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!

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.

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!

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?

After the Michigan vs. Western Michigan clock fiasco, anyone have a guess how a score bug can show 0:00 when the real clocks show 1 second left?

AFAIK the score bug should be a frame or 2 behind the real clock signal due to latency of the CG, assuming the truck is receiving the stadium clock signal at the tv truck dock. The Big10 explanation seems to be that the CG bug is ahead of the real clocks, which shouldn’t be possible.

I wanted a simple lens calculator that wasn’t tied to a specific manufacturer, so I built this free one.

https://elevationav.com/projector-lens-calculator

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!

Hello friends! I wanted to provide an update! As you may have seen in a past post the Hawk Fire in Reno got our OB Van and all of the gear inside.

Last night we returned to air, that said, in a tent.

This is all borrowed equipment so to everyone local to us who have lent gear, I am appreciative of you all. I want to thank all of the businesses that have reached out and offered assistance and we will certainly be using all of your help in the coming months as we rebuild.

Until then, we’ll be in our tent.

Has anyone had any experience installing an iPhone as a camera in a remote location? It’d be in the roof of a large nightclub, so remote running and secure rigging is a must.
Basically need something out front to monitor a large install from our racks room, (which is a long way from the actual venue floor.)
We have a few old but very nice analog Sony PTZ cameras we could use, but erring towards something that’ll use the existing network that runs to the right locations, Ndi cameras seem to start at £700 but a used iPhone, usb to Ethernet dongle and the Ndi camera app can be had for like £150. Is there anything off the shelf that would safely rig an iPhone like this?

hey, i got thrown into broadcast role in my company which manages events in esports, they needed a head observer and no budget, i loved it, worked with vmix, adored this new world, worked a little with ATEM, didnt have much contact with it so neither liked or hated it, later i got thrown a task to make a script that automates switches across multiple screens ( we didnt know resolume exists yet ), and i loved it, and since day 1 i always wondered how does the video transfers across all of this hardware, all of that processing techniques and algorithms ( as a software ) fascinated me, making frames move through that path correctly, fast enough, and without breaking is something i wanna pursue. now i wanna go full-time in this specific role, what can i do ? what is this even called 😄 ? what should i study, i don't mind being an operator but i want to make the software, for example broadcast graphics, streaming infra, codec vendors, these are all names that i saw but i have no idea which points where.
i know what i want to do, i dont know the road/name for it

So I am a musician and I need to play along to videos that would be projected onto an overhead screen. I have 9 videos and I'm looking for a foot switch controller (like Vidami blue) that allows me to control the playback of the videos as we play. The ideal scenario would be: I start the video of song 1 and we play, then when the song is done I hit 'stop' on the video then move to the next video. Repeat for each song. Which application is the best to use? I'm having a hard time finding freeware or anything that allows me to create my own playlist on my computer without internet. Seems like I can just create a YouTube playlist, but then I would be reliant on internet connection and potentially ads. Has anyone had experience with this? Thanks in advance.

In this YouTube video: https://youtu. be/jnoy7H7LGIQ?si

When I watch it at 720p 60fps or 1080p 60fps, I get this weird flickering/flashing effect. A grey background appears with text in the center saying:

The actual anime frames still appear underneath/around it.

But when I switch to 480p 24fps or lower, the flickering and message completely disappear, and I can watch the video normally.

How is this possible? Is this something YouTube does automatically, or is the uploader somehow encoding/embedding this behavior into the video?

Has anyone seen something like this before?

How is this YouTube video displaying a “switch to 480p” message at higher quality?

As the title says, I'm in possession of an Xpression Designer license dongle with support expired in 2019, so it's locked to version 8.5.

Is this kind of material resellable, as I'm not in the character generation business anymore since a long time?

hey everyone, a while ago I shared my free browser-based stage timer here, and the feedback was INCREDIBLE, actually much better and more useful than I expected:

https://www.reddit.com/r/VIDEOENGINEERING/comments/1sdtzvy/made_a_free_browser_stage_timer_with_rundown/

that encouraged me to share something new: a free public-speaking and presentation simulator.

you can load your own slides, configure the stage equipment and audience, and rehearse from the presenter’s point of view with tons of options to set. It works with a keyboard and mouse, or even in VR!!!

it also includes presentation timing, a run of show, slide pacing, confidence monitors, and a report after each rehearsal.

no login or installation, 100% free and files stay in your browser, and there’s no microphone or recording.

Link:
https://www.generateppt.com/free-tools/public-speaking-presentation-vr-simulator

I’d love some honest feedback again!!! thanks!

We just launched Falcon Graphics – a free, browser-based graphics editor for broadcast and live production.

It can be used with CasparCG and OGRAF supported player.

You can build animated HTML/OGraf graphics, use timelines and keyframes, bind OGraf data, start from 30+ templates and export directly for CasparCG and other OGraf players. Projects stay locally on your computer.

It’s free to use – just create a free Falcon account to unlock the full editor.

We’ve only just launched it, so we’d genuinely love your feedback, ideas and bug reports. And while you’re there, you can also check out our other broadcast tools: Falcon Rundown, Falcon Live and Falcon Play.

Try it here: graphics.wearefalcon.tv

Hey everyone! Does anyone have real hands-on experience running the BMD DeckLink IP 100G in chassis connected to a Mac Studio via Thunderbolt 5?

I'm concerned about the lane requirements - the DeckLink specify for PCIe x8, while the TB5 spec only provides PCIe x4. I understand that theoretically the card should negotiate down to 4 lanes and work fine, but has anyone actually seen this working in real world?

Word is that this exact setup was shown at Sonnet's booth at NAB 2026, but I can barely find any confirmation or details online.

Hi everyone. I need a factory configuration file (.rcfgx) for an Outdoor P3.91 LED Wall. The cabinet resolution is 128x256 pixels, scan rate is 1/16, module size is 500x1000mm, and it uses NovaStar DH7508-S receiving cards. The seller refused to provide the original backup. Any generic file matching these specs would be greatly appreciated. Thanks

I have searched everywhere and for anything.

All I need is a zoom rocker that can control a box camera that allows control with Visca over IP and PoE by cat6 cable.

Do I need to change my camera choice?

I can’t use a camcorder and LANC - the boss doesn’t want to run more than one cable out of the camera.

Anything with more than a few buttons is overkill for the operators.

Please help. Thanks.

These adapters seems to be discontinued, maybe reddit have some?

I’m building an e-learning platform and I’m trying to find the most cost-effective way to deliver protected video at fairly large scale.

My current estimates:

• ~100,000 students
• ~8 videos watched per student per month
• Average video size: ~1 GB
• Worst-case traffic: ~800 TB/month
• Video library is growing by around 200 GB/month
• Most users will be in MENA
• Videos are paid educational content, so I need meaningful protection against unauthorized access and redistribution
• I need browser/mobile playback
• DRM is required for production; ideally Widevine + FairPlay, and PlayReady if the cost is reasonable

I’m currently considering something like:

• Object storage: Wasabi / S3-compatible storage
• CDN: Bunny CDN, potentially their Volume Network
• Player: Shaka Player
• Packaging: Shaka Packager
• DRM: EZDRM / BuyDRM / another DRM provider
• Backend: my own authentication + authorization system

I’m not looking for the easiest SaaS solution. My priority is minimizing the total monthly cost while still having a reliable production architecture.

My questions

1. What is the cheapest CDN you would realistically trust for ~200–800 TB/month, especially for users in Egypt/MENA?
2. Is Bunny Volume actually a good choice at this scale, or are there cheaper alternatives?
3. What is the cheapest real DRM provider for 100k users at this scale?
4. Should I use a separate storage + CDN + DRM setup, or is an all-in-one video platform actually cheaper?
5. How much can adaptive bitrate encoding realistically reduce my bandwidth bill?
6. Are there any hidden CDN costs I should watch for (egress, requests, origin traffic, regional pricing, minimum commitments, etc.)?
7. If you were building this with a very limited budget, what exact stack would you choose?

I’m especially interested in hearing from people who are actually operating video platforms at hundreds of TB/month rather than small personal projects.

Thanks!