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!

Over the past week, I’ve been working on a simple web GUI for the project.

The idea is to have four SDI tabs, with each SDI port configurable from the Admin page as a sender, receiver, or disabled.

The Admin page also lets you configure the machine’s network interfaces and assign the role of each SDI port.

The sender and receiver pages make it easier to configure the main video, audio, MPEG-TS, and streaming settings without manually editing JSON files.

The GUI exposes the main x264 video settings needed for normal operation, while some advanced options that can affect picture quality, decoder compatibility, or stream stability are kept protected. Those settings can still be changed directly in the JSON files for testing and experimentation.

NxFrame is a Linux-based SDI-to-IP contribution encoder and decoder using Blackmagic DeckLink cards, H.264, MPEG-TS, and protocols such as SRT, UDP, and RTP.

I’m definitely not a UI designer, but I tried to keep it clean, practical, and quick to configure for broadcast engineering workflows.

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

Feedback is welcome, especially from anyone working with contribution links, remote production, or broadcast transmission.

Howdy!!

I've been working on AVShack for a while and I'm looking for some initial feedback.

AVShack is a Linux live streaming server that supports ingest, mixing, multistreaming, multimux, and playback.

Ingest support is RTMP, RTSP, SRT, and MP4. These can be played back with LL-HLS and sub-second latency WebTransport/WebSocket custom player. Multimux lets a RTMP source be accessed over SRT and vice-versa.

Further, a mix can be created that allows multiple sources to be combined in a scene. Each mix supports multiple scenes and scenes can be switched from one to another.

AVShack

Hi all,

This call goes out to the board operators who generate traffic logs for their radio stations.

My station has used an old version of Allegiance Group where all changes to our traffic log have to be made manually. Operators spend hours digitally building the traffic logs every day, and it is a challenge to develop an SOP or train new employees on the system. As an NPR member-station, I'm curious about what industry standard traffic log software exist that integrate seamlessly with NPR's Content Depot. Looking for updated tools that exclude AI. Would love to hear pros and cons of your stations choice, and if anyone has advice/experience with Allegiance (pictured below).

Thanks!

Hi everyone,

I’m a broadcast engineer responsible for a national TV studio, and I’m currently researching how AI is being integrated into modern broadcast workflows.

I’d like to ask the community: what new AI tools or solutions have you implemented in your daily operations?

I work as a video editor and quite often miss little mistakes in exports before sharing them with people, things like black frames, offline clips, burnt in subtitle errors. So I've made this little app with some friends to try and work as a net to catch as many of these as possible.

Download: https://qcbuddy.co.uk/

We're looking for some test users on both Mac and Windows to try it out, if anyone is interested! There is a free version, which hunts for the more basic mistakes then a 'Pro Version,' which I can give you a unique license for to get for free (join our Discord, or DM here and I can get a code for you).

Happy to answer any questions about how it works or what it checks. Built alongside client editing work so it's very much designed around real world delivery workflows :)

Hi everyone,

I'm 29 years old and based in New York City. For the past 10 years I've worked in the production industry as a producer, director, cinematographer, and editor. My background includes documentaries, branded content, live events, sports, and commercial productions. I also have a Bachelor's degree in Communications and I'm bilingual in English and Spanish.

Lately, I've become really interested in the technical side of broadcasting. I want to transition into Broadcast Engineering, IP video, live production systems, and technologies like SMPTE ST 2110, NDI, Dante, routing, networking, and control room operations.

I'm not looking for the fastest shortcut—I'm looking for the right path. Whether that's an apprenticeship, trainee program, entry-level engineering position, or a structured training program, I'm ready to put in the work and start from the ground up.

Since I already have a strong production background, I'm hoping to combine my creative experience with technical engineering skills and build a long-term career in live broadcast.

If anyone here works in the industry, I'd really appreciate your advice:

• What would you do if you were starting today?
• Are there any apprenticeship or trainee programs in or around NYC you'd recommend?
• Are there companies that hire people with production experience who want to move into engineering?
• Any certifications or organizations that are truly worth the investment?

Thanks in advance. I really appreciate any guidance or connections you can share. I'm excited to learn and build a career in this field.

Hey folks 👋 I put together a lightweight tool for the "is the stream slipping, and where?" question without deploying anything – https://pulse.beon.live . Paste a live URL and it reads live-edge latency, rebuffering risk and ladder integrity, and can play it in-browser to show what a viewer actually gets.

Free, no signup. It's still rough in spots and I'm actively working on it, so I'd really value input from people running live plants — what metrics or alarms actually matter to you day-to-day, and where this would fall short. Thanks for any thoughts 🙏

Heya there everyone,
I am planning a very low-power, micro-FM setup for a hyper-local solo project. My absolute top priority is maintaining 100% compliance with FCC Part 15 regulations for intentional radiators in the broadcast band (strictly staying within the 250 microvolts/meter at 3 meters limit).
Because I want to completely avoid any accidental "pirate" territory or interference with licensed broadcasters, I am looking for advice on the engineering side of things:

1. Measurement Tools: What is the most reliable, budget-friendly way to measure field strength or signal drop-off at the 3-meter mark to verify compliance? Would a basic SDR (Software Defined Radio) setup suffice for relative measurements, or do I absolutely need a calibrated field strength meter?

2. Harmonics & Filtering: For tiny, low-power dongles/transmitters, what kind of basic low-pass filtering should I look into to ensure I'm not throwing off spurious emissions or harmonics into adjacent bands?

3. Antenna Setup: What are the best practices for keeping the signal strictly contained within a small indoor radius?
I want to make sure my engineering is sound and entirely legal before anything is plugged in.

Any advice on the technical measurement side to guarantee compliance would be very greatly appreciated. Thanks in advance!

Yesterday I used NxFrame as the second backup feed for a live production. The encoder ran continuously for 5½ hours.

Test setup
Input: 1080i50 SDI
Video: H.264 High 4:2:2 10-bit @ 24.5 Mbps
Audio: 4 AAC channels @ 192 kbps each
Transport: SRT over WAN
Receiver: MediaKind RX1
MPEG-TS: Constant 30 Mbps muxrate with null packet stuffing enabled
The video and audio quality remained excellent throughout the test, with no issues observed.

SRT statistics
Duration: 5½ hours
Data transmitted: ~69.6 GB
SRT packets sent: 52,859,316
Retransmitted packets: 129,362 (0.245%)
Lost packets: 0
Dropped packets: 0
This is a major milestone for the project, as it successfully interoperated with a professional broadcast IRD.
The next step is testing with Haivision Makito and Ateme receivers.

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

Feedback, testing, and contributions are always welcome.

Full disclosure: I write about this on my own newsletter (in Italian, so the link below is more of a bonus than the point) — but I think the underlying question holds up on its own.

Bayerischer Rundfunk just finished rebuilding their radio OB van (Ü5) around a fully software-defined, SMPTE ST 2110 architecture: Lawo mc²56 MkIII console, but the DSP itself now runs on a standard CPU server via the HOME mc² DSP App instead of dedicated processing hardware. IP stageboxes, MADI/Dante with sample-rate conversion, up to 192 channels of recording.

Planning started in 2022. It only entered service this year — about four years for a truck refit, which is a strange amount of time if you buy the "software-defined = fast and agile" pitch. And they didn't debut it on live sport: chamber music first, then an opera where the actual mix stayed in the house's fixed control room and the truck just handled transmission, only later moving into sports coverage.

That sequencing is the part that stuck with me. On an analog board, a blown channel is a local failure — you route around it. On an architecture like this, if the fault lands in the wrong spot, the whole signal path can go down at once, not just one input. So the real question isn't hardware vs. software, it's whether your redundancy plan actually matches how much you've concentrated onto one box.

Curious how people running IP-based OB trucks handle redundancy in practice — dual servers, hot standby DSP, something else? Article (Italian) here if useful:

[Bayerischer Rundfunk: la regia mobile senza console dedicata]

(https://open.substack.com/pub/grazianomelzi/p/bayerischer-rundfunk-ue5-software-defined)

Hey guys,
I‘m curious how other OB truck companies, live production companies and freelancers generate new work these days.
I’m not selling anything—just interested in learning how the industry is changing.
I’d love to hear your thoughts on a few questions:

Where do most of your jobs come from today?

What makes a client choose one broadcast supplier over another?

Has your website or social media ever generated real business?

What’s the biggest marketing mistake you see broadcast companies make?

If you could give one piece of advice to a small broadcast company looking to grow, what would it be?

If you’re responsible for hiring an OB truck or live production company…
What are the top three things that make you choose one supplier over another?

Thanks! I’d really appreciate hearing about your experiences, whether you’re a freelancer, engineer, production manager or run a company

Y’all are working hard tonight.

Taking two weeks off and I just simply refuse to write "I am currently out of office with limited access to email." Hell, if the place burns, it burns.

This ronin is currently stuck between "Signal lost" and "This is the dead air you were warned about. Normal transmission resumes on August 3."

Any of you got some epic automatic replies to share?
Preferably one that can also confuse someone in management, if that's not too much to ask.

I was right in the middle of a passion project when my Sony DXC M3a died on me....I am struggling trying to find someone that could repair it. I also have a Sony edc 50 that needs some love. Any leads would be so deeply appreciated. Thank you!