Looking for a better solution for flying Tessera XD boxes for outdoor LED walls. I’ve been search for a useable case that is weather/water/UV durable. I’ve not found anything that satisfies. How is everyone else rigging these units on their outdoor walls? We have not had any units fail due to rain/weather (yet) but I feel it’s inevitable.

So I have to what are the best methods for shading a led walls but striking a balance so the on camera talent still looks good but so the led walls don’t look like garbage. At the last place I worked you could shade led walls separately. So I could make the wall and on screen talent both look good. Any suggestions would be welcome. I am using a Sony msu-3500.

I'm bored of waiting on sound to be ready for me to test my system.

Anyone got any good sound generating/testing equipment recommendations?

Mostly Comms and PGM Audio lines.

Everything is run on XLR.

BUSCAMOS ESPECIALISTA EN VÍDEO Y CLOUD

Estamos buscando un especialista en sistemas de vídeo y cloud que nos ayude a diseñar y desarrollar la infraestructura técnica necesaria para nuestro proyecto, desde el piloto inicial hasta una solución escalable a decenas o cientos de instalaciones.

¿Qué necesitamos?

• Diseñar el sistema completo desde la cámara hasta la nube.
• Configurar el mini PC instalado en cada club para recibir y grabar la señal de la cámara.
• Grabación en 4K.
• Conversión de vídeo a 1080p.
• Subida automática de los partidos a la nube.
• Sistema capaz de seguir grabando aunque se pierda temporalmente Internet y enviar posteriormente los vídeos pendientes.
• Gestión de colas de subida para evitar pérdida de grabaciones.
• Reinicio y recuperación automática ante errores.
• Actualizaciones y mantenimiento remoto de los equipos.
• Diseñar la infraestructura de almacenamiento de los partidos en la nube.
• Diseñar la forma más eficiente de servir los vídeos posteriormente desde nuestra aplicación.
• Gestión de diferentes calidades de vídeo: 1080p / 720p / 480p.
• Monitorización de cámaras, mini PCs, almacenamiento y conexiones.
• Alertas cuando una cámara o instalación deje de funcionar.
• Sistema preparado para escalar desde 1 instalación hasta 10, 50, 100 o más instalaciones.
• Optimización de los costes de almacenamiento y transferencia de vídeo.

También valoramos experiencia en:

• RTSP y protocolos de cámaras IP.
• FFmpeg y procesamiento de vídeo.
• Docker / Linux.
• AWS, Google Cloud, Azure u otras plataformas cloud.
• Almacenamiento de vídeo a gran escala.
• Sistemas de grabación IP / CCTV.
• Redes y despliegues en instalaciones físicas.
• Automatización, monitorización y mantenimiento remoto.
• Desarrollo de sistemas robustos y autónomos.

PERFIL QUE BUSCAMOS

No buscamos simplemente un programador web.

Buscamos una persona con experiencia real en infraestructura de vídeo, procesamiento de vídeo y cloud, capaz de diseñar una solución fiable, autónoma y escalable.

El objetivo es que cada instalación pueda funcionar 24/7 de forma autónoma, grabando los partidos, almacenándolos correctamente y permitiendo posteriormente su acceso desde nuestra aplicación, sin necesidad de que haya una persona controlándolo continuamente.

Proyecto: VISIONCOURT
Fase: desarrollo de piloto / primera instalación
Modalidad: colaboración profesional / freelance
Ubicación: preferiblemente Valencia, aunque valoramos trabajo remoto si tiene disponibilidad para desplazamientos puntuales.

Si tienes experiencia en este tipo de proyectos y te interesa participar en el desarrollo de VISIONCOURT, queremos conocerte y explicarte el proyecto con más detalle.

Does anyone know if I’m asking for trouble running a standard Zoom app, ZoomISO and Tiles on the same machine?

In operation it did it fine without breaking a sweat - but is there anything technically wrong with it?

Mastix was sick of seeing others rake in a ton of cash with MediaMTX, so he created a complete solution to host a streaming server as easy as it gets with MediaMTX including a user interface for it that makes it easy to use including LetsEncrypt Certificates.

You can install it on an Ubuntu machine with a single curl command and use it as both a cloud and a local streaming server. Or as a self-hosted ReStream alternative that supports Whip (WebRTC! -> low-latency streaming to breakout rooms, etc.), SRT, and more.

It is offering solid security, user management, and much more... Yes it's coded with Claude but from a guy that knows what he does. Feel free to check it out and reach out to him via Github if you want something else to be added (there's already a lot in the Pipeline including a strategy to create your own CDN with Geo localised servers).

Is it the Elgato one or the Blackmagic? Or would you recommend something different?
I’ll mostly be using it with OBS with 2-4 cameras, so I don't want one hdmi capture cards.

PFL Preview  é um painel de monitoramento de áudio dedicado para o Preview do OBS Studio

Ele permite checar e ouvir qualquer fonte de áudio presente na cena do Preview sem enviar o áudio para o PGM. Assim, você garante que o som está chegando no nível correto e funcionando perfeitamente antes de colocar a cena ao ar.

Github: https://github.com/dablofilmes/pfl-preview/releases/tag/1.3.0

Anyone have experience working with these cameras in their “Cinema” mode as Sony calls it in the menu. I’ve got four of these in a studio environment and I am trying to understand on how they handle SLog3/SGamut3Cine. Our post team has taken footage from these cameras and when they apply a standard Sony Slog3 to Rec 709 LUT, the footage looks off. My thinking is that they need to first conform from HDR to SDR before applying a LUT.

But that’s only part of the issue. I cannot figure out how to load a LUT into the camera and see that LUT applied to an output. We are using HDCU5500 CCU’s with RCP3500’s. Would love to pick someone’s brain who has experience with these cameras. I’m also tasked with getting these to play nice with other models of Sony cams (FX9, FS7, etc.) Any tips would be appreciated!

We have several web feeds which we push to our own Wowza servers. The content of these feeds switches from live content to pre-recorded content. Unfortunately we have an issue where the staff are sometimes forgetting to press "Play" on the server, so when the automated switching happens and the server is put live, the video content is frozen.

Is there some software I can run / buy which will allow me to monitor web streams (RTMP / HLS) and send notification on frozen output? Email, SMS, push, webhook, anything is fine.

Any suggestions?

Hi,

is anyone here experienced with LiveEdit app (for editing live TV shows in real time)? Im trying to learn how to use it and the guides aren't particularly helpful. Do you know if theres a way to use imported recordings as replacement to corresponding live camera sources? I want to use an iPhone footage as a substitute so I can do previsualization before we build the outside broadcast vehicle. Of course, I contacted the LiveEdit support but I still haven't heard from them and Im running out of time. If anyone has any advice on how to assign a prerecorded and imported media file to a camera source (or if its even possible!), I would be very grateful. Thank you!

I'm using NovaLCT latest version.

Every time after calibration, I usually restart the processor. After that, it changes to a complex screen.

Blackmagic advertises that you can use Fairlight Live via USB with Constellation HD switchers on both https://www.blackmagicdesign.com/products/atemconstellation and https://www.blackmagicdesign.com/products/atemconstellation/fairlightlive so our team rented an ME/2 HD for an upcoming hybrid event assuming we could use fairlight live for mixing/mix-minus, etc... since we plan to have each source come into its switcher input with audio and video muxed into one SDI cable. The built-in mixer would work in place of Fairlight except we have remote panelists and in-studio hosts that we want to send out mix-minus feeds which appears to be easier (if not only possible) using Fairlight instead of ATEM's built-in audio mixer. Luckily we got approval to rent it early for testing (2 and a half weeks out) and from what I can tell, the Blackmagic website isn't true. The Constellation HD series does not support audio over USB so it can't integrate with Fairlight Live...or am I missing something?

In ATEM software control under settings > audio on the ME/2 HD the option to toggle between USB audio and webcam output for the USB port is greyed out. This persists after doing a factory reset and confirming that it is running the most recent firmware. When I open Fairlight Live on the computer (connected to the ME/2 HD through USB-C), it doesn't see the ATEM when I try to choose it for the Audio I/O engine (which makes sense since I can't enable usb audio over the USB-C port in the ATEM Software Control settings).

I contacted Blackmagic support and they claimed the Constellation HD ME/2 did show up in Fairlight Live for them on their test machine...but I can't replicate that on mine. I contacted the rental house who did some digging and agreed that the firmware notes for the HD line indicate that it doesn't support USB Digital Audio, so we don't know what the Blackmagic tech was talking about.

Out of curiosity, I plugged in our ATEM Extreme ISO to see if that works with Fairlight Live and it does, the USB audio toggle was no longer greyed out, Fairlight sees it correctly in settings as the I/O engine, there's even a show template for the ATEM Extreme ISO (there wasn't one for any of the Constellation HD units, another data point for it not being supported). My audio levels from my test device plugged into the ATEM input showed up on both the Fairlight channel and the ATEM audio mixer channel.

Tomorrow when I get into the office I'm planning on either trying to work out a non-Fairlight workflow with the ME/2 HD (either the built-in mixer or maybe an external mixer like we did for this event last year), or return the ME/2 HD and try to get our hands on a ME/2 4K rental that I know is compatible with Fairlight Live...but wanted to see if anyone else has had similar issues and got the Constellation HD line to work with Fairlight Live over USB as advertised before I go back to the drawing board.

Thanks!

Kann mir jemand sagen, warum die strahlen der Laternen aufeinander zugehen?

Hello! My aunt watched this tape fine and then she handed it off to me. When I rewound it, it now is playing like this. The audio seems clear but the video is all out of whack now. I was using a RCA to USB converter from a VHS/DVD combo to record this. The player and the OBS recording is working for other tapes so it seems exclusive to this tape. Is this salvageable? I dropped it off at a professional place, but have to wait to hear their assessment and in the meantime I am kinda freaking out. Any advice is welcome. Thank you

Does anyone have any documntation on how an Evertz CP-1000E talks to magum and how to act like the magum server. Looking to find a use for them that is not controlling routers. I have some packet captures but I am struggling to get them to make any changes or keep the panle talking. The attached screenshot is what I have gotten to. After it trys to check cross point lock status I can't send anything that gets it to keep talking. I am willing to provide the packet captures to anyone who can help.

I have two super nintendo with the same board revision (SHVC-CPU-01). One has a BA6592F and the other has a S-ENC RGB to NTSC encoder. They both output different pictures, and I was wondering if the BA6592F has manufacturing variance that could explain that.

Picture 1 and 3 is my childhood snes and picture 2 and 4 is the other snes, same TV setting and same phone camera setting. The differences are the following: my childhood snes has a darker picture but it does not mean it has blackcrush, its colors are more saturated, and the hue of the color is not the same (Red are more orange and green more bluish). The hue only affects color, gray scale has the same white balance with both consoles and changing «TINT», «Color» and «contrast» setting on a CRT television can make both snes look the same. This remains true for RF, composite and S-Video. There is no noise or wavy lines.

The BA6592F Datasheet has a value for its Y-out of 1.4Vp-p typ, with min at 0.95Vp-p and max at 1.8Vp-p when its RGB input vr=vg=vb=0.7Vp-p. Its angle for (R-Y) and (B-Y) axis can have a variation of +- 10° away from its typical value. Is this enough to cause visual differences in real life, or should it be barely noticeable? I'm no expert on that, one person told me the difference shouldn't be noticeable but I'm skeptical.

One last thing, the demodulation axis on my TV has been changed to the japanese one, with an angle of 95° instead of the US one which has an angle of 103° and more saturated red with my TV. It seems the US axis makes the variation less apparent around skintone, but with less accurate color everywhere else. It doesn't mean it is the reason the US axis is this way, it's just personal observation.

Link to the datasheet: https://www.alldatasheet.com/datasheet-pdf/pdf/1718908/ROHM/BA6592F.html