As a parent and high-school wrestling coach, I want to thank Videomaker magazine for the innovative articles it has shown my kids. Two years ago, we decided to make and market a video on how to transform an old lawn mower into a street-racing lawn mower that goes 40 miles an hour. The video’s unique selling points are that old lawn mowers contain 95% of the parts required to build the go-cart, and you can build it for under $200 and sell it for over $1000. And because the concept is a little hard to understand, the video has a money-back guarantee.
The articles in Videomaker have given the kids and I the direction and confidence we needed to set realistic goals and create a business plan. It worked!
Our next video is going to be an instructional video movie on wrestling that is actually fun and interesting to watch, with a realistic story line.
More Young Love
I read your July issue of Videomaker and noticed the letter by the 14-year old, which inspired me to write. I am 15, and I have found myself in an interesting situation. I have been in video for a long time, and I have made multiple movies and presentations. But now I am looking toward my future, and I have started my own production company. I have worked with Viacom and local TV stations to help out with projects (usually I get stuck carrying the camera and lights), so I feel I have some good experience.
But this is my current status: I find myself with professional gear, but hardly a professional mind. I have just received a Sony VX-1000 as payment for a job, which is great, but I still feel like I don’t deserve it.
The whole point of this letter is just to say that ever since I started reading your magazine, I never cease to be inspired and stimulated by your articles. And they have greatly helped to establish me as a better videographer.
I have a question regarding Loren Alldrin’s article on nonlinear editing in the May issue of Videomaker. He says that the way to accomplish fast processing of transitions is to have a video card with dedicated processors. I am unclear whether an MMX processor is the dedicated processor you refer to. If not, what is the name of a dedicated processor, and what is its approximate cost? I am about to put together a computer system for the purpose of digital editing. Thank you for any information you have.
By dedicated processing, I was referring to the cards that have enough native digital signal processing power to perform digital transitions at an accelerated speed. Cards with this type of dedicated processing include the Fast Electronic Video Machine and Video Machine Lite, and the Truevision Targa 2000.
While the MMX chip may accelerate transition rendering times, it won’t have the power to render complex, high-resolution effects as fast as these accelerated boards will.
Combining Audio Sources
Thank you for clarifying my concerns about using a combination of external and built-in audio sources when videotaping (Videomaker‘s “Sound Track” column, February 1997 and “In Box” department, June 1997). I have also discovered a couple of other alternatives.
Both of my camcorders have stereo sound, and I have fabricated a “Y” connector that allows me to feed two separate audio sources into my camera. And, if AC power is available, the new Mackie 1202VLZ and 1402VLZ mixers have a neat little switch on the back that allows me to feed the audio output directly into the external jack on my camcorder. And the sound is fabulous!
I will be forever grateful to Videomaker. In 1988 I produced two videos titled “Appalachian Grouse Hunting.” They were four years in the making. I was new to the video business, and Videomaker was my saving grace.
Because of that, I was hired to produce a TV show, “Kentucky Afield,” the third oldest TV show in the U.S. It started in 1952 and deals with wildlife, fishing, etc. It airs Saturdays at 8 p.m. on PBS in Kentucky and surrounding states.
I have also done work for Billy Westmorland’s “Fishing Diary” and Dave Shuffet’s “Journeys Across America,” which aired on The Travel Channel.
Thank you for changing my life!