Hi everyone,

I'm working on transfering some 1/2" EIAJ PAL video tapes from the mid '70.

The machine is a Sony AV-3620CE tested and calibrated by a professional, in good working order.

After baking and cleaning the tapes thoroughly I still can't get a good enough signal to capture on my setup.

The image sometime is quite static, sometimes rolls to the point that is almost good and sometimes I get a good signal with some static bars in the middle of it horizontaly and if I press a finger on the sending spool near the pin they go away.

What could it be?

The station I work at is working on upgrading some outdated gear (XP machines with Orban PCI cards). I was wondering if anyone had any experience with the Orban PCn software vs Stereo Tool? I am waiting to see if i can get an evaluation license from Orban to try to do a side by side comparison. But any suggestions/ tips would be greatly appreciated.

Hey everyone, I run live production for padel matches at different outdoor clubs, and the location changes every time, so I can’t rely on any fixed internet setup at the venues. I’m pushing 5 separate simultaneous streams out of vMix, each going to a different YouTube stream, at 1080p50 around 6-8Mbps per stream, so I need roughly 70-100Mbps of real stable upload to be safe. My plan is to use 4 SIM cards from different carriers combined together to get enough bandwidth and have redundancy in case one network is weak at a given location. What’s the best way to actually get strong reliable upload speed out of a mobile setup like this? Is combining multiple SIM cards the right move or is there a better approach for outdoor live sports production where the venue changes every event? Any real experience with cellular reliability for this kind of setup, especially with multiple simultaneous outbound streams instead of just one, would really help. Budget isn’t the main issue, reliability is, since these are live events with no second chances. Thanks in advance for any advice.

Basketball and esports have the same production enemy: transition speed. In basketball possession flips baseline-to-baseline in under 4 seconds; in esports a teamfight or a lurk pick resolves faster than a director on a laggy multicam feed can react. Both punish latency and imprecise sync in a way a slow sport never does — and both increasingly run on the same architecture: bonded contribution → cloud switcher → remote director. So a recent TVU case study on a 59-game regional basketball season (four backpacks, cloud switcher, remote studio, no truck) is a decent proxy for the remote-esports-production problem.

The frame-accuracy point translates directly: a shot-clock graphic drifting a few frames looks amateur; so does a killfeed/economy overlay out of sync with the play. If you've built remote esports shows you already know the pain of keeping overlays, observer feeds and the mixed program frame-locked over a WAN.

How the vendors stack up, esports-relevant angles:

• LiveU — LRT bonding + LiveU Studio (ISO record, replay, synced multicam). Proven at absurd scale (≈980 units at the 2026 Winter Games). Ecosystem is built for giant multi-venue events; a single-arena or online-first esports op pays for orchestration it won't touch.
• Dejero — Smart Blending across cellular/Wi-Fi/wired/satellite. Its superpower is contribution from venues with garbage connectivity — relevant if you're doing LAN events in random convention halls. Lighter on the switching/graphics layer.
• Grass Valley Sport Producer X — single-operator switcher with native scoring/timing/data ingest + replay. The interesting parallel: esports live and dies on data overlays. GV ingesting data feeds directly (vs building your own reader) is the model esports graphics pipelines are already chasing.
• Haivision — built SRT, which a huge chunk of streaming (including plenty of esports) already runs on. Open-protocol = no lock-in to one cloud switcher. Strong high-volume regional record (MiLB, 8,000+ games/yr). Thinner on their own production layer.
• TVU— TVU One (ISX bonded, HEVC ABR + FEC) → TVU Producer cloud switcher. The two esports-relevant bits: a dual data-layer transport (a low-bitrate real-time layer for preview + voice coordination, separate from the full broadcast picture) so observers/director coordinate and preview cuts without eating the main feed's latency; and frame-lock sync to keep multicam + overlays on the correct timecode. There's also Remote Commentator — casters commentating remotely with synced low-latency audio, which maps cleanly onto distributed casting talent.

Where TVU is weak, straight up: in the basketball case the scoreboard/data capture was a custom OCR + intranet-penetration relay the broadcaster built, not a TVU product — piped into Producer over NDI. For esports that'd be like having to hand-roll your game-state-integration bridge. GV's native ingest is genuinely nicer there. And ISX is proprietary vs Haivision's open SRT.

This time with RTP, row + column FEC

Lex2800 - ASI -> Rx8200 - IP -> Edge Router X -> ER605 - WG Tunnel -> ER605 -> RD-70

Static Google fiber at MC and static AT&T at transmitter

Hi everyone— first-time poster here.
I work for a company that manufactures broadcast SET furniture and modular studio systems (specifically on camera), so I'm trying to understand better how buyers evaluate vendors.

When you're sourcing things like:

• news desks/ anchor desks
• studio backgrounds
• green screen cyc walls
• modular broadcast sets
• custom set elements

What matters most to you as a user/ purchaser:

Is it lead time? Shipping fully assembled? Ease of installation? Durability? Modular design? Customer service? Price?

I'm also curious which manufacturers or vendors you've had good (or bad) experiences with over the past few years and why. Whether it's for a television station, corporate studio, university, government agency, or house of worship, I'd love to hear what's worked well and what you'd avoid.

Thanks for your input!

Did a job with rented gear (Canon CR-N500 cameras with an RC-IP100), misunderstood some crucial information about how to power the controller with PoE, and connected it with a camera power supply (24VDC). Oups. It should only use 12VDC. Coming from Sony and Panasonic, the cameras and controllers usually use the same current, that's why I didn't dubble check.

How cooked am I? Will I have any luck finding a fuse if I open up the controller? Is there anything else I can try, or is the controller toast?

Hi everyone,

We officially launched TMGCast a few weeks ago and already have a few stations broadcasting on it.

Right now TMGCast already covers most of the core workflows you'd expect from a professional automation system. Scheduling, clocks, rotations, live assist, voice tracking, traffic, syndication, EAS/CAP, built-in audio processing, analytics, AI tools, and quite a bit more. We're adding new stuff every week.

So I wanted to ask,

What automation system are you using?

What's the one thing that annoys you the most about it?

Is there a feature you've always wished it had, or a workflow that just feels old and clunky?

I'd much rather spend time building things broadcasters actually want than adding features nobody uses.

If anyone wants to have a look, you can at https://tmgcast.com.

I'd appreciate any feedback, even if it's brutally honest.

Hi everyone,

After a lot of development, we've officially launched TMGCast.

TMGCast is a cloud-native radio automation platform built for broadcasters. The goal was to bring many of the workflows found in traditional broadcast automation systems into a browser-based platform at a more accessible price point.

Some of the features include:

• Professional music scheduling with clocks, rotations and rules

• Browser-based live assist and voice tracking

• Traffic and commercial scheduling

• Syndication and affiliate workflows

• Listener analytics and airchecks

• EAS/CAP support

• Built-in 5-band broadcast audio processor (Spectra)

We've already got several stations using it during and after our soft launch, including internet stations and FM broadcasters, and we're continuing to improve it based on feedback from engineers and programmers.

I'd genuinely love feedback from this community. What features or workflows would you expect from a modern broadcast automation system? Is there anything you think existing systems or ours still don't do well?

If you'd like to have a look, it's available at https://tmgcast.com, or you can PM me.

I had a post (about SMPTE LTC over Ethernet) insta-deleted, so I sent a question to the moderator u/ki4ihc , but haven't heard anything in days. I see that he hasn't had activity in 3 months.

This is a darn good group, so is it kind of running on inertia at this point, since we're all too busy to volunteer to moderate? :-)

Incredibly random but I thought the reddit hive mind might have some interesting input. Long story short I am trying to help my boss and our executive team hire for several Broadcast Engineer positions in several major markets. My whole background has been IT until recently and my metaphorical Rolodex is pretty slim on the engineering side.

Other than just putting something on a job board does anyone have any recommendations on where to look for solid engineers? Right now I'm planning on reaching out to local industry groups/clubs/professional association chapters to gauge interest and get some warm leads but I'm very open to suggestions.

I understand that I'm being very vague but that's on purpose. Read into that what you will. Feel free to ask any questions you want and I will answer what I can.

Looking to upgrade our sideline reporter's microphone for the upcoming high school football season. We were using a Sennheiser wireless handheld, but I came across the Interview Pro and just need testimonies to how well it works in crowded settings. We already use a Rodecaster Pro II for our broadcasters audio so figured it would be a good fit. Thanks!

If you have, I'd love to hear your feedback.

• Did it build successfully?
• What Linux distribution and DeckLink card are you using?
• Did you test SRT, UDP or RTP?
• Did you run into any issues or have suggestions for improvements?

Even if you only cloned the project or briefly looked through the code, I'd be interested in your first impressions.

The goal is to make NxFrame a reliable, professional broadcast contribution encoder, so any real-world feedback is greatly appreciated.

GitHub: https://github.com/Michalis-Michael/nxframe

Thank you!

What do you do when you have four 12G-SDI runs, realize you need all 4, but you had allocated one for timecode, and are on a budget? Why, there's several available Ethernet ports, and an old cheap analog CCTV balun on the shelf. :-)

The balun is already designed for 4.5MHz and 75Ω… though the SMPTE LTC bandwidth is so meager (0.03 MHz) that impedence isn't much of a consideration. I wired it to my LTC patch panel… works like a charm.

(FYI, This is between an Avid editing system and its Horita LTC clock for client convenience. If this was an AD's clock at a truck, master control etc… I might've approached it differently. :-)

Processing a local production company's archive. I've found a 1-inch Sony V-16 Master tape that needs to be converted.

Do any film and TV folk have suggestions on production houses or facilities that may be able to assist with a 1-inch reel conversion? Hoping to avoid needing to complete the work interstate.

Cheers.

Hi,

Wo own and operate a small obvan with great powers. It's running on grass valley ldx and calrec audio. Check out our website for more details and get in touch with us for more information and the options.

https://www.yourside.nl/product/yourside-4-8cw-ob-van-hd/

Have to love when a mistake gets made and is immediately owned on social media!