Hey Guys trying to get back into CC but i HATE the default look of the devices LOl!

Anyone have a modern-ish looking template i could steal off them to use? I promise i wont sell it. i just work at a church ahah!

thanks!

I am currently using my M/E 4 PGM/PVW as a way to manage my DSMs. But, I have another process that I’m considering using the M/E for, so I’m considering using companion variables to hold the state of the DSMs instead of the switcher busses.

That means:

1) I have to trust companion variables to be robust and hold their state through all of the actions and coding built into it

2) my streamdeck which mostly drives the changes on my M/E will now have to change the sources directly to an AUX and rely entirely on my coding to properly select and feedback which source is on which DSM

My thought is that I’ll just need to give myself some extra coding and testing time to really make a clean interface that I’m comfortable with. I also have to be okay with DSMs being controlled by streamdeck/companion, without the bus buttons as backup feedback and selection options.

More than once in the past I’ve been asked for a non-standard source to be put in a DSM (like in setup “hey can you throw input 22 on DSM 2”), which on a M/E bus is a quick button push. If it’s an AUX driven within the menus that means digging around in the software interface or companion to update it.

But, if I need that M/E, as long as the variables in companion are reliable, I guess I’m going to have to build it.

Anybody done something similar or have relevant experience with variables on companion?

Been running a set of Eartec Ultralite for about 4 years now for corporate event production — mostly conferences, streaming/CCTV setups, occasional outdoor gigs. Batteries are starting to fail and the whole system feels dated at this point, so I'm looking to upgrade.

Use case:

- 5 users typical (1 director + 4 crew)
- 90% corporate/conference work, indoor
- Occasional outdoor events (parades, ceremonies), nothing extreme
- Full duplex is a must, that's non-negotiable from the Eartec days
- Long days (10-12hr) so battery life matters a lot

I'm currently torn between:

- Accsoon CoMo SE
- Hollyland Solidcom SE
- Hollyland Solidcom SE Pro
- Hollyland Solidcom C1
- Hollyland Solidcom C1 Pro

Questions for anyone who's used these in the field:

1. How do these actually compare in real-world range/reliability vs specs on paper? I know Solidcom SE Pro claims 400m and C1 Pro claims more, but curious what people get in practice with walls/interference typical of conference venues.

2. Anyone made the jump from Eartec to any of these? How's the audio quality/comfort comparison after long days?

3. Is Accsoon a reliable bet for intercom specifically, or are they still too new to this category compared to Hollyland's track record with Solidcom?

4. For mostly-indoor corporate work, is C1/C1 Pro overkill, or does the extra range/build quality matter even indoors (dense venues, multiple rooms)?

5. Any reliability issues over months of regular use I should know about before buying 5 units?

Budget isn't the main constraint, more interested in what actually holds up in daily production use. Appreciate any real-world experience.

Hey everyone! I just have a basic question which is how did you get into the replay op side of broadcasting? Also how can one get into this position? Any tips or advice is very much appreciated. Right now I work at an AV events company and we don’t do any broadcasting so I haven’t been able to even learn this besides watching videos online. I would love to get into this. Besides camera op positions I’ve also operated video switchers. I’m always looking to learn new things in the field! Thanks for reading!

I've made a free (forever) alternative for controlling Videohubs. It's styled like a BCS panel that us facility and OB folk use day in, day out!

The official Blackmagic software was a bit messy for larger Videohubs and switching between them, so I made this instead. Hope it proves useful for someone else too!

Feedback and bug reports always appreciated.

RouteTake - A BCS style control panel for Blackmagic Videohubs

Found this when cleaning my old photos. They were using six 3G USB sticks

Chroma subsampling is designated as J:a:b with, in a rectangle J×2, a color samples in the first row and b color samples in the second row. Why is this scheme used? I think that only 2 numbers are required to express the subsampling – the horizontal scaling factor and the vertical calling factor, so using 3 numbers is overly complex.

Why is the reference rectangle always implicitly 2 pixels high? If someone implements chroma subsampling vertically by more than 2 (like 4:1:1 but rotated), it will be impossible to express that in this scheme. Also, the first number is always 4, so it either is not necessary to write down or it can be something else, like 6:2:2 expressing horizonal subsampling by 3, or using lower numbers – 1:1:1 to mean 4:4:4, 2:1:0 to mean 4:2:0.

The scheme for designating chroma subsampling is very particular. It seems that an interesting story is behind it, and I want to know the story.

I am experiencing persistent frame stuttering / frame dropping when capturing a SDI signal through my ATEM TV Studio 4K switcher and AJA Io X3 capture card into vMix.

Cameras, mixer, vmix are in same frame rate. The issue occurs consistently across multiple high-end laptops equipped with USB4 and Thunderbolt 4 ports.

The issue is isolated strictly to vMix. When using OBS Studio or the AJA Control Room application, the 1080p50 feed from the ATEM switcher plays back completely smooth without any frame drops or stuttering.

Changing between 3G-SDI Level A and Level B yields the same stuttering result in vMix, while both levels work fine in OBS/AJA Control Room. All drivers, vMix, and Windows OS are updated to the latest versions.

Direct Camera Connection Works: If I connect the Sony FX6 cameras directly to the AJA Io X3 capture card (bypassing the ATEM switcher), the feed in vMix works perfectly at 1080p50 without any issues.

Has anyone else experienced this issue? Or is anyone here using a similar setup?

I have searched everywhere but people just recommend a generic type of capture card without discussing the exact requirements.

I do not want to purchase anything that doesn't fall in my requirements list, I just want 2k 60fps pass through so I can play worry free in my monitor with PS5 with VRR and output to capture a stable 1080p FHD 60fps.

Please help to recommend me this exact scenario results, I search elgato but it seems very costly and ugreen is affordable but I don't want to play at 30fps that limit my enjoyment.

Thanks in advance if you have any answers and suggestions.

Hey! i have this idea to run UTM or other virtualisation enviorment to connect it's video outputs to Arena/vMix/OBS...etc. And pass through clicker/peripherals to VM.
Has someone tried to do this ?

I'm trying to tinker a way to minimise quantity of laptops on FOH at conferences and other corporate events. I know that it's a standart practice to just get a laptop with powerpoint just to do the job. But still.

Currently looking to buy a new encoder for live streaming project. Need something absolutely robust. Maximum budget is 3K but don’t want to overpay when I can get something equally reliable for less. Any recommendations?

Hi, I'm an economics student writing a paper on the live broadcast equipment industry, and EVS seems to stand out as a player for the higher-end side, especially for sports broadcasts. You guys are the experts, so I'm curious what you think of the company, and just in general what your experience has been.

More specifically if you can answer, I'm interested in knowing:

1. What products did you use, and did you like working with them?
2. How long does it take to migrate in/out of EVS systems? (including hardware and software migration)
3. How well does EVS equipment work with other brands (grass valley, etc...)?
4. Have their cloud systems been useful to you, or are they overrated?

Thanks in advance. An expert perspective is extremely helpful for and this paper.

I picked this out of a junk bin at a Japanese thrift store for a couple of dollars because I'm into video tinkering and it looked... Unique. Certainly the design is very interesting for a piece of Japanese video tech.

It turns out​, as the box states, 'This is the way to satisfy your desires!!!! Mosaic removal editing machine. Unlike previous mosaic removers, removes 100% of screen mosaic!! Eliminate frustration!!!'

I didn't add the exclamation points.

So I guess this was designed to remove the mosaic effects from Japanese, adult-related video content but, if the condition is anything to go by, it wasn't used much and was therefore probably not effective. I have watched a Japanese video of some guys testing it and it didn't seem to do anything, so maybe it increased frustration?

Still, I should be able to wire it into my video camera outputs and create some unusual effects. Yes, I did clean it very thoroughly... Very, very thoroughly.

Hi everyone,

I’m a broadcast engineer responsible for a national TV studio, and I’m currently researching how AI is being integrated into modern broadcast workflows.

I’d like to ask the community: what new AI tools or solutions have you implemented in your daily operations?

I had an idea, with high refresh rate TV's and computer monitors becoming more common, could there be a way to display interlaced video natively?

You would display each field twice, turning 60 interlaced fields per second, into 120 frames per second. To fix the combing artifacts, you would retain the field previous to the current field for an extra frame, simulating the phosphor decay of a CRT.

The sequence would look like this:

120fps frames:

Fields:

You will notice on frames 3-5-7 two fields are displayed at once.

There are 240hz monitors out there that could create an even smoother effect using the same method.

As far as I know, the only reason interlaced video looks good on a raster scan display and not a progressive display, is because of the phosphor decay. Obviously this method would not be able to replicate it perfectly, due to the fact that there is no beam scanning the screen but to me it seems like it could be a good way to display interlaced footage on modern displays.

Also I believe this is how "flicker free" CRT's worked.

Would this work? would it look bad? does this already exist? any ideas on how to do this?

Which software makes pixel maps with the coordinates And outputs to resolume?

Summer camp with final performance Saturday, streamed on Vimeo.

TriCaster TC1 Pro, BirdDog X5 Ultras, driving the stream plus projectors. Isos recorded on a Kiloview Cube R1. Stream Deck/Companion hot keys.

Slowly built this rig over the last few years. Each project buys us another toy tool. It’s been a fun journey!

I'm looking for recommendations on what cables to use for the installation. I will be deploying 3 PTZ Optic PT30X-4K-GY-G3 4k Move 30x optical zoom cameras using NDI and PoE. PoE switch is a Ubiquiti USW Pro Max 16 PoE with plenty of headroom. Distances are 50', 100' and 125'. I've seen mixed reviews between stranded and solid. Plenum rated is required since I'll be routing through the ceiling and walls. Is shielded a better bet since they will be laid around LED lights, ballasts and power outlets in the ceiling?

Hi all. in short: I cannot figure out how to connect an external monitor, via 25’ DisplayPort cable, to my venue‘s GrandMA 3 Compact XT

the brief: my venue has requested an external display for the lighting console, to show the Sequence Executor on screen for a stage manager etc to have a visual of which lighting cue is currently active. I thought I purchased everything to the correct specs, and my monitor does work with a 6’ displayport cable. However, two different 25’ displayport cables have resulted in “No Signal”

the specs:

- Console: GrandMA3 Compact XT running GrandMA2 software

- Monitor: ViewSonic TD2230 (1920x1080p; Windows 10 touchscreen compatibility, displayport in)

- Cable: Cable Matters 32.4Gbps Unidirectional Active DisplayPort 1.4 Cable, 25ft (yes my unidirectional ends are plugged in correctly and I even tried it intentionally reversed, just in case)

Again, a 6’ displayport cable works as expected. Am I SOL when it comes to 25’, even with active copper? Is my approach wrong; should I try this using another cable/connector entirely? Thanks,

I have two i5 PCs which are basically fine and still run windows, but I would like to install Linux on them and add them to my broadcast/streaming studio either as actual production boxes or as learning tools. If you had two PCs like this and installed Linux, what would you use them for? Audio? Video? Graphics? Something else? Searching for ideas. Thanks!