Extra Hours | Episode 114 | October 26, 2026

0:00 greetings and welcome to extra hours i am your host this evening and it may be morning back where our normal host is uh gronk whitehead is taking the day off or probably not he's probably in production so i'm in here filling those big shoes got an illustrious panel here with a fellow australian carl asmussen carl how's it going out there good morning everyone it's a it's a

0:23 beautiful spring day here blue skies it's about 21 degrees about 70 in the old money it's a nice day Nice. I was going to flip to my camera outside, but it's kind of dark now. It's getting into this fall hours. Jeffrey, how about you? Is it dark out there already? It is dark, but it's also the same temperature out there. So we're all in the same climate, I guess.

0:47 Nice. I wanted to ask, was there anything that stood out from the NAB New York show? did you guys catch any any news any any unveilings saw one over the weekend that was the panasonic had a global shutter camera that uh the successor i guess to the ue 150 160 line or more expensive version global shutter was the the big thing as well as uh 2110 outs i didn't catch a price but uh

1:16 I saw Keycode Media put up some shorts from the show. So I saw Netgear release some 2110 switches following up on the M4350. So kind of excited to play with some of this stuff. And then Blackmagic had their huge price increases. ATEMG2 went up a little bit. What do you think of that, Carl? So the Blackmagic, they were keeping them down as long as they could.

1:44 Because I think them and both them and Apple, they were the two that were prices weren't changing when everyone else's was over the last let's say 18 months um but it caught up with the reason why is because um apple and black magic would have had like a two-month lead time because that's how much i buy ahead because they can have that kind of buying power but that buying power will run out essentially there's going to be a

2:03 new contract that comes up where they have to you know get a new two years and that new two years is going to have this price so this is you know that's how apple and black magic were able to to fend that off for as long as they could. But yeah, it's interesting to see what's going on. Like the ATEM Mini Pro is going up,

2:19 but the Pro ISO is not. So it's just really interesting what's going up, what's not going up. So it's kind of interesting. Yeah, I wonder what the innards, what those pieces are, because like I said, they buy in advance, and I would say way more than two months, because I think like on their camera sensors, when they were able to drop the price.

2:32 Yeah, two years, yeah. That makes a lot more sense, but that's a huge runway and a huge investment in technology. And it was nice when they did lower the price of some of those cameras. I mean, I felt like that was a gift, but I don't need a G2 right now. I do love the SRT ingest. In fact, I need to pop that question.

2:47 In fact, for the audience, we're a little light on questions. So if you have any questions, otherwise I'm going to throw this SRT for Mac one in right about now. Maybe you guys could vote it up. Cause I have some SRT questions for a gig this weekend. But yeah, the SRT ingest on the Mac or on the G2 was something I've been wanting to test. They were supposed to send me a loader unit.

3:06 They never did. So I don't know what they've got. They got busy with IBC and then with NAB New York and maybe the demo pulls fresh out. I'll have to go put in another request. Go talk to Dan May, the president of Blackmagic, and see if we can get one of those. That's one of the coolest things. I mean, Zoom ISO, one cable, bring in eight guests.

3:26 I mean, I just want to see that. I mean, even for this show, you could cut this show with that G2 panel. So that'd be pretty sick just to shoot it right on in there. Jeffrey's got some new glasses. I don't know. Jeffrey, I haven't seen you in those glasses before. Are those new or have you just been hiding? No, I've had them for a few months now.

3:47 Summer glasses. What brand are those? I got Gunners. These are the Gunners. These are the Barons. Yeah. You remind me of like a 70s like Hitman or something. Like a leisure suit. These are the Barons and these are the Campbell Onyx. Oh, those are cool. Yeah. Yeah. And then these, I think these were the Call of Duty ones. And these are the, sorry, it doesn't do, Fremont Onyx right here.

4:19 This section of the show brought to you by gutter glasses. Actually, they just, what's really funny is they just sent me this mask that you can put on and it vibrates and it has like music come through it. And it's just a relaxation mask and works pretty decent. But, yeah, I can't wear that on this show. I'll look like Geordie LaForge. Man, I want those ones that have the teleprompter in the lenses.

4:46 I want those bad, but they're like $1,000. And then the ring, so you can scroll your teleprompter with your ring finger. What's the new ones where they look like the glasses that Robert De Niro wore in the end of Casino? And they're just like, the frames are just super thick. I've seen a lot of people wear those. No, no, no. But there's a pair that influencers are talking about, and they just look really thick.

5:15 They look like you're 90 years old, and you got to have the Coke bottles inside there, and so the frames would have to match the Coke bottles, but apparently it does a lot. Anyway, I was passing by. I saw those, but I don't know much more about it. so yeah i want to test the the metas have you tested the metas recording uh no no uh but last

5:40 time i saw metas was last year when we went to uh dublin and well actually ces was the last time i saw meadows i really am not a big fan of the biggest problem with anybody that wears glasses and and i had and i went through it with google google glass is you got to get prescriptions for those glasses unless you want to wear contacts and it's always just a pain just to switch around and

6:06 you don't want to walk into a place with the that being your only pair of glasses and then they tell you have to take them off because they don't want the cameras in that'd be rough yeah i heard that there's like a service that'll drill out the little blinky light on the metas that's how people are able to cruise around without them and i was like wow now you're like breaking the warranty

6:25 just to be able to use them yeah well they don't care about the warranty they did you know I just watched Jerry rig do the do iPhone duo and he had like seven iPhone duos so you know these people that they know that if they put the money in they might just they might get some something viral and come back with it so it doesn't bother them if they ruin a warranty or two man I'm in the

6:50 wrong business I need to yeah be an influencer one day one day I think our Our videos here are only getting, what are we getting, like 100 live maybe if we're lucky and maybe 1,000 if we're lucky. Actually, the ATEM episode got about 2,000 something. So specialty shows, something to think about for the future. Let's jump to that first question. Since Courtney's taking the day off, he's our normal reader.

7:16 I'm going to go ahead and read this one. And it's one from Jeffrey. We're just like throwing the ball to each other on this show today. day. So Jeffrey Powers from Madison, Wisconsin s suck. I suck at color correction cameras aren't 10 bit. So let's look bad. Besides built in resolve, Premiere and Final Cut. What's your go to software to color correct? Carl?

7:39 So mine is gonna be a little bit of a process we can use what you've mentioned there. So I've had this issue where I've got some Sony camcorders which record h264 and eight bit. And you know because it's just what it was that's fine so what instead of me going into i use premiere to i know sorry i use um final cut pro

7:59 to be relatively fast but you can do this in premiere and davinci resolve of course so the way i fix it i kind of did a test i did a two minute video clip test to make sure what i was thinking about would work and it did work and it's my process going forward from now on if i need a color correct 8-bit compressed video hdc64

8:16 the first thing i do is i i think in final cut pro it's called optimize So I optimize it, but I optimize it, essentially up-res it to 4K. So I'm taking 1080, 60 or 1080, 50, and I'm up-resing it to 4K at the same frame rate. So that gives me 75% more pixels. But the most important thing I do is I up-res it to ProRes 422.

8:38 So it's a humongous file to fix the problem, but it's just a temporary file. You only have to use it for this, and you can throw it away and keep your master, of course. So when you go to, so if you think about just what it's doing in a mathematical sense it's going to create 75% new pixels but these pixels are going to be 10-bit their creation is gonna be 10 bit but they are based off

8:57 of 8-bit but they're actually not based off 8-bit pixels they're based off interpolation between two 8-bit pixels so what that means is if the biggest problem you have with color correcting 8-bit is posterization you get a posterized sky you'll just get posterized solid colors this gets rid of that by up-resing to 4k and then you have that 75 pixels are generated at 10 bit from two pixels

9:21 that may just be one value apart so you know we're talking 256 colors it may be from you know 128 to 129 but when it goes to 10 bit it can actually do three extra levels in between that and so you actually get a very huge file but when you go to color corrector and you can do an a b comparison and color correcting the original camera file.

9:41 When you go to color correct it, with me, it's just really getting the white balance correction. That's all I'm really doing. I'm not doing a crazy lot with shadows and stuff. It's way better when you're doing it with ProRes that's been up-res'd, that's been where 75% of the information is natively, natively 10-bit, because it's interpolated at 10-bit, versus you can always see this with skies and stuff,

10:03 the posterization. The posterization is always less. Even though your original stuff is 8-bit, um upraising it and then and we do the sound and audio so an audio whenever we use a plug-in it's going to go up it up raises as high as it can you do the manipulation in the plug-in then it will come back out to your project you know um rate which will be bit rating and um uh sample rate

10:27 but the only thing the only gotcha with this is it can slow down your overall production because you have to um approach everything um not only if you've got a mac because the mac has in the more modern max we have a prores codex hardware project codex especially just for the basic 422 flavor um so that's about uprising to uprising to 4k if you're doing 1080 if you're already at um 4k

10:54 don't go up to 8k just leave it at 4k it's only because it's going to be fine as far as resolution resolution just go up to a 10-bit format so if you're doing a 4k 8-bit format then up res it to a just just uh well sorry up sample it to 10-bit don't worry about doing the up resing you don't have to in theory yes you can but i wouldn't suggest on that it's only really for 1080 um

11:16 but yeah and then go from there then doing manipulation you can do this automatically i believe in final cut pro if you have optimized turned on for when you're importing footage i believe i believe that's the thing that's in there and you can select what codec you're optimizing And so in the background, it will simply just create the HTC, but it will do it at the same

11:34 resolution. So if you do that, understand it. So that's good. If you're working in 4k, I guess you're doing 1080. I would strongly suggest going. So Jeffrey, is there a way that you can get a 10 bit recorder and pipe, pipe it in? So you get that fidelity? It's more than that. It's about the studio. It's about, you know, I have, these are all PTZ optics cameras.

11:53 Of course I have this camera and then I have this camera and then I have this camera and And then I have a couple other cameras. And it's always, first of all, trying to color match all these cameras to begin with. And then secondly, it's, you know, I'm doing the burn-in to vMix. So I'll have this type of shot and this type of shot.

12:13 And, of course, the two cameras have to kind of match. And it would be nice if these were all 10-bit and I could throw a LUT into vMix. and I know Mickey said in the chat he goes the LUTs are with their overlays and they're not always great and I totally agree I don't want to do it that way but I just want to be able to

12:35 color match these cameras and it gets tougher and I know everybody has the same problem these cameras are exactly the same brand camera so it should be a lot easier but it isn't then of course I've also got my teleprompter which I'm pointing at but you're not I don't think you're seeing that that's that camera oh i guess i am on that camera but anyway my teleprompter camera is behind glass

12:57 and of course that means you gotta change it's uh one f-stop difference and of course the glass also changes some of the variables so it makes it that tougher so it's just uh it'd be nice to actually have something post uh through ai that does the color correction and carl i what i used to do was i used to port everything over from my my main machine to the mac to use topaz to do the

13:24 upscaling and uh which i do every now and then but i i just i just don't want to move over something wait four hours to find out that it didn't work the way that i wanted it to because that's usually a 30 minute video that's that's what i have to wait for yeah so what's recording vmix iso record No, vMix. Yeah, I do. I do. I do record the ISOs. But for the most part, when I'm doing my shows, I'm basically just, you know, cutting and going, you know, because I could sit there and then go.

13:58 Oh, so you want to color correct live. You're not talking about post. No, I want to cut a color correct live, but I also want to color correct once I've post-processed the shot. Because like I said, I'll go for, in my shows, I'll just be using my stream deck and switching between cameras. And then taking that video, that single video, and then editing down.

14:20 And then, that's a word, editing, editing, editing down. And then go back in and try and correct that. And that gets tough. And you know, I've dealt with it for years. And the other problem is I see something in vMix and then I see something post and it's like bluer than what vMix shows. And that's, that's another problem altogether, but we won't get into that.

14:45 There is a way to do that where you can rather than doing the ISOs, um, edit your show down. And then once you've got your show, edit it down, up-res it to, you know, ProRes 422 4k get as high as quality as you can and then use a scene detect function which I believes in all the big NLEs where it will just automatically

15:04 cut where it sees cuts it'll automatically just do cuts itself and then you can just label each scene A B or C as far as which camera it is and then you can do batch processing color correction for each camera you just have to go through this is camera one camera one and then just do one batch process for color correction so that way you don't you can keep your

15:22 edit you can keep your super sources all that stuff stays your super source may change up in the back just be aware if you're color correcting the camera in the super source image which camera you're color correcting so if you've got two up just keep keep in mind that you're gonna have to prioritize one um but that kind of batch processing can be done now pretty quickly um because the the

15:40 scene detect function is built in now to i believe all the popular nles where we'll just go through and make all the cuts or you've got to go through or maybe you can even detect which cameras which switch with AI. So you can actually go this is camera A, this is camera B, this is camera C, and then you can dispatch process and you do your manual colour correction and get into

15:59 where you want. I would also suggest getting 3x3 or 3x2 polystyrene from a hardware store and using that as your white point for all the cameras because polystyrene is ridiculously white. I have mine somewhere around here, yeah. Yeah, and just do that because I'm guessing your cameras do have the function where they can do that manual custom white balance where you press a button and it will just look at

16:19 the white and go okay yeah you want to do that kind of before you start recording for maybe the week if you don't change your lighting but if you change your lighting you have to start again so that's the only thing you have to do with that there is always a time suck that would be a time suck in one way yeah and then doing the color correction is another time suck yeah and a lot

16:36 of times these videos are probably going to not get as many views as i'd really like so the question as do you do you spend the time to make it look like pristine i mean right now i i think it looks decent but i still think that it needs some correction i'd love to come on the show and you guys go what did you do to your cameras you got the sonys in there or something like that

16:58 and uh but i just don't feel that here's at that point here's the multi-quarter pop-up and i'm curious as to if you're just leaving it on regular vmix avi and if it is set to hq sqlq queue because there is a difference if you go and run some tests and see what your data rates are on NewTek SpeedHQ 422 and then run it through your editor. If you're using Premiere, actually record

17:20 five minutes worth and see how big the files are and then see how well they line up. I wouldn't use NDI because I think what you have is NDI HX2 cameras and I would try to tap that that HDMI or SDI out and go in at a higher quality. And we have Zach in the chat. Zach was recommending, what did Zach say?

17:44 I just saw it a second ago. Zach, and somebody was saying something about using a passport color checker, which I don't know if you have one of those, but with that, you could then go into DaVinci Resolve and you could do a little outline and pick all the colors and have it pretty much on. That's, that's, that's a, that's a sticky web itself.

18:05 You're asking, you're asking what's the highest quality. We're trying to give you the information. You're right. You're right. I, I, yeah, I've tried the spider. It, I, I don't know if I'm doing it right or not, but, uh, it's definitely, no, there's videos out there on it. It'll light up. It'll tell you like, it's really easy to just, it gives you like the ability

18:22 to tweak the box a little bit. Once you line it up, it's like a hundred dollar thing. I have one laying around over here. But yeah, it definitely has a higher color. That's right. So those are in the passport for the photo. Yeah, no, no, the video one photo. I got one of them. I can't which one I want. And the thing is about they both have the color chart you need for

18:44 the pictures of what eventually it'll get you to a zero point. And then Jeffrey has to decide, OK, now what do I want creatively? But that's kind of where you can do an entire batch edit on everything at once. If you get everything to zero point. Yeah, so that's where the color checkers are good. That zero point is determined by the manufacturer

19:02 and determined by DaVinci. And then from the zero point, you can creatively make a warmer color, a more saturated color. Don't feel bad, Jeff. You're not the only person that has this challenge. I mean, I spent years. So my first job was color correcting photos and we would print them and I had these little filters and I had to look and go, oh, it's cyan.

19:22 Okay, plus two cyan. Oh yeah, minus a magenta. And so we would sit there and try to not waste photo paper because every test print cost you time and money. So we got pretty good at it. But that's years of doing that stuff. And now I use Nob OmniScope and I can just look at scopes and I know how to read them okay.

19:40 And not as much as some of the professionals like our friend Charles Klein that works for Netflix that does it all day. But, I mean, watching some basic tutorials. But, again, these tools are expensive. Like I think my last renewal for Nob OmniScope was like $300. your box so it's not it's not cheap and there are some basic tools as other people in the chat are

19:58 saying in vmix you can pull up some basic omar says uh run your output into something like oh omni scope and stop guessing all right that's the same thing i i recommend it but that's the thing is omar's doing stuff for broadcast so you're talking to an audience that are a group here that goes at the highest level like the charles klein's and the omars that are going to broadcast and then

20:16 you're talking about just going to youtube so part of me is just like well i want to color correct you like i could i could see maybe that's it maybe just jump into after hours and say hey i could use some help and we'll just you can let me at because i did this with uh uh professor jeff francis he came in one time pre-show and i was just like here just just share your screen your

20:36 a10 and i'll just color correct you real quick and he's like oh wow that looks so much better color correction has always been you know camera first and then whatever software second but I would put lights first. Lights first. You would do lights first? I would do lights first. Make sure all the lights that are hitting you, so the lights are lighting in front of your face,

21:00 make sure they are roughly the same white balance. And lights that are behind you that have a color cast, make sure there's nothing in front of you that's white that will reflect that color cast back onto you because that makes it impossible. So you need to have black curtains in front of you, black curtains and soft boxes, I guess. That's one way of saying it.

21:16 The soft boxes, the lights on the soft boxes should be putting out the same color temperature you pick the color temperature doesn't really matter and then just make sure that any colored lights you have in the background are not bouncing back onto your face that's where i'd start and then i would do the white polystyrene for cameras that'd be the first place i'd go even if you say they're the same manufacturer you're right but

21:36 their zero point may all be a little bit different when you set it to 5200 5600 and then go from there into omni scope to see okay now they're for live or you can use omni scope to help you prevent um big problems in post because if you're doing eight bit um ndi hx then you've got a problem with posterization that's always going to be the

21:57 problem you have yeah and i didn't think it mattered much until i actually bought one of these spectrometers and saw how bad some of the inexpensive lights were i was seeing color this was back in the early days of flora since i was seeing color shifts of 85 so out of 100 like if If you walk outside and noon sun, you're going to get 100 CRI.

22:18 It's just natural light is 100. So it's pure. Like you see somebody in the sunlight and they look normal. But when you get these weird casts, like I'm looking at your image, Jeffrey, and I'm wondering if you do have some lights that might have low CRI, and that might be one of the issues like Carl had identified is you might have some that just are not high CRI.

22:35 Do you know what kind of lights those are? They're the – here, I'll show you. Yeah. Show us what you got. Oh, cause everything's yellow. That's why you're wearing yellow glasses and trying to color correct. But no wonder everything's blue. I have color correct on that. So, so this is the light set up. What brand are they? Um, the ones in the core, this was the big panel light that I

23:04 bought many, many years ago. They're they're fabric led lights. And then I have that one of the newer ones when they did their fabric lights, they don't do those anymore. So they're all one color except for the one over this one right here. Cause I can change the temperature, but they're all at the same temperature right now and then right above me is just this, uh, just another brand.

23:24 And these are all fabric lights. So, um, and like I said, all one color, do you have any colored lights behind you? I have behind me, I have two lights and that's my, my, this, another one of the newer lights, fabric lights that works as the pin spot here. And then this light up here goes to this back wall, which I don't have a color on it right now, but every now and then I'll do a blue.

23:53 blue. But as somebody said, yeah, I'm, I find myself way too blue, in a lot of my shots. So I went to a straight white, just to reduce the amount of blues. I guess that's why they call it the blues, right? The other thing is, I'm thinking about the what's called the hot mirror in your camera. So this is the IR UV filter in front of

24:18 you know the sensor and I have a feeling that maybe it's letting it a bit too much like a good way to test this is to get it infrared remote control and if it if it is bright as day when you join it into the camera if you have an infrared remote control at hand and point it to the camera if it's dull then it has a

24:36 good IR filter if it's very very bright to us then it's generally something that's very tricky to fix because your IR filter is letting so LED lights are actually blue or ultraviolet really and they throw that blue or ultraviolet onto a phosphor and that's what gives us a white but I just want to see how much your PTZ cameras have how good their infrared filter is and that'll tell us

25:01 how good their filtering is in general as far as you can't really pull it off very well right now but I could definitely tell if I push you over from where you're at let me reset this real quick and then just push you over a a little more yellow red, I can see that the wood starts to be the right color, your skin tone starts to be the right color. So

25:19 yeah, I mean, there's there's definitely what's your white balance set at? I usually set my white balances all the 4300. I like 4300. I don't know why. And all your lights by color. We can see it's very faint, but we can see it. See the infrared infrared just a little bit but it's not it's not as bright as this is a PTZ camera so you'll

25:45 probably see the menu pop up yeah yeah that's fine so we can see it a little bit but um it's it's not very bright it's not crazy bright so you do have a IR filtering obviously and it is looks like it's working as well as like an iPhone IR filter iPhones will still let through a little bit of IR so that's not going to be your biggest problem um well as far as infrared as far as UV

26:06 That's a different thing altogether. But yeah, you are right. There is like this interesting blue cast. And it's like a blue cast I see when I photograph in nightclubs and stuff. And they've got UV lighting. That's kind of why I'm thinking maybe it's a UV filter. Because your skin is like my skin. And whenever I see someone with shiny skin under UV lighting,

26:25 they kind of have that kind of glow, that kind of ultraviolet kind of glow coming off of them. Okay. John Wallace thinks I have a lack of green too. Yeah, well, you'd be like a green and lack of red, amber or warmer tones. Yeah, it's just heavy blue. Yeah. Well, come over to my discotheque, I guess. After the show, we should jump into after hours and just let a couple people just do a share screen on your.

26:59 I would just love to do a 3200 to set your whole studio to 3200 cameras, everything to 3200 and see how it goes. That's the first thing I would try. Let's do it. We've already chewed on this question for 27 minutes. I learned a lot, and I know a lot of people in the chat are talking about it, so why not? Do you have the ability right now to change your white balance on your cameras at 4,400?

27:25 Do you have a dial on your lights that you can switch those to 4,400 as well? I always set them to 32. Everything to 3,200. Everything to 3,200. Everything in his room to 3,200. So lights, camera, everything to 32 and see how we go. So with cheaper lights, things would work much better at 32 than they do at 56. I don't, I don't have an ability to know exactly.

27:50 And get over there. You mean you don't have a stream deck button? I got, I got this button right here. Okay. That's how these lights are, you know, Hey, let's push it. Let's yeah. Let's turn them all off. There we go. They're all, well, except for this one. That's great. We fixed it. But if I do this now, I'm going more on the yellow side.

28:11 Yeah, already, already your skin tone. If I had, let me pull back up my flesh tone line. Yeah, so one of the things I've noticed, and one of the things that actually shows up in specs, even for really expensive lights, like by expensive, I mean over $1,000 for a light, But you'll find that the 3200 readings for the color temperature, let's say that they're

28:40 99 CRI, yet the 5600 were maybe 97 CRI. Now both of those are perfectly acceptable in any situation, but it does show and also with the SSI. So the SSI score, which is a direct comparison to tungsten globes and sunlight. I find that with modern lights, I do find that they're a little bit more accurate, a little bit more color fidelity at 3200 with these lights with LED lights, then at the

29:09 56. So whenever I see someone who has like this weird color lighting, I say let's put everything 32 let's get cameras to 32. The only issue with that is if they've got natural light coming in. So I have natural light coming in here. So I'm running at I'm currently running at I think 6000. So I've got a blue sky outside. So I've got a lot of blue light coming in.

29:27 So I've set all my stuff to 6000. And that is the other problem is although this light and this light can change color temperature this light and this light cannot So you're seeing what do you do? What are they? I don't know. I really don't know I'd have to because you can make them you can make those two lights real light set shine from the back onto you

29:48 That's okay if they're a different color. It's You could do gel yeah, you could get a CTO or CT CTB gel. Yeah depending on which color they are. Okay. Well, that's interesting. Yeah, I've never even thought about the lights because I just kept them all the same tone as best as they were because, you know, once again, this key light is now in the more white

30:16 and then the front of me has got that yellow tint and I'm not talking because I'm wearing glasses with a yellow tint. All right, Guy, where's your skin tone line? So Guy's manipulating everything coming in which is also manipulating his user interface which is interesting. I'll give you a good pause so now we've we've gotten more magenta but it's about the same

31:04 so you're getting a little bit warmer there there is a difference there is a warmness there there's a lower contrast though because he's lifted the shadows to that's always one of the problems with the color correction is it will change your contrast your shadows levels or essentially a black point easy way to say it that's always a tricky one to fix out of the black point because once you do

31:33 that you're gonna yeah it will always um it will go black to a certain color once you you start moving the essentially the white point around. But I mean, but if we're going to add green and yellow or more warm tones to the skin, it means a black point will shift to warm. So all your shadows will go warm as well. That's that's

31:57 one of the problems with shifting. That's why sometimes we just leave it. Just raise the blacks. Leave it. Well, thank you. I think guys trying to see somebody's muted. So thank you. We're ready to jump to the next question. That was fun. All right. Robert Green, Los Angeles, California, asks, intriguing talk about AV2 and H.266. Who is behind these standards, gets paid, and what's likely to succeed?

32:26 Go ahead, Carl. So AV2 is a new open standard from a non-for-profit that works on creating a standard that is essentially license-free. now i say essentially because people can come at them and say hey look you're actually stepping on this pattern so we say essentially but they may have some low-level patterns that happen over time um patent trolls you know um and then um there's h266 which is called vvc um which is i guess from

32:55 the same type of group i won't say exactly but the same type of group they created h264 h265 um and but they have sorted out their licensing system a little bit smoother which they've learned from previous iterations to make it easier for because the more harder they make it to license the more people will go to a computer competing format so they've tried to simplify the licensing

33:17 arrangement it is licensed um but it does rely on technologies from companies like um apple and and uh even google and microsoft and the big players are playing this but we also know that google via youtube um invest heavily into av1 in the past because av1 allowed them to scale without paying crazy licensing fees um so av when we know everyone's being used to um for the outgest of so

33:42 that from going out of the building from youtube to customers and we know that apple has chosen recently to put a av1 decode on their m processors and i guess on the a processors as well and so i hope this comes over to av2 i'm very happy there's two different standards one's more open than the other i'll say more open just because you know patent trials

34:01 but one's more open than the other because it means that they can feed of each other there's a heavy there's a heavy look at the to a v2 and VVC looking at VR a lot so think stuff like vision pro and anything coming out of matter I guess so there's a heavy to deliver that kind of stuff rather than doing what used to be done an MPEG and people member MPEG 3 you'd have your

34:29 left channel and then your right channel is just a difference of the left channel it wasn't two separate streams they're actually just one delta what were some of the efficiency numbers what what was the big one as far as 30 we're hearing so this is a big this will be really big for youtube google because they've got to pay their isp which i don't think

34:47 is themselves out of the building so every bit they send out of the building to a customer they've got to pay and if they're paying 30 less that's that's big thumbs up now they need hardware encoders on their side to encode their videos into AV to which is not a problem they'll pay for it now you know but if that new investment that capital

35:08 investment in these new encoders ends up with a even a 20% you know 30% it's a best-case scenario as well and then throw away the old files so if something was huge then they is that an efficiency from an economic standpoint point because it's time so the amount because there's more videos going into youtube now than there was last week so this week so there's some bean counters in the background who will make that

35:32 decision and they did make that decision with h264 so from the old standard they had to h264 they did make that decision um and then now they've got this uh new codec that's coming along it's coming online i guess soon which is av2 they haven't chose to go to h265 i believe they've chosen not to go down that road for youtube they've chosen av1 and av1 is the comparer to h265 so

36:00 they're kind of same generation in a way um same kind of efficiencies and this is true also for h266 vvc and av2 they're the same generation same kind of efficiencies so it'll be kind of watch of space to see if they do choose to go and do back catalog but my guess is once av2 comes online for them for hardware encoding um we'll start to see especially the 4k stuff the stuff that's going

36:24 to cost them a lot of money coming out of their buildings pulling an av2 which is good yeah i think marcus brownlee threw up some 8k stuff so i'm really wondering what the future is going to look like go ahead jeffrey yeah and well there's a lot first of all just a small clarification because because you can upload H265, H264. It's just that they re-encode it into VP9 or AV1 from there.

36:47 But the other thing is with what's going on with YouTube and how you're getting what they're planning for the next couple of years, I think that it's going to be like this big gold rush of videos that are coming on. So, you know, what is it, like billions of videos get uploaded to YouTube a day. it's gonna it's gonna tenfold in the next five years and that's gonna and you would think that

37:13 okay the 2004 I saw an elephant video which is now in what 320 or something like that it's such a small file it really doesn't matter as long as we don't have to re-encode it into anything it doesn't matter that but uh now we've also got these other factors like we could be talking and somebody could hit a button the next thing you know I'm talking in Chinese and then I'm talking

37:35 in French and I'm talking in Spanish. And then with the other things that are coming down the pike with YouTube, the A B testing of full videos, which is so I could do color correction, three video color correction and which one would work best. And then then they'd say that and then they show that and then they'd show it for specific audiences. So if people in California like my

37:59 my videos on one thing, they'll get more deluge of that rather than something else. So it's, it's, everything is, is changing. So the ability to make more videos, not only for people, but people like myself, I mean, right now I'm making one YouTube video and at least four shorts out of each video, so that's, that's, that's an increase of videos on my part just for

38:26 for one video and then now I've got to feed the YouTube short, uh, beast and I got to feed the YouTube HD beast and I got to feed some other beast and there's just a lot of beasts to feed and so if they can compress it more and they can get out more, uh, more functionality to it, I say go for it and I wish them the

38:45 best and I hope that they can find the right answer because you know, it helps me and it helps them. Cool. Let's go over to the next question. Next one's coming in from myself, actually. Bidirectional NDI Converter Box Options. Go ahead, Jeffrey. That sounds like a good title. No. So today I actually published on geekazine.com. CDN, or CND Live, excuse me, sent me this box right here.

39:16 This is the A1. Is this backwards for you guys? No, that's right. It says A1. Okay. Okay. Okay. So CND live a one box, go through it really quick, but I'd have a full video out on there. This is a bi directional NDI box. So you can encode you can decode from here. Is this full NDI or NDI HX three? It is full NDI HX two or HX three.

39:41 So no. No, no, it has full NDI. Full has one. Okay. Okay, HP, let me let me show you, it's easier to show you from here. So this is the interface that you get this web interface. So you plug it in and get the IP address. So there's two ways to actually three ways to do this. First of all, if you go to mode switch, and you you can do encoder and decoder, which is HXH, well, HB as they call it. And that's a 1080p. But if you go encoder, encoder only or decoder only, you can get up to 4k.

40:16 And they are also supporting OMT. So you don't have to have an NDI box. And if you're if you're trying to go into OMT on vMix, and some of these other platforms, then you can switch it from there. I think I have this set up for encoder right now. Yeah, I forgot to switch it back. But the decoder, I'm going to do this really quick. Because it's really cool with the decoder,

40:40 you have a lot of options on which camera you can you can actually set up up to eight cameras in the decoder and then send that out that way uh that's gonna take a second how do you you've played with the zowie but you own a zowie box as well right yeah we're just one right yeah how did you find that interface it looked kind of it felt kind of similar to that compared to the

41:05 bird dogs and the mage wells um how did you find that because i've been meaning to buy one of these So I'm glad better you than me. You're the guinea pig. It's really nice. I mean, it's not. Let me just log in here really quick. Wrong password. Yeah, I know. Yeah, because we're doing an event this weekend, and I was going to bring my bird dog, but I got to update the firmware on it.

41:28 And it's just they make it such a chore. So I'm actually probably just for this one. I'm just going to convert SDI to HDMI and use my existing converters. but I would love one of those. I can't log back in. What's going on? Hey. Oh, great demo. Cool. All right. Next question. Hold on a second. Hold on a second. There we go.

41:52 You got it. We're live. I don't see the past. Okay. So here we go. Let's go back here. There's only Mickey and Courtney and Ryan, Roscoe and JB just watching you. Okay. You're back. Hey, guys. So anyway, so we have the encoder and we have the decoder. So as you can see, I got my ND eyes sitting right here so I can switch

42:11 between my different channels. It's not, it's like having one of those old HDMI button things on the TV. So as you can see, it's not instantaneous, but if I, if I could switch to an output here, put it into something like a color box and the, or, uh, or a PTZ operator can say, okay, I got to switch over to this one so I can get to the, uh,

42:35 so I can set it up right and go from there. So that's one of the great things. And, of course, going to encoder, you can set up a lot of things. Here's the HX side and then, like I said, what they're calling the HB side. So they're paying the license fee then because that HB costs them money. Yeah. It's a $550 box.

42:59 Wow. I wonder how it compares to the science image stuff. Can you click on that connection right there? tcp does it do uh to the right up and to the right up right where you're right where you know no no right where you were back to the other right your other right connection down down right there tcp yeah are you okay so it's got rdp as well yeah yeah rdp and that's just like my bird dog yeah

43:24 Yeah. Sweet. 550. Well, my bird dog was 900. So, I mean, does it do 4K? It does 4K if you change it to. 4K30 or 4K60? 4K60 if you change it to encoder or decoder. You can't have both. And then OMT is 4K30. Interesting. Cool. What else? Is it sliced? Is it diced? Is it? It chops. It purees in seconds. You can make soup.

43:58 Does it have tally? Yeah, it does have a tally light. PTZ control? Streaming? Does it convert to SRT? Dual LAN and back. POE LAN, of course. It's got an out and a loop. Keep going down. Down, down, down. Sorry. There you go. Sorry. All good. Let's do it this way. There we go. So it's got an out and a loop HDMI. no srt or yeah no uh sdi uh you got a second land so you can go to a different vlan and then of

44:29 course this one uh it's got poe so i don't have to mess with the uh and the only the only thing so the one thing i really hate is it's got a power switch yeah that's dangerous right there dang danger danger but there's the tally light right there what does that usb 3o do uh this oh this is uh this is for the webcam that i have set up i can either go here or here

44:52 webcam converts to ndi that's cool yeah i thought i was going to show it to you on the decoder but so you could do one of those uh handheld gimbals what do you call it uh the one inch sensor dji um osmo pocket three and throw it in there and have ndi that's pretty slick like. So if I go here, do you have an Osmo pocket three? No, I got to

45:16 get to work. big sensor. Anyway, up on top, you have the HDMI and you go to USB and say apply. And boom, there's the USB. And then I can see it in HX mode, I can see it in HB mode, right there. And I do have some PTZ options to it as well. and it froze up so great demo bye now uh it's like how does it compare to i saw him at nab

45:49 and i meant to stop by the booth i mean we we glossed by but we didn't like kick the tires or anything i mean i still trust you know the normal guys uh bird dog uh science image uh kilo view mickey's recommending some some uh open gear stuff for what i'm doing it's just we're throwing it down it's coming out of an ATEM in a rack and then it's going down

46:11 so we also have a quad so I mean I could just grab the quad box it's just it's gonna be a a lift well cool let's jump to the next question I guess that's me what are the options so Guy Cochran me asking what are the options for mac srt ingest and we got carl so the two that i've played with uh vlc which is my go-to if i

46:41 just need a single stream to come in to a mac um obs is another one uh that'll get you in um but the one i've seen but i haven't played with very much is softron and i've heard good things about softron but i understand that's more of a higher end you can record to it and so a bit more expensive But yeah, Softron, if you've got the money or your business has got the money, OBS and

47:04 VLC are the other two that I've played with. I'm sure there are others, but yeah, I find that OBS is actually quite good on a Mac if you're not going to push it too hard. And VLC is just rock solid. It's just a single link if you just want a single SRT feed to come in and just show up. And the only thing you have to be mindful of with VLC is you want to get rid of all

47:23 on-screen displays or if you're using that in a show for instance as a feed into a show the on-screen displays will just sometimes just show up for two seconds and disappear so you can go and disable all on-screen displays but you have to do that after you set it up because sometimes you need them to set it up and then once you set everything up then disable osd that's the only

47:42 thing because i remember seeing some very high-end productions where the vlc um on-screen display popped up for a couple of seconds going oh that's how they're getting it in but yeah um obs is another one and then softron if you've got the money cool uh i'm gonna throw one more so this is throwing a cochran legit cochran coming right up all right here you go this is called a just

48:03 mini server this is the beta version uh that uh is pretty sweet it's actually got um ndi out omt out bmd out so if you have a bmd card this computer just happens to have a deck link quad in it so So you could see that I could take line one or any of these, because this is the, so when you rent this,

48:25 you can get a four line version for, I think it's $30 for seven days. So you could do, imagine having a Makito with four at the venue and you could send four feeds up and then pull them back down and then convert them back to SDI using just, you know, a Sonnet box. So that's all this is. This is a Mac mini M4 with a Sonnet quad box hooked up.

48:46 And so you would just say, you know, I want line two for this one and whatever resolution, then you just enable it. The neat thing is that the way that we're going to be using it for this show is going to be NDI out. So this is the way I've used it on the PC. So, again, this is the Mac side and this is the 16 lines version.

49:04 So you could actually do 16. This is beta still, but you could see it working. well i don't have 16 feeds to send to send to it but it will do 16 uh different feeds over one port so you could open up let's say 9000 and then there's a stream id and you could see those stream ids there clj like stream key 2 clj 3aqm the other interesting thing is that we're in proxy mode

49:31 right now so if you don't have the ability to to change your firewall around you could use their their IP addresses and you can enable this proxy mode and then you would have your ability to pick. Let me turn it on. Yeah, you would have your ability to pick if you're like in Europe or in USA or Australia, you can pick one of their IP addresses. Just make sure that you change that

49:55 stream ID because I've had it where I started seeing other people's feeds. So don't leave it as the default. But this is pretty cool for Mimo Live. I know it does one single feed or Ecamm, live stream studio obs if you need multiple feeds of ndi and one of those little mac medium fours this works you know you also have zoom iso that could take zoom feeds and kick them out

50:15 srt as well so that's a it's not an srt decoder but this is pretty neat so just wanted to throw that out there as an option so with that let me cut back over to me and then we're going to jump jump over to our content picks. Jeffrey Powers has raised his hands. Hands or just hand? You just start your hands up in the air.

50:41 Oh, it's not the discotheque part. Okay. Um, yeah, so actually my, my content pick actually happened today. Uh, if you guys follow the corridor crew, then you've probably seen this and they've come up with a new version of their green screen. green corridor key. It's called corridor key 2.0. And so I was watching the video this this morning, where they were showing they had they had their crew come in with some really odd things like

51:11 one of them came in all green. There's the all green one. And he was doing it in his chroma key. And of course, we're, we're seeing how it works. They brought it up in front of professional professional professional keyers to see how great that this that their software is and it's doing a pretty darn good job especially when you're doing green on green right there for content and then

51:36 the next person comes up with a Windex bottle and it's on the blue screen to see if we can see the the actual spraying of the Windex so it's it's pretty interesting watch and of course corridor door key is here. And I guess, well, you can buy it for 50 bucks, but just amazing what they can do with with if you're doing any green screening, I've gotten away from green screens because

52:02 in post production, you know, if you bring it into Premiere or, or resolve, you can you can do a lot of masking and it's even better than some of the green screens in some cases. All the cool kids are using Snapchat filters. So there, that's what you need. Carl. So my one is something that's actually, I guess, a spinoff from another YouTube channel

52:28 called Astrum. This is Astrum Earth. So they've got 60, 70 videos up so far. This is very high quality. So this group is actually a group of people that's made Astrum, which is their channel, which has generally does stuff that's more space-based and they've chosen to focus on earth and doing um videos about stuff on earth so about life and and rare things on earth uh it's really

52:51 high quality documentary very bite-sized kind of really content in a way um most of their i would say most of their content is um definitely kid friendly so this is kind of stuff you can have around the kids it's there's no problem with that kind of stuff with these guys it is so most their content is around half hour so it's not really long but it's not really short like i there is

53:16 another history doc history documentary channel that i watch they're between four and seven hours for each video so i consider this short considering that i do watch some history history in each episode is between four and seven hours on this other history point which i believe i've actually mentioned here in the past um but yeah so this is half hour so kind of think of like a sitcom

53:35 kind of length um based on a lot of different uh a lot of different aspects of earth which is really interesting so not just life but also geology um also on how this stuff is being done so how a lot of this science has been discovered over the years um how we know tectonic plates all that kind of stuff so it is really interesting and very high quality it's pretty cool as grant

53:59 would say good one good one all right i've chosen uh one from peter santanello so peter just did some videos nine days ago uh this one in particular i really enjoyed uh he was up here in my neck of the woods in the seattle area so he did one on uh inside america's forgotten timber country and he just has a really relaxed way of uh interviewing people like in this i think it was this one here

54:27 where he just stumbles upon some folks on the street and just starts rapping with them and i mean these six are getting 1.3 million views 965 this other seattle one uh 1.9 million views because he says on the news you're basically seeing in seattle like all this drug and bad stuff and crime and so he's like here's what it really looks like boots on the ground so this was three weeks ago

54:49 and there is that and he does show that part of town we have a pretty shady area town now in china Chinatown. And, but I was down there just the other day, I had a client meeting down there and a venue that we're going to be working with is right, right down in this area. And it wasn't bad, but I guess we'll see when the lights go down. And he's using a GoPro. He goes into this,

55:09 what do they call that underground bunker? And he's like, oh, my GoPro won't, won't have very good low light capability. But it's interesting to hear him say that because another friend of mine who owns a local rental house just got this and I'm going to see if I can get them on. This is Northwest Camera Co. See, I'm throwing two. So you get two content picks for the price of one.

55:28 This is the new GoPro. You can do that? Yeah. If you're the host, you could just, you know, slide in two. I've seen Alex Lindsay throw in three. Like, he was, like, going for broke. So, I don't know. You want a second? I think we got, like, four minutes, 13 seconds left. So, if you got a second one, you can pull it up.

55:52 you can see the gopro in there we did stop by the booth at nab 2026 omar and i did who omar is in the chat hey omar uh and we got to see this in person and i didn't think that they would be able to pull it off and ship it but they've got some money and this is uh something to take a look at if you got some micro four thirds lenses uh he's he's super happy with it

56:14 so with that uh double content recommendation oh jeffrey's come back in all right jeffrey you got at less than three minutes. You challenged me. No, just all these different iPhone Duo videos. It's like I'm going to show you a couple quick ones here, really quick. And this first one is from CNUT. And basically, they did a fold test. And it's really cool.

56:37 Look at this machine. It's just sitting there folding the phone back and forth. And they did have a Duo up here that was actually doing the counter. I don't know what happened to that. But that was the live stream for today. Did it? and did it stop working or did it no development because i'm right people are saying that uh they're having a bunch of troubles with that from what i was saying well there are a handful but you

57:01 need to understand there's about two million of them in the world at the moment and we're seeing maybe 20 that have a problem so that's not bad then the next thing is where to go jerry rig uh you're going for three you're trying to pull an alex oh no no that's that's this is the same No, no, no, not me. It's his iPhone test, and he actually did get the crack.

57:22 Once he threw sand into the hinge, that's when everything went cattywampus. There it is. So he was throwing sand in there. Yeah, if you put anything in the middle and then close it and do exactly what he's doing there, that'll destroy any device. Yeah. Yeah. So then it started showing the lines. He couldn't even get it closed. Jeez. It was fun to watch, yeah.

57:47 man well it's very hard so sand is you know second only to diamond wow all right with that you got your triple play in there you just hit it out of the park well you know i'm from wisconsin you know brewers won twice they're gonna win the other two so we'll see what happens see what happens all right with that uh tallag traversal uh four thousand wow we didn't go very far

58:13 what the heck happened 4 000 miles at 7 000 kilometers 35 million bananas for scale uh we had on the crew alan robert vick taylor and peter thanks guys running viz vector in the cloud and i think we even kicked this over to facebook um and we're gonna start streaming to x as well thanks for the recommendations over the weekend uh to get that going so and we're gonna do linkedin

58:37 We can get Dan to be our streaming engineer for that. And we might even be getting, what is it, caster.io or Restream, depending on the budget. So we're going to be pushing this show to multiple platforms, not just this show, but the other six days a week so we don't stream Sundays. Come back tomorrow and enjoy Tuesday Focus, and we'll catch you then.

58:58 Thanks for tuning in. you you Thank you.