Tricaster is way out of my range for what I am getting paid for this gig. It just may not be doable for now and that is what I am starting to think. I just thought I would ask if anybody knew of anything I didn't on the cheap :)

j razz

Hey JRazz, cheapest switcher you're going to find that will mix video relatively properly is probably going to run about 1K to buy (give or take). I work for a group where I do live production on a Video Toaster ( TriCaster but more robust ). I'd suggest looking into renting if you can manage it. I don't know what your budget is, but I'll tell you this I've used lower end switchers and it's a bear compared to using something like the Video toaster or Tricaster ( IMO ), and that might be partly because I got my start on the Video Toaster line ( actually an old one that was just a Video Toaster - no number - that was* a bit of bear to deal with ), and I like the way that they do this stuff.

Dave

1K/day would have to be a used mixer. Last time I checked, nobody sells new mixers that cheap. (Possibly because linear editing for consumers is dead?)

I stand corrected, if you go cheap enough you are able to get under the 1K mark.

$500 video mixer

Renting a tricaster might be easier in terms of working (and wouldn't necessarily require a bunch of monitoring).

Dave

J Razz,
I did some live video at an open air rock concert at the Waikiki Shell once where the company used a really cheap switching set up for two big screens. You probably won't want to use this but thought I'd throw it out anyway. We had 3 cam's. My PD-170 had an s-video feed to a radio shack 4 way switcher which had an s-video feed to one of two projectors for the 12x12 screens (mounted behind and above the bands on the stage). There were 2 set-ups like this with two cams on one set-up/screen and one cam on the other. We were in the orchestra pit area in front of the stage with 2 cam's on tripods and one shoulder mounted cam for roving. One guy ran the switchers just punching the buttons for which cam he wanted on each screen. We all had tape cameras and recorded what we shot for use in a music video and commercials on local TV in Hawaii later. Come to think of it, this was one of my favorite (and only live rock concert) shoots. The set up was hokey but the crowd seemed to really like it, especially when, on cue, the lights suddenly turned up on the crowd and we spun around and shot them. As I said, this is probably not what you are looking for but thought I'd mention it for laughs.
Randy

One word of warning.
All the mixers being discussed here are SD and 4:3 only. The 4:3 bit is not a big issue however some of the FXs and transitions don't work out so good if you're feeding 16:9 through them. Straight cuts and dissolves are OK.
Also many of the cheaper SD mixers leave a bit to be desired in terms of image quality. I believe the Panasonic MX50 only uses a single field i.e. the output is pretty soft.

One final tip. If you're running long composite video cables have one or more video isolation tranformers on hand. Jensen make these. Ground loops can become a problem and a transformer will get rid of them.

Bob.

Thanks guys for all the information. Dave, I will check out what you linked to for 500USD.

Bob, great information to know- especially concerning 4:3 and SD.

Stewart, that may be something to ponder on. It doesn't help me with the edit, but it does add to the live event and may be something we can do while saving up for a system that can do what we need.

I am meeting with the producer today to talk over some items and we will see how this may (or may not) fit in.

Thanks again.

j razz

Jeremy, see if a local rental place has an Edirol V-440HD available as it supports HD and 16:9.
A local company has the SD model ( LVS-400) which I've rented several times and it works great.
Definitely take Bob's advice about the transformers (I call them humbucking transformers) as they've saved what's left of my hair more than once :-)
Make sure any composite video cable you do run is a high-grade cable (i.e. double-shielded).
I used to do a horse racing show and we regularly ran video cables in excess of 300 ft. without any issues.
Having a proc amp at the receiving end helps to boost the signal after such a long run.

Mike