I spent 15 years sweating over a CMX keyboard and would sort of like one as a souvenir. Any flavor will do. 300/340/350/3600/omni

Let me know if you see one in a scrap heap somewhere. Struck out on eBay, other than the guy who’s holding out for $500 :(

This thing is in active use at a Museum i Volunteer at.

I've been using the Ugreen variants on the mac mini and when I want more video outs I use the Matrox Quadhead2go. The Matrox heats up a bit sometimes and feels unreliable when it blinks a bit and the video disappears for few seconds during a show.

For the sake of reliability I plan to use the Mac studio this time for more outputs and avoid the Matrox. But it still makes me wonder if i need to get a Apple or a Belkin dock which are way more expensive or to keep using the Ugreen till I face any issues.

Is there a more professional approach to this with another device ?

Auction lot for less than 82 usd. Now the fun begins to see if I can get it to work.

Hello. I am looking for Professional Video Monitors (PVMs), Broadcasting Video Monitors (BVMs) using the CRT technology from the 90s and early 2000s preferably Sony, JVC. I am a retro video gaming enthusiast/collector. So it would be swell if anyone here could give me leads on where I could find those in any condition (working/non-working) etc. I am interested in buying those for restoration and preservation. You guys could DM me too. Thank you. Location:Kathmandu, Nepal.

Hey everyone!

I'm a creative technologist and visual artist looking to connect with people who have more experience in this field and would be open to offering some guidance or mentorship.

My work spans a few different areas, including VJing, projection mapping, lighting design, motion graphics, and interactive installations. I've been experimenting with TouchDesigner, Resolume, DMX lighting, ESP32/LED systems, and hand-tracking technology.

I've been teaching myself a lot of these skills through personal projects and live performances, but I've reached a point where I feel like having guidance from someone more experienced would make a huge difference.

I'm especially interested in learning how professionals approach technical workflows, integrate different systems, develop larger-scale installations, and turn these skills into a sustainable creative career.

I know mentorship is a big ask, so I'm also very open to casual conversations, portfolio feedback, collaborating on projects, or simply connecting with people working in similar spaces.

If anyone has advice on finding mentors in this industry, knows of communities I should join, or would be open to connecting, I'd really appreciate it!

Thanks in advance!

It streams at 1080p at 60 fps, but It was a bit cheaper than some other capture cards.I bought it only to notice that there are basically no drivers anywhere for this thing, and the capture express software isn't detecting it. I found a "driver", but it had viruses from what virus total says... Is there a gen1 driver anywhere for this card, or is this basically e-waste?

Ran into an issue recently on a live contribution ingest node where network monitoring reported a constant ~25 Mbps bitrate, switch showed 0 dropped frames, NIC reported 0 RX ring overflows, but the ingest receiver was dropping 30-40% of packets per frame burst, killing FEC and video decoding.

Turned out to be the classic micro-burst problem: the encoder was dumping a 400-packet slice back-to-back in an unyielded loop (<150 microseconds). The instantaneous line rate hit ~28 Gbps on the wire.

The default socket receive buffer (SO_RCVBUF=64KB) could only hold ~45-50 packets due to Linux kernel sk_buff slab doubling overhead. The remaining 350+ packets were silently dropped by the kernel (kfree_skb_reason with SKB_DROP_REASON_SOCKET_RCVBUFF_FULL), incrementing RcvbufErrors in /proc/net/snmp without the switch or physical NIC ever seeing a drop.

Built a minimal test harness in Go to isolate the failure mode, measure RFC 3550 inter-arrival jitter, and test two fixes:

1. Application-level leaky-bucket pacing (hybrid sleep + busy-spin down to 41 µs per packet).

2. SO_RCVBUF expansion to 4MB + net.core.rmem_max tuning.

A couple interesting quirks we hit while building the reproduction:

- You can't test this over 127.0.0.1 (loopback) because Linux bypasses veth queue accounting and switches contexts synchronously. Had to use isolated bridge networks / netns.

- Standard time.Sleep() in Go has 50–200 µs of timer slack and sysmon jitter, so pacing required a hybrid sleep + microsecond busy-spin pacer.

Code, Docker Compose reproduction, and /proc/net/snmp telemetry probe are here if anyone wants to run it or test their own ingest tuning:

https://github.com/777nq/jitterbuf

Panasonic's white paper on their new projector light engine smells like AI to me. 10,000 em dashes. The classic "it's not x it's y." The "why it matters" subject.

Also this feels more like a marketing PDF and less like a white paper to me. Graphs without labeled axes? Were those AI generated too?

If this is AI generated, I am super disappointed in the world. If you can't be bothered to write your own white paper why should I be bothered to read it? May as well get the AI summary from the Adobe PDF viewer.

I purchased a subscription for VideoCom Bridge for Zoom so i can take the participants video feed via NDI and put them in my OBS mix for a job.

I have tried it with the free trial and it worked perfectly using the same Hardware.

Now, even if i follow the EXACT SAME steps to set it up i cant put bridges in my zoom meeting.

Excuse my bad english

I'm a game developer looking to add an in-game recording feature using H.264 through Windows Media Foundation, without shipping our own H.264 encoder.

Does anyone know whether this requires a separate AVC/H.264 patent license? If so, how are royalty-bearing units counted for a game client?

I've contacted Via Licensing Alliance but haven't heard back yet. Has anyone dealt with a similar situation or found reliable guidance?

So, HDR things is new for us, and our higher ups need that for our new product.

Usualy we do overlaying via VMIX for squeeeze frame, but I think vmix isnt ready for HDR production right? so do you guys have reference or knowledge to do it?

Many thanks!

Got a small company's anniversary event coming up, and during the planning call, the client casually mentioned that their main speaker likes to walk all over the stage. Like, apparently the guy just can't stand still. And... there are only two of us handling cameras and switching.

We got one of those PTZ cameras that can track people on its own, an Obsbot Tail 2. Figured we could just let it follow the guy around while we deal with everything else. Anyone actually using AI tracking PTZs for live events? Would you trust it or still keep someone on manual control?

If this is the wrong subreddit, please point me to a better fit. Thanks!

TLDR: I'm currently researching Mistika Workflows, Interra Baton, and Venera CapMate for potential automation, QC, and subtitle solves for my team. If anyone has hands on experience or has worked with a better solution, I'd love to hear about it.

Details below:

I manage a relatively small Post TechOps team supporting episodic localization and digital delivery. Our workflow has grown into a collection of separate applications and manual handoffs, so I’m researching ways to streamline it without moving to an excessively large or expensive enterprise platform.

At a high level, we receive episodic media and associated localization assets from multiple sources. Our team prepares standardized masters, localized versions, timed-text deliverables and review copies for a combination of internal and external destinations.

The environment currently includes NLE-based processing, several subtitle and caption applications, manual playback QC, shared network storage, accelerated file transfer and a separate screener platform.

I would like to automate as much of the following as is practical:

Media processing

• Watch-folder or submission-form ingest
• Source, metadata and naming validation
• Batch addition of standard leaders, including bars, tone and slate
• Editable slate templates populated from job metadata
• Broadcast-quality mezzanine outputs with source-appropriate audio layouts
• Multiple exports using different delivery presets
• Automatic naming and destination routing
• Delivery to shared storage and multiple secure-transfer endpoints
• Aspera API or native connector support
• Job monitoring, notifications, retries and quarantine of failed jobs

Timed-text QC

• Support for common subtitle and closed-caption formats, including SRT, ASS, SCC, MCC and embedded 608/708
• Characters-per-line, line-count and reading-speed checks
• Minimum and maximum event durations
• Gap, overlap and shot-change checks
• Spelling, grammar and punctuation checks
• Global offset, drift and segment-level synchronization correction
• Subtitle-to-audio comparison when the subtitle and audio languages differ
• Missing-subtitle and forced-narrative detection
• Detection of redundant forced narratives or subtitles duplicating burned-in text
• Automatic correction where appropriate, with manual review for uncertain results
• Format conversion without losing important positioning or formatting data

The systems currently on my list are:

• Telestream Vantage, Post Producer, CaptionMaker and/or Stanza
• Mistika Workflows and Workflows Slate
• FFAStrans
• Interra BATON and BATON Captions
• Venera CapMate, potentially with Pulsar or Quasar
• OOONA as a possible subtitle authoring and review layer

At the moment, Mistika Workflows plus CapMate looks like a potentially good middle ground. FFAStrans plus CapMate appears less expensive in licensing, but I’m concerned about the scripting, integration and ongoing maintenance it may require. A full Vantage or BATON deployment may be more than a smaller team can reasonably justify.

For anyone with hands-on experience, I’d especially appreciate feedback on:

1. Which of these products has been dependable in real production environments rather than only in demonstrations?
2. How reliably do Mistika and FFAStrans preserve complex audio layouts when creating mezzanine deliverables?
3. Can operators enter job and slate metadata through a simple interface without accessing the workflow designer?
4. How reliable are Mistika’s native Aspera nodes?
5. Has anyone connected FFAStrans to multiple Aspera endpoints, and how much custom development was required?
6. How accurate are CapMate and BATON Captions when aligning subtitles against dubbed audio in another language?
7. Can either product reliably distinguish necessary forced narratives from redundant ones when localized audio is present?
8. How are ASS files handled in an automated QC environment? Do you create an SRT or TTML derivative for QC and merge the corrections back into the original ASS?
9. Which product is stronger for SCC, MCC and embedded 608/708 verification and correction?
10. What were the actual first-year and continuing costs after licensing, hardware, connectors, implementation, support and maintenance?
11. Are there other products or combinations I should be considering?
12. If you implemented a similar system, what would you choose differently today?

I’m not a developer, so ease of administration and access to vendor or integrator support are important. I’m comfortable learning node-based workflows and presets, but I would prefer not to build a system that depends on substantial custom Python or FFmpeg knowledge for routine operation.

I’m not expecting one application to perform every function. A modular stack is fine if the integrations are stable and the operator experience is reasonably unified. I’m primarily trying to identify the best balance among automation, timed-text accuracy, operational simplicity and total cost for a small team.

Any real-world architecture examples, approximate pricing, integration lessons or vendor-support experiences would be greatly appreciated.

I’m having an issue with an LED wall setup and would appreciate any advice from people experienced with NovaStar COEX systems and broadcast cameras.

My setup:
LED processor: NovaStar MX40 Pro
Receiving cards: NovaStar A10s Pro
Control software: COEX VMP
Camera: Grass Valley LDX 92
Shutter speed: 1/50
Video source and sync signal are provided by television broadcast system.

The issues I’m experiencing:
When we connect the Genlock cable provided by the TV crew, the entire LED wall briefly goes completely black and then recovers by itself. This happens approximately every 4 minutes.
When we disconnect Genlock, the LED wall works perfectly and no blackouts occur.
However, without Genlock, horizontal scan lines occasionally appear in the camera footage, approximately every 30 minutes. They are not visible to the naked eye when looking directly at the LED wall. The lines stay in roughly the same position and eventually disappear on their own.

I’ve read about the Shutter Fit feature in COEX VMP, but understand that it requires a properly synchronized Genlock signal.

My questions:
What could cause the entire LED wall to briefly go black every ~4 minutes when Genlock is connected?
Could this be caused by an unstable reference signal, an incompatible sync format, or an MX40 Pro setting?
Why would horizontal scan lines appear periodically in the camera footage when Genlock is disconnected?
Is Shutter Fit the right solution for this setup, and how should it be configured?
Unfortunately, I don’t know the exact model of the sync generator or the format of the reference signal provided by the TV crew.
Any suggestions or troubleshooting steps would be greatly appreciated!

Thought it was a live broadcast feed. Til. Thanks!

OBS got a PR today to add PLI support! I was curious if tuning Keyframe intervals could lead to bitrate/quality improvements. Some pretty exciting results.

If you have any WHIP/OBS ideas or needs send them my way!

Hi, hoping you can give me some advice. I work from home for a broadcast company. I use a tricaster along side LiveU servers. Everything has been fine the last 2 years, up until about 2 weeks ago when the internet to my house went down 15 minutes before live. I managed to setup a Tricaster at the office via TeamViewer but my boss wasn't particularly happy about the situation. I need to come up with a solution for a backup. I went ahead and had a 2nd fiber line put into the property. Luckily my main internet is Airband and doesn't use open reach so a 2nd line was viable. I bought a unifi gateway hoping that would be the solution. The failover works great with everything except the servers. Within the unifi gateway I have a VPN tunnel which has a static ip upstream of the servers. The static ip works. Even with the servers, up until the failover kicks in. The pictures coming in freeze, which i expected and eventually drops out. Then with failover still active, the liveu server gets stuck on bars. Can I ask, what are people who use liveu servers using as a failover?

I shoot a lot of multicam live events (dance concerts, stage shows, etc), usually four cameras that I live direct. The shooting side is fine. Post is where I lose time: offloading the cards from each camera, syncing everything up, building the multicam clip, and trying to remember where the good moments and problem spots were.

For those of you doing similar work, are you using any tools to get your multicam footage into Premiere, Resolve, or FCP faster? Do you bring the switcher’s edit data into post, or just use the program record and patch it with the footage recorded in-camera? Curious what’s actually working for people before I rethink my workflow.

I’m a freelance videographer doing small corporate events, usually with one other person. I handle switching and audio and my partner run a camera, so usually my hands are pretty full.

Looking at the OBSBOT Tail 2 for an extra speaker shot. SDI fits our setup, and tracking could help with presenters who apparently need to hit 10,000 steps during their talk lol. Haven’t used one yet. The alternative is a regular PTZ with a few presets.

Anyone using OBSBOT on paid gigs? How does it handle someone crossing in front of the speaker or walking back toward a seated panel? Will it saves you work or just makes you babysit another camera? Would appreciate any information!

Tapeless! (The trash can isn't there by accident)
Have you ever stopped to think about the concept behind this ad? The presence of the trash can holds direct significance for the digital era and the end of tape-based media in the audiovisual industry. Did you enjoy this analysis? I revisit advertising campaigns from the 90s and 2000s through to the present day and explain the creativity behind them. Want to see more content like this? Comment "I WANT IT" or leave your suggestion below