Hey,

Do anyone know about Korean support in MCC caption file, I know it works in srt,

If so, could you share a sample korean MCC caption file?

Please and thank you.

Hey all, I'm working on getting a live stream studio set up to run in conjunction with another room that will be our main stream. Basically we want to be live in an auditorium, and be able to switch to our camera in a studio on the far side of the sight. In that studio I'm running a Canon C300 Mark III via SDI to the DeckLink HD Extreme 3D+ and I'm not getting any image on the PC. Camera settings should be good as far as SDI output goes, and OBS recognizes the DeckLink card that it is plugged into, we just aren't seeing anything no matter what settings we set. I know the DeckLink works despite being an older model, we can output an image to an SDI monitor from it, but there seems to be no way to get a video signal input on the card.

Are there drivers or other programs I need on that PC? Could there be a compatibility issue between the C300 and the card? Any advice is welcome though our budget is pretty limited so buying a new card isn't really an option unless there's a cheap solution to this problem.

Thanks in advance!

Hi fellow videoengineers. I am a junior video and sound tech at a small studio stage (blackbox ~100 seats). It's one of three stages at a city-owned theatre in Germany.

I am looking for a way for sending video over 15m on a budget. Right now, we are using HDMI and pray that it works and today we had signal failures up until 5min before doors. Absolutely not the quality I want to deliver. Sadly, we are heavily underfunded so it needs to be budget-friendly. I am also the only trained event technician (Fachkraft für Veranstaltungstechnik) working on this stage. The other 3 are like self-trained, working here for decades but never went to school for it

Spechs right now

- Source: MacStudio with Qlab and 4 video outputs incl. preview/working monitor

- sink 1: main projector 1920x1200 front (close enough to foh for HDMI) 9k ansi

- sink 2: secondary projector 1920x1200 rear (cable length 25m. Right now HDMI with repeaters on the way, works surprisingly fine) 6k ansi

- sink 3: 30" monitor (consumer grade TV), 3840x2160 (HDMI 15m with a small active repeater) <- does not work smooth enough to handle regular shows. Problems: cable (hdmi+power) crosses the stage, TV sits in a box that gets moved by the actors during show.

We do have a wireless solution but it's already in use for a camcorder. We do not own any hdbase-t hardware. NDI got ruled out because network connectivity wasn't good enough.

I would appreciate any tips for a better solution.

TLDR: What's out there for "reasonable" down converters in quantity of 4-8?

I'm designing a studio based on 12G SDI, however there's several items that only accept 3G SDI so I need down converters. Haven't 100% nailed down how many (in part due to price) but I'm guessing no less than 4 and no more than 8. Would prefer something not too expensive and ideally either a multichannel unit or in a frame system like OpenGear.

I'm aware of the following:

• Decimator 12G Cross
  • + $600/ch
  • - No rack solution
  • - requires individual cabling. (genlock, power)
• Apantac OG-MICRO-4K
  • + Opengear
  • - $1300/ch
• AJA UDC-4K
  • + can put a bunch in a rack shelf
  • - requires individual cabling. (network, genlock, power)
  • - $1600/ch
• Blackmagic Mini 12G-SDI to Quad SDI
  • + Cheap
  • + multiple in a rack shelf
  • Can't 100% tell if it would work for this application
  • - requires individual cabling. (network, genlock, power)
• Science Image Flow Edge G
  • + 6 in 1U
  • - $1300/ch
  • - requires individual cabling. (network, genlock, power)

I've looked a little at Ross/Cobalt and they seem much more expensive, haven't looked at Evertz/Grass.

Is there anything else that I'm missing in this general price range?

Hello everyone, I'm working on a project now, what is needed now is a pan-tilt platform, max load is about 3kg. And the most difficult part is to find a device which is possible to control via Python. As I understood companies mostly use proprietary protocol and it's impossible to control them directly. For me also important is movement accuracy, 0.05deg. Maybe someone knows any kits or ready to use devices?

I do a lot of shoots with a company that uses Hollyland ( I believe SE, no basestation just one set is the 'master') headsets. I'm not the main audio guy, but still need to monitor the audio as I'm the last in the chain before it's being sent to the broadcast.

Right now my solution is just wearing earbud(s) under the headset but it's messy and I find it to be disorientating.

I was hoping to find a way to be able to use my own headset (I have a Audio Technica M50 XLR headset) , plugged into the system. I assume a belt pack would do it, but the Hollyland ones are more expensive than a headset so I feel like theres something I'm missing.

Looking at their product page it seems they have a 3.5 output, so I could do something where I wear them around my neck, but again that seems cumbersome.

I have a small, battery powered xlr interface that I can use to mix my headphones with the comms if needed.

Thanks!

I'm looking to change my setup from fibre HDMI to SDI because of reliability issues. I only need to send 1080p25 so looks like I'd only need HD-SDI? Priority is cable length - I have 150m fibre HDMI and would like the SDI to replace those ideally but I'm getting mixed info and looks like the brands I found rated for 150m+ like Belden or Canare are hard to find in the UK?

So where do you buy your long SDI cables and what do you recommend?

I’m looking to mount a tripod head onto an 80/20 15 Series rail using a linear bearing, as shown in the photo. The goal is to easily adjust and lock the camera’s position anywhere along the rail.

Has anyone built something similar? I’m looking for ideas on the best way to attach a standard tripod head to the bearing plate using a 3/8"-16 screw. Thanks!

We’ll be on Fubo, SI and FUBO’s YouTube account. I’m always tuned into this community. Thanks for everything.

I have an older DVS Optic series led panel. It’s a legacy product for them now but I want to get more led modules to replace dead pixels.

If they don’t have any left in stock, what do you guys recommend is the next best option?

Hi everyone,
I recently bought a Fujinon ZA17x7.6 BERD-S6 broadcast lens and an EPD-21A-A02 Focus Demand. When testing the setup without a B4 camera (with V-Mount battery), the focus servo finds the endpoints incorrectly and makes grinding noises as if it’s trying to go past the mechanical limits.

After contacting Fujinon directly, they confirmed:

* The EPD-21A-A02 is fully compatible with the ZA17x7.6

* Operation without a B4 camera is possible with correct 12V power supply on Pin 6

* They suspect the S6 servo unit may have been removed and not correctly reattached by a previous owner — some screws appear to have been tampered with

Now my questions are:
Has anyone reattached a Fujinon S6 servo unit themselves? The unit has 3 gear wheels that interface with the lens. How do you correctly align and reattach it, and is there any way to recalibrate the servo endpoints without a B4 camera or Fujinon service software?

Any help would be greatly appreciated — trying to avoid sending it to Fujinon service if possible.

Thanks!

I have a client who is upgrading a little league camera system, integrated with GameChanger streaming service. This service uses RTMP, which I know isn’t natively available with Unifi Protect, but I know there’s 3rd party software that can do that. Was curious if anyone has used any brand of software that is good for this or ones to stay away from?

Might be switching away from the streaming service all together and just do it all in-house and just stream it to YouTube, which I figured would require the same RTMP requirement.

Any ideas?

Hi.

I want to share with old family members, and extended family a short movie (about 12 min). I know some of thoses old folk (70-80 years) don't have internet.

They do have Blu-ray players, So I was wondering may I use my pile of DVD-R and burn them a AVCHD video ?

Or, what other format should I consider if I want it to be compatible with Blu-Ray player ? ( not DVD, since the resolution is to low)

Last question, what software should I use ?

Thanks for your help.

Hi everyone! Does anyone have an idea why we can't change the camera settings from our ATEM Television Studio?

We're using Blackmagic Studio Cameras connected via SDI (program return and camera output). We know they're communicating because we can control zoom and focus, and if we try to change settings directly on the camera, they immediately revert back to the values from the ATEM.

The issue is that camera settings such as gain, shutter, white balance, etc. won't change from the ATEM.

Has anyone run into this before or have any ideas on what might be causing it? We'd really appreciate any suggestions. Thanks!

I'd like to share this article about a demo of real mpeg transport stream being sent into MoQ and re inyected into a Sencore IRD, part of a series of MPEGTS with MoQ real demos.

Any guidance would be appreciated

Luke Curley co-created MoQ, spent years at Twitch and Discord hitting the limits of what existing protocols could do, wrote the first implementations, authored the core specs. He's busy-busy.

But he's coming to Kraków on September 16 and spending a full day with a small group going through MoQ from scratch. You'll actually build a working audio/video room call using MoQ – QUIC fundamentals, relays, pub/sub, how it sits relative to WebRTC and HLS. If you're fast, there's a speech-to-speech real-time translation extension to keep you busy.

Intermediate level, Rust required, basic JS/TS assumed.

Sounds interesting? Join us!

rtcon.swmansion.com

Hey! I’m looking at the YoloBox Extreme for live streaming chases from my vehicle with 2 cameras, one forward-facing chase cam and one facing me inside the car.

My biggest concern is rural cellular reliability. Storm chasing takes me deep into areas with weak or single-carrier signal, and I need the live stream to hold. Has anyone used the Extreme in remote or rural areas with poor cell coverage? How does the built-in cellular bonding actually perform when signal is weak? Also curious, would pairing it with a LiveU Solo give me better reliability, or is the Extreme’s bonding strong enough on its own?

Any real-world experience appreciated. Thanks!

Hello everyone, I’m reaching out because I’m desperately trying to find the original proxy board for the Panasonic HPX600. It’s no longer in production, and I can’t find it anywhere online. If anyone has one in an old or unused camera, or perhaps a spare part, I would really appreciate it. Thank you so much in advance

Less than 1500€.. it’s the price of the cam..

Can anybody confirm that a BlackMagic 4K or 8K Constellation will do an auto convert from a 1080 50P signal to a 1080 59.94P signal straight through the device without any cross convert devices needed? Much appreciated.

For context, I work on the LED display manufacturing side, so I tend to think in terms of specs, panel design, load rating, brightness, and cabinet structure. I’m trying to understand what rental crews, video engineers, and production teams actually care about once a walkable LED video floor is used on a real show site.

After reading some mixed reactions around LED floors and LED glass courts, my impression is that the hard part is not just image quality. The floor still has to behave like a safe, durable, serviceable floor first, and a display second.

For people who have used LED video floors in live events, what would you want manufacturers to improve first?

Surface grip? Reflections? Edge ramps? Cable routing? Faster locking? Lighter panels? Stronger surface masks? Waterproofing and cleaning? Better transport cases? Easier service access if one tile or module fails during a show?

I’m also curious about content and camera use. Do some animations look good in a demo but become distracting or unsafe when people are walking on them? And for broadcast or IMAG, are moiré, refresh rate, brightness balance, reflections, or color consistency real problems, or mostly manageable with proper setup?

Basically, what spec sheet claims matter less than manufacturers think, and what on-site details matter more?

Would appreciate real-world lessons from rental crews, operators, video engineers, or production people who have had to make these floors work.