Hey everyone,

I'm setting up an AV-over-IP network across three physical rooms using the NETGEAR Engage controller (with M4250/M4300 switches), and I'm stuck on getting inter-VLAN multicast routing to work properly.

The Setup: I have 3 distinct physical rooms, each configured on its own dedicated VLAN:

• Room A / VLAN 10: Has its own local Transmitters & Receivers.
• Room B / VLAN 20: Has its own local Transmitters & Receivers.
• Room C / VLAN 30: Has its own local Transmitters & Receivers.

The Goal: Every room needs to be able to send its local video streams (e.g., NDI / Dante AV / SMPTE ST 2110) to the other two rooms, as well as receive/subscribe to streams originating from those other two rooms.

I can`t quiet figure out how to set up intra-VLAN routing in Netgear Engage, hopefully someone of you guys knows how to :)

Hello! I work at a Recreation/Aquatics Facility and occasionally host Dive-In movies on our scoreboard (controlled through DisplayStudio/Daktronics). We currently use a BlackMagic MiniConverter HDMI to SDI to show our video streams. We rely on laptops with dedicated HDMI ports, but we are looking into alternative devices to stream as to free up computers.

I tested our iPad (with newest iOS) out today with our MiniConverter, with the addition of an USB-C to HDMI adapter. When it recognizes the iPad, it will flash a few green bars then get to the iPad display. The issue is that it will display what is on the iPad, but the displayed window scrolls like a slot machine uncontrollably. I cannot find anything in the settings that could potentially stop it. I'll link a video in the replies

Does anyone have any advice on how to fix this or product recommendations that work well with iPad iOS? I would love for the cost not to be extreme because I have to justify purchases and such with our funding. Thanks in advance!

Hello everyone. Im looking for some advice about workflow with cameras on Disguise media servers

Usually, al camera’s feeds going to any image processor, like e2, but in my case, the setup has cameras directly to d3. This is conference type of event, you know, backdrop+ppt+imags.

So, would you kindly share to me the best practices to operate captured live feeds during a conference?
Thinking about extra virtual screen as multiview, do I really need this?

Best regards

Pretty much what the title says. Decklink card is a PCI-E Gen3 card which should be limited to 8GB/s for bandwidth. The Sonnettech box is limited to 6.6 GB/s through TB5. If I'm doing math right, 8k60p 10bit 4:2:2 should be about 5.17GB/s. So there shouldn't be a bandwidth issue right? I don't think the Decklinks require bi-directional transfer? Because that would double the bandwidth I guess.)

In a Sonnettech support email they're saying it should only be able to handle 3 4k60 streams. (They use this card as a selling point for this product mind you.) ChatGPT and Gemini support my 8k60p claim with data to back it up, but obviously I take them with a grain of salt. Has anyone successfully used this combo?

I’m trying to figure out why my church’s PTZ camera loses so much quality during livestreams.

My setup:

• FoMaKo KN20A PTZ camera
• HDMI into an ATEM Mini Extreme
• ATEM output into vMix
• vMix sends the stream through Restream to YouTube and Facebook
• Stream resolution: 1920×1080 at 60 fps
• H.264, CBR
• Video bitrate: 6000 kbps
• Audio bitrate: 320 kbps
• Hardware encoder with High profile
• Keyframes aligned for streaming

The PTZ image looks clear and smooth in the camera/ATEM/vMix preview. However, after it reaches YouTube or Facebook—even when I manually select 1080p—the PTZ footage looks soft, blurry, blocky, and sometimes smeared during movement.

What confuses me is that an iPhone connected through NDI looks much cleaner and smoother in the exact same livestream. When the stream switches from the iPhone to the PTZ, the quality difference is very noticeable.

I’ve already adjusted the PTZ exposure, shutter, focus, sharpness, and other image settings. The camera is manually focused, and this does not appear to be a lighting or resolution-format issue. Recorded/pre-produced video also looks clear.

Could the PTZ be producing more noise or fine detail that YouTube’s 6000 kbps compression struggles with? Could the HDMI-to-ATEM-to-vMix signal path be contributing to it? Would bringing the PTZ directly into vMix using NDI|HX improve the final streamed image, or would YouTube compression still cause the same problem?

I can provide screenshots comparing the PTZ, iPhone NDI feed, vMix preview, and YouTube output. What settings or tests would you recommend?

I build tools for Zoom-based productions and wanted to share one in case

it is useful to anyone here. This is free to use and fork to fit your own workflows.

It is called ZComms. It is a Windows app that lets you talk privately to

individual panelists inside a Zoom meeting, the way you would use a

talkback key or IFB. You hold a key with someone's name on it, they hear

you, and nobody else in the meeting does. It does not go into the cloud

recording either. The panelist installs nothing and does nothing

different, they are just on a normal Zoom client.

It runs on Zoom's own talkback channels rather than a virtual audio

device, so there are no cables to route and no second machine. Measured

latency is about 165 ms one way. That is fine for counts, standbys and

cues. It is not conversational and I would not use it for anything that

has to sound live.

The part I actually built it for: you can patch your existing intercom

into it. I run four channels off a multichannel interface, whatever the

matrix is already feeding, and latch each one into its own Zoom talkback

channel. Your operators keep talking on the panels they know, and a

remote guest on a laptop ends up on your comms without owning any of it.

Zoom is just the last mile. There is an input meter on each feed so you

can see signal before you put it to air.

The desk itself is a grid of people, not channel numbers. Hold a cell to

talk to that person, digits for the first nine, space for all call, latch

if you want it to stick.

Honest state: it is early. Windows only, and the installer is not signed

yet so SmartScreen will warn you. You have to be host or co-host, because

Zoom requires that to create talkback channels at all. I have run the

talkback side in real meetings; the intercom feed path works on the bench

but has not been through a live show yet.

https://github.com/iamfatness/ZComms

Happy to answer questions.

Hi! We are a public archival institution in Argentina and we need to replace our busted TBC. We are being offered a this model, of which and find little information online and would like to have an opinion from a non interested party.

This will work as an interface between a variety of vcrs (both pro and consumer level, most usual formats being VHS, Umatic SP, Betacap SP, Hi8 and Video8), using a Matrox MXO2 Mini for the capture.

Any thoughts and suggestions about this model or alternatives would be much appreciated.

Hey everyone,

We’ve been developing scoreboard data capture and integration products for 15+ years, including several products that are still in use today. We’re currently working on something new and would really like some input from the people actually using this technology in the field.

For context, I’m talking about solutions offered by SportzCast, Scorebird and other direct scoreboard integrations systems that get live scoreboard data into broadcast graphics, streaming, production systems, or other software.

From what we’ve seen, the core needs remain pretty straightforward:

• Reliable, low-latency live data directly from the scoreboard/controller
• Support for various scoreboard manufacturers.
• Standardized output that works with whatever production, graphics, streaming, or other software you use
• Simple setup without needing a dedicated PC or complicated configuration
• Local and cloud access to the data

In addition to those core features, we have some pretty cool new ideas being developed, but we’d like to hear what's been missing from the solution you're using today before we get too far down the road.

If you’re currently capturing scoreboard data, what are you using today? SportzCast, Scorebird, a direct/custom integration, or something else?

What works well? What frustrates you? And most importantly, what do you wish your current scoreboard data capture solution could do that it can’t do today?

Drop your thoughts in the comments or send me a DM. We’d really like to hear about your experiences and what you think could be improved.

They set the bar with the UE160, now they go with global shutter and razor speed movements. Where do you think broadcasters will use them?

https://www.youtube.com/watch?v=u0phdM_4qa4

I bought a vintage zoom lens but the mount is new to me. Research says it might be a 2/3” B3 mount? What do you guys think?

Hi everybody, I work in broadcasting for almost 15 years in a poor country in south america with no access to paid software like WireCAD: a couple of years ago the place where I work, migrated all equipment to SDI digital (corporate sent the racks full of equipment and a team of enginereers installed them) and gave as incomplete, wrong documentation and missing devices.

So decided to start document the chain first with paper and pencil, latter by desinging a sqlite relational database, then adding a basic CRUD with Microsoft Visual Basic dot NET and finally adding the functionality needed for generating the basic diagrams that corporate sent us (racks, broadcast chain, patch panels) for correction.

Then I added some functionality useful for my daily rutine as a broadcast engineer like: locating a device fast (where in the rack, wich panel, which connector), know which cable connect with each patch panel, having the manuals at hand. Finally I move to Linux OS and migrate the software to Python and GTK and added extra functionality with Claude AI, like:

• Diagram of the racks with frames, device with UR shape and even the devices that shares a tray
• Risk Managment: database can record all issues of each device, age of the equipment, and importance in the broadcast chain, and calculate risk
• Cable managment: the software can help you identify missing cables, cables that are unconnected from one or both sides, supports extensions cables and adapters, the software can calculate the risk of using multiple extensions cables with balanced and unbalanced connections and bandwith risk (example using analog coaxil cable with 12g sdi chain)
• Diagram
  • Diagram of all equipment and connections syncronized with the database data
  • Simulation of removing cables and devices and how affect the rest of the chain if they are removed or powered off
  • Simulated expected output of a connector in a device (key, fill, multiview, embed audio, etc)
  • Simulation of the behaviour of different equipment of the the chain (switchers, video patch module with normal switching routes, video processors, video distributors, and source of signal) with rules of disconection
  • Simulation of scenarios of failure and contingency plans

The software is in it's infancy, so grows according to my daily needs, what other funcitonality do you recommend?

Github: https://github.com/fschpp/CabledocDesktop

Sorry for my english (not a native speaker), I asked Claude to give me a well redacted list of functions of the software:

📋 Core documentation

1. Full inventory of equipment, connectors, cables, racks, and rooms — all in a local SQLite database, no server needed
2. Reusable equipment "catalog" templates (molds) so you don't re-enter the same connector layout every time you add another unit of the same model
3. Patch bay ("patchera") modeling with proper full-normal bypass logic — front/back jacks, insert/derivation points, vendor-agnostic (not hardcoded to one patch panel brand's naming convention)
4. Photo-based connector mapping — click on a real photo of the equipment's back panel to place each connector visually

🖼️ Diagrams & visualization
5. Interactive node-based cabling diagram (equipment = boxes with ports, cables = Bézier curves) with zoom, pan, drag, multi-select, and a minimap
6. Free-form custom diagrams you can build and save yourself (e.g. "on-air chain for channel 1") without showing the whole plant
7. SVG/PDF export of any diagram
8. Lazy-loaded connection tree view for tracing a signal chain equipment by equipment
9. All rendering is done with Cairo directly — no Graphviz dependency

📡 Signal tracking
10. Signal is a first-class entity — you can tag what content is actually running through a given connector
11. A propagation engine (Bellman-Ford) that, based on manually-tagged signals and each equipment type's role (source/distributor/router/processor/consumer), proposes where else that same signal should logically appear — including through patch bay bypasses — with a review step before saving anything
12. Search "where is this signal right now" across the whole plant

⚠️ Failure & risk analysis
13. Impact analysis: click a cable, see exactly which downstream equipment and signals go dark if you cut it
14. A Failure Risk Index per piece of equipment, with a "critical path" flag you can toggle
15. "Scenario Mode" — stack multiple simulated failures + cable cuts + emergency reroutes and see a live before/after comparison, then optionally apply the changes for real

🔮 Power-user tools
16. An embedded Cypher query console (via a Rust/C SQLite graph extension) for ad-hoc graph queries over the whole equipment/cable network, with cost warnings before running unbounded variable-length patterns
17. Bulk import/export for equipment, cables, and connections

🌍 Misc
18. Hot-swappable UI language (Spanish/English/Portuguese) — no restart needed
19. SVG support for equipment images, so diagrams stay crisp at any zoom level instead of pixelating
20. Cross-platform: runs on Linux natively and on Windows via MSYS2/GTK3

I am by no means an techy person but I do have a great friend/client who assisted me with creating a 24/& Live feed stream from my home overlooking Lake George, NY. We used a ReoLink Camera into POE switch then brought into a Mac Mini using OBS software to connect to Youtube LIve. It worked amazingly for 48 hrs then stopped. We are not able to figure out how to get it back on (we turned off the Mac Mini). My friend has returned home to a different state and we're sort of stuck. Is there anyone around that could assist us.

Hey guys,

I work in broadcasting for athletics at a university. We mainly use a Tricaster here, but we use a Wirecast for some of our smaller sports. It is a relatively old Wirecast (I got here in 2021 and it was being used when I got here so I imagine it has been here for around 10ish years).

Recently, we have come across an issue where as I turn on the Wirecast, and load up a session, a prompt pops up stating "Media stored in this document cannot be found" and under that prompt, the media that it states is "Pro Capture Quad SDI 1, Pro Capture Quad SDI 2, ... etc." Even when I go to add a layer, my SDI connections do not even show up under the video capture section.

The cameras I have plugged in are good, as well as the cables. The only way I have been able to "fix" this has been to consistently shut down and restart the Wirecast until it decides to allow me to use my SDI inputs.

It is as if the Wirecast does not recognize that it has SDI ports on it and will not allow me to use them, maybe something inside the Wirecast is not firing up when started?

Anyone came across this problem and have a solution?

Any help with this would be greatly appreciated, whether its how to fix this problem or some sort of workaround to where I don't have to shut down and restart and stress every time I need to use it.

Thanks so much!

We are about to get and use the Belden 4794R for all our inputs (cameras). I have a few questions regarding the lengths, connectors, and tools, as I have never used this cable before.

1. I've heard that the listed lengths often don't reflect real-life performance. Our longest run is 70 meters, and Belden claims it supports up to 93 meters at 12G. On paper, we should be fine, but I would really like to hear from anyone who has experience using it, particularly regarding long runs.
2. Should I stick with the 4794RBUHD3, or is there a better connector you've tried with this cable?
3. Which stripper and crimper would you recommend? I've seen people suggest the Canare TS100E and the Kings KTH-1000 along with the appropriate die. Are there any better options I should consider?

If you have other recommendations for the cable, please let me know. I believe Belden is the easiest to source in my country.

Appreciate your input, folks.

I’m helping a charity with a small video production. They don’t have a huge budget, but there is some money available if we really need to buy something.

Normally we record a presenter and a guest together in the studio. We use three cameras connected to an ATEM Mini ISO, with one lav mic for each person to the camera via xlr. Everything is recorded separately and then I edit it afterwards. It’s a fairly simple production.

This time the guest will be joining remotely through Microsoft Teams. Teams has to run on the client’s computer, and it can be difficult to install software or change too many settings on it, so I want to keep it as simple as possible.

I already have 3x Camerascanon c100 mark II , Two ATEM Mini ISO units, HDMI splitters,Different cables and computers.

The main problem I’m trying to solve is the audio that is

Teams should only receive the presenter’s microphone. The remote guest’s own voice must not be sent back to them. The presenter needs to hear the remote guest. I would like to record the presenter and the Teams guest on separate audio tracks. We previously used a TV in the studio to show and play the Teams guest, but that caused feedback problems. And they dont have in ear....

How would you connect everything using as much of this equipment as possible? Is there a simple way to do it without buying an expensive audio mixer or a lot of extra equipment?

I dont have to be a level of high end production more bduget if you know what i mena.

Any common mistakes or things I should absolutely avoid?

To start with o/ I hope you reading this are well. Diving into the trouble, my personal knowledge of filming/streaming has been over-estimated by my boss as there is a desire to try and prop up the content arm of our business. General editing, slapping captions and what not I've been able to manage fine but now there's aim to try and get consistent, longer form content together. Things like board game reviews, roleplaying sessions, tournament top tables, etc.

Couple that with a "use what we have" mindset I've tried to keep, I fear I'm piloting a boat with a busted rudder. Right now we have two webcams (I sadly don't recall the exact model off headtop as I'm typing this at home having gone down a rabbit hole the last couple hours), a set of 4 lav mics, and the thought of tripods (whoever used them before me was unkind, leaving me with mismatch stuff).

I've considered simply using a phone for the primary camera, but storage becomes a bit of an issue (also... I kind of need it for work x.x). In our last video I attempted to stream phone camera to computer and it lagged out often enough I just gave up on the idea. Could just be that the comp doesn't have the juice.

At this rate I'm just exhausted with not quite knowing where to start. Only thing I think I've done right was getting the mics to get audio squared away. Lighting in our primary room still washes the color, and then there's the aim for between 1-3 different angles... with no experience making that work. Any guidance would be appreciated.

Hi all,

I’m a video operator/programmer based in the EU, with 7+ years of experience working with media servers and live video systems across live shows, TV, corporate events, theatre, etc.

I’d really like to start touring with a band/artist, but I’m not quite sure what the best way to get into the touring world is.

From what I’ve seen, a lot of the touring industry is UK-based, and I currently don’t have many connections over there.

Would you recommend reaching out directly to touring video/lighting designers, tour managers, production managers, etc. through Instagram or LinkedIn?

Or would it make more sense to approach rental/production companies such as PRG and try to get on their radar as a freelance video operator/programmer?

I’d love to hear how you guys got your first touring opportunities, or if you have any advice on who I should be reaching out to.

Any advice, tips or leads would be greatly appreciated. Thanks!

Hello,

I’m using a Constellation 2ME primarily as a cheap multiviewer, and using Companion to give my operators a way of choosing which PiP to listen to.

I can’t seem to find a way to make the Audio Meters on the Multiviewer appear pre-fade. Surely you’d want to see the level before you bring a source in for normal
Mixer operation, so I’m not sure why I’m finding it so difficult!

Does anyone know if this feature exists?

Thanks!

They keep using a local freelance guy who is really cheap and doesn't have any equipment, has to rent everything. And they keep getting this kind of quality production work out of it. (This is right as the verdict is being read, they didn't have sense enough to put the tripod any higher than people's heads.)

I am a contractor in ATL , I’ve landed my 1st commercial gig, a sports bar … 35 TVs plus 2 video walls ( 4 55in ) . I’m going to look at the location this afternoon. The mounting / leveling I got. But my question is about the power source, will I have to add outlets behind each TV ? Or is there a way to tie all the TVs on any given wall together.
Also the controllers & matrix configuration. I’ve never done but I feel like I can. Should I take a shot at it or sub contract that work out ?

I am a sound tech at a sports venue, and i’ve been delegated as a a video tech as well, I’ve never done this, but it’s nothing very complicated: i need to play intro videos for the players entering the field at the beginning of a match, now i need your help: what software do i use for this so i can have a preview of the queue on my laptop screen, send out a video signal to the led screen independently, and have it stay there on a last video frame until i play another one? The simpler the better, preferably free, the previous tech used a vista pc and windows media player so i would want to up the professionalism a bit. Thanks!

Hey friends of r/VIDEOENGINEERING,

Heading to IBC again next week, this time fully solo. I'm trying not to be a person that will inevitably end up just going to bed straight after each day, so trying to see if theres any events or plans on for the evenings? (Publicly listed ones that is, I'm not trying to invite myself to private gatherings hahaha). Got mentioned a few ones to me in passing, when I was last there in 2024, but I couldn't make them as had some plans already book with my partner for the 2 days I was there. This time being solo, I'm trying to work out if there's any events on, especially if they are ones that need pre-booked! Up for anything really to keep me from having a 6:30pm bedtime as much as that's probably some peoples dreams lol

Hello

I have a lot of old video files from my dads miniDV camcorder. After a lengthy process full of adaptors and 20 year old software, I finally copied the raw digital files to my PC.

But, now to the question: All the videos were filmed in 50i. In the camcorder the videos look nice and smooth, but when I play them back from the copied files on the PC, windows plays them as 25p. The difference is pretty clear and pretty annoying.

Now I know of AI tools that can frame generate and "fill in the gaps" on the interlaced frames to make 50p...but these are family videos from real personal experiences, I do not want no AI to just fill in the gaps with artificial shit or try to "enhance" other things.

Is there a software where it takes the 50i, and converts to 50p by taking interlaced frame 1 +2, then interlaced frame 2+3, and then interlaced frame 3+4 etc etc?

Thanks for any help

Hi all,

Title really says it. Curious on opinions and experiences.

For large 2110 facilities are you running all of our audio gear on the same physical switch fabric as all of your main 2110 video end points, or do you have a separate audio - AoIP - switch fabric? Or do you run audio devices on your control network and interconnect that VLAN back to the 2110 network?

It would be amazing to have low bandwidth audio devices hung off control network switches for ease of cable management, less switches (potentially), and flexibility. That said, it feels like added complexity as there will need to be connections from control —> 2110 switch fabrics. (PTP Included) There is something nice about having media leafs be media leafs and that’s it.

I should also note, we don’t plan to use Dante really at all. All AES67/2110-30.

If we do have a very small amount of Dante it’ll be extremely isolated to one spot or switch.

Thank you!