capability has become the exception, rather than the tule. But because there are so many com- petitors, at prices ranging from a few hun- dred dollars to a few thousand, the choic- es among A/V receivers can be overwhelming. This is especially true if you're working with a fixed budget (and aren't we all?) or trying to upgrade an existing system. So many features, so lit- tle time. Where do you begin to make in- telligent choices? In the following article, we’ll focus on the key features common to most A/V receivers, and how to understand the benefits they offer. We’ll discuss which features are essential, which fea- tures are simply good to have, which features will best serve the rest of your Headphone 16 Tuner Separate Compre- Manual jack and presets listen and hensive AM/FM separate record display tuning listen and switches record Speaker Clearly Surround Master Video and switches switching, labeled play po ee sound volume stereo audio for 7 video plus bass, slirecord including controls control inputs for a sources treble and phono and balance ptions for cD camcorder controls all audio or game and video machine sources CGOELNE arman/kardon AVR30 Audio Harman Kardon AVR30 A/V receiver

system and, equally important, which ceiver is a prime purchase consideration. ditions, the bulk of a receiver’s power is features you can live without. We'll al- Most important, you'll want the receiv- going to go into subwoofer boom and in- er’s amps to deliver equal power across to quick bursts of sonic energy, such as so recommend A/V receivers (see “A the front three channels. The days when those produced by gunshots and explo- Few Good Choices”) that offer top flight manufacturers could get away with re- sions. If you have a subwoofer that’s self- features, performance and value. tooling an existing stereo receiver with a powered, the A/V receiver gets a break. dinky trio of amps for the center and sur- If you need to power a sub, think about THE USES OF POWER round channels are long gone. Remember, getting as powerful a receiver as possible. One of the main reasons why people the vast majority of sounds you'll hear in Subwoofers inhale wattage for breakfast. any movie are going to come from the choose one receiver over another is that center channel. This is not just dialog, but An average-size living room will it offers more power. Receiver power, all the sounds that haven’t been panned sound plenty loud with 50 to 75 watts of to the sides or rears. clean power. If your room is large, your which is measured in watts per channel, speakers will work inefficiently (display- indicates how much amplitude, or loud- With this in mind, what is the correct ing less than 87 decibels of sensitivity), ness, and how much dynamic range (from power for your A/V receiver? The best and you'll be happier with more watts. If soft to loud sounds) you'll be able to coax way to determine this is by looking at you're powering a big subwoofer through out of your speaker system. In terms of your speakers and your room. Most speak- the A/V receiver, you'll probably be hap- channels, you'll need two for simple ers, especially the satellite/subwoofer stereo, five for Dolby Pro-Logic, and six pier with 100 watts, or more. for the forthcoming Dolby Surround complements that are so popular for Digital AC-3. home theater use, carry a maximum pow- DSP AND ITS DISCONTENTS er rating (although this is not to say that Every A/V receiver has a setting for The power in the amplifiers built in- you can’t exceed this rating under certain to A/V receivers is by no means the on- circumstances). Distorted power, much surround sound. Every A/V receiver you ly factor that determines how loud your more than excessive power, is the culprit should consider buying has a setting for system will sound. Speaker sensitivity, al- behind fried speakers. Look up the pow- Dolby Pro-Logic. But most A/V receivers so called efficiency, is also important. A er rating for your speakers, and try to take this concept further. Instead of of- more sensitive speaker needs less wattage match your A/V receiver accordingly. If fering only stereo or surround settings, to play as loudly as a less sensitive speak- the speakers say they’ll handle 40 watts, they give you settings for digital signal er. The room where your home theater re- a 100-watt receiver is overkill. But if the processing (DSP). Using this technology, sides is also part of the equation. A large speakers say they’ll handle 75 watts, you the receiver can manipulate incoming room with high ceilings, carpets and soft can consider 100 watts, ifyou need them. music or movie audio so it appears to be furnishings is going to need more watts to emanating from an acoustic space other fill it with great sound than a small room However, many rooms don’t. Under than the one in which you're listening. normal (loud, but not wacky loud) con- | with hard, reflective surfaces. This is almost always accomplished Still, the power put out by an A/V re- Separate S-video Separate Jacks for Two sets Two sets of phonograph jacks subwoofer center of main switched jack grouped output speakers speaker AC outlets Audio together jacks Connectors inputs for rear and Video Antennas Jumpers speakers outputs and connec- grounds from tions for pre-amp three to amps sources anda monitor DWAANGNER Denon AVR-2500 Surround Sound Receiver 41

ANATOMY Onkyo’s TX-SV525 Harman International group of compa- camcorders. They’re fun to use once in a has a new new nies, which includes Harman-Kardon, while. But I’ve only met one person in my Motorola DSP Fosgate, JBL and Lexicon. Harman- life who listens to music all the time Kardon decoders, which are virtually iden- through DSP settings, and that’s through microprocessor. tical to the recently discontinued Fosgate a dedicated $2,000 decoder. decoders, feature a selection of intelligent with time delay, reverberation and/or DSP settings that are rooted in designer INPUTS AND OUTPUTS equalization. You’ve undoubtedly seen Jim Fosgate’s pioneering efforts back in Amazingly, consumers tend to pay these settings while browsing for A/V receivers. Using DSP settings, you the early days of Pro-Logic. These relatively little attention to how well an can hear the Tallis Scholars sing in a models offer superior DSP A/V receiver can sort and route their cathedral, Ray Charles in a jazz club, functions for music listen- own various audio and video compo- the Rolling Stones in a stadium or, ing because the pro- nents. This is surprising because this ca- because it’s possible, the Tallis cessing techniques pability is crucial to both picture quality Scholars in a jazz club. The question they employ are and operating flexibility. Everything in is, do you really want to? based on strategi- your system, including present and fu- cally mixing unal- ture components, is going to go through In a field as crowded with competitive tered front sounds products as A/V receivers, manufactur- into the surround your A/V receiver. How well, and easily, ers feel they have to add features that make their models stand out. One easy speakers, rather the signals come out into your monitor place to lay on the goodies is the DSP se- than excessive pro- and recording gear should not be a minor lection; after all, the algorithms for six cessing of the stereo consideration. DSP settings aren’t much more expensive signal. The result is than four. Even entry-level A/V an unusually listenable First and foremost, when checking receivers usually have at soundfield that works a receiver, make sure it has enough least two or three DSP well into five and six video and audio inputs for present as settings for music lis- speakers. In fact, these mod- well as anticipated components. Most tening. A high-end els also offer a Pro-Logic-com- unit might offer patible setting for movie playback called receivers are loaded with audio inputs, more than a dozen. “70mm,” which many home theater buffs but not all are as generous when it actually prefer to straight Pro-Logic and comes to video. Check carefully. A re- Audio purists even THX surround decoding. ceiver that advertises enough inputs for tend to sniff at eight components might sound pretty DSP features be- The bottom line? DSP settings are full-featured until you bring it home cause, in some like the special effects features found on and realize that only two of those inputs cases, they alter can route video signals. Suddenly, the signal to such there’s no place to connect your two a degree that the VCRs and a laserdisc player. sonic benefit could conceivably be under- Video inputs should also be checked mined. The “bigger” for configuration compatibility. If you'll the DSP setting—stadium is be running S-video connections from the usually the biggest-the more sources to the monitor, you'll want a re- processing you're likely to hear on the ceiver that can take advantage of this signal. While the effect of DSP settings capability. If you'll be mixing both S- can be amusing, in the long run, they video and standard video inputs into the rarely sound as pleasing as a receiver’s receiver, make sure the receiver can route unadorned signal. either type of signal to the monitor. With some receivers, all your connections have One major exception comes from the to be of the same type. Others have a composite/S-video “mixing” function that an a will relieve you of hook-up headaches. PHONON Input and output jacks are only half the story of good video switching, which 42 VIDEO MAY 1995

is an integral aspect of A/V reception. Audio/video receivers sprawl across a wide range of prices. It’s also important to know what you can : You can find a basic model for under $200, while the best do with these signals once the receiver ac- : go for ten times as much. How much receiver you get for cepts them. What about dubbing? A re- : how much money is a matter of synergy between what ceiver with four video inputs, but only two outputs means minimal dubbing ca- you're looking for and what you want to spend. Some pability. Audio inputs and outputs are models are conceived to deliver as many features as possi- givens on most A/V receivers but, ideal- ble at their price levels. Others emphasize performance ly, you also want inputs and outputs for quality or durability. But your priorities are more impor- each of your video sources. This will give tant than a manufacturer’s. Pick a model you decide will you enough flexibility to do all the things best suit the home theater situation in which you're plan- you might want to do with your system, ning to put the receiver. To get you started, here are a few and a few things you may want to do in receivers we’re especially keen on: the future, even ifyou don’t know it now. Like what? How about dubbing from ePeeeeeroeereceeeseceseescees your CD player (an audio source) to your hi-fi VHS deck (a video source), for six ¢ Onkyo TX-SV525DSP ($580). Onkyo’s been on a to eight hours of continuous music for a hot streak lately, and this new model should be a winner. party? Or how about dubbing camcorder It features Motorola’s new 56004 DSP chip, which brings footage to two VHS decks simultane- state-of-the-art performance previously found only in very ously (ifyou have them), so you can make high-end gear down to mass-market prices. At 80 watts a copy of junior’s first steps for both sets for the front and center channels, and 25 for the rears, it of grandparents in half the time? If you has enough power for most home theaters. Throw in bul- can see yourself doing anything along letproof construction and you've got quite a bargain. these lines, then good dubbing capabili- ties are a must for your A/V receiver. e Yamaha RX-V2090 ($1,499). Yamaha’s flagship is a tour-de-force. Start with seven channels of amplification: In addition to these essentials, you'll eePeeceec1e0e0resfeoearsetsheeseefsreoesnetseetehereese, and 35 to the two surround and also want a few niceties; after all, you’re two side channels. Of course, there are plenty of DSP set- buying a spiffy new piece of gear. A set of front-mounted A/V jacks for camcorder : tings, and Yamaha’s soundfields are among the better ones. hookup is a helpful touch. Ifyou still love But the idea here is to be state of the art today and tomor- vinyl records (and a lot of us have irre- row. All those channels mean this model can easily mate with next-generation Dolby AC-3 gear. placeable collections), you'll need a phonograph input, which not all A/V re- ¢ NAD AV716 ($749). Long known for its simple ceivers still possess. All in all, more is designs and great sound for the bucks, NAD took its usually better when it comes to input and sweet time coming out with this debut A/V receiver. It output jacks. Don’t worry about how scary looks like a good one. There are few bells or whistles; in the back of the receiver looks. With seccfeaecete,sevjeusst one DSP setting besides Pro-Logic. The atten- enough jacks and routing flexibility, you'll tion here is all on performance, especially clean amplifica- probably never have to look at the back panel again after your initial installation. tion and decod- ing. The power WHAT ABOUT THE SOUND? Just as different stereo amps and re- ratings may seem skimpy at ceivers display subtle, and sometimes not 55 for the front so subtle, differences in sound quality, three channels, Dolby Pro-Logic decoders don’t all sound and 20 for the the same either. This is both good news rears. But and bad news. The good news is that NAD machines most of the Pro-Logic chips in today’s “perform” more A/V receivers sound pretty good. They do loudly than a good job of reproducing directional in- their power lev- els suggest. formation, and almost all deliver good surround entertainment, as long your NAD’s AV716 ¢ Pioneer VSX-D9035 ($1,200). Tired of indecipher- speaker system is properly balanced, able front panels and convoluted remotes? Here’s a solu- tion that seems to be an inevitable direction—a graphic on- However, some receivers definitely do a screen interface. With this Pioneer, your television set better job than others. becomes a computer monitor with friendly icons and enough prompts to let you tailor your home theater world. It’s easy to work, which in the case of this model’s many features, is a blessing. There’s also plenty of power and dubbling flexibility. ¢ Sherwood RV-5030R ($379).Winner of a Video Magazine Award as one of ‘94’s best products, this Dolby Pro-Logic receiver combines performance with afford- ability. Lacking such features as S-video jacks, it has few frills, but offers sound quality comparable to much cost- lier models. —RG MAY 1995 VIDEO 43

BY CHRIS CHIARELLA How a THX 30th To fully appreciate the significance of | FoxVideo and Im- An OT Or. 5Ou nd of age Entertainment’s Music laserdisc Uni tes The Sound ofMusic 30th Anniversary ;‘ : Edition, set aside any memories of the film wi th Its crea tors the movie’s sac- 30° ANNIVERSARY EDITION charin nature, as some allege, and look at it fresh and in perspective. The winner of five cademy Awards, including Best Picture, TheSoundofMu- sic dethroned Gone With the Wind as the most popular movie of all time when it was released in 1965. Its theatrical run on Broadway lasted four-and-a-half years, and the movie version enjoyed a lucrative big-screen re-issue in 1973, brought back | by popular demand. A blockbuster such as this is a natural for a special edition laserdisc. The necessary investment by FoxVideo and Image is balanced by po- tential consumer interest. And the back- ground stories of the people who made the film, and the story of the film’s phenomenal success, make for ideal sup- plements. Too of- ten in recent years, deluxe edi- tions have been re- served for action movies, like Termina- tor 2: Judgment Day and the Star Wars trilo- gy, with lots of special ef- fects. Although The Sound ofMusic is virtually devoid of trick photography, it rep- resents a different kind of movie making from an era now gone, and is notewor- thy as the pinnacle of the legendary songwriting part- nership of Richard Rodgers # and Oscar Hammerstein II. J]30 Years After: The lavish box set in- Vf cludes the screenplay, an historical Z documentary, a still-frame archive, and a soundtrack CD. Above: Sound recordist Bernard Freericks and Kym Kareth, who plays Gretl Von Trapp. LMEAOSSRES

Do-Re-Mi: Julie Andrews films the final shot of the song on location at the Mirabell Gardens in Salzburg, Austria. The film’s maker, Twen- FoxVideo. The THX laserdisc program, brated its monitors to THX specifica- still building its reputation as a mark of tions. Sound of Music director Robert tieth Century-Fox, was technical excellence, became involved Wise oversaw every moment of the trans- an underdog studio when in making new transfers of all three pres- fer. This was not a restoration in the clas- tigious Rodgers and Hammerstein Todd- sic sense: the original 65mm negative re- production began, and quired no rescue from certain doom. was saved from financial AO musicals: The Sound of Music, South There were no drastic repairs of faded collapse by the sleeper Pacific and Oklahoma! (titles that also stock or lost scenes to replace. The deci- hit. represent THX’s first feature work from sion to remaster from the original 65mm 70mm sources). The Todd-AO process version, however, may represent an at- The Sound of Music was developed by Michael Todd and the tempt to approximate as closely as possi- American Optical Company in the ear- ble the original roadshow presentation is the story of Maria, ly \"Nazi 50s to provide movie theaters from 30 years ago. (Two details were car- played by Julie Andrews, with a format simpler than the success- ful three-strip Cinerama, yet brighter, ried over to this version, the 2.2:1 aspect a spirited postulant, who sharper and steadier than 35mm anamor- ratio and the Todd-AO credit, which ap- leaves her convent to phic CinemaScope. peared only on the 70mm prints.) serve as governess to the seven children of the A NEW TRANSFER For the soundtrack, Schnuelle and widowed Captain Von Dave Schnuelle, principal engineer THX technicians fine-tuned the mixing Trapp, played by Christo- board at Chace Productions in Burbank, pher Plummer. After win- of the THX laserdisc program, set up the literally taking it apart. Two different six- ning the hearts of her tal- telecine transfer machine at Crest Na- track magnetic sound reels were brought ented young charges, she tional Videotape in Hollywood and cali- in and compared. The original 1965 reels falls in love with and marries their father, as invading Nazi forces threaten their future. But even annexation by the Nazis cannot spoil the glories of Salzburg, Austria, the real star of the film. Although few movies, from any genre, truly merit the level of detail lavished on this package, the story of how this edition was assem- bled highlights the cre- ative energies that have won the laserdisc format so many loyal fans. he architect of the 30th Anniver- sary edition is Michael Matessino. His passion for the film was well known to Bart Pierce, director of Laserdisc Enhancements for FoxVideo, with whom he had worked while creating the supple- ment for the popular Alien deluxe disc. Fox Video had been keen on the idea ofaspecial Sound of Music edi- tion for some time, but had put it on hold until it completed its elaborate Alien, Aliens, and Star Wars projects. The one previous letterboxed Sound of Music disc, a CBS-Fox release, was heavily criticized for poor color, making some scenes appear sepia-toned or black- and-white. Consequently, the film’s even- tual remastering was undertaken by MAY 1995 VIDEO 45

tained good rela- tions with the Trapp family and interviews at the Trapp’s Ver- mont ski lodge were also ar- ranged. Only one name was noticeably ab- sent from the roster: Julie An- Patter Of Little Feet: Rehearsal for “The Lonely Goatherd” song with puppeteer Bil Baird (left). drews herself, who, feeling she were actually brighter than the 1990 re- feature-length documentary would be had said quite enough about the film master, created for the Silver Anniversary more interesting. Almost all surviving theatrical re-issue, and served as the production team members of The Sound over the years, had source for Chace’s Tom Long to create a of Music were willing to be videotaped. declined an invita- The real Captain new soundtrack. It was processed through A fateful phone call from Christopher tion. However, on the and Maria Von Trapp. the Dolby Matrix and closely monitored Plummer’s agent, Jeff Berger at Interna- strength of the for fidelity. Age-related anomalies, such tional Creative Management in New widening scope of the documentary, An- as pops and hisses, were removed. Once York, had a profound effect. Plummer drews reconsidered. So important was the best transfer was obtained, the chal- had been rumored to hold the movie in this show of support that FoxVideo lenge was to create supplements that disdain, lowering any hopes of his in- pushed back the deadline and increased would genuinely enhance viewer appre- volvement. Berger lobbied his client to the documentary’s running time. ciation by examining the artistry and hard take part, and succeeded. An East Coast Some 20 hours of raw video footage work that made the movie an unparalled trip was arranged to interview the star on three-quarter-inch tape needed to be success. on camera, as well as Ted Chapin, presi- reviewed, logged and cut into a narra- dent of the Rodgers and Hammerstein tive. Specially transferred photos and clips would be integrated throughout. EXTRAS & MORE EXTRAS organization, and Oscar Hammerstein’s Matessino began to block out the son James. Envisioning the finished product in his specifics. The remastered movie would Rodgers and Hammerstein had main- head, Matessino was able to construct a computerized edit list. be accompanied by a Without the benefit of running audio com- an actual rough cut he mentary from director could watch, he slow- Wise, plus the isolated ly assembled all the music and effects track footage into The Sound in full stereo whenever of Music: From Fact to he was not speaking. Phenomenon. Claire Matessino recorded Bloom, another Jeff Wise on DAT in the di- Berger client who had rector’s home, while worked with Wise on the music and effects The Haunting, supplied track was found in stu- the voiceover. With great skill and impec- dio storage. This main program was to be fol- cable German, Bloom lowed by four 14- recorded her narration minute mini-documen- in a matter of hours in taries covering the a Manhattan studio, real-life story on which coached via telephone. the play was based, the This was then edited and laid in alomg with genesis of the screen- play, filming and the the music and sound movie’s release and effects. The resulting success. Wise Guys: Director Robert The wealth of ma- Wise on the set with the 87 minutes became, af- terial uncovered soon Von Trapp children. ter 30 years, a com- suggested that a single continued on page 86 46 VIDEO MAY 1995

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~ HOMETHEATER FORUMBY ANTHONY CHIARELLA a4 If you’re looking to assemble a home Horns 0’Plenty: Synthesis 3 speakers include S3Ms nent (11 pieces in all) into Video Maga- theater system, you probably fall into for left and right channels, two S2A effects speakers, zine’s Home Theater Facility, I was be- one of two categories: Those who take two S35 subs, and the vertical S3C center channel. ginnng to think of the Synthesis as a pride in carefully selecting each compo- rack system for the rich and famous. At nent, and those who, while just as set-up and JBL insists that installation enthusiastic about the home theater and calibration be performed by factory- a suggested price of $18,900, I was con- trained specialists using proprietary vinced, considering the abundance of | experience, prefer the ease of a com- computer equipment. great home theater products, that I | pletely matched and integrated system. could design a similarly-priced home For the latter, JBL offers its Synthesis 3 I must admit that, prior to hearing a theater system that would surpass the theater system, which includes every- properly tuned Synthesis 3, I was feeling performance of the Synthesis 3. thing you need except for a video source somewhat cynical about the system's and a video monitor. Synthesis 3 is a capabilities. As senior editor Peter Barry I was wrong. The JBL Synthesis 3 complete, prepackaged TH X-certified and I loaded component after compo- system, when installed and calibrated by a trained technician, delivers a world 48 VIDEO MAY 1995

class home theater experience and, thanks to the inclusion of dual-purpose left and right main channel speakers, satisfying stereophonic performance as well. Considering the number and qual- Centerline: Synthesis 3 offers a choice between a horizontal (above) and vertical center channel. ity of the individual components sup- plied with the Synthesis 3, the price of Model C screen, a Pioneer CLD-97 Despite the nuts-and-bolts quality of admission does not seem unreasonable. laserdisc player, and an Audio Alchemy the components, the Synthesis 3’s most For your $18,900, you get a pair of S3M v1.1 digital/analogr converter for pro- formidable strength is its ability to be cinema and music speakers for the front cessing the audio bits. The set-up was optimized, via the supplied S3-SPP sig- left and right channels, an S3C center wired with Monster Cable speaker wire nal processor/equalizer together with channel, a pair of S2A dipole effects and interconnects, and Straight Wire JBLs proprietary computer program and speakers, and a pair of S3S 12-inch sub- SilverLink II video cable. a technician trained to calibrate the sys- woofers. The center-channel speaker A number of the components in the tem for each customer’s specific home can be configured vertically or horizon- Synthesis 3 are derivations of JBL pro- theater environment. Although some of tally, as you choose. You also get an fessional theater products, which are the Synthesis 3’s qualities—dynamics, SDP-1 surround-sound processor, which installed in nearly 70 percent of the detail, image localization—were obvi- is essentially a modified version of movie theaters in this country and built ous from the moment we unpacked and Lexicon’s CP3-plus, and S650 and $400 to standards higher than one would hooked everything up, the calibration power amplifiers, which deliver a total normally associate with consumer and equalization procedures undertak- of 1,050 watts into 8 ohms, and an S3- equipment. And like real movie theater en at our test facility by Synthesis SPP signal processor/equalizer. set-ups, the Synthesis 3 utilizes horn Eastern Sales Manager Eric Leicht (see We ran all this audio hardware with tweeters in the front, center and effects sidebar) helped the system to dial in a our video set-up, which consisted of a speakers. The standards for home THX level of home theater realism that set a Mitsubishi VS-1250 front projector, a certification require that treble disper- new standard in our reference room. Dwin LD-2 line doubler, a Da-Lite sion be controlled only in the vertical Tonal balance, from midbass to upper plane, but here treble, was refined and correct, with no JBUs use of expen- part of the frequency range calling sive horn-loaded attention to itself. Integration between tweeters guarantees the speakers was flawless. The transi- that the speakers tion of sonic information from one meet the even more speaker to another was accomplished rigorous pro-THX seamlessly, heightening the sense of standards, where movie realism. horizontal directiv- As noted, the Synthesis compo- ity must also be nents were derived from JBLs pro-THX controlled. Similar- applications, a fact that became evident ly, the matte black when we pushed the system at high vol- finish of the power umes for prolonged periods. While amplifiers sug-gests other high-powered components have, the beefy build qual- under extreme conditions, compressed ity typical of top- the dynamic peaks of blockbuster notch commercial- soundtracks, the Synthesis encom- grade electronics, passed major swings in volume without and their 130 watt- ever breaking a sweat. Watching films per-channel ratings that have hectic action sequences that (200 wpe for sub- take place simultaneously with calmer woofer channels) scenes are well served here, as the JBL provide marginally system properly delineates each greater output than sequence while preserving the integrity the 100 watt-per- of the cinematic whole. JB’s matched channel amps sup- system approach allows the Synthesis 3 Power and the Glory: JBL’s SDP-1 processor and the S3-SPP equalizer plied with most to deliver a greater range of dynamic home THX systems. contrast than would be possible if amp atop the S650 and S400 power amps, which pack 1,050 watts. MAY 1995 VIDEO 49

OVNTHESIS and speaker matching were left to the 20 50 100. — 00 500 CAR 2K 5K 10K customer. Legend Much of the credit for the Synthesis’ dynamic excellence is due to those mag- = Subwoofer nificent horn tweeters. Veteran = Target audio/videophiles are probably aware that the most sonically intrusive distor- 20 50 100 200 500 1K 2K 5K 10K tions of system overload occur at high frequencies. Through the JBL horns, I Tuning the Room: Channel-by-channel response graphs show improvement in never heard any sort of compression or Synthesis 3 performance in our Home Theater Facility before (top) and after breakup and, after throwing every (above) calibration. The x-axis represents sound pressure levels, in decibels; laserdisc torture test in my arsenal at the y-axis represents frequency, in Hertz. this system, I would guess that these tweeters are capable of reproducing a JBL'S SECRET WEAPON —THE EQUALIZER much broader range of dynamic infor- mation than I was able to supply. Tom Cruise fans might remember the scene in Risky Business where a young Cruise, Only at the lowest frequencies did outfitted in a dress shirt and jockey shorts, gooses the bass bands of his father’s equal- the Synthesis system ever protest our preference for high-volume levels. izer while auditioning Bob Seeger’s “Old Time Rock ’n’ Roll.” In this scene, Cruise Certain bass-heavy soundtracks sent the woofers into overload, which made demonstrates the incorrect use of an equalizer. While graphic equalization can be it necessary to lower overall system vol- used to compensate for tonally-deficient recordings, changing equalization settings ume. Although this could be hardware after each software selection would soon prove tedious. The approach used by JBL related, it’s hard to pinpoint the cause since we tested all the components as a is to equalize in-room system response to eliminate the standing waves (below 800 system. I doubt, however, that the Hertz) which occur in the listening room and interfere with optimal system function. woofer/amplifier combination supplied JBUs procedure requires the use of sophisticated hardware developed for this with the Synthesis 3 is the reason. It might have been that the target calibra- application. When a customer purchases a Synthesis system, the necessary equip- tion curve, which in our room specified ment is sent to the dealer, who calibrates the system in the customer’s home. Five a 10 decibel boost in low frequency vol- microphones are placed around the listening position, their outputs fed into a ume output (between 20 and 40 Hertz) small console, which in turn interfaces with a laptop computer. A pink noise burst is then passed sequentially through the left front, center, right front and subwoofer relative to the midrange volume level, channels (four channels in all). The output of each channel is measured by the simply became too severe with movie five microphones. These five discrete measurements are combined and averaged soundtracks which were themselves and, finally, computer generated composite curves for each of the four channels equalized with a low bass emphasis. If we had the equipment needed to exper- are plotted on a CRT and superimposed against an ideal, or “target” curve. iment with equalization settings, we might have arrived at a more definitive It should be noted that the target curve is not intended to be flat with regard conclusion, but it’s fair to say that after to frequency, but corresponds to the outcome of listening preference tests con-- the Synthesis 3 has been equalized ducted by Dr. Floyd Toole, a leading expert in the field of psychoacoustics. It can according to factory guidelines, sound- be seen that Dr. Toole’s subjects considered “optimum” in-room response to tracks with a lot of low bass information include a rapidly rising bass response and a subdued treble region. should prompt a viewer to back off on After comparing the measured response curves to the target, the technician the volume. adjusts each channel’s equalization levels accordingly, and the test is repeated. The process continues until the actual response curves can be made to approx- In that most critical aspect of sur- imate the target curve. As a grand finale, a solid faceplate is screwed over the round-sound performance—the ability equalizer controls to ensure that the user does not accidentally tamper with the of the equipment to draw the viewer computer-derived equalization settings. While a curious owner can easily into a cinematic environment created by remove this guard, the temptation to do so should be tempered by the knowl- - the director—the Synthesis 3 is unsur- passed. The equalized system is superbly edge that system recalibration is not covered under warranty. —AC integrated, eliminating the listening dis- tractions that occur when a sound effect can be traced to a specific loudspeaker. The Synthesis 3 generates an extraordi- nary sense of space but, at the same time, is able to localize specific images with pinpoint precision. As a result, 50 VIDEO MAY 1995