[Kat Dalton]

Thanks, Ty.

Weird that B&H would mislabel most of their TS cables.

Kat

[Kat Dalton]

Hi Ty,

Yes…..I can’t even find TR cable on the internet. I wonder if B&H could have mislabeled these items? Here is the link to the “TR” cable. Actually they have a lot of “TR” cables.

https://www.bhphotovideo.com/c/product/133680-REG/Comprehensive_SPP_SPP_10ST_Phone_1_4_TR_Male.html#features

I’m in a small town in central New York. There is a Radio Shack here, maybe they would have TS cables.

Kat

[Kat Dalton]

The Duet came today. TRS cable doesn’t work in the Duet’s output — doesn’t go in far enough. When I pushed on it, I got sound out of speaker, but they don’t stay in far enough on their own.

So I’m trying to order TS cables from B&H, but it seems all the TS cables take 7-14 days to ship. I see TR cables — which are called “Phone 1/4 inch TR Male to Phone 1/4 inch Male Mono” cables — that are available right away.

Are TR different than TS? I can’t seem to find answer on the web (maybe I’m too tired).

Thanks.

[Kat Dalton]

Thanks so much, Ty.

Best,
Kat

[Kat Dalton]

Hello Ty,

The outputs on Duet (which isn’t here yet) are 1/4-inch TS. The inputs on my Tannoys are combo XLR/ TRS. The cables I have are XLR on one end (which went into the speakers) and TRS on the other. Wondering if okay to use with the Duet’s unbalanced TS outputs.

Thanks,
Kat

[Kat Dalton]

You are so right, David. I did a tour in Europe with a musician a few years ago. The videos were shown in between sections of his performance and had their own sound. We were in a different venue each night for ten days. Despite as much pre-tour prep as possible — contacting venues about space and equipment — there were always surprises! I did bring my own DVD player, projector, and screen, though I often used the venues’ projectors and screens, and I always used the venues’ sound equipment. Each night was a whole new scenario and very nerve-wracking. But it was very exciting when it all came together, and I realized what gets performers hooked on performing: the applause!

Kat

[Kat Dalton]

Hi David. Thanks so much for your advice.

I remember when I made videos for projection with my old SD system (using my Sony production monitor while editing), I had to make adjustments in projector’s lightness/darkness settings to get video to look the same as it did on my monitor. So, never any guarantees. Glad to hear you think I’ll be in the ballpark with current setup for HD projection.

Kat

[Kat Dalton]

Hi David. I will make a test SD DVD as you suggest. But I am wondering:

1 – From what you’re saying, it sounds like the color space for SD video, YUV, is the same or really close to HD’s YCbCr?

2 – If a calibrated computer monitor (calibrated as I described, for work in Photoshop in RGB) can be trusted for SD or HD video work, why do people buy expensive HD production monitors? Is it that this scenario is good enough for projection or web but not accurate enough for broadcast?

Thank you very much for your help.

Kat

[Kat Dalton]

Hi David. Thanks for your reply.

I’m used to working with still images in Photoshop. I calibrate my Eizo monitor with Monaco Optix/XR colorimeter with the Eizo calibration software. In Photoshop, I work in Adobe RGB 1998 and keep everything in that color space all along the line.

But I am confused about what I am doing with the still images in FCP. They are looking good on the Eizo (and even on my laptop which cannot be calibrated with the Optix) when I use “Digital Cinema Desktop Preview – full screen.”

But I am wondering what happens when movie burned to BluRay and projected. Am I going to see something different? As I said, I have never burned anything to BluRay or projected HD. I have only projected SD when I made videos using my old Aurora system. In that case, I was using a high quality Sony video monitor while working in FCP.

[Kat Dalton]

Hi John,

That’s a good idea….to get firewire express card. Better than keeping fingers crossed 🙂

Best,
Kat