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GYYR TLC1800-MC16X TIME-LAPSE VIDEO RECORDER
INTRO
A 960-hour time-lapse video recorder with a
built-in 16-camera multiplexer sounds like a promising combination of
technologies, we’ve been checking out the TLC1800-MX16X from Gyyr
COPY
Time lapse video recorders are the unsung heroes
of video surveillance, tirelessly storing vast amounts of information, most of
which ends up being discarded. Yet,
when an incident does occur, they instantly assume their rightful role as one
of the key components in a video surveillance system.
Oddly enough, during a period of considerable
change in most areas of video technology, time-lapse video recording has remained
in a kind of time-warp. It’s reliant on analogue recording systems, that have altered
little in the past twenty years. Changes are afoot though -- particularly in the
field of digital video recording -- but it will be a year or two before they start
to filter through. Nevertheless advances are still being made and US based Gyyr
have made a name for themselves by pushing back the boundaries of time-lapse
technology. They’ve been responsible for some important innovations in the past
few years and the TLC1800-M16X is the
latest incarnation of one of them.
This sophisticated 960-hour time-lapse VCR
has a built-in 16 camera multiplexer, a feature last seen on the TLC1800-S16, launched
a little over three years ago. This particular combination of technologies
makes a lot of sense, and it represents a significant cost-saving when compared
with the price of a separate 960-hour VCR and 16-channel switcher, though it
has to be said that the advantage would be eroded where the installation calls for
a smaller switching capacity.
The headline specification on this machine is
not vastly different to its predecessor/stablemate, though there have been some
worthwhile refinements, with some new features, and one or two old ones disappearing.
However, the core facilities remain the same and they include no less than 13
recording modes (3, 12, 24, 48, 72, 120, 168, 240, 360, 480, 600, 720 and 960
hours), using a standard 3-hour VHS tape. Audio can also be recorded at the 3,
12 and 24 hour rates. The 16 camera multiplexer is arguably the major selling
point. It has proven to be of particular interest to banks and larger retail
operations, where camera images can be associated with data input, detailing
transactions, from external devices such as ATMs and cash registers.
It also has a full range of alarm inputs,
that can also be tied in with individual cameras, plus very comprehensive
camera switching, timer operation, alarm programming and external control
facilities. Alarm events are automatically tagged with an index signal, and
these can be quickly located using an alarm search facility. All of the machine’s
primary functions are controlled from an extensive menu-driven on-screen display,
that also generates user-definable camera idents or titles, system data and
alarm events. A multi-event timer enables the machine to be programmed to
switch on and off for preset periods up to six times a day.
The machine is housed inside a fairly substantial
cabinet measuring 435 x 340 x 124 mm, that’s a little larger all round than a
typical domestic VCR. It’s quite heavy too, tipping the scales at just over 8
kgs but the steel case is tough, and well able to support the weight of
ancillary devices. The front panel is divided into three sections. The tape
hatch is on the left hand side, there’s a large fluorescent display panel on the
right. The display panel contains a wide range of mode and status indicators,
including tape speed and direction, recording time, tape counter, alarm and
security settings. The entire lower half of the front panel is covered by a
hinged flap, concealing all of the controls, apart from the eject button. The
transport keys are grouped together on the left side, whilst the menu selector
buttons and switches for secondary functions are on the right.
On the back panel there’s a bank of 16 BNC
sockets for the camera inputs, plus two further BNCs carrying the video output
to monitors and/or a VCR. Below that
there are three 25-pin D-sockets. The first two are configured for RS232 serial
data from ATMs, electronic cash registers, text inserters etc. The third one is
assigned to remote control applications, using a PC or dumb terminal. Next to that
there’s a 15 pin D-socket; this is for a remote terminal interface, enabling
most functions to be controlled by wired remote unit. Beneath the line of
D-sockets there are a pair of phono sockets, for audio input and output, and
two connector sockets, for the alarm inputs and outputs. A pair of screw-terminal
plugs for these sockets are supplied with the machine.
Basic installation, which involves setting
the time and date, is reasonably straightforward. Programming the various
camera switching, ident and alarm control options takes a little time,
particularly if most or all of the camera and alarm inputs are connected. The camera
switcher sub-menus cover camera selection, day and night sequencing, dwell
times and composing on-screen idents or titles. These can be up to 24
characters long. A similar set of menu options are used to define the alarm functions,
they include prioritising camera sequence in the event of an alarm triggering, setting
record times and end of tape operating modes. The options are continuous re-record,
rewind and stop, or re-record but stop on alarm.
On screen displays appear in the top left
hand corner of the screen. They can be shown as outline or solid characters,
with menus shown on black or white backgrounds. Camera idents can be configured
for normal or reduced-height text, and full or partial displays. However,
unlike the S16 the displays cannot be re-positioned with the screen area, should
they happen to obscure important detail.
The fairly dense instructions cover the basic
operating procedures reasonably well but some of the sub-menus are dealt with
rather briefly. To be fair all of the necessary information is there, sometimes
it just takes a while to find it. Coverage of external control and data transfer
systems is extensive, though the innate flexibility of the machine’s operating software
should make this kind of installation relatively painless.
PERFORMANCE
Resolution is largely dependent on the types
of cameras used with the machine. If all of the cameras are black and white then
resolution will be in the order of 400-lines, however, if a colour camera is
installed then resolution on all inputs falls to 240-lines. Resolution checks
using both colour and monochrome cameras showed these figures to be substantially
correct. Picture noise levels are low and image stability is very good, particularly
at non-standard replay speeds, where the record-time control functions as a
speed control.
Audio recording should be treated as a bonus,
rather than a key facility. Sound quality is passable in the 3-hour mode but it
deteriorates rapidly at the slower recording speeds.
SUMMARY
This is clearly no ordinary time-lapse
recorder and the very extensive range of facilities really defines its role as being
most suitable for larger systems, where there is a need for this kind of multi
camera input and switching facility, and the ability to interface with external
devices. Nevertheless, the end-user price isn’t so far removed from less well
equipped machines as to completely rule it out for less demanding applications.
A sound, solidly built piece of kit and a cost effective alternative to a separate
multiplexer and time-lapse VCR.
PRODUCT SPECIFICATIONS
Recording format VHS
Rec. times (E-180 tape) 3, 12, 24, 48, 72, 120, 168, 240,
360, 480, 600, 720, 960 hours
Camera inputs 16
Audio recording 3, 12, 24 hour
modes only
Resolution 400-lines
monochrome, 240-lines colour
Power 230 VAC 50Hz
40 watts (operating), 25 watts (standby)
General
Dimensions 435
x 340 x 124mm
Weight 8.2kg
PSI RATINGS
Product
Product design 9
Build quality 9
Ruggedness 9
Operation
General functions 9
Ease of use 8
Instructions 7
Manuf. support 8
Performance
Picture quality 9
Picture stability 9
Audio quality 7
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Ó R. Maybury 1996 0803
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