One of the things I'm hoping we'll see at NAB this year is a 4K rackmount TVS. Last year they introduced a 4K TVS Pro with integrated control surface, but no news so far on any of those features coming to their rackmount switchers.
Doug as an audio guy coming into the livestreaming world a compressor was a must, i'm glad to see you have one since forever hahaha I use a DBX 166XL for the master, and it works amazing all around.
Hey Doug. Really great video. You helped me a lot. I am using a similar setup on a 6U Case. In my case, I use BMD SmartView Duo, ATEM, HyperDeck Studio Mini , a BMD Web Presenter + a laptop for livestreaming and a Mac Mini with a Stream Deck for controlling the ATEM. Right now I am looking to change the Web Presenter and the laptop, with a VidU PRO or an Epiphan Webcaster 2, and also I want to add audio and talkback in the equation.
Almost the same as my mobile set ;) Small differences. Ex. I use 2 silent fractal design 120mm computer fans to cool a little inside the case. Question, what do you use to generate simple graphics? I use Hyperdeck Studio Mini as a player for prores 4444 files and second or video assist for pgm recording but maybe you have a better solution?
Hey Doug! I am looking into buying a limiter/compressor. The Behringer MDX4600 seems interesting - is there anything special about the MINICOM COM800 you are using or will the MDX4600 also give me good results?
They're quite different. The Mini Com operates using presets. It has essentially three controls: preset selector, and input and output levels. It's designed to be simple. The Multicom Pro-XL (MDX4600) offers manual control -- you set the compression parameters yourself. More flexible, but harder to use if you aren't experienced with compressors. Personally I don't think I'd use a Multcom in this particular application, though. I'd go for a Behringer Composer Pro-XL (MDX2600) instead. Compared to the Multicom, you give up two channels (2 vs. 4) but you get a lot more control over the compressor. It has quite a few more adjustable controls per channel -- it adds a control of the gate/expander, control over the release time, adds tube emulation, and a de-esser. I actually own both the MDX4600 and MDX2600 and like them both, but I usually use the MDX2600 unless I specifically need 4 channels in a single rack space.
I understand my friend for that problem I recommend using a monitor in front of you and if the camera has remote Control put it in manual focus. And so you can manage your focus, it does not matter if you notice the maneuver since that justifies your work alone. Greetings from Via X TV from Chile.
Let's start here: djp.li/ytquality The camera is in manual focus, but I can't adjust it and be in the shot at the same time -- the remote control capability of this particular camera is useless, and its autofocus is no better. The camera also resets its zoom and focus position between reboots, so I have to adjust it every time I shoot a video. Sometimes it's off. There is a monitor in front of me, but it's being used to show many sources at once so the images are quite small, and not detailed enough to judge focus. The monitor is also right under the main light fixture so it's difficult to see. This channel is about the material, not the look. The meager income it brings doesn't even come close to justifying the time I spend on it on my own, let alone many hours of setup, testing, and editing or bringing in additional crew to help work on it. I'm already taking time away from paying clients to produce the content. If there's a technical issue with a video here or there, viewers are just going to have to live with it.
Dough, Can you please suggest a replacement for Behringer Mini com 800. I do live stream using similar setup with blackmagic web presenter and currently using external audio mixer Beringer xynel 500. But since I had put all in a similar rack as that you had shown I want to put audio mixer in the rack itself. Your suggestions will be of great help. Thanks.
They don't have a direct replacement, and finding hardware devices that do the same thing is getting difficult, as most people use software plugins these days. If you can find a Behringer SPL3220 (which has also been discontinued) it will work as well. The best option is a TC Electronic Finalizer ( djp.li/finalizer ), but they're expensive. In my trailer I use a Behringer Ultra Dyne Pro DSP9024, which has been discontinued for more than a decade.
Hi Doug, love your channel. I'm trying to compare some cameras for multi-purpose work, like interviews as well as live cameras that get displayed on a projector in real time. I like the look of the new blackmagic ursa mini pro g2 but I'm wondering if a camera like that will have significant output lag making live in room feeds unacceptable in terms of delay. If all things were equal (which they aren't) would you suggest the ursa or something like a sony fs5 II? We'll be using blackmagic atem switchers which means the ursa has an advantage in that we change change multiple camera settings remotely. Thanks for your thoughts and your great channel.
If those are the cameras you're considering, shop for appropriate lenses first, then choose the camera based on lens availability. If you want smooth zoom capabilities, the lens choices for both are pretty slim. Lens choice being equal, the Sony is going to have much better low-light capability and a sharper image overall. Input lag is about equal.
I also have two similar rigs. We use Sony EX1 camcorders and we always put the audio into one of the cameras XLR inputs. It needs one additional cable run to one of the cameras (usually the closest to the switcher). We've never had any problems with this setup and there are no delays because the cameras sync the audio is delayed by the same amount as the video.
As always Doug great Info ,Thank's for sharing .Couple of questions for you sir ... Do your Camera's get "on air " Lights { Tallys} and are the comms send levels { to camera"s } adjustable ? Finally do the camera Ops get return video { program or line output } .Cheers For your time
Tally is supported. You just have to set the camera number on the Camera Converter so each one knows when to activate. Yes, you do get return video (program feed). But, no, the audio send levels are not configurable.
The HyperDeck Studio Mini recorders are just video recorders. They record video onto an SD card. They don’t do any streaming or capture video into a computer.
Hello Doug A short question from the Netherlands. What is the reason for not going to NDI for these small setup productions? For example the use of a birddog device you have comms, tally and video signal through one cable!
I have that with fiber now. And it costs a lot less. I'm still not sure why people are so fascinated with NDI. It's really expensive to use if you don't have equipment (cameras, switcher) that uses it natively. Fiber is a much, much cheaper alternative with so many other benefits that I'm still a little puzzled why anyone goes the NDI route.
I’am an Atem user and have the 1M/E production studio 4K. I also own a Vmix 22 version on a PC. Compared to the atem the setup of Vmix is much easier. With the integration of NDI you can use the inexpensive CAT5/6 cable to run everything. For the Atem you have to buy the older Blackmagic camera converters and a Talkback converter to get comms and Tally. This is more expensive that a simpel birddog device or similar. I don’t know if the latency of NDI can be a problem for live viewing to a beamer or tv during a presentation.
@@avplus You don't have to use the Studio Converter or Talkback Converter for cameras that don't need intercom. The $155 Optical Fiber converter with a $79 SFP does the trick nicely (one on each end). $234 per end vs. $500+ for an NDI converter. And it's native, uncompressed SDI with zero latency. So less expensive, higher quality video, with distance limitations measured in kilometers. CAT5/6 has a distance limitation of 100M maximum (if you're lucky) without converting to fiber. At least in my own productions, I always have at least one run that is much longer than that. I couldn't even use my trailer if I was limited to 100M. With the fiber I also get return video back to cameras so my operators can see what's live. NDI requires enough bandwidth that it isn't really possible to have more than about 8 video signals on a gigabit network without seriously degrading the quality of the video. I still don't understand the appeal of NDI for general-purpose use. For PTZs, I get it. But for everything else, it doesn't make much sense to me. I know many people swear by it, but to me it sounds like an expensive, unnecessary hassle.
Doug Johnson Productions I see what you mean. For the Atem I use right now a SDI cable and a separate XLR line for ASL comms. The thing I miss right now is the tally light. In the cheaper BMD solution you have mentioned before. I will still miss the tally en comms. That is why I was looking for NDI. When BMD introduce a newer and smaller and cheaper version of the Camera converter mayby that is the best alternative for NDI
@@djp_video Thank you for this. IP video is the future for everything but IMAG. Even Blackmagic is switching to IP for their higher-end fiber converters. Compare $234 on each end for SDI converters vs $30 on each end for an IP fiber to Gigabit ethernet converter. Converting to fiber is cheap when it is IP, so NDI actually wins here on this particular cost. One year from your comment and you can now buy cinema cameras with ethernet streaming at a Blackmagic price-point. In time we'll see cameras like this with native NDI support. Not just PTZ. Or you can get a 4K NDI encoder for $400 and you only need that on one end. 12G SDI doesn't give you a lot of choice when it comes to manufacturers. Being able to run power, video, and control over one cable is why people like NDI. For larger productions, you have to step up to 2.5Gbit or 10G or switch to NDI HX2 with HEVC. But in many cases 8 signals is plenty. I very much like Blackmagic products and for IMAG SDI over coax/fiber just makes a lot more sense.
If the mini recorder puts out less heat than the TVD HD then I would swap sides. Wouldn't want to be blowing the hot air out of the TVS HD into the mini recorder (or visa-versa). Coolest unit should be on the left.
I'll keep an eye on the temperatures and see if there's a potential issue going on there. Right now the TVS is on the left mostly because it's easier to hook up to the other units in back, and keeps the intercom headset cable out of the way.
I think you've done a video about this but I can't find it, could be someone else I guess. What do you use for a bonded cellular/wifi/Ethernet internet connection? I'm looking for something like that atm.
I haven't done a whole video about it. I've mentioned in passing in numerous videos that I use the MoFi 4500 cellular modem for mobile Internet access, the Ubiquiti Edge Router X for automatically switching between available connections, and the VidiU Pro if I need to bond two connections. But, this hasn't been the focus of any of my videos.
800x480 :/ That's another thing I'd wish they'd update. But pretty much all of their monitors are consistently bad. The larger SmartView 4K, SmartScopes, and their URSA Studio Viewfinder while big, bright, decent picture, has difficult controls using only a knob (think Apple Watch crown-like). Also the SmartScope Duo 4K's vectorscope does not have gain! How do you even hit the chip chart targets of they don't even reach?
I agree. I talked to them about this at NAB last year. They could pretty easily create a new dual monitor product based on the LCDs in their Video Assist monitors, which are actually pretty good.
what does "modelling compressor" mean -- beyond the meaning of "compressor" in general. I can't find any use of the phrase other than n the product page for the com 800, and it isn't explained there
I much prefer the hardware encoders. They're more reliable, and if you factor in the cost of a computer for software encoding, the hardware options can be quite a bit less expensive.
Great run down of your portable setup, thanks very useful. I think the VidiU Pro can record as well as encode? Is this the case, if so why do you have the HyperDeck? Thanks in advance
@@TheImperialpictures1 It isn't much better than the Pro. It's just storing a local copy of the stream data, so pretty much any other recording option is going to be higher quality.
Are you familiar with the BM audio to SDI mini converter? It can convert 4 analog sources to SDI (or more if AES) But how does the ATEM mixer/software control handle the 4 channels of analog audio the mini converter sends on the SDI cable? I have an ATEM television pro 4K mixer with a few studio cameras. It seems to only grab the first two channels of audio coming in on the SDI cable from the cameras, and i wonder if the audio converter will be any different. Thank you so much for this channel, I have learned a lot. Particularly your video about upstream and downstream keying was tremendous help.
I have several of those converters. They do embed 4 channels of analog audio (or 8 channels of digital). The ATEM switchers only process the first two channels from each source. The other channels are ignored.
Good afternoon, why are you using web presenter from black magic? I heard that Teradek is interrupted during the broadcast, and another question, Teradek only broadcasts on UA-cam, Facebook, Twitch? does not broadcast to other services?
I haven't ever used the Web Presenter. I vastly prefer hardware-based encoders, which means that for the last few years I've been using the Teradek VidiU units. The Teradek VidiU, in addition to natively supporting UA-cam and a few other services, also supports RTMP, which is the protocol used for pretty much every video streaming service. Other than Instagram, which doesn't permit outside video sources, and Facebook which now requires RTMPS, I've never encountered a service that doesn't work with RTMP.
@@djp_video But what about broadcast stability? I saw tests from teradek vidiu pro the broadcast was interrupted several times. Have you had this before?
Broadcast/ENG-style cameras are kind of the gold standard for live work. A very wide variety of lenses and other accessories are available, but they tend to be very expensive. I think the most flexible cameras are camcorders, which is why I went with Sony PXW-Z150s as my primary camera. They give you really good image quality, even in relatively low light, have decent auto focus, and have a long zoom with electronic control, making them suitable for a pretty wide variety of situations. If you were shooting in a studio where you have control of lighting and your cameras and subjects don't move, the Blackmagic Studio cameras can work well. But I wouldn't use them for sports or situations where your subjects move around. DSLRs are almost never the right answer for live work. In most situations where a DSLR can work, a studio camera is probably a better choice. Cinema style cameras can be made to work, but they're often ill-suited as it can be difficult or expensive to fit lenses with electronic zoom, and auto focus is rarely any good, if provided at all. Like DSLRs, they tend to have a shallow depth of field with the most commonly-used lenses, making it difficult to maintain focus on moving subjects.
@@djskor They're very different cameras. The FX9 is closer to a cinema camera than a more typical camcorder. The FX9 produces a beautiful image -- there's no arguing that. But with its large sensor you're likely to run into a few issues for live work. First, finding lenses that are versatile for a wide variety of shooting situations can be difficult and expensive. There aren't really any inexpensive lenses with a wide zoom range, for example. The Z150 and its siblings will give you a 24X ratio when shooting in HD, or 18X in 4K. Lenses that work on the FX9 capable of doing that are VERY expensive. The other issue is maintaining focus. With such a large sensor, the depth of field is likely to be shallow in many situations. The FX9 has great auto-focus, but even then this type of camera can have a hard time keeping up with a moving subject or maintaining focus when the camera itself is moving. The smaller sensor on the Z150 means that the depth of field is always wider so it's more likely to stay in focus. Both cameras are great. If you're working in a studio or similar situation where you aren't going to need to zoom into a subject from far away, or otherwise just don't need a wide zoom range the FX9 could fit the bill for you nicely. If you're okay with, or looking for the shallow-depth-of-field look and have/are a camera operator that can handle manually focussing quickly and precisely, the FX9 could be a great fit. If you're looking for something that isn't going to have image quality that is quite as good (though still very good), but is going to be more adaptable to a wide variety of situations, a camcorder like the Z150 might work better for you.
I don't own any of Blackmagic Design's hardware panels for my ATEM switchers -- mostly because of cost. Having a 20-input, 2 M/E switcher means that if I was to get one of the 1 M/E hardware panels I'd constantly have to use SHIFT to access half of my inputs, or only be able to control 1 of the 2 M/Es at a time, which isn't quite ideal. And considering that the 2 M/E hardware panel is $15,000... I've elected to not buy that one. What I do use is 128-button and 80-button input panels from X-Keys on my main switcher (in conjunction with the JustMacros software, which I dislike, but have no other options). For my much-more-portable flypack, I don't bother -- I just use the buttons on the front of the switcher for most events, and then augment it occasionally with the ATEM control software on a laptop. Other than that, I don't have any "remotes" to control the ATEMs.
I wanted to know the same for the flight case, looks shallow (front to back). I’m currently sawing down a wooden one so I can reach the back of the TVS
It's difficult to get focus dead-on when you're shooting by yourself on a camera whose autofocus is useless like the BMD Micro Studio 4K. And I wasn't about to reshoot.
Super nice little setup, Doug! This is my kind of thinking all the time for events. Keeping it light and portable :D
I just picked up one of those switchers. Very slick piece of gear.
One of the things I'm hoping we'll see at NAB this year is a 4K rackmount TVS. Last year they introduced a 4K TVS Pro with integrated control surface, but no news so far on any of those features coming to their rackmount switchers.
Whelp. They skipped our needs and went straight to 8K...
Behringer SPL3220 is a good replacement for Behringer Mini Com COM800.
Doug as an audio guy coming into the livestreaming world a compressor was a must, i'm glad to see you have one since forever hahaha I use a DBX 166XL for the master, and it works amazing all around.
Compressors are the least appreciated but one of the most useful pieces of audio gear. I won't do anything with audio without them.
Hey Doug. Really great video. You helped me a lot. I am using a similar setup on a 6U Case. In my case, I use BMD SmartView Duo, ATEM, HyperDeck Studio Mini
, a BMD Web Presenter + a laptop for livestreaming and a Mac Mini with a Stream Deck for controlling the ATEM. Right now I am looking to change the Web Presenter and the laptop, with a VidU PRO or an Epiphan Webcaster 2, and also I want to add audio and talkback in the equation.
This is a great small setup best for beginners and pros for small events. Thanks for such video
Well done sir. I'm building mine now. I have the Shure Axient receiver and mics, and I use Wirecast on my Macbook.
Almost the same as my mobile set ;) Small differences. Ex. I use 2 silent fractal design 120mm computer fans to cool a little inside the case. Question, what do you use to generate simple graphics? I use Hyperdeck Studio Mini as a player for prores 4444 files and second or video assist for pgm recording but maybe you have a better solution?
Mostly I use my own software. But I use Photoshop quite a bit too.
Hey Doug! I am looking into buying a limiter/compressor. The Behringer MDX4600 seems interesting - is there anything special about the MINICOM COM800 you are using or will the MDX4600 also give me good results?
They're quite different.
The Mini Com operates using presets. It has essentially three controls: preset selector, and input and output levels. It's designed to be simple.
The Multicom Pro-XL (MDX4600) offers manual control -- you set the compression parameters yourself. More flexible, but harder to use if you aren't experienced with compressors.
Personally I don't think I'd use a Multcom in this particular application, though. I'd go for a Behringer Composer Pro-XL (MDX2600) instead. Compared to the Multicom, you give up two channels (2 vs. 4) but you get a lot more control over the compressor. It has quite a few more adjustable controls per channel -- it adds a control of the gate/expander, control over the release time, adds tube emulation, and a de-esser.
I actually own both the MDX4600 and MDX2600 and like them both, but I usually use the MDX2600 unless I specifically need 4 channels in a single rack space.
@@djp_video Thats super helpfull thank you for this detailed point of view! A video about the settings of the compressor would be helpfull, too!
I understand my friend for that problem I recommend using a monitor in front of you and if the camera has remote Control put it in manual focus. And so you can manage your focus, it does not matter if you notice the maneuver since that justifies your work alone. Greetings from Via X TV from Chile.
Let's start here: djp.li/ytquality
The camera is in manual focus, but I can't adjust it and be in the shot at the same time -- the remote control capability of this particular camera is useless, and its autofocus is no better. The camera also resets its zoom and focus position between reboots, so I have to adjust it every time I shoot a video. Sometimes it's off.
There is a monitor in front of me, but it's being used to show many sources at once so the images are quite small, and not detailed enough to judge focus. The monitor is also right under the main light fixture so it's difficult to see.
This channel is about the material, not the look. The meager income it brings doesn't even come close to justifying the time I spend on it on my own, let alone many hours of setup, testing, and editing or bringing in additional crew to help work on it. I'm already taking time away from paying clients to produce the content. If there's a technical issue with a video here or there, viewers are just going to have to live with it.
Since the VIDIU Pro is HDMI input and there are no HDMI program outputs on the TVS HD... What are you using to convert an output to HDMI?
It's connected to the HDMI output of the HyperDeck Studio Mini.
Dough,
Can you please suggest a replacement for Behringer Mini com 800. I do live stream using similar setup with blackmagic web presenter and currently using external audio mixer Beringer xynel 500. But since I had put all in a similar rack as that you had shown I want to put audio mixer in the rack itself. Your suggestions will be of great help. Thanks.
They don't have a direct replacement, and finding hardware devices that do the same thing is getting difficult, as most people use software plugins these days. If you can find a Behringer SPL3220 (which has also been discontinued) it will work as well. The best option is a TC Electronic Finalizer ( djp.li/finalizer ), but they're expensive. In my trailer I use a Behringer Ultra Dyne Pro DSP9024, which has been discontinued for more than a decade.
Can i use this Behringer MiniFBQ FBQ800 Graphic Equalizer
No; that's an equalizer. What you're looking for is a compressor, preferably a multi-band compressor.
i really like your videos. thx for sharing your knowledge...
Hi Doug, love your channel. I'm trying to compare some cameras for multi-purpose work, like interviews as well as live cameras that get displayed on a projector in real time. I like the look of the new blackmagic ursa mini pro g2 but I'm wondering if a camera like that will have significant output lag making live in room feeds unacceptable in terms of delay. If all things were equal (which they aren't) would you suggest the ursa or something like a sony fs5 II? We'll be using blackmagic atem switchers which means the ursa has an advantage in that we change change multiple camera settings remotely. Thanks for your thoughts and your great channel.
If those are the cameras you're considering, shop for appropriate lenses first, then choose the camera based on lens availability. If you want smooth zoom capabilities, the lens choices for both are pretty slim.
Lens choice being equal, the Sony is going to have much better low-light capability and a sharper image overall. Input lag is about equal.
@@djp_video Thanks Doug. Once again appreciate your work!
Great setup. We have a couple rigs similar to this! What do you do about audio delay when needed? Delay through an X-air or something?
It hasn’t been an issue so far. But I have a little Behringer effects unit that has a delay function I can use if it ever comes up.
I also have two similar rigs. We use Sony EX1 camcorders and we always put the audio into one of the cameras XLR inputs. It needs one additional cable run to one of the cameras (usually the closest to the switcher). We've never had any problems with this setup and there are no delays because the cameras sync the audio is delayed by the same amount as the video.
As always Doug great Info ,Thank's for sharing .Couple of questions for you sir ... Do your Camera's get "on air " Lights { Tallys} and are the comms send levels { to camera"s } adjustable ? Finally do the camera Ops get return video { program or line output } .Cheers For your time
Tally is supported. You just have to set the camera number on the Camera Converter so each one knows when to activate.
Yes, you do get return video (program feed). But, no, the audio send levels are not configurable.
Hi, can you use hyperdeck studio directly without capture card for streaming?
The HyperDeck Studio Mini recorders are just video recorders. They record video onto an SD card. They don’t do any streaming or capture video into a computer.
Hello Doug A short question from the Netherlands. What is the reason for not going to NDI for these small setup productions? For example the use of a birddog device you have comms, tally and video signal through one cable!
I have that with fiber now. And it costs a lot less.
I'm still not sure why people are so fascinated with NDI. It's really expensive to use if you don't have equipment (cameras, switcher) that uses it natively. Fiber is a much, much cheaper alternative with so many other benefits that I'm still a little puzzled why anyone goes the NDI route.
I’am an Atem user and have the 1M/E production studio 4K. I also own a Vmix 22 version on a PC. Compared to the atem the setup of Vmix is much easier. With the integration of NDI you can use the inexpensive CAT5/6 cable to run everything. For the Atem you have to buy the older Blackmagic camera converters and a Talkback converter to get comms and Tally. This is more expensive that a simpel birddog device or similar. I don’t know if the latency of NDI can be a problem for live viewing to a beamer or tv during a presentation.
@@avplus You don't have to use the Studio Converter or Talkback Converter for cameras that don't need intercom. The $155 Optical Fiber converter with a $79 SFP does the trick nicely (one on each end). $234 per end vs. $500+ for an NDI converter. And it's native, uncompressed SDI with zero latency. So less expensive, higher quality video, with distance limitations measured in kilometers.
CAT5/6 has a distance limitation of 100M maximum (if you're lucky) without converting to fiber. At least in my own productions, I always have at least one run that is much longer than that. I couldn't even use my trailer if I was limited to 100M.
With the fiber I also get return video back to cameras so my operators can see what's live.
NDI requires enough bandwidth that it isn't really possible to have more than about 8 video signals on a gigabit network without seriously degrading the quality of the video.
I still don't understand the appeal of NDI for general-purpose use. For PTZs, I get it. But for everything else, it doesn't make much sense to me. I know many people swear by it, but to me it sounds like an expensive, unnecessary hassle.
Doug Johnson Productions I see what you mean. For the Atem I use right now a SDI cable and a separate XLR line for ASL comms. The thing I miss right now is the tally light. In the cheaper BMD solution you have mentioned before. I will still miss the tally en comms. That is why I was looking for NDI. When BMD introduce a newer and smaller and cheaper version of the Camera converter mayby that is the best alternative for NDI
@@djp_video Thank you for this. IP video is the future for everything but IMAG. Even Blackmagic is switching to IP for their higher-end fiber converters. Compare $234 on each end for SDI converters vs $30 on each end for an IP fiber to Gigabit ethernet converter. Converting to fiber is cheap when it is IP, so NDI actually wins here on this particular cost. One year from your comment and you can now buy cinema cameras with ethernet streaming at a Blackmagic price-point. In time we'll see cameras like this with native NDI support. Not just PTZ. Or you can get a 4K NDI encoder for $400 and you only need that on one end. 12G SDI doesn't give you a lot of choice when it comes to manufacturers. Being able to run power, video, and control over one cable is why people like NDI. For larger productions, you have to step up to 2.5Gbit or 10G or switch to NDI HX2 with HEVC. But in many cases 8 signals is plenty. I very much like Blackmagic products and for IMAG SDI over coax/fiber just makes a lot more sense.
If the mini recorder puts out less heat than the TVD HD then I would swap sides. Wouldn't want to be blowing the hot air out of the TVS HD into the mini recorder (or visa-versa). Coolest unit should be on the left.
I'll keep an eye on the temperatures and see if there's a potential issue going on there. Right now the TVS is on the left mostly because it's easier to hook up to the other units in back, and keeps the intercom headset cable out of the way.
I notice my TVS HD stays cool unless I'm using the DVE a lot, then it gets very warm.
I think you've done a video about this but I can't find it, could be someone else I guess. What do you use for a bonded cellular/wifi/Ethernet internet connection? I'm looking for something like that atm.
I haven't done a whole video about it. I've mentioned in passing in numerous videos that I use the MoFi 4500 cellular modem for mobile Internet access, the Ubiquiti Edge Router X for automatically switching between available connections, and the VidiU Pro if I need to bond two connections. But, this hasn't been the focus of any of my videos.
@@djp_video Thanks for the reply! That was exactly the info I was looking for!
800x480 :/ That's another thing I'd wish they'd update. But pretty much all of their monitors are consistently bad. The larger SmartView 4K, SmartScopes, and their URSA Studio Viewfinder while big, bright, decent picture, has difficult controls using only a knob (think Apple Watch crown-like).
Also the SmartScope Duo 4K's vectorscope does not have gain! How do you even hit the chip chart targets of they don't even reach?
I agree. I talked to them about this at NAB last year. They could pretty easily create a new dual monitor product based on the LCDs in their Video Assist monitors, which are actually pretty good.
I came up with a similar mobile rig for my work but we never ended up buying it. I’ll send you the picture on Facebook.
what does "modelling compressor" mean -- beyond the meaning of "compressor" in general. I can't find any use of the phrase other than n the product page for the com 800, and it isn't explained there
It's just a way of saying that it tries to emulate the behavior of other compressors.
What's your take on hardware and software encoders? Is one better for live streaming?
I much prefer the hardware encoders. They're more reliable, and if you factor in the cost of a computer for software encoding, the hardware options can be quite a bit less expensive.
Which one would you recommend? Currently operating in 1080i.
Great run down of your portable setup, thanks very useful. I think the VidiU Pro can record as well as encode? Is this the case, if so why do you have the HyperDeck? Thanks in advance
The recording capability of the VidiU Pro is quite limited, and not even available when encoding at anything over about 3 Mbps.
@@djp_video hi thanks for the video...what about the vidiu Go
recording capabilities
@@TheImperialpictures1 It isn't much better than the Pro. It's just storing a local copy of the stream data, so pretty much any other recording option is going to be higher quality.
@@djp_video i can understand...thanks for your answer
Have you seen the bitfocus companion app along with a elgato stream deck? It can do some sweet stuff with it.
I haven't used it, but I'm familiar with it. Looks like a cool product. I wish that it supported the X-Keys panels, though.
Are you familiar with the BM audio to SDI mini converter? It can convert 4 analog sources to SDI (or more if AES) But how does the ATEM mixer/software control handle the 4 channels of analog audio the mini converter sends on the SDI cable? I have an ATEM television pro 4K mixer with a few studio cameras. It seems to only grab the first two channels of audio coming in on the SDI cable from the cameras, and i wonder if the audio converter will be any different.
Thank you so much for this channel, I have learned a lot. Particularly your video about upstream and downstream keying was tremendous help.
I have several of those converters. They do embed 4 channels of analog audio (or 8 channels of digital).
The ATEM switchers only process the first two channels from each source. The other channels are ignored.
@@djp_video thank you so much for taking the time to answer!
Good afternoon, why are you using web presenter from black magic? I heard that Teradek is interrupted during the broadcast, and another question, Teradek only broadcasts on UA-cam, Facebook, Twitch? does not broadcast to other services?
I haven't ever used the Web Presenter. I vastly prefer hardware-based encoders, which means that for the last few years I've been using the Teradek VidiU units.
The Teradek VidiU, in addition to natively supporting UA-cam and a few other services, also supports RTMP, which is the protocol used for pretty much every video streaming service. Other than Instagram, which doesn't permit outside video sources, and Facebook which now requires RTMPS, I've never encountered a service that doesn't work with RTMP.
@@djp_video But what about broadcast stability? I saw tests from teradek vidiu pro the broadcast was interrupted several times. Have you had this before?
@@djp_video about LiveU solos did not work?
The LiveU Solo works well, but it has a monthly subscription fee which is significant. If you aren't streaming much, that fee may be a bit much.
I'm not sure if I've ever had the Teradek device be at fault, but all of these devices require a pretty stable, reliable Internet connection.
What did you use to attach the switcher to the rack?
That's one of Blackmagic's Teranex Mini shelves. The Television Studio is designed to fit in it.
Hi Doug. What cameras do yo recommend that work for most events
Broadcast/ENG-style cameras are kind of the gold standard for live work. A very wide variety of lenses and other accessories are available, but they tend to be very expensive.
I think the most flexible cameras are camcorders, which is why I went with Sony PXW-Z150s as my primary camera. They give you really good image quality, even in relatively low light, have decent auto focus, and have a long zoom with electronic control, making them suitable for a pretty wide variety of situations.
If you were shooting in a studio where you have control of lighting and your cameras and subjects don't move, the Blackmagic Studio cameras can work well. But I wouldn't use them for sports or situations where your subjects move around.
DSLRs are almost never the right answer for live work. In most situations where a DSLR can work, a studio camera is probably a better choice.
Cinema style cameras can be made to work, but they're often ill-suited as it can be difficult or expensive to fit lenses with electronic zoom, and auto focus is rarely any good, if provided at all. Like DSLRs, they tend to have a shallow depth of field with the most commonly-used lenses, making it difficult to maintain focus on moving subjects.
@@djp_video appreciate the response.
@@djp_video I was on a video shoot with my friend this week and he had an FX9 Sony. What is your opinion on that one compared to the Sony PXW-Z150
@@djskor They're very different cameras. The FX9 is closer to a cinema camera than a more typical camcorder. The FX9 produces a beautiful image -- there's no arguing that. But with its large sensor you're likely to run into a few issues for live work.
First, finding lenses that are versatile for a wide variety of shooting situations can be difficult and expensive. There aren't really any inexpensive lenses with a wide zoom range, for example. The Z150 and its siblings will give you a 24X ratio when shooting in HD, or 18X in 4K. Lenses that work on the FX9 capable of doing that are VERY expensive.
The other issue is maintaining focus. With such a large sensor, the depth of field is likely to be shallow in many situations. The FX9 has great auto-focus, but even then this type of camera can have a hard time keeping up with a moving subject or maintaining focus when the camera itself is moving. The smaller sensor on the Z150 means that the depth of field is always wider so it's more likely to stay in focus.
Both cameras are great. If you're working in a studio or similar situation where you aren't going to need to zoom into a subject from far away, or otherwise just don't need a wide zoom range the FX9 could fit the bill for you nicely. If you're okay with, or looking for the shallow-depth-of-field look and have/are a camera operator that can handle manually focussing quickly and precisely, the FX9 could be a great fit. If you're looking for something that isn't going to have image quality that is quite as good (though still very good), but is going to be more adaptable to a wide variety of situations, a camcorder like the Z150 might work better for you.
What about sony HSC 100R I was in a 3 camera job using one. Seemed pretty good.
Where did you buy the headphone with mic?
The ones you see here are broadcast headsets from Beyerdynamic. Most of the time I use Audio-Technica BPHS1s though.
Can you do a video going more indepth with how you use the different VLANS?
Have you seen this one? ua-cam.com/video/zhP9Z8m2bqc/v-deo.html
doug do u use the "remote " on the atem whats it for
I don't own any of Blackmagic Design's hardware panels for my ATEM switchers -- mostly because of cost. Having a 20-input, 2 M/E switcher means that if I was to get one of the 1 M/E hardware panels I'd constantly have to use SHIFT to access half of my inputs, or only be able to control 1 of the 2 M/Es at a time, which isn't quite ideal. And considering that the 2 M/E hardware panel is $15,000... I've elected to not buy that one.
What I do use is 128-button and 80-button input panels from X-Keys on my main switcher (in conjunction with the JustMacros software, which I dislike, but have no other options). For my much-more-portable flypack, I don't bother -- I just use the buttons on the front of the switcher for most events, and then augment it occasionally with the ATEM control software on a laptop.
Other than that, I don't have any "remotes" to control the ATEMs.
Good portable mobil setup.
It has since been replaced by a newer version... ua-cam.com/video/MgS3oPcXGs8/v-deo.html
Nice & Thanks :)
whats the rack model? thankd
It’s a Gator GR-6S. djp.li/gr6s
I wanted to know the same for the flight case, looks shallow (front to back). I’m currently sawing down a wooden one so I can reach the back of the TVS
It is relatively shallow. Just over 14 inches front to back.
Sorry but I see a focus problem,,,,that is a big problem when to talk of video themes.
It's difficult to get focus dead-on when you're shooting by yourself on a camera whose autofocus is useless like the BMD Micro Studio 4K. And I wasn't about to reshoot.