We are upgrading to a bigger atem, but it's honestly a pain. Works like a charmĪnother option is to split once, have the monitor in front of the presenter, and use the picture in picture option for the viewers. That way, he can present and not having to turn to the tv. We even tried splitting laptop 1 out put a second time with a second splitter, which was connected to a monitor in front of the speaker. Hdmi splitter will cost you like 20 bucks. Laptop 2 is connected with internet cable Usb-C -> connected to laptop 2, streaming and recording with OBS R/talesfromproduction All your weird stories R/LocationSound Location sound AKA Production Sound R/audiopost For post-production sound geeks in Games, TV, Film, and Broadcast r/crestron All that is good (and bad) in the world of Crestron r/broadcastengineering Also includes radio! r/CommercialAV Commercial audio, video, and control technologies If you have any questions or suggestions please feel free to messsage the moderators! We would love to make this a great and successful subreddit for all of us video engineers! Remember that no question is stupid and we work together to create a friendly community. All things video are welcome!įeel free to post anything you like from questions to pictures. From a dad with a camcorder to a professional engineer at the superbowl, or a small meeting room operator to a widescreen specialist, projectionist, LED wall engineer or a electrical video engineer. This subreddit is open to anyone to discuss, share and show their work, as well as ask questions towards anything concerning video production. If the ATEM audio works for you then fine, but I guess I feel it has a LOOONG way to go before I'd be happy with it.Welcome to r/videoengineering! Inspired by our brother subreddit: audioengineering Options for audio delay (because delay on an input channel usually isn't where you need it) and more inputs/mic preamps are all easy situations for an external mixer. I also frequently need unique mixes for ISO recorders. The main mix for PGM, maybe a secondary mix for recording/archive, and another mix to satisfy commentators. I almost always am in need of several mixes for a show. There is still only one mixing bus and that I find very limiting. I see that the TVS pro 4k has the upgraded fairlight audio, which adds sorely needed dynamics and EQ. I only have the 2M/E, 1M/E4k, and 4M/E 4k models to test with, all 3 of these models work. Since this control passes through the ATEM software, I would expect this functionality exists for all ATEM models. You can control the ATEM faders as long as the ATEM software is running and connected to the ATEM, but you do not have to have the audio page displayed. It supports many other configs (midi, network) but this was the only one that seemed to work. You also have to configure the x-touch to use Mackie control mode (MC) over USB. As I suspected, the x-touch has to be connected to the computer running the ATEM software via USB. So I have the X-Touch (not mini, not compact, not ONE, it's the biggest model with scribble strips and jog wheel) controlling the ATEM audio faders this morning. At $1800, I will probably end up bringing two separate audio consoles. I am hoping to find something that will do it for no more than around $700. There is a behringer unit I found that will, but it is $1800, and I am hesitant to spend that much on this. It would be convenient to have a console that could control both discrete audio feeds and the software at the same time. In the field, you rarely have a setup that works for every scenario. If it's a single guy at a nearby podium or interview type stuff, I'll use discrete audio, but might still want NAT sound from a camera. If I am 400 yards away from the cameras, I'm running fiber, and will probably go embedded. It all depends on the layout of the shoot and the audio needs. Sometimes I have videos I play from Hyperdeck shuttles that don't have a discrete audio output. Sometimes I use discrete audio for my main audio, but use nat sound embedded from cameras.
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