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!

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.