CA: Back to the video for a second, is this the same thing that folks who were watching KQED-TV in the Bay Area would have seen?

JN: Yes and no. What was available to us was the same thing that was shown on KQED. Plus, we also had an alternate camera angle, which was not broadcast. That video feed is called an "Iso" — as in isolated. I'm certain that David will describe that a little more when you speak with him. There were four separate cameras shooting the event at all times, so we have alternate footage from any of the other cameras that were not "live."

So, let's say that [Jerry] Garcia is singing and the video image being transmitted live is a shot of him singing. OK, well, also being shot — but not broadcast — at that exact moment is a wide view of the entire band, or maybe Donna [Jean Godchaux] on backing vocals, or whatever. Well, we could go back and choose to show Donna instead, or in a split-screen with Jerry. So, to get back to your question, there are a few places where there may have been a better or more graceful shot on the "Iso" rather than what they originally showed. This was going out live — as it happened. Any and all decisions about which camera to use — which is known as "switching" — was done at that moment. Here is where David shined. He viewed every frame to make certain that we were utilizing the best and most effective image to match what we are hearing. Plus, we also have the alternate camera angle option that begins during the second verse of "Wharf Rat."

CA: Speaking of which, why are there only alternate camera angles for the final few songs?

JN: For some reason, there wasn't another or a separate tape of completely different angles that covered the entire show. Perhaps by accident or design, they let the tape run for the final half of the third set. So, we used it.

CA: Are there any places where you had to patch the video up to correlate to the music?

JN: We chose to edit out some of the crawling text viewer announcements, such as the ones that are for specific products. I think there was something about The Gap, and you occasionally see the "Tune In To KSAN" and the "Happy New Year" graphics, which are kind of cool, albeit primitive by today's standards.

CA: That reinforces the authenticity, sort of like a multimedia time capsule.

JN: Well put. It really has the feeling and vibe of both a real show and a vintage broadcast. Although, there were not too many surround sound broadcasts back in 1978.

CA: Who recorded the video?

JN: The folks at the local public television station, KQED. They recorded everything in two-inch Quad video.

CA: What is that?

JN: Two-inch videotape, which looks just like audiotape actually, and Quad was the name of the format, like VHS or Beta. These were big machines and to give you an example, the very first 16-track audio machines — which were made by Ampex — were converted from this two-inch video machine. Then, in the mid 1980s, the two-inch tapes of the show were transferred to one-inch video. Presumably, someone in the Grateful Dead's organization had the forethought to properly archive the video back then. So, we had this one-inch video to work from and it looked great. This gets into David's area of expertise, however. Because, while I was dealing with all the audio, he was working with equal fervor on the visual aspect. In this way, Closing Of Winterland is the epitome of a co-production. He was also integral in making decisions on the package, choosing all of the extra materials, getting licensing for non-Grateful Dead written songs, did all the photo layouts on the New Riders Of The Purple Sage and "We Bid You Goodnight" segments. He even did all the visible lyric entries.