Hi I want to learn how does AV Video work can someone maybe show me a oscilloscope view of what signals the AV wire transmits

How do I find projectionists in my area?

Did a little research and found that Canon only sells UHD lenses, no HD broadcast lens whatsoever in its catalogue. Why is that?

Looking to step up from the very basic Canon KJ20X8.2KRSD lens whichi is like $4000 new. Is there any sub-$10k UHD Canon lens new?

For those not into lens nomenclature, this is what Canon uses for their broadcast line:

YJ = cheap SD

J = broadcast quality SD

KJ = cheap HD (not available anymore?)

HJ = broadcast quality HD (not available anymore?)

CJ = top quality 4K

For a research project I need a $2000 or less camera that will shoot 1080P video at 120 fps with 8 bit color and provide uncompressed video via an HDMI interface. I understand the output data rate will be about 2 Gbps. Does anyone have any suggestions? Sent from my iPhone

So i have bought a sony PVW 2650/P Betacam SP player for linear editing, the Deck powers on and produces an image, but when i put a tape the head drum starts spinning really fast and then error 08 pops up, i have traced the issue to Drum Frequency Generation (thanks to the maintenance menu) on the DR 232 / DR 118 (on earlier units its 118) board, i have the service manual part 1 and 2 (general and schematics,) it says to check the current on TP4 on the dr board but i cant find it. im also confused since it doesent tell anywhere where the drum FG is on the PVW im very confused

and some advice would really help.

Thanks

The AI summary is hot garbage!

Hi, I am the creator of Ontime, a FOSS tool for timer and rundown management

We have been busy this year and have pushed several improvements to the app. At the moment, Ontime has a great user base and we are proud of the app we have built together with users

We have some exciting features planned and are currently reviewing the app and our backlog to define the next steps.

Right now, we feel that we are due a design review. Ontime has been growing steadily for the last 4 years, and we want to review our existing views. There is likely room for improvement or otherwise polish the designs

Unfortunately, I am not particularly talented in this area nor have the financial means to hire professional help. I am looking to recruit a user willing to volunteer time and skills

Maybe you are an Ontime user with some graphic or UI design skills?
Lets chat!

You can reach me here through DM
On GitHub
Find our contacts on the website
Or join our new discord server

https://preview.redd.it/uslsgoa4x9yd1.jpg?width=3840&format=pjpg&auto=webp&s=60fce54b97ccf3e9cd6fec6a2f48063a9a9ba3f0

Can I ask for help/purchasing advice? I will make sure to keep it as brief as possible. Questions first, context later. My own research took me to ATEM Constellation 1 or 2 m/e and 4K vs HD, but also thinking about something dirt cheap consumer grade like a ATEM mini or Feelworlds new switcher. (Renting is NOT an option)

• 4K switcher or HD?
• 1 or 2 m/e?
• SDI or HDMI? (this if going with a mini for start)
• For streaming, what do I need except my switcher?
• MUST HAVE additional gear except for the switcher?
• Mix-Minus Setup
• I want to be as autonomous and lean as possible, pref a 1 max 2 person crew for a 3-5cam event.
• Support to include animations (like intros), overlays, texts

I'm about to start a live production branch in my videography business and am lost on where to start the journey of accumulating the right gear. I got 3xCanonC70 atm, and they are 4K, but if I get this branch of the business going as I plan, I will probably add one or two Canon PTZ to cancel out the need off a camera operator while still getting some dynamic shots.

I plan to do 50% of my events at the same venue from start. A very small (150 people) corporate scene, located where I have my studio and build from there. So need gear that is fairly mobile. I had my sight set for the Constellation 2 m/e 4K, but started thinking if I really NEED that 4K? Is it even feasible to stream in 4K?My typical usage case would be one of two.

1. A corporate short stream, 30min-1h. with typically 3 cams. 2 or 3 people on a stage or sitting. Needs to be able to both record and stream (but could hit record manually on my Canons for 4K as a start to save initial investments).
2. Live produce an event with 3-5 cams, people on stage, and record the entire event. Live switch and be able to include remote guests from Zoom. So will need Mix-Minus Setup (is that the term?).

As I will need Zoom call in support, will that lock in the need off a 2 m/e requirement? As I understand the 1 m/e doesn't have supersource? Other brands?

If it matters, I edit and grade in DaVinci Resolve, use Canon for all cameras and lenses.

Trying to get companion to trigger hyperdecks and Justin tools on air capture system running off an iMac at the same time but companion has an issue where it looks like above, warning says Error getting channel names, and the edit connection window has the constant progress bar.

Have tried different systems with companion; both windows and PC, on the same network and completely disconnected as well; seems like a companion issue?

Has anyone faced this and is there a possible solution? Thanks!

I purchased 3 vaxis panel antennas and the distributor sent me a unit that didn’t have the proper mounting thread inserts to convert to 1/4-20. Also another unit was used with signs of wear. He didn’t notify me of this before I purchased. I paid full price.

How would you handle this situation? Just move on or ask for something to compensate?

Hi, Does anyone have or know who has a used disguise solo unit for sale? Europe Only

Hi,

do you have any experience or review to share about company KVM-TEC? (https://www.kvm-tec.com/)

We would like to use their encoders/decoders for video routing inside hospitals but the focus on DisplayPort is problematic since many devices in hospitals are SDI and they can be 4:2:0 which would lead to additional cost for expensive converters with processing YCbCr ->RGB.

Hello all, I work for a Church doing media stuff like livestream directing and such. I like to think I know lots but when it comes to installing and parting out installs I am out of my element with cable standards and all the data and understanding. I am looking to install some PTZ Optics Move SE and I know I want SDI cables, I am just not sure which ones. The plan is to run the cameras at 1920 1080p with 59.94 all my research has led me ot using 6g SDI at 75ohms to run the 300ft I need. Is this correct? https://www.infinitecables.com/products/premium-hd-sdi-rg6-bnc-male-to-bnc-male-cable?variant=42860717965553 Here is the link I am thinking of using, I order 5 150ft cables so I have extras should my math be wrong, I could not find a bulk supplier in my area so i had to go with pre-made ones and then use couplers, which I know is not ideal. I have terminated BNC cables befroe so I do know how incase I find a supplier. Any and all help is appreciated!

Hi!

I’ve been debating between Professional Workstation GPUs (like the RTX A4000) and Customer GPUs (like the RTX 4070 Ti).

Since Customer GPUs support up to 8 concurrent encoding sessions, I'm fine with that.

https://developer.nvidia.com/video-encode-and-decode-gpu-support-matrix-new

However, I recently saw a discussion saying that customer GPUs don’t have direct access to the framebuffer in VRAM and can’t copy it to NVENC. This feature is called NVFBC (NVIDIA Frame Buffer Capture), and even though you can get it on customer cards with a patch, there’s no software to manage it. This might use more resources and drop performance by about 10-15%.

https://www.reddit.com/r/obs/comments/1cnk1zs/comment/l388tlp/?utm_source=share&utm_medium=mweb3x&utm_name=mweb3xcss&utm_term=1&utm_content=share_button

Is this true? Does anyone have insights on this?

Does anyone know where in Europe, especially Germany the Epson Certified Pro AV Field Professional Training is available?

Has anyone had this screen bug in their teradeks 4K Bolt? Signal works fine but I can't access the menu.

Hi folks.

Anyone here know any alternative to compix character generators with similar look and feel ? I'm having trouble get the operators used to other tools, they want something just like the ones from compix.

Thanks

Hello gals and guys,

does anybody tested Sony ILME FR7 carry 4K/UHD/12G signal via fiber, using build in SFP slot and EO transmitter? Which SFP's you have tried and how it worked? I am thinking on buying AJA FIBERST-1TX-12G and AJA FiDO-2R-12G, because I plan to use AJA dual receivers at the other end.

Hi there hive knowledge :) I'm planning a new corporate film studio, specifically the technical setup, and wondering about coaxial cables for SDI signals as well as ethernet cables for NDI. There will be a bunch of cables running from a Netgear switch and an ATEM Constellation 8k to a stagebox in the studio. The distance is around 16 meters. In total 8 SDI cables and 5 ethernet cables. For network cables I'm planning to go for cat6 S/FTP. Now I'm going a bit back and forth between two different SDI cables and am wondering how it is with the shielding when you run many cables together. There are also several wireless transmitters for sound in the studio. It's located in a big office building, so you never know what kind of other signals are going around there.

The two cables in question are:

• Belden 1694ANH
• Sommer cable vector 0.8/3.7

My question is: would the Sommer cable be sufficient for this setup? It's got a bit less shielding (85% copper braiding) but is also considerably cheaper. Or should I rather go for the Belden (95% tinned copper braiding) to make sure all signals are safe from interference? I'm only producing in 1080p@25fps, so the 12G vs 6G SDI doesn't make too much of a difference for me.

Thanks already for your input!

Hi all.

I would like to build my own PTP sync source using a Raspberry Pi CM4, which has a network adapter that supports PTP. A demo from Jeff Geerling on Youtube showed two CM4s synchronizing within 10ns of each other, with open-source and simply available software.

As far as I understand, a PTP grand master source is necessary for the same reason Genlock or return sync video would be required for SDI, in that it ensures the data arrives at the expected moment in time. It is my understanding that this has the potential to reduce latency and improve stability in a 2110 environment.

I do a lot of IMAG work and this is something I would like to experiment with, to see if I can get BMD 2110 gear down to less than the present 3-4 frames end to end, 2 frames one way, that I have seen from tests online.

Ignoring the networking infrastructure for a moment (my eye is on a MikroTik 100G switch that is PTP compatible), is there any obvious reason why this would not work?

Side note- anyone has experience synchronizing these with ATEMs? I would expect sending it the program feed from the ATEM to PGM IN would provide it with the BMD sync signal so that it can all be on the same page, copper and IP. Maybe not? (Constellation. not the Minis)

I am a newbie to 2110 systems so please forgive any misunderstanding I have of the protocols. No interest in using this in production for some time, mostly just a thought experiment.

Video for reference: https://www.youtube.com/watch?v=RvnG-ywF6_s

I'm looking for solutions to achieve the setup shown in the attached image. In total, there will be six rooms (the image shows just two for simplicity), with each room containing six displays fed by different input sources. These displays are static, meaning that each screen shows unique content—what appears on screen 5, for example, won’t be mirrored on any other screen. This part is already set up and working.

In the Review Rooms (there are 3), there will be at least one large monitor, along with a tablet or control device (think of an Elgato Stream Deck but digital). The monitor in the review room needs to display the outputs from Room 1 in a grid view as shown in the image. Additionally, the tablet or control device should allow us to select any two screens from Room 1 to display individually or switch back to the six-screen split view. The Review Rooms are not tied to the Rooms with the 6 displays. Each Review Room should be able to view displays from Rooms 1-6

So far, I’ve looked into specs from Matrox, Planar, Haivision, and RGB Spectrum, but I’m not certain if any of these solutions can meet these requirements. Ideally, we’d like to transmit video over fiber since the distances involved exceed standard HDMI length without using extenders.

Any advice?

https://preview.redd.it/zij2hoinq0yd1.png?width=1232&format=png&auto=webp&s=0a49fead4df768f4b0ccfaa87f0c6b3a6046f2d5

I want to attempt a 3 cam recording for a dj performance and have an A cam (Sony a7riii) and b, c cam (2 go pro hero 7’s) and a zoom f8 recorder for audio. I have constant power for all 3 cams. I want to figure out what I should know prior to this job such as timing issues, recording for 1-2 hours etc.

Anyone with experience in this field?

I've got a file I need to view that was pulled from an EVS machine. It is a .mxf and I'm struggling to get it in to media encoder, premier, VLC, handbrake... Anyone have experience here?

I have an s3 bucket, with many cartoon series (MP4). I want to create a 24x7 "TV Streaming" that supports about 100 simultaneous users, and that randomly selects videos from my bucket and plays them 24 hours a day. What do you recommend? Is there a project on Github that can help me with this?

Thanks!

Hi guys, looking for some help with speccing a video system for a small multi-use theater.

We frequently change between fully-staged productions of plays and concerts to small or impromptu movie showings, lectures, really any and everything you can think of. Obviously, we use video pretty frequently, and we’ve been limping along for the last few years on a Denon DN-700AV. This is less than optimal for lots of reasons, not the least of which are its godawful scaling issues and complete eyesore of a taking function. We’re looking to get rid of the thing and replace it with something more professional / specifically tailored to switching and matrixing in a small performance venue.

As far as I/O, we’re pretty simple. On the input side, we only ever really have need for 3 or 4 various HDMI inputs. Our main installed video playback device is a current-gen Mac Pro running QLAB, driven over HDMI to our current Denon switcher. We also have a spare HDMI input in the booth for use by talent, and a spare onstage, for a total of four HDMI inputs.

On output, we have one EPSON L1505UH Projector capable of input via HDMI, SDI, HDBaseT, LAN, etc. It’s a beast of a thing and probably way more powerful than we need, but it’s what we’ve got. We also have a confidence monitor on the frontside of our balcony (facing the stage) for performers to utilize, fed via HDMI as well (it’s a budget Roku tv from walmart). On top of those, we’d like to add a third output for driving monitor signals to the lobby and backstage area, while a fourth feed would be needed for a MultiView monitor in the control booth.

Just to recap, we need 4x HDMI Inputs and 4x outputs, at least one of which has to be HDMI by the time it reaches the display. As for actual switching capabilities, I don’t need anything flashy - mostly I need the ability for smooth, real-time taking, a separate MultiView monitor, and maybe the ability to load in a panic slide for covering wonky stage transitions and the like.

Lastly, I’d vastly prefer for it to be rack-mounted. Our booth desk space is very limited as it is, and while I can think of some use cases where I’d like to have a desktop mixing surface in front of me, the vast majority of our shows simply don’t require anything more complicated than dissolves between two or three different single sources.

All of my various bits of research have led me to kind of pinpoint the Roland XS line, and more specifically, the XS-62S, as a general idea of what I want to go with. It’s rack mounted, offers real-time switching and matrixing, and seems to come closest to my perfect I/O scenario - I can pick up some HDMI-to-SDI converters for the remaining inputs I’d need. I have a few questions before settling on this as a plan, though. First and foremost, does anyone have experience with it, and would you be willing to share said experiences?

Secondly, what are some alternative options to this unit? In previous gigs, I’ve been exposed to brands like Kramer and BMD, but I know next to nothing about Kramer apart from their name, and my experience with BMD has left me somewhat disappointed (I like the ATEM Minis but the ATEM TV Studio felt poorly thought out, imo). I'm not averse to Roland at all, just wondering if there are any options better-suited to this scenario. Options available from any other manufacturers are more than welcome, I'm not picky.

Thanks so much for reading!!

I read where Adam-1 frames can be up to a maximum of 272 ports. I have space for four more cards and would like to add a 64 channel Omneo card and it would put me around 300 ports. When using AZ edit intercom resizing wizard it allows me to go well beyond 272 ports. Would this work and if it doesn’t would I be able to use half the card and be maxed at 272?

If I wanted to input something other than a 16x9 image into an ATEM, how would you do it? I'm thinking 9x16 vertical video from a phone, 4x3 from an old camcorder, or if I have an LED wall with a custom resolution like 2x1, etc.

I still want to send the program out in 16x9, but on the input I'd just like to have black bars on the sides of the image.

I am looking to improve on a video set up that I need 8 channels of 12G SDI sent about 200-300 feet. From one central position in a rack to video village in a rack. Currently we use a bunch of Black Magic 12G SDI / fiber converters on each side and the set up is not ideal with reliability and setup.

Right now I am looking at either the Thor 8 Channel 12G SDI to fiber system or 8 AJA units. I like how simple the Thor set up is for in a rack but if it fails they all fail. Any other ideas?

Anyone have experience with HUIDU? I'm running a c10 sending card with 3 r501 receivers. Im having a hard time setting up screen parameters