[Scott Smith]

FCP has an export to YouTube option. So does Premiere. And it has been there for a while. So what? One thing that can be very handy for many professionals, is the ftp upload on export in Premiere. I believe they also have a box.com and/or Dropbox upload in there as well. It isn’t some flashy, style over substance, pointless feature. You can send your final edit to a client after hours when the transcode is finished and you aren’t even there. It is a great feature.

[Scott Smith]

Bob’s cranky attitude aside, he is completely correct about using good quality cable, and not cheap crap. Much of the Quad-Shield RG-6 is made with a copper covered steel center conductor and even aluminum or CCSteel shields. These are not the best materials for a good low loss cable and HD video. They are awful. I even replaced my CATV runs at home with Belden 1694a, and have higher signal strength and much improved service on TV and modem since I did. So that quad shield stuff isn’t even very good for the purpose it is made for.

And I am with him on not understanding your description of how this is being used. What type of signal is on it? What is it for? Good details help get good answers.

Also, If you frequented here a lot, you might actually come to admire Bob’s amazing zeal for telling it like it is. I do. He doesn’t mince words, but he will actually help you out, if you listen.

BTW, Bob, I work at a state government supported university. I buy my 1694a at the best price I can find (thanks, Walter at Ramtronix) and pull it myself. I’m not going to use my limited budget to pay an idiot to screw it up for me, then have to redo it myself afterwards anyway. But maybe I am an exception to the government employee stereotype.

[Scott Smith]

Update to this old thread . . .

As stated above, I have had an issue for a long time in shooting in a studio with monitors on the set. Expensive professional monitors have good color temperature control. Instead, we now have a nice, big, consumer Samsung 4k LED TV’s. Their color temp control has “Standard, Cool, Warm1, and Warm2”. – which are roughly equivalent (by appearance) to 10000, 9000, 6800, and 5700 Kelvin. Or somewhere in there, it’s a guesstimate. Of course my studio lights are at 3200k, so even the warmest of these look bluish on camera.

The monitor needs a SDI to HDMI converter anyway, so I finally broke down and bought a BlackmagicDesign SDI to HDMI MiniTeranex and used the LUT feature to adjust the color temp on the monitor. Looks amazing. I am very happy with the result. What made it especially nice and easy, was finding some free LUTs** for simple color temp changes of this very nature. I am very happy with the color on camera.

The only complaint I have is that the MiniTeranex has a pretty loud fan, which is audible in the studio. A shame. Otherwise this has been a perfect solution. I’m still using it, but do wish it was more quiet, and have to watch my mic placement or make sure it is turned off when doing thing on-set that don’t use the monitor.

I love it anyway, but damn.

**Here is a link to the LUTs i used for various color temp/white balances that I found. They were intended for when you have your camera set for tungsten at 3200k, and forget to white balance when you go outside under 5600k or the opposite where you white balance outside and go inside. They have 20 white balance correction LUTs with these white balance values 2800, 3200, 4300, 5500 and 6500 Kelvin allowing you to cross-correct just about any lighting-white balance error you may encounter. . . . . . And they work very well for inexpensive monitors on set, like in my situation.
https://lutify.me/free-white-balance-correction-luts-for-everyone/

[Scott Smith]

Update . . . . the Sharp Aqous Board we ended up getting can be very good for the adjustment of color temperature – making it look the right color on set.

But I have noticed a huge second problem. Since this is a Smart-Board type of unit (we thought that having that functionality would be a real plus), it has a three different layers on the screen. The LCD screen, some kind of protective glass, and the touch-screen sensor/matrix component. And wouldn’t you know it . . . . there is some sort of moire or maybe weird polarization effect on camera that is invisible to the naked eye. On camera, it’s full of rainbows. Ugh!

Maybe the regular Sharp Aqous (non-Board version) would work well for on camera in regards to color temperature – but I honestly do not know.

Additionally, these come with a prebuilt small computer that accompanies them with the proper software and such. The output on it will not do 59.94i, only 60p. I must use a scaler to get a decent direct output. Or replace the computer with one with a much improved video card – which is another option.

So . . . FYI on the Sharp Aquos Board for on-camera/on-set usage. If you do any type of smart-bored’ish product, definitely to a camera test first, with some plain white background images. I did some photos, and checked the color temp, but stupidly never put it to a real test on video camera first. My own fault.

[Scott Smith]

I played with our existing Samsung for a long time, adjusting the colors. Finally added a 3200 gel on it. It helped in some ways. Make the color a little more real on camera. But purples looked completely blue. Maybe I could have eventually adjusted that out . . . .

But the shininess, bubbles, and waviness just was not going to do. Gel bad.

Bought a new monitor with a significant upgrade . . . . (next post . . .)

[Scott Smith]

FYI, We finally bought a Sharp Aquos Board (PN-L802B), which is an 80″ screen, has color temperature adjustments that go from 2900k to 10,000k in color temperature. Screen is not too shiny. Image looks great. It also has Smart Board technology, so we can use it on set as a big, live telestrator.

Con -> Pricey. But we were able to get a client to pay for it . . . 🙂

I had a good look, demoing one, and it seemed to be a good choice for us. The one we bought has not arrived yet, so I haven’t truly tested it out on set under lights, and on-camera. But I think it will work out well.

[Scott Smith]

If the connector doesn’t fit, you are using the wrong connector for that particular wire. That quad-shield stuff is often used for RF Cable distribution, and not that often for video. So most BNC connectors aren’t made for it, and F connectors are more common on it. That is not to say you can’t find a BNC that will work, but it is something you will have to do some searching for.

I highly recommend you change coax instead of connectors, though. Belden 1694A is an awesome coax, and is very easy to find good quality connectors for. It is also better at handling HD-SDI video than quad-shield. Most quad-shield, as I said, is for RF applications, is comparatively cheap, and often uses copper covered steel instead of solid copper. It is made that way to be cheaper, and to handle the stress of cable installations – which might include things like flying the cable from a telephone pole to a house. It isn’t as good for video. And honestly, it isn’t even as good for RF cable. I replaced my Cable lines in my house with 1694-A, and gained 6 dB on my cable signal on the far side if my house. That steel simply doesn’t work as well as copper.

[Scott Smith]

I wouldn’t know any old school film terms (I’m not a film guy), but it has been predominantly called B-Roll on the tape medium ever since A-B roll editing was created (meaning before 3/4″ tape). “Cutaway” could be what she is remembering. That is the only term I can think of that means anything similar.

A quick wiki search says that AB Roll editing was around during 16mm film days, so it is a very old term.

[Scott Smith]

I see AJA is now selling a mini-converter called a LUT-Box. With it you can change a lot of your color settings for your monitor. I haven’t yet tried it, but I am hoping this might solve the issue of 6500k+ monitors on a 3200k set. I’m still open for other suggestions, but will probably give this a go and see what happens. Will post again with results if I do this.

I can’t be the only person having this issue . . . . What is everyone else doing to solve this?

[Scott Smith]

Lol. Awesomely said, Bob. You have a way with words. A harsh & abrasive but also very truthful and to the point way with words. That is why The Cow is so valuable of a resource.

Now, tell me how you really feel.

Thanks Bob.