When I started working in a video production house in the early 1980s, it quickly became apparent that there was a lot of snobbery in terms of equipment. These were the days when the home video market was taking off; the Format War had been fought and won by VHS, and consumer-grade VCRs were flying off the shelves and into living rooms. Most of that gear was cheap stuff, built to a price point and destined to fail sooner rather than later, like most consumer gear. In our shop, surrounded by our Ikegami cameras and Sony 3/4″ tape decks, we derided this equipment as “ReggieVision” gear. We were young.
For me, one thing that set pro gear apart from the consumer stuff was the type of connectors it had on the back panel. If a VCR had only the bog-standard F-connectors like those found on cable TV boxes along with RCA jacks for video in and out, I knew it was junk. To impress me, it had to have BNC connectors; that was the hallmark of pro-grade gear.
I may have been snooty, but I wasn’t really wrong. A look at coaxial connectors in general and the design decisions that went into the now-familiar BNC connector offers some insight into why my snobbery was at least partially justified.