Community Video Report (Autumn 1974)

Video Help in Print Independent Video by Ken Marsh, designed itself “a complete guide to the physics, opera by David Holzman. (San Francisco: Straight | tion, and application of the new television for Arrow Books. $7.95) A Community Television Production Experience by Denver Community Center (1300 Lafayette Ave., Denver, Colo. $2.) The Video Primer by Richard Robinson (New York: Links Books. $7.95) New video manuals are appearing on the market nearly as frequently as new video equipment modifications and improvements are being presented to the excitement/enticement/dismay of those people working in and around the medium. The purpose of the” manuals that have existed until fairly recently has been often limited to an explanation of buttons and tape paths and some stern advice about where not to point the camera. The video manuals have been in a race to keep up with new hardware, guiding at least our hands to the correct stop and start and expanding our vocabularies at least as far as necessary to know we are talking to the right equipment dealers. Two areas of demystification have most often been left out of texts and manuals for video training workshops and production: The first is the underworld of video electronics/ physics-that is, a basic understanding of the inside of this equipment which many of us relate to as often as our toothbrushes and think about as little, except when it breaks down (as when we're forced to go to the dentist). Secondly the need exists for a methodology for teaching/ learning video process/ production. Of the three video manuals, each presents a small breakthrough into one of these areas of need. Independent Video by Ken Marsh of Woodstock, N.Y. Community Video names Marin Community Video 21A Corte Madera Avenue Mill Valley, Ca 94941 Telephone: 383-3515 One impressive community video operation we saw on our recent West Coast trip was Marin Community Video, across the bay from San Francisco in the wealthy, but funky Mill Valley, California. They began a year and a half ago to program access material for about 16 hours per month over the Tele-Vue System which is the nation’s 10th largest CATV operation, with 38,000 subscribers in a county of 225,000 residents. Co-Directors Jerry Pearlman and Martha Freebrain-Smith coordinate the operation, which has a tiny rent-free office behind the community newspaper, a small equipment pool, and virtually no operating funds. While response to programming has been good, and they are glad to have the access to the cable, Marin folks note many of the typical problems with their cable operator, which is a branch operation of MSO giant Viacom. Their first tape, which covered a recall election in Mill Valley, was cancelled at the last minute. This interference, and other uphill hassles have culminated in a battle between Marin CV and Viacom over rate increases. MCV people have become involved in a citizens action group which made a report coming out against a rate increase of $1.00, until further commitment is made to local programming and access. At the present time, NYC Video/Film Group A new Association of Independent Video and Filmmakers has been formed in New York City. $10 membership, $3 for information on activities, from: Ed Lynch, 81 Leonard Street, NY, NY 10013. 212-966-6930. the student, the artist, and for community T.V.” Its basic premise is that one must know the medium inside and out if one is to take it seriously, work with it and appreciate it. The format of the book speaks to this same assumption, beginning with “The Big Works” where basic (and somewhat advanced) principles of energy (electric/magnetic/and mechanical) are explained. From there we are taken to “Working the Big Works” where we see these principles in action with processes like: electricity to power energy, electronics to intelligence energy and of course, electricity from light. Mixed in these areas, things like optics, acoustics, modulation and measuring are explained. Where this background takes you is directly to the application of these principles and processes in “Videoworks”. In this section, one begins to feel that they are finally coming to terms with how it all works. Things like timebase correction, and waveform monitors, become suddenly more manageable. The last two sections of the book are the more typical hardware setup and use, care and cleaning raps, where the basics are laid out again, though we are spared, intentionally by the author, the specifics of brand name idiosyncrasies, and specifics which he points out are readily available from equipment manuals themselves. What this book most has going for it is its diagram-with explanation, visually-oriented approach which comes to feel much like an exof the medium being discussed. The crossreferences between concepts and applications kept it all close enough to the ground for the reader not suffer from dizziness, at the more advanced levels of explanation. There were parts, however, that I admit I did not understand, as someone with no electronics/physics background, but the Viacom has four head-ends operating in the county, none of which are interconnected, and FE@DBACK / DRIVING AS AN @XAMPL@ overrid:ng feeling was not of a need to understand it all right away. Instead the reader feels there are a few possible levls of understanding present, and also a basic respect for the reader in that there is an attempt to interpret the necessary scientific principles into a common language and way of seeing. For example the concept of feedback circuits is compared to driving a car. . . eyes see road, eyes lead to brain, then, hands drive steering wheel, steering wheel to tires, tires on ‘road follow curves, completing feedback cir cuit. From there we are led through frequencies, sync, camera operation, et al. In short we are one step above the gun with a smile shooting out electrons at our t.v. screen but not expected to build a new synthesizer upon finishing the book. I see the value of the book primarily as an intermediate/advanced level of understanding for people taking video seriously. It would probably overwhelm a beginner, and would need accompanying hands-on orientation and explanation. For the beginner in a video workshop, oriented to working collectively for a community video experience a concise new hand ‘ only two of which are equipped to send = rperinniing” While there has ‘been a studio planned for some time, delays have kept it from becoming a reality. Hence, fighting the cable company in the |! communities which are franchised in the county has been the only leverage MCV has to force programming commitment from Viacom. In addition, two small communities in the county have franchised to other companies. MCV is beginning negotiations there, as well. At the top of the list of problems: money. They have survived with piddly grants, and the whole place is essentially volunteer-run. Some money seems to be forthcoming from local governments for taping services, but not enough to sustain the activist parts of the program. Although the County is overwhelmingly middle-class and white, there i8 one. town— Marin City—which has a large black population of 3,500 people. MCV has helped a group of people there get a portapak and begin todo video in Marin City. NBC Looks at Video NBC’s trendy Tomorrow Show, with Tom Snyder, plans a December show on new developments in video. Included will be Positive Media in America group. We IAW Zan fas) 1 W iG ))} msl aX IAS U KOU S INTENSIVE ONGOING WEEK END WORKSHOPS e2 DAY PORTA-PAC SESSIONS e ONE DAY EDITING SESSIONS SMALL GROUPS TAUGHT BY EXPERIENCED PROFESSIONALS e” HANDS ON EXPERIENCE” Call Alan Miller in New York City 212 289-6710 Force of the Denver Community Video Center. A Community Television Production Experience has it all over the other two manuals under consideration in cost and portability, two things very close to our hearts in . this medium, but is, of a narrow scope in con tent. It defines its own scope as specific to the application of basic video portapak skills to community issue documentation, witha heavy emphasis on skills sharing with others. Its strengths are its pragmatic discussion on the need to use the right form of media for different situations and purposes, and it is not always video, they remind us. Basic production hints on how to deal with yourself and others in making your first tapes are right on target. Included in the handbook is an excellent listing of print resources for all levels of video production. video: 9 \ TIR@S ON ROAD FOLLOW \ CURVES COMPLETING /) FEEDBACK CIRCUIT ” ultyyt, 1 Sy / MN We WOE o sy. My Ahh. gl Lift, i paar, Z be M4 %, Lop ype From Independent Video The third video manual under consideration here touches on both production (singlecamera and studio) and technical information. Richard Robinson’s T e Video Primer is a long, conveniently shaped (5” x 10”) handbook which attempts to link theory (of media in general and video in particular) with production. Though there is no particular chapter on theory, Robinson dots many of the sections on equipment, with humanizing references to issues like the purpose and potential of putting video into peoples hands, and the relationship between TV and VTR. On this point he comments that video people need to understand the history of their medium, through the archives of old TV shows made since the birth of television just as any serious film student would study the history of that medium. The sections on video production construction, and visualization have alot of good advice. The technical information is extensive but the lack of graphics for illustration makes it less than adequate in itself. Each of these manuals have strengths and instead of pitting them against each other, I’ve book has been put out by the Workshop Task—_attempted-here-t uses of all while noting where the limitations of each also lie. Because of the lack of adequate print resources for video production and training we are forced to accept much of what we get, but with these latest attempts we seem to be approaching a higher level of sophistication. Much of this seems due to the realization that with all the different uses of videofor: independent personal statements, documentaries, therapeutic processes, classroom and reportage, we are taking the very same basic, qualities of the medium and applying them in different ways. The direction we need to go is towards a more thorough understanding of the qualities of this unique medium and then a more developed and shared methodology for using them. —Victoria Costello Can these people help you? Do you need video production or planning? Specialized video workshops? Technical system design? Help with cable franchising, citizen participation, public access? We are experienced, up-to-date, skillful. Write for brochure, or call: WCVC, 2414 18th Street, N.W., Washington, D.C. 20009 (202) 462-6700.