Chad Pearson
Forum Replies Created
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The back of the cinema camera also doubles as a 5″ LCD viewfinder and has things like focus assist built it. But you can also get rails and handles and other attachments, or get a pre-made kit like the ARRI one.
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Yes to all of the above. There is 1 dedicated ME2 output, and 4 dedicated ME1 (2x HDSDI, 1xSDSDI, 1xComposite), but any of the outputs including clean feeds of either can be output to any of the AUX’s (though from what I remember the ME2 clean source is kinda hard to find on the hardware panel but should be easily found via the software controller).
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1. No
2. Yes
3. Yes
4. YesME/1 is considered your “main” program feed. Everything else is designed to flow into it (including the output of ME/2). In the TV world, ME/2 is many times used as a way to put together complex shots (multiple picture in picture and upstream keys) which are then treated as just another input on ME/1. The ATEM though can do this using “SuperSource” which for all intents and purposes could be considered a whole other ME.
In live event production and/or churches people use 1 of the ME’s for the in-room projectors, and the other for broadcast/distribution/live streaming. Both can be run independantly, and you can have anywhere from 5 to 8(?) computers able to control the different aspects of the switcher simultaneously (ME/1, ME/2, still frame store, and audio).
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It may sound unconventional, but there are a number of people who are using Skype using something like the Blackmagic Mini Recorder. Though their use case is to feed an SDI or HDMI signal from a high end camera or switcher, the workflow should be the same.
There are some tricks to be aware of though involving Skype’s XML config file (to disable bandwidth detection which drops the resolution, etc). But it since the Mini Recorder is only $145, it might be worth a look.
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The “reference input” is indeed for syncing your cameras to your switcher (and each other) and is the same thing as genlock. Here’s an oversimplified explanation.
What it does is tell each camera, and your switcher, when to send (camera) or expect (switcher) the first line of video to be sent down the cable. Without it, your camera could be sending line number 12 while your switcher is trying to send line number 400, and the switcher has to “wait” until the camera sends the rest of the lines in between in order to send the line that it wants to. The delay, however, is usually only 1, maybe 2 frames, and at 30 frames per second (technically 29.97) is about 33 – 60 miliseconds.
Depending on your situation, however, that may not be a problem. It is usually most apparent in live audience situations where you have the camera showing on a large screen (ie. jumbotron or IMAG). If you did want to use it, you would have to run a separate cable to each individual camera and also to your switcher, and the camera itself has to support it as well (consumer cameras don’t).
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I understand that Supersource is (will be) a way to pre-set a collection of keys and sources and assign it to an input button, and it includes (or will include) 4 DVE’s to do 4x PiP.
All I really need is a second DVE to do a side by side interview with remote guests. While supersource sounds amazing, I’d be fine with just a second DVE.
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Will the UpDownCross downconvert from 1080i or 720p to 480p or does the NTSC setting only convert to 480i?
The 2 online meeting services we use (GoToMeeting and Adobe Connect) seem to have very specific resolution / frame rate requirements (720p50 for GoToMeeting, and 480p60 for Adobe Connect), and I need my camera (which does 1080i, 720p, or 480i) into one of those formats.
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The functional diagram on the Blackmagic website shows the “Format Conversion” and “Standards Converter” as 2 separate stages. However the dip switches only allow 4 possible output settings.
1080i
720p
NTSC
PALBTW, I always thought NTSC was 29.97 for some reason
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I am using a Lenovo T420s with the Intensity Shuttle with success as well. I posted a picture of it working a few months ago.
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Yes. FMLE 3.2