@@prodj.mixapeofficial6431 the processing during conversion is very minimal. electricity and light move fast so when the processing is minimal, there is no noticeable delay
@@prodj.mixapeofficial6431 depends. But for hardware usually there is nothing beeing bufferd. The delay will be negligible, like if I make numbers up no more than 10ns for fiber to fiber. That's around 3 m the light can travel. For screens and software, it's different. Converting from 1 protocol to another loose a frame or two. Same for the LED wall driver. Buffer and lose a few frames. Funny enough, old televisions had a delay from less than a frame because nothing was being saved
Hey Brandon and team, you should check out the fibre unite converters from middle things. They could streamline your setup as one converter can do 5 channels of bi-directional fibre/SDI simultaneously plus ethernet over one MTP fibre cable.
Most of this is learning by experience and doing. We use much the same type and selection of gear at Dragon Con; similar problems solved in similar ways
I highly doubt I will ever get to this level of production, but I find it absolutely fascinating. I'm just getting started working with a small local venue recording/streaming events - with a couple BMPCC 6k's. I'm curious, how many individuals do you have on your production team?
Hey Brandon, nice work! Have you tried using the new audio routing? If you have a madi card for the console you can push and pull feeds wherever you need and separate aux mix minus feeds out each aux as you need it. I’ve got a video showing it if it helps, has changed everything for us, no analog anywhere now!
Great engineering !! But I was wondering how is the redundancy like. If one set of wires/fiber gets knocked out, will the system collapse or there is back up plan ?
We have backup fiber lines ran for fail over so if I see one of my cameras and feeds go black, I can either switch to a different camera or feed and in that time I or someone on the team can trouble shoot why we just lost that camera/feed. Swapping converters or plugging into different fiber lines. We are all on comms so it’s easy to communicate while this is all happening. Even in different spaces.
Just found your content and have started binging your vids lol… what would you suggest somebody do to get into live production? i’ve dabbled in it somewhat at my church but really wanna be in this full time
You mentioned at the end that the two big screens are In perfect sync with the FOH audio. How can this be, if you are video delaying at least one of them so the screens are in sync with each other? The FOH sound wont be delayed through the PA as that would screw up that band :) and its not like the venue is so big that the distance is enough to delay the sound. Normally the whole idea is to reduce delay thought the video system to help sync on the big screens.
We only delay audio when we playback a video like a commercial/Ad/or prerecorded sponsored message. When we take B stage video/audio feed and display it on main stage we also delay that audio so it is in sync with both video screens. That B stage is far enough away outside the stadium that the delayed audio cannot be heard on the actual B stage. For any bands/performers actually on main stage, we do not delay their audio, the natural delay of a camera video feed is all that happens with the imag on the sides screen (not the jumbo tron) which the latency is almost not noticeable in person. The jumbo tron would have different graphics (not imag) when performers play. Of course there are edge cases where we sync them even for imag but not all the time.
@@liveproductionmastery And one or two URSA Broadcast G2 I guess (1.04) ;) with B4 lens which seems incompatible with the focus and zoom control BMD. Any way great jobs ! I would like to see the result.
Is the Constellation set to 4K or HD? It is running on FullHD, right? Otherwise it would require alot of downscalers to feed the ATEM SDI Extreme ISO and other monitors that only accept HD
Good question. When we run “playback” which means a sponsor video or ad or some sort of intro video that has audio with it, we play it from our control station and want the audience to see and hear it out by the stage. So really just when we are playing a video that has audio with it. Otherwise the sound comes from the stage to us for the live feed. Also when we occasionally showed B stage on main stage and vise versa. During set changes to keep audience entertained we showed them a performance currently happening on the other stages so they might want to visit that stage instead of staying in one place the whole time.
something im wondering about: since sound is significantly slower than light, the people in the back will hear the sound noticeably later than the people in the front. At what point in the stadium do you sync audio and video? right at FOH? or slightly before? likely, people watching the jumbotron are watching from further back than people watching the upstage screen. was that a consideration as well?
We normally sync sound based on FOH location. If you could hear both the sound at the front of the stage and at the very furthest back of the stadium at the same time then you could notice the difference in timing but since no one can do that and we set our delay speaker towers up properly then no one notices an off sync in sound vs video. We are not far enough away like lightning and thunder delays for our brains to really have a problem with sync as long as we set it up properly from the beginning like we did in this video.
You are really amazing... so much knowledge and experience person. What I'd give to meet you or work with you? Thanks for always being intentional about sharing what you know.
I love this way of engineering you did with mostly BMD Stuff and software like madmapper! I like te way of thinking and ingenuity! Nice you pulling this of! As a freelancer I see this way as diy-ing with a better price-cost reference than wider used setups on setups. I have used a similar setup when my E2 stopped working 3 hours before show, so Nice! But... Why not using Barco E2 control or Analogway Aquillon for screens and playout for the screens and inputting playout and cams through that. BM is not made as a content switch, more camera broadcast. Madmapper will do, but its still software. Love hoew you did it, but considering; its not really a solution used on most shows. So, my question; why not media server/screen management; - dont know E2 / analogway / hardware media servers - like to try 😊 - Im a broadcast engineer - revolutionizing the market💪😁 Love this, love your answer!
Thanks for the question! A mix of your answers here but main reason as always is budget. We already own the black magic switchers and ecosystem so it’s no additional cost to us to use them. Same thing with pro presenter, mad mapper, companion/stream decks, etc. this way we can make some more profit instead of tying up those funds in rentals. I also know this gear extremely well and a lot of times feel more comfortable solving problems and last minute requests/needs with gear I know vs gear we are less familiar or experts with. Even if it’s a work around solution instead of a purpose built solution. We can absolutely use other switchers/media players better suited for this use case but we found this solution worked best for us. Allowed us to do everything we needed and more. Had enough scalability for all the last minute requests and we were actually broadcasting so we didn’t want to change our workflows if we didn’t have to. Hope that answers the questions! Thanks!
Audio usually reaches and comes out the speakers faster then the video signal reaches a TV/projector/video wall in general. Because of this there are a lot of ways to delay audio. Computer playback softwares can usually delay the audio as it comes out of the computer. The atem switcher can delay audio, the mixer itself can delay audio. In order to get audio and video in sync. We play a video file that makes it obvious if they are in sync or not. Usually a beep test of some sort. Then we use our eye/ear to line the audio up to the video that is playing. Once it dialed in we don’t touch it and it stays in sync for the rest of the show. Thats it!
Best just to standardize on single mode, as multi mode is distance restricted and much less common. And there's something to be said for those 12G-Cross Decimators. There isn't another product quite like it out there. Blackmagic certainly doesn't have something to match and I don't think AJA has either.
How can someone with zero stage tech experience get into this industry? I've been dreaming of working for Q-Dance and want to know how I can get to that goal.
hi. replacing 8k or 4k video with the iso's hd does not feel right! i think the iso's recording looks crappy. am i doing something wrong??? using the me's for live video on stage: don't you have problems with the sync? could you please tell me, does your constellation headset buttons freeze the front panel of your constellation?? ua-cam.com/video/TkNkVKzR_PY/v-deo.html thnak you very much and all the best!
the amount of converters involved is just out of this world. i felt like a kid in a candy shop. so much to learn..
Isn't more conversation means more latency?
@@prodj.mixapeofficial6431 the processing during conversion is very minimal. electricity and light move fast so when the processing is minimal, there is no noticeable delay
@@prodj.mixapeofficial6431 depends. But for hardware usually there is nothing beeing bufferd. The delay will be negligible, like if I make numbers up no more than 10ns for fiber to fiber. That's around 3 m the light can travel.
For screens and software, it's different. Converting from 1 protocol to another loose a frame or two. Same for the LED wall driver. Buffer and lose a few frames.
Funny enough, old televisions had a delay from less than a frame because nothing was being saved
One of the best “state-of-the-art” explanations ever.
Why does it feel like every video setup i see is a bodge connected to a bodge that somehow works xD well done y’all, this is super impressive!
😂
thats video for ya xD
You are the super heroes that keep festivals running, we appreciate all the hard "unseen" work that you do, this video was quite interesting!
Super cool to see the workflow for a big festival like this! Thanks!
Hey Brandon and team, you should check out the fibre unite converters from middle things. They could streamline your setup as one converter can do 5 channels of bi-directional fibre/SDI simultaneously plus ethernet over one MTP fibre cable.
Shillllllllll!!!!!!!
lol jk. Yeah MT is awesome.
Thanks for sharing! I have always been interested in how this all works when I've been to a festival
Thank you so much Brandon for both the knowledge and the beautiful and clear vision
Amazing. Im learning as fast as we can, with intentions of being a led graphic tech and programmer one day. Thanks ALOT!!
A lot going on in this production. Thanks for the video!
WoW Just WoW... On the edge of my seat for your next one
Wow. Brilliant. Thanks for sharing!
oh fiber connectors. Here is a mnemonic: ST=Set en Twist, LC= Little Connector, SC=Standard connector (the bigger brother of LC)
This is golden learning content. Ty do much!
Wow dude great job! I enjoyed this
This is outstanding! Thank you for sharing and teaching at the same time!
I can feel the hot air coming out of the fans through the screen
this video is like 2 years in a school 😊
Most of this is learning by experience and doing.
We use much the same type and selection of gear at Dragon Con; similar problems solved in similar ways
I was at broccoli fest and wondered this while at the festival and this is amazing to see
Amazing!!!! Thanks for all the info, we just turn up and it happens!! Great description 😎🎸
I highly doubt I will ever get to this level of production, but I find it absolutely fascinating. I'm just getting started working with a small local venue recording/streaming events - with a couple BMPCC 6k's.
I'm curious, how many individuals do you have on your production team?
have zero idea what any of this meant - but fascinated by it all!
This is amazing , always wanted to understand how this all works.
Great video!!! Into the Sonnet, do you have a graphic card or just Decklinks ?
Thank you! Just deck links from the Macs
Thank you! Just deck links coming from the Macs
Hey Brandon, nice work! Have you tried using the new audio routing? If you have a madi card for the console you can push and pull feeds wherever you need and separate aux mix minus feeds out each aux as you need it. I’ve got a video showing it if it helps, has changed everything for us, no analog anywhere now!
Very interesting! What did you studied for this job? And do you think that is essential to study or is better work a lot? Thanks you from italy!🇮🇹
Great engineering !!
But I was wondering how is the redundancy like. If one set of wires/fiber gets knocked out, will the system collapse or there is back up plan ?
We have backup fiber lines ran for fail over so if I see one of my cameras and feeds go black, I can either switch to a different camera or feed and in that time I or someone on the team can trouble shoot why we just lost that camera/feed. Swapping converters or plugging into different fiber lines. We are all on comms so it’s easy to communicate while this is all happening. Even in different spaces.
Can you do a separate vid on how you get into this field/career?
great work!
What were you using to delay the video between the Jumbotron and stage screen?
Mad Mapper!
2:36 bro is living it's life with these jobs
I lost track of the video, damm this is really deep and great stuff. It will be an honour to work for you someday
Just a short question about the Atem ISO - are you routing each camera out of the constellation to the Atem for recording? Thanks for your videos
Absolutely love these videos
and yesterday i wasa watching all the A2Z and this channel videos wondering wheres my hero at!!
What lenses and BMD Studio camera models are you using?
Canon CN-E 18-80mm T4.4 COMPACT-SERVO Cinema Zoom Lens (EF Mount)
And the 70-200
Black magic studio 6K G2 cameras
Just found your content and have started binging your vids lol… what would you suggest somebody do to get into live production? i’ve dabbled in it somewhat at my church but really wanna be in this full time
You mentioned at the end that the two big screens are In perfect sync with the FOH audio. How can this be, if you are video delaying at least one of them so the screens are in sync with each other? The FOH sound wont be delayed through the PA as that would screw up that band :) and its not like the venue is so big that the distance is enough to delay the sound. Normally the whole idea is to reduce delay thought the video system to help sync on the big screens.
We only delay audio when we playback a video like a commercial/Ad/or prerecorded sponsored message. When we take B stage video/audio feed and display it on main stage we also delay that audio so it is in sync with both video screens. That B stage is far enough away outside the stadium that the delayed audio cannot be heard on the actual B stage.
For any bands/performers actually on main stage, we do not delay their audio, the natural delay of a camera video feed is all that happens with the imag on the sides screen (not the jumbo tron) which the latency is almost not noticeable in person. The jumbo tron would have different graphics (not imag) when performers play. Of course there are edge cases where we sync them even for imag but not all the time.
@@liveproductionmastery And one or two URSA Broadcast G2 I guess (1.04) ;) with B4 lens which seems incompatible with the focus and zoom control BMD. Any way great jobs ! I would like to see the result.
Thanks for sharing! Which intercom system are you using between the F.O.H. cameras and others?
Quite impressive -- What is this festival called and where is it located?
Hi Brandon, what SSD are you using to record ISO on the Atem sdi extreme? thanks!
I was wondering when you would upload again
What kind of work is this? And how can I do this?
IP-based video can be either NDI or NDI-HX (Newtek, a division of Vizrt), or ST2110 (open standard).
Is the Constellation set to 4K or HD? It is running on FullHD, right? Otherwise it would require alot of downscalers to feed the ATEM SDI Extreme ISO and other monitors that only accept HD
We were running HD and recording our ISOs in 4K directly on camera
@liveproductionmastery This is great stuff. One question. Why do you need to send audio to the stages?
Good question. When we run “playback” which means a sponsor video or ad or some sort of intro video that has audio with it, we play it from our control station and want the audience to see and hear it out by the stage. So really just when we are playing a video that has audio with it. Otherwise the sound comes from the stage to us for the live feed. Also when we occasionally showed B stage on main stage and vise versa. During set changes to keep audience entertained we showed them a performance currently happening on the other stages so they might want to visit that stage instead of staying in one place the whole time.
@@liveproductionmastery I get it now. Thanks for your behind the scenes videos. I'm learning so much.
Hello from Orlando, FL.
Professional Stagehand, Musician, Songwriter, Digital Graphic Designer, Entrepreneur, etc. Hello 👋😎
With the advancement of AV over IP do you see a feature where can we accomplish all of this with PTP/PTMP?
where i can learn these full setups and to work
This Is my Dream Work
something im wondering about: since sound is significantly slower than light, the people in the back will hear the sound noticeably later than the people in the front. At what point in the stadium do you sync audio and video? right at FOH? or slightly before? likely, people watching the jumbotron are watching from further back than people watching the upstage screen. was that a consideration as well?
We normally sync sound based on FOH location. If you could hear both the sound at the front of the stage and at the very furthest back of the stadium at the same time then you could notice the difference in timing but since no one can do that and we set our delay speaker towers up properly then no one notices an off sync in sound vs video. We are not far enough away like lightning and thunder delays for our brains to really have a problem with sync as long as we set it up properly from the beginning like we did in this video.
You are really amazing... so much knowledge and experience person. What I'd give to meet you or work with you?
Thanks for always being intentional about sharing what you know.
links to the equipment and also video chapter will help a lot..thanks
Wow. What was your main camera on this event. URSA ?
Great video
which model of dell monitor is that? thanks
I would love to be part of the setup to see it all work, any apprenticeships ?
I love this way of engineering you did with mostly BMD Stuff and software like madmapper! I like te way of thinking and ingenuity! Nice you pulling this of! As a freelancer I see this way as diy-ing with a better price-cost reference than wider used setups on setups. I have used a similar setup when my E2 stopped working 3 hours before show, so Nice!
But...
Why not using Barco E2 control or Analogway Aquillon for screens and playout for the screens and inputting playout and cams through that. BM is not made as a content switch, more camera broadcast. Madmapper will do, but its still software.
Love hoew you did it, but considering; its not really a solution used on most shows.
So, my question; why not media server/screen management;
- dont know E2 / analogway / hardware media servers
- like to try 😊
- Im a broadcast engineer
- revolutionizing the market💪😁
Love this, love your answer!
Thanks for the question! A mix of your answers here but main reason as always is budget. We already own the black magic switchers and ecosystem so it’s no additional cost to us to use them. Same thing with pro presenter, mad mapper, companion/stream decks, etc. this way we can make some more profit instead of tying up those funds in rentals.
I also know this gear extremely well and a lot of times feel more comfortable solving problems and last minute requests/needs with gear I know vs gear we are less familiar or experts with. Even if it’s a work around solution instead of a purpose built solution.
We can absolutely use other switchers/media players better suited for this use case but we found this solution worked best for us. Allowed us to do everything we needed and more. Had enough scalability for all the last minute requests and we were actually broadcasting so we didn’t want to change our workflows if we didn’t have to. Hope that answers the questions! Thanks!
I don’t know why your’e not stressed, i would be. Great video
Which intercom system are you using?
sir i shall build 8 camera live input for live cricket matches ...please sir inform me about this setup equipment requirement..
to sync audio and video on stage, you delay tha audio too? can you make a video on how to sync stage audio and video? Thanks!
Audio usually reaches and comes out the speakers faster then the video signal reaches a TV/projector/video wall in general. Because of this there are a lot of ways to delay audio. Computer playback softwares can usually delay the audio as it comes out of the computer. The atem switcher can delay audio, the mixer itself can delay audio. In order to get audio and video in sync. We play a video file that makes it obvious if they are in sync or not. Usually a beep test of some sort. Then we use our eye/ear to line the audio up to the video that is playing. Once it dialed in we don’t touch it and it stays in sync for the rest of the show. Thats it!
Thanks for the answer...just one more thing, since the audio is delayed in order to be in sync with video, does the artist complains because of it?
How can I join the team as a production assistant
What role is ProPresenter providing in this digital circus?
Playback of videos/ads/ commercials and then holding slides of artists names before they come on stage.
@@liveproductionmastery It's a great tool.
Best just to standardize on single mode, as multi mode is distance restricted and much less common. And there's something to be said for those 12G-Cross Decimators. There isn't another product quite like it out there. Blackmagic certainly doesn't have something to match and I don't think AJA has either.
i would love to do this but i dont have no concert haha
my dream job
I seriously thought I ran a video production company until I watched this video. dame, talk about a reality check...🙄😳🙄
How can someone with zero stage tech experience get into this industry? I've been dreaming of working for Q-Dance and want to know how I can get to that goal.
Excellent video and respect to your knowledge, but please watch your pupils in the fibre leads section. Pls take care of yourself :)
Wow 😮
How many laptops were used xD
hi. replacing 8k or 4k video with the iso's hd does not feel right! i think the iso's recording looks crappy. am i doing something wrong???
using the me's for live video on stage: don't you have problems with the sync?
could you please tell me, does your constellation headset buttons freeze the front panel of your constellation??
ua-cam.com/video/TkNkVKzR_PY/v-deo.html
thnak you very much and all the best!
why dyou use mac all the time?
THEY DONT TEACH this in university
Where are courses for this?
Wtf am i doing in life?
4x Streamdeck XL's ^_^ like a giant twitch stream
the tape😂
finishing the video as a normie like a champ, like I understand anything that he's saying.
Thanks for powering through it! Lol
Why not use NDI for your systems.. lesser cables and converters bro..
NDI can add a lot of latency in our experience. Especially bad for camera feeds, but for computer to computer, it's usually acceptable.
Are you sure you know what you are talking about :>
For those who dont know:
Single Mode is a one-way connection for data, multimode allows both sides to communicate at the same time.
We sound guys are better ! we are more important xD
Rap gig, no one understands anyways
ya udah.. gue subscribe