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Folsom Image Pro or similar?

Discussion in 'Hardware' started by deepvisual, May 2, 2012.

  1. deepvisual

    deepvisual visually challenged

    was thinking to pick up a gadget to allow me an easier life when it comes to plugging into LED systems.
    Last gig I was on, apart from coming the closest ever to being electrocuted, The LED people didn't have a scaler.
    I'm after something that takes most inputs and will output either DVI or HD-SDI.

    someone told me the FSR Indie is the same item without the price tag.

  2. lotech

    lotech video junkies

  3. MoRpH

    MoRpH Moderator

    I have the Tv One unit and love it :)
  4. sleepytom

    sleepytom VJF Admin

    FSR is indeed the same as an imagepro.

    The TVOne things are cheap but pretty hideous to use. I have not much confidence in their durability either as my 1t-C2-750 has stopped working AGAIN in spite of the fact it has only been used for a couple of hundred hours at the very most. (it's been back to tvone once already)

    I'm not sure i can see the point in spending such a large amount of money on an imagepro - for me they are a rental item, but you always seem to get shafted by production renting stuff from lighting companies so i dunno what to say.

    You could look at the Analogway kit too - personally i find it hateful to operate but some people (accountants / bean counters) like it.

    There are also Extron USP 507 - you have to make sure it has the correct boards in. It works ok and is easier to use than the TVOne / Analogway Stuff.

    Kramer probably do something too.
  5. sleepytom

    sleepytom VJF Admin

  6. many2

    many2 Active Member

    You might be able to find some old Silicon Optics Image Anyplace / Anywhere for a decent price. Seems to sell for 500$ to 1000$ on ebay.
  7. deepvisual

    deepvisual visually challenged

    ok thanks chaps..
    will probably go with the TVone gadget.
  8. devonmiles

    devonmiles Midi: the language of God

    the silicon optix seems to be limited regards resolutions. max is 720p respectivly 1400x1050 and 1800x795 and I am not sure about custom resolutions like triplehead and such.
    on the other hand it has nice features like cylindrical warp, 3D keystone, and a warp map designer.
  9. sleepytom

    sleepytom VJF Admin

    don't think it can do interlaced either..

    and no SDI output which is important for festival gigs if you want to plug into IMAG screens.
  10. deepvisual

    deepvisual visually challenged

    well, production have finally abandoned the catalysts so I can go ahead and build everything into a single rack, one year after the start of the tour....
  11. MoRpH

    MoRpH Moderator

    WOOOT VJs=1 Crapalyst=0
  12. deepvisual

    deepvisual visually challenged

    yeah, result.
    Catalyst had to go, because each time we went to a different country, we had the same problems - no one knew how to set them up properly, resulting in thousands of dollars in extras for specialists to be flown out to do stuff that should have been done before the kit was put on the truck..
  13. sleepytom

    sleepytom VJF Admin

    Maybe you should of had a media server tech on the tour?

    Taking video gear than you can't work is always going to be a risk, Crapalyst is an OK server, but you need to know what your doing to make it work under touring conditions.

    Going down to a 1980s composite rig is easier to manage but seems a bit retrograde.
  14. deepvisual

    deepvisual visually challenged

    nothing to do with me...
    anyway, its all been run on VGA since I got control (thats all I had with me) and will switch to DVI as soon as I get back.
  15. sleepytom

    sleepytom VJF Admin

    I didn't say it was anything to do with you!

    It just seems to be pretty normal now that media servers are part of lighting, but become the thing that video has to sort out all the time when the lampies turn out to know fuck all about it.

    They would claim its revenge for years of rigging video trusses whilst the video guy is still on the bus.

    Personally I can really see the advantage of the LD having some control over video. When done intelligently this enables colour schemes / pallets to actually match and blackouts to work effectively. The elephant in the video department is accepting that the LD is the best person to have this control!

    Its going to take another generation to get this properly, lighting and video are merging but the 2 departments need to work together and come up with integrated systems which work together. This means the lighting guys need to be properly involved in preproduction, not just send in a list of kit and a lighting plot which they then program during a couple of days production rehearsals.

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