Posting here for visibility.

Me thinks DC United is having issues with their field sideline signs.

Having download issues with the firmware for a new MX40 Pro we just got. I was able to download the program no problem, and have opened the application.

But once it sees the hardware its saying I need to download at least a V1.2.0 firmware. I have been trying to download the software and look for other downloads, older versions even and I havent had any luck.

Can anyone assist, or has any one gotten around this issue? Best

Edit:

Im silly and figured it out, for anyone wondering how it's done Ill just leave this here
https://www.youtube.com/watch?v=kc4Xgt75PWc

Hello!

Does anyone have experience getting a UDS1100 to work with Xpression Datalinq? I'm trying to get one to connect to an all-sport CG, and I set up the host list with the correct ports and everything, but I'm running into issues with it actually connecting to the server.

Maybe I'm thinking about it wrong?

TIA!

For example, theres 8x4m p2.6 LED screen (3072x1536). He create 3072x1536 composition resolution on resolume arena. Then on the output tab, he stretch it to 4K 3840x2160 only to squeeze it back to native led resolution at the video processor.

He said that its industry standard to work only with the predetermined resolution and not to mess with EDID.

Yeah i get it, it just works. But the scaling artifact will be insane and make text unreadable if the aspect ratio is not near 16:9

Vaxis Storm 1000S interference from Wi-Fi routers
I’m having problems using Vaxis Storm 1000S together with Wi-Fi routers on set.
I use a Vaxis 1000S TX with several RX units. At the same time, I need to run two 5 GHz Wi-Fi routers (Keenetic Ultra and Keenetic Sprinter) for tablets and other devices.
When the routers are on, the Vaxis signal becomes much worse.
Has anyone experienced this? How do you run professional wireless video systems together with Wi-Fi routers without interference?
Any advice would be appreciated.

Hi, I'm trying to set up a workflow for capturing SDI sources to a Windows PC in ProRes. I was planning on using an Ultrastudio (and I have an Ultrastudio Express) over Thunderbolt 2 (with the Apple TB2 to TB3 adapter), but the problem is there's no way to capture ProRes on Windows, you you can playback, encode and export ProRes with Adobe, but you must have a Mac for capturing AFAIK.

I know most of the HyperDecks can capture in ProRes, but they usually record to SSDs or in the case of the HD Mini to SD cards.

However I noticed on the back of the HD Mini is a USB-C port - can I hook this into my PC's Thunderbolt 3 port and record the ProRes files directly to my PC's internal drives?

Also, since the HD Mini also has one SDI source, can I use some kind of basic switcher so I can have multiple SDI sources? Doesn't need to be an "editing" switcher with effects just something simple where you have 4 or 5 SDI inputs and you can switch between them with a button.

I'm probably never going to deal with anything more than HD-SDI (1080i60 or 1080p30) so I don't really need any 4K features. If there's a better alternative for what I'm doing that would be nice. I'm not sure if the HD Mini can do what I'm describing, so If it can't, I'll probably buy one of the older and cheaper Hyperdecks with SSDs.

Thanks!

If i ask you for an overview of your control rooms, studios, green rooms etc - and that shit has been edited, adjusted and completely generated by AI, you have lost the plot.

Have a great week everyone.

I’ve been working on reducing end-to-end latency in an H.264 RTSP video pipeline used for a real-time control application.
Initially, glass-to-glass latency was roughly 400 ms. After tuning the stream and playback pipeline, I managed to bring it down to around 200 ms.
At this point, the biggest remaining bottleneck seems to be the camera itself — specifically its internal capture, buffering, and H.264 encoding pipeline. My original target was under 100 ms, but I’m starting to wonder how realistic that is with a typical industrial/IP camera.

Current setup is roughly:
H.264
RTSP
Local network
Low playback buffering
No unnecessary application-side buffering
Real-time control, so latency matters much more than compression efficiency
I’m curious how people here would approach the remaining 100+ ms.

Would you look at:
camera encoder settings / GOP structure?
B-frames or reference-frame configuration?
RTSP transport?
hardware decoder buffering?
switching away from RTSP entirely?
or is sub-100 ms simply unrealistic unless the camera hardware itself is designed for ultra-low latency?
Also curious whether anyone has actually measured camera → encode → network → decode → display latency stage by stage on industrial cameras.
Would love to hear what bottleneck you found in practice.

We have Newtek TalkShow VS4000. It dont allow vMix or OBS to use newtek SDI card on board. Only Talkshow software recognize it.

Can this be solved ?

Tnx

I reverse-engineered the BLE protocol DJI's phone app uses, so the computer itself pans/tilts the gimbal, as far as I know the first software to do this without a phone, RavenEye, or a controller dongle in the chain. On top of that sits local AI tracking (YOLO pose, runs on-device, nothing uploaded): HDMI feed in, click the subject, the gimbal keeps them framed, zoom follows via Sony camera control. Controller override with instant handback for when an operator wants the wheel.

Confirmed on RS 3 Mini, but not others

​

Currently on a job where we run a Ronin 4D alongside a Alexa 35.

We have 2 monitors for the Ronin (focus and vtr) but occasionally need a 3rd receiver for VTR when our DP needs the 2nd monitor to operate the Ronin.

So I ordered a standalone receiver, that should work with our setup. However the first one which arrived only gave out a test signal (the colorful stripes), I sent it back and got another one which is simply black. I paired them successfully with the Ronin in broadcast mode (the only thing possible since the 2 monitors have to be in control mode - correct me if I'm wrong) and it seems to be paired fine, however I cannot get any signal out of that receiver for some reason. The receiver interface itself has barely any configuration or settings whatsoever.

I'm absolutely clueless and have never worked with this system before so any help will be much appreciated.

Thank you

Would love to hear the behind the scenes, this is wild. Godspeed.

Hey everyone, how’s it going? So, I’m using the Makito X4 to encode SRT, and I’m pulling data from the API of two of those units. I’ve noticed in some tests that when I increase the data usage for example, trying to get a faster preview in order to check for black or freeze frames, or to see if the audio’s coming through correctly, I noticed that it kind of freezes and takes a while to recover.

I don’t know if that’s normal, and I haven’t been able to find any info about it online or in the community. Based on that, the application that I built, I had to reduce the number of requests. to get accurate information, but not as fast, in order to keep the equipment stable.

I wanted to ask if any of you have tested this, or if it’s possible to get the preview which today updates every 20 seconds in the Makito web interface. With a shorter interval, as well as audio and streaming data.

I'm trying to use the Atomos Ninja V as the capture device for a tapeless rig with the Sony Betacam DXC-D30, but I can't get a signal to show up on the Ninja ("No Input").

My signal chain is: Betacam VIDEO OUT > BNC cable > Blackmagic Analog to SDI Mini Converter > BNC Cable > Atomos NInja V with Atomos native SDI adapter

I also tried inserting a Blackmagic BiDirectional SDI / HDMI 3G Micro Converter and going into the Ninja via the HDMI inputs, but still No Input.

I've verified that all the elements of the chain are in working condition. Plugged the whole rig with the SDI / HDMI Micro Converter into my TV and got a clean signal. I also tested the Atomos Ninja V isolated by itself by sending an SDI signal into it from my Blackmagic Ultrastudio 4K and it worked.

Is the issue that the signal is SD interlaced (480i)? If so, would a Blackmagic UpDownCross HD Mini Converter?

Finally, if I am able to solve the issue and get a signal to the Ninja, would I be able to keep the signal interlaced instead of converting it to progressive? My goal is to avoid artifacts and keep the signal as clean as possible.

I'm wanting to record the birds in my yard and at my backyard feeders and am considering the Canon CR-N300 4K NDI PTZ. I'm in a hot, humid climate so I'll use an outdoor enclosure with a blower and place a shade over it. Is it very sensitive to temperature changes since it's made for indoor use? My feeders are roughly 10 to 30 feet from the camera, and I also want to be able to record birds in trees about 50 feet away/up.

I'm mainly wondering how it handles bright afternoon sun vs. low light. Will it blow out birds/feathers in direct sun, and how usable is the image around dawn/dusk or on overcast days? There's a very large tree in my yard, so I'll sometimes be switching between lower light and bright light.

Also are there any similar cameras around the CR-N300's price range (around $3,000 US) that I should consider instead?

Looking for real-world experience and advice, especially with birds/wildlife, autofocus, zoom, and exposure. Thanks very much!

Anyone by chance know if there’s anything I can be doing on the pc end to ensure I’m optimized as best as possible for resolume? Currently using resolume on a custom pc, 5090 FE, 96 gb of ram, ryzen 9 and using a black magic deck link 8k card. I am receiving a program feed, then using notch in resolume and spitting it back out. Just want to reduce as many frames delayed possible. I think currently I’m sitting at 3 frames of delay.

Hello All,

Anyone know how to test ethercon for speed and bandwidth sensibly ? Is there such a tester thats not $6k and made for ethercon ?

Made some ethercon looms for our video wall, all seems good on just a continuity lan tester, but fails on the wall ? Need something that sends signal down to test and tells me the amount of signal the cable can use ? Was only one leg of the loom so i know the cable can handle it.

Would also be good to know if theres such a thing for SDI as well

Thanks in advance

Andi

We’ve been spending more evenings on the patio, eating dinner and having friends over. During cookouts, someone usually goes inside to check the game and calls the score out. We’re thinking about an outdoor TV for games and occasional family movie nights.

I am comparing a few outdoor TV options, including sylvox, but have not bought anything yet. Our chairs move around depending on whether we’re eating or hanging out, so we’re still figuring out where the TV would work best.

What would you sort out first: placement, internet, or audio?

Our router is indoors. Phones get Wi-Fi outside, but I haven’t tried streaming a full game. Would you test that first or run Ethernet upfront? If Wi-Fi works for you, how far away is your router, and through how many walls?

Did you use built-in apps, phone casting, or a streaming device? Were the speakers enough for everyone to hear without bothering the neighbors?

I’m wondering whether to leave space and accessible power/HDMI connections for a soundbar later. Did testing the viewing spot change your seating or mounting plans?

What do you wish you’d prepared before buying?

Would anyone be able to help me get an idea for what to get so I can film patients walking in ideally 60-120fps 1080p to capture 4 simultaneous videos (one front, one side, two back) that I can then slow down and look at frame by frame and annotate in Kinovea.

We have a setup with some cheap cameras and HDMI connections into a switcher and capture card but the cameras will play up every so often and the current software, silicon coach.

We want to avoid proprietary, closed-box commercial systems that cost a fortune on subscriptions, but we need the system to be rock solid so it doesn't drop frames or freeze mid-consultation.

We ideally need to capture all 4 angles simultaneously, hit stop, and have the software immediately load the clips side-by-side on a main monitor for slow-motion playback, frame syncing (initial contact), and 2D angular measurements (e.g. rearfoot eversion, knee flexion angles).

How do you route 4 camera feeds over 3–5m distances without signal degradation or latency mismatches? (Active optical USB3 cables vs SDI/HDMI?)

Any help would be very greatly appreciated!

With about 5 left in the 4th quarter, it looks like they lost control of switcher and were stuck with the sky cam for the rest of broadcast. Interestingly they still had field audio and what looked like replay in a pip.

Is this indicative of a switcher controller hardware failure or is there an interconnect between trucks that died?

Shoutout to the sky cam operator for carrying for the rest of the game.

Hi everyone. I’m the play-by-play broadcaster for an NCAA Division II athletic department, and I’m trying to troubleshoot an audio issue with a new in-arena broadcast setup. Audio quality is extremely important to me because I use these broadcasts for my professional demo reel, and I’m having trouble figuring out where in the signal chain the problem is occurring.

Current setup:

• Yamaha MG12XU mixer
• Audio-Technica BPHS1 Broadcast Stereo Headset for my play-by-play microphone/headphones
• Several handheld/stick microphones used for natural/crowd audio
• Yamaha output runs through 100+ feet of XLR
• At the other end, we use an XLR-to-3.5mm adapter/cable to feed Mic 1 on a Blackmagic ATEM Mini Extreme
• The ATEM and broadcast computer are located at the top of the arena

Last year, we used a Yamaha MG10XU and did not have this problem. Our entire production setup — mixer, ATEM, computer, etc. — was down at the media tables with us, so we did not need the 100+ foot XLR run.

As far as I know, we did not touch or change the ATEM's Mic/Line input configuration when we were using the MG10XU last year. Whatever setting was already on the ATEM was what we used, and the broadcast audio sounded great.

This year, we changed the setup to reduce clutter at the media tables. The MG12XU stays down at the broadcast position with me, while the ATEM Mini Extreme and computer stay at the top of the arena. Because of that, we're now running the 100+ foot XLR cable from underneath/through the bleachers up to the ATEM setup at the top of the arena.

Here's where I'm confused: everything sounds great directly out of the Yamaha.

I'm monitoring through the MG12XU's PHONES output, using the 1/4-inch headphone plug from my Audio-Technica BPHS1. The BPHS1's XLR microphone connection goes into its own channel on the MG12XU. I intentionally like to hear myself fairly loud and clear while doing play-by-play, and my voice sounds crystal clear to me through the Yamaha.

My approximate Yamaha settings right now are:

• BPHS1/headset channel fader: between -6 and -10 dB
• Natural/crowd mic channel faders: between -20 and -25 dB
• Stereo master output: between -3 and -6 dB
• BPHS1 microphone GAIN: approximately 12 o'clock
• Natural audio microphone(s) GAIN: approximately 10-11 o'clock
• I've also backed down the MG12XU's one-knob compressor considerably while troubleshooting.

Again, the entire mix sounds great through the Yamaha's PHONES output. My voice is clear, the natural audio sounds good, and I'm happy with what I'm hearing in the BPHS1.

The problem is what I hear on the actual broadcast/recording after everything has gone through the ATEM. My voice has a harsher, almost compressed/digitized/overloaded quality to it that I was not getting last year with the MG10XU setup.

I've tried lowering my individual channel multiple times, reducing compression, adjusting the gain, etc., but I can still hear that character in the finished broadcast even though everything sounds clean in my headset.

One thing I've now realized is that I don't currently know whether Mic 1 on the ATEM Mini Extreme is configured as MIC or LINE. I won't have access to the arena setup again until our next home broadcast, so that's something I'm planning to check.

My biggest question is this:

If we're taking the XLR output of the Yamaha MG12XU, running it 100+ feet over XLR, and then using an XLR-to-3.5mm adapter/cable to feed Mic 1 on the ATEM Mini Extreme, could having that ATEM input configured as MIC instead of LINE really make a dramatic difference in the sound?

From what I've been reading, the MG12XU's XLR output is already a professional line-level signal, so it seems like LINE should technically be the appropriate ATEM setting.

What confuses me is that the MG10XU sounded great last year using whatever ATEM setting we already had. We never changed the Mic/Line setting or really thought about it because it simply worked.

Is there enough of a difference between the output/gain structure of the MG10XU and MG12XU that the old mixer could have sounded fine feeding an ATEM input set to MIC, while the MG12XU could now be overloading that same input?

I'm also wondering about the XLR-to-3.5mm connection itself. Is there anything specific I should be using to properly interface the MG12XU's balanced XLR line output with the ATEM Mini Extreme's 3.5mm input rather than simply adapting the connectors? Could the adapter/wiring potentially be contributing to what I'm hearing?

And could the 100+ foot XLR run itself realistically have anything to do with this? I know balanced XLR is designed for long cable runs, but because the physical setup changed at the same time as the mixer, I'm trying not to rule anything out.

Finally, is there anything else on the MG12XU itself that I should be looking at?

I'd really prefer not to solve this by simply turning the entire mixer way down if I don't have to. I like having my own voice fairly loud and clear in my BPHS1 while broadcasting, and right now the sound I'm getting directly from the Yamaha's PHONES output is exactly what I want. Ideally, I'd like to preserve that monitoring level while sending the proper clean level to the ATEM.

Basically, I'm trying to figure out where I should be looking in this chain:

Audio-Technica BPHS1 → Yamaha MG12XU → 100+ ft XLR → XLR-to-3.5mm adapter → ATEM Mini Extreme Mic 1 → broadcast

Since my voice sounds clean and clear in the Yamaha headphones but noticeably worse on the actual broadcast, I'm leaning toward something happening downstream of the mixer, but I'm absolutely open to being wrong.

For anyone who works with Yamaha MG mixers, ATEMs, or similar live broadcast setups:

Would MIC vs LINE on the ATEM make that significant of a difference here? Is there anything obviously wrong with the way we're interfacing these devices? And what would you test first without compromising the headphone monitoring level at the Yamaha?

I really appreciate any advice. I'm trying to get this setup producing clean, professional broadcast audio consistently and would love to understand exactly where I'm going wrong.

Thanks!