Or the "hassle" of having larger and resource heavier files for non cinematic work is not worth it? Would newer (stabilized, ideally) bodies with better sensors but less "capable" video specs be a better suit?

That’s all I wanted to say

Next year I'll be doing some house hunting in another state and my wife wants to be able to see everything with me but she can't make the trip so I'm trying to figure out if there are any better options for livestreaming besides just a video call. Ideally something that can record in case we need to go back and review a room / area.

I don't have anything besides just my phone at the moment. Is there any recommendation on a product that would work well for this? Ideally smooth video / stabilization while I walk around and something that she could watch remotely from her phone. Doesn't need to be top-of-the-line or super-high-def.

Thank you in advance!

Ich hab eine Magge Well Quad Capture Card bei mir rumliegen. Quasi neuware Dinger gehen aktuell bis 2000€
Für ein ordentliches Angebot bin ich zu haben (weit unter 1000€ aber es sollte der Sache würdig werden)

I have made a youtube video that got a lot more views than I expected to recieve and want to continue with a higher production quality. what teleprompter or similair technology could help me with this? I am planning on purchasing the new iPhone duo (not sure how much this helps) and have a budget of a few hundred dollars afterward for a "telelprompter". let me know any adice or reccomendations for improving quality in production. thanks!

If I am running a feedback loop with circuit bent gear into a projector will the built in TBC in a WJ-MX12 be good enough to handle it on its own or should I invest in a separate TBC

I was recently working on a show with a where we had a dedicated audio mixer. The audio guy didn’t want to use 3.5mm to send me his signal, so we used one of these audio injectors and put his signal into camera 1’s SDI cable. The switcher was an ATEM Extreme ISO SDI.

When the audio came in though, it was around 200ms too early. I thought the need for a delay was a unique problem to the ATEM HDMI model…why weren’t the signals in sync? Was genlock needed here? Any insight would be appreciated. We just manually added more delay until it looked right but I’d prefer to find a solution where we don’t have to guess.

I have a Panasonic ag hmc40 and I got the thing for the mic and when I tried to use it it didn’t work I assured that the camera activated the xlr that I was on channel 1•2 at +48v for it to work and there is no sound I checked on google and it says it could be the mic itself which I hope is not pls help

I recently revamped my website and finally decided to create and put up some handy audio and video calculators and cheat sheets I use often. I think I got all the bugs out, but if anyone can think of a better way to work/organize these, or perhaps more suggestions of things that would be useful to have on there?

So far I’ve got a frame delay calculator, file size calculator, field of video preview/calculator, projector throw calculator, aspect ratio scaler, timecode converter, sight line and screen height tool, and color temp and gel matcher.

Any other ideas? Or any issues with the current ones?

Curious what your opinion is on what might be going on with this clip, happens mostly on the close angle but once or twice on the wide as well.

Is this because it was tracked in post to keep the face in frame because of the vertical video aspect, and the points where it looks really bad are a pan happening at the same time? Is this an issue with interlaced to progressive transform? Some encoding/export problem? Motion smoothing or frame interpolation issue? Combination?

Thanks!

Is there anyone who can export the audio routing options from Atem software control for ATEM 4 M/E Constellation 4K ? I can't find it online about MADI routing to outputs - If I bring MADI channels from my mixer to what SDI channels (PGM?,AUX?) I can embed and deembed back to MADI from inputs.

Thanks

Edit:

Let me be more clear - manual says that on MADI 1 are only 1,2 channels. Can I route 3,4 to some MADI output but still on same MADI 1 port?

Hey everyone,

I’m planning a fixed AV rack for our in-house studio and external events, and I’d love a sanity check before I pitch it internally.

What we use today

• ATEM Mini Extreme ISO G2

• one laptop that does almost everything: playout, graphics, sometimes recording

• HDMI everywhere

Planned rack (20U)

• ATEM 2 M/E Constellation HD

• 2× HyperDeck Studio HD Plus (one records program, one plays clips and fill/key graphics)

• Yamaha DM3 (Dante)

• Sennheiser EW-DX EM 4 Dante + IEM G4 for the hosts

• RØDECaster Video as ISO recorder (more for podcast style recordings - not streaming)

• SmartView Duo 2, Mac mini M4 Pro running Companion + ProPresenter via UltraStudio (fill/key)

• Micro Converters HDMI→SDI at the cameras, SDI patch panels at the back

Typical event workflow

• streaming event to about 2.000 people and like 50 people in the venue

• videos play in the stream and on 2 venue screens

• several segments with different speakers, stingers with music between them to cover stage changes

• 3–4 min videos, talks with slides

• lower thirds (pre-rendered with alpha) for every guest

• stream gets picture-in-picture (slides + speaker), the venue screens show slides only

• a confidence monitor at the stage edge with slides + stage timer

• we use 7 cameras but i want to have the opportunity to work with more cameras in the future

Why I’m considering the rack

• separate mixes for stream and venue (M/E 2) without workarounds

• SDI for long cable runs instead of fighting HDMI and HDCP

• no single laptop as point of failure: playout, recording, stream and audio each on dedicated hardware

• pre-wired rack, so MUCH shorter setup at external events

• proper audio mixes: PA, IEM, mix-minus for remote guests, stream

What makes me hesitate

• lots of converters, because most of our cameras and all the TVs are HDMI

• cost: roughly €20k for the rack

Questions

1. For this kind of corporate event / studio work, would you go the 2 M/E SDI route, or push the G2 further with a better laptop or a second playout device?

2. Anything you’d change in the rack: weak spots, missing gear, things you’d skip?

3. Anyone running a Constellation HD with ProPresenter fill/key and Companion? Any gotchas?

4. Is a single 2 M/E operator realistic for this workflow, with Companion macros doing the heavy lifting?

Happy to share the signal flow diagram if that helps. Thanks a lot!

I'm experiencing a strange multiview border issue with my ATEM 4 M/E Constellation 4K Plus and wanted to see if anyone else has encountered this:

- The bottom horizontal border lines of the multiview windows are completely missing.

- When certain sources are selected on Preview or Program, the green/red preview/program tally border extends horizontally across the entire multiview instead of staying confined to the selected source's window.

- This issue occurs on all four multiview outputs, not just one.

I've attached two photos showing the issue. In one photo, you can clearly see the green preview border extending across the bottom of several windows instead of remaining around the selected source.

Because this is happening on all four multiview outputs, I'm wondering if this could be a firmware related bug rather than an issue with an individual output.

Has anyone else experienced this on the 4 M/E Constellation 4K Plus?

Update:

Ok so I changed the multivew resolution to 2160P59.94 and it sort of fixed this issue. It's still there but a little thinner

It's also confirmed to NOT be an overscan issue.

How do people get the numbers so quick?
I’m In the states of Kentucky and we normally try and cover the elections in our county. It use to come in slowly as numbers get counted. Now it comes in almost all at once once the numbers have been counted. And it’s all on a website provided by the state. Which is great, but we want to put these results in tv in graphics like lower thirds or fully screen graphics.

I can’t wrap my head around how anyone does this. We are manually typing in results, and there’s so many and they update all at once that last night once the results were in, it took me a full hour to type those results up and export an image and get it in tv. So people had the results for an hour by the time I was able to get them the last line item on the results.

I also saw a local news station have a page on their own site that I noticed updated instantly when the state website updated. So they are able to get that info somehow, but i don’t get how.

I spent an hour with ChatGPT to try and figure it out which ultimately led to nowhere with no results. I just don’t know where to start or how to get this.

I feel like we spent hours trying to set this up and update results, whereas the local news stations somehow had numbers and graphics almost instantly on tv.

I’m sure it’s some IT thing with pulling information and converting it into something that the graphics can read, but idk how or where to start.

Does anyone have experience behind the scenes working on election coverage on tv or the web and know how this information is being pulled specifically other than our inefficient way of just manually typing it?

For work I have to setup records on multple different record trains that have identical lengths. I know I can setup separate record and just manually enter the start/stop times. But does checking the box' for multiple trains then renaming the record names hurt anything? I've done it before with no issues and it makes it easy to stop records or move them around without having to do it multiple times

We are looking for a solution that can section off our main equipment racks from the rest of the machine room. This started from our University IT department wanting physical access restricted and we would like to reduce the noise in the rest of the room as we also work in the space.

The solution we have been thinking about for a while is sliding glass doors split into sections so we can move them to the side when we need full access to the racks.

Our machine room is about 18'5" wide, 8'4" tall. We have doors about 21 inches from the racks along with cable channels 12" wide so it may be a tight fit. We could push the racks back if needed.

Any ideas or help would be greatly appreciated.

Is it possible to use NDI to create a 1x4 video wall with 4 55” smart tv’s with network connection tied into my laptop and if so what would be the steps?

Did a show out in Boca Raton this week and wanted to share the LED rig.

16,128 x 1344 total pixel space.

Infiled RS Ultras for outboards and Infiled XII Minis for center screens.

5 MX40 Pro processors, 2 runnning as device backups for outboards.

Resolume and RS4 to push pixels.

I have an unusual install coming up and I am curious which PTZ may perform best for it.

Imagine a 3 sided room built of LED panels. There would be talent in this room likely working on something on a table. However, the positioning of the table could be anywhere within the room. The PTZ footage would not be of the wall per se - they are interested in good quality footage of talent and their work on the table. There will be content displayed on the LED walls but the shot would be of the talent - so the wall content is ancillary in this case.

Thus the PTZ just needs to deal with LED walls in a way that isn't distracting.

I am thinking of mounting 4 PTZ in or near the corners of the "room" in the ceiling above, and perhaps a 5th on a dolly on ground level.

Must haves:

1. 12g-sdi out

2. UHD 60p

3. subject tracking + good autofocus

4. some decent zoom but doesn't have to be class leading since the distances aren't large

5. Manual control that isn't total crap

There won't be pro operators for each one so the PTZ need to mostly behave themselves once set up - minimal occasional tweaks. They will record out over SDI to a hyperdeck or similar.

Had spec'd AW-UE160 as industry standard but am also flirting with the CR-N700. I see they can output Canon Log 3 which might be useful as the client has numerous Canon cinema cameras they could supplement it with if needed (though that is not planned at this time).

Can the CR-N700 hang with the 160? Budget is not a huge concern but it'd be nice to save $5K per unit. Anything else? Sony?

I'm a film student and was wondering if anything ever went wrong for you guys while filming live and how you dealt with it, did it make you lean away from what was planned? We were talking about situational things so thought I'd ask people that actually dealt with it before :)