r/VIDEOENGINEERING

I had an issue yesterday that I fixed but I'm not sure why, here's the setup:

Presenter has a laptop on stage with a feed going out to a decimator 3g HX. It's sending SDI ~100ft to FOH into a decimator 12g. That has HDMI out capturing to resolume, and is sending SDI back over the same run to a confidence monitor. I know we could have sent signal to the confidence monitor from the decimator on stage but I was not in charge of doing those runs and those were only 2 SDI lines on site.

This setup worked for ~3 hours prior to show. 5 minutes in, the signal to resolume started going in and out. Sometimes it would come back on and only show the bottom 1/4 of the screen but mostly just flickering (not going back but losing signal). We paused the show and swapped the decimator on stage, the decimator at FOH to a 3gHX, HDMI to capture, & the capture itself. Nothing fixed this. I eventually swapped back to the 12g and set the output to the scalar @ 1080p60 which was the exact same as the input. This solved our problem, but I'm left scratching my head as to why this worked.

The signal to the confidence monitor never had any issues, which is the real thing that makes this a mystery to me. Any help/explanation would be greatly appreciated

I have a production coming up in which a remote speaker is going to do live interventions with people in the audience. My initial thought was to use a Steadicam for this, equipped with a transmitter sending the camera back to the switcher and another transmitter, actually the receiver, fix on the camera showing the person being interviewed the person doing the interviewing. My question is whether this type of rig would be too much for a gimbal, because it may be that using a proper Steadicam rig would be too expensive for the production. Thoughts?

(Edit)

Camera it is live to program. Think world class trainer beaming in to a 600 person venue, and doing live interventions with people in the audience. In the venue, on the huge LED, it would show either the remote trainer, the person being coached, or a two up of both. Eyeliner is critical and while it is not practical to use an actual teleprompter, need to get as close as possible. And yes, two wireless packs, one for camera out and one for trainer return.

I’m doing an e-sport broadcast for my uni. I’m usually using OBS 100% of the time but right now I require to use Vmix for it. You guys have any recommendation or tips perhaps? I’m completely lost right now.

Hello all. Some advice if thats okay to post here?

The venue I work in are looking at purchasing some equipment for events that are streaming to Zoom. Its been so long since i last looked at this type of equipment.

The current set up is an ATEM SDI Extreme ISO (cameras over SDI, hdmi feeds from our Aquillons using converters), Laptop running vMix outputting to Zoom.

The set up works fine, but it's untidy and we are thinking there must be a better way to do this.

Would love to know what people are doing now for this type of set up.

Thank you!

Hi all - I figure some folks in this sub must have had experience producing for schools that are on ESPN+. Mine isn't, but I've been told by people that there are mystical, magical GFX requirements that ESPN+ schools are mandated to follow that we couldn't possibly hope to match. I watch plenty of ESPN+ productions and I just don't see it (some are fantastic, some don't seem to do much beyond a score bug and the occasional full-screen).

So I'm hoping someone with actual experience can enlighten me - how much is supplied by ESPN (I know they've said they're only compatible with Xpression and Viz, so I assume they send a basket of templates?), and what 'requirements' are placed on you to meet their standards?

Well this is my first post on here and I have thoroughly enjoyed reading all the other posts on here. My buddy and I have been tasked with building a broadcast trailer from scratch. We have never done this before but we have plenty of experience in studios and what not. We have a pretty good base plan in my opinion but we are always looking for tips. So if anyone has experience in doing this we would love to hear any advice people have. This will end up being for high school sports and we are trying to keep it simple enough to teach high school students.

I am working with a small event setup using a Yamaha TF1 digital mixer for an auditorium.

We currently have two simultaneous audio outputs:

• FOH (main PA system) in the room
• YouTube livestream via vMix

Current setup:

• Microphones go into the TF1.
• FOH mix is controlled via the MAIN LR output.
• For the livestream, we send audio via AUX 3 from the TF1 into a Behringer UMC22 interface, which feeds vMix which streams to youtube

Problem 1: Fast gain control affects both FOH and streaming

The main operational issue is that FOH and streaming are effectively two separate mixes.

For example:

• When someone from the audience asks a question, I need to quickly raise the microphone level for FOH (MAIN LR).
• At the same time, I must also adjust the corresponding AUX 3 send level so that the microphone is audible in the livestream.

This makes live operation slow and error-prone because I am constantly adjusting both FOH faders and AUX send levels independently. Is there a better workflow?

Problem 2: Monitoring the livestream audio

• I monitor FOH using the TF1 monitor out with speakers
• I monitor the livestream using the headphone output from the vMix PC.

This forces me to constantly switch between both

I have also tried using CUE/AUX monitoring from the TF1, but this does not reflect the true processed livestream signal (vMix processing, encoding, etc.).

Is there a better way to monitor the actual livestream output directly from the TF1, or in a more integrated way, without constantly switching headphone sources?

I am considering improving the setup using:

Possibly integrating Dante Virtual Soundcard on the vMix PC for better routing and return audio.

Thanks for your tips!

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EDIT: there is no chance to use two separate audio desks and two audio technician for the moment.

Try1: I tried setting the AUX3 as POST-FADER but does not work, when a fader is changed on the layer 1, it remains unchanged in the AUX3 send. They are not "tied".

Try2: Not sure if it's a bug or not, but when I change i.e. the GATE effect in one channel, go to other channel and return, my changes on the GATE effect are not saved. It's very weird...

What do I have to do? Do I buy a Hotspot at BestBuy and put a SIM card of my internet provider in it? If so, what should I buy?

EDIT: We are streaming a straight conference during 3 hours. People talking in front of cameras. 5 cameras into Vmix streaming on DaCast.

We have two led screens mounted up on the wall. Both identical. 8 panels each using MRV336 receiver cards. Each screen is connected by one ethernet cable.
We tried a borrowed Novastar MX30 and we successfully mapped and configured the screens to display the same image on both (with the MX30).

We bought a Novastar KU20 expecting similar results but no such luck. When plugging in both screens, one screen actually displays correctly but the second screen displays the first panel repeated 8 times. The difficulty arises that in the VMP software an error is displayed saying there is an incompatibility with the receiver cards. This then grays out the ports in the software and you can’t map the second port at all.

Any ideas? We just want the second port to repeat what the first port is outputting. I considered replacing the receiver cards, but may be a new series of challenges with configuring the new cards. Apparently the MRV532 may be compatible?

Toronto-based broadcast question — looking for professional advice.

I’m helping place a professionally assembled Blackmagic live production / SMPTE ST 2110 infrastructure stack (attached for context) and trying to think through the most realistic use cases and organizations for something like this in 2026.

This was built as a turnkey workflow covering shared storage, ingest, ATEM switching, ST 2110/IP transport, routing, monitoring, and live production infrastructure — think smaller REMI workflows, secondary control rooms, studio expansion, streaming, or fly-pack environments.

I’ve already started reaching out to the obvious categories:

• Production companies
• Livestream operators
• Systems integrators
• Esports / content studios

But I’m curious where people are actually seeing infrastructure investment right now for systems like this.

If this landed on your desk, what kinds of organizations would you think of?

• Broadcast schools / media programs?
• Corporate livestream firms?
• Rental houses?
• Smaller broadcasters?
• REMI / remote production operators?

Would genuinely appreciate any perspective from people working in video engineering or technical operations.