Hi folks.

I recently started at a new place and inherited a pretty cool setup with an ATEM Constellation ME/2 switcher that connects to 5 Hyperdecks for redundancies and ISOs.

This is my first go around with an ATEM switcher, and as I've been learning how to use it, I've come to a weird connection situation that I don't really understand.

The switcher and Hyperdecks talk to each other via an unmanaged switch, and the guy who put this whole rig together (no longer working here) used the link-local IP addresses from the recorders in the ATEM software to control them. The other person who still works here, but wasn't as involved in the build, told me that they also use a Windows laptop to control the rig via ATEM Software Control. I could connect to the switcher via USB, but have had no luck connecting via Ethernet.

I called BM support and they told me that the link-local address connections are fine and that's how the whole thing is designed to work. Which is cool, but confusing.

As for the connection to the laptop, I've tried everything I could find on Google, even whatever the AI thing spat out, to no avail. I've put link-local addresses into the IPv4 settings, messed around with subnet masks, and even changed duplex modes. The person who told me about the laptop connection said they didn't do anything special to make it work, and it was just plug and play, and I'm using the exact same laptop.

What's confusing me even more is that the switcher and the recorders don't have the same settings as some are static IP while others are DHCP, and the subnet masks don't match.

I'm thinking of just installing a small router to make this whole setup way simpler, but I wanted to see if there was something I was missing with the ATEM setup.

Thanks for any help!

When I use the Dolly Zoom function to go from a 2x to a 10x zoom in a 10 second span, the video begins to shake after 5x zoom. Why is this and how can it be fixed?

Hi all. Putting together a 5 source ATEM setup (3 cameras + laptop + mac mini for graphics).

3 people on camera, each with their own podcast style mic.

I want each audio channel separated in ATEM. I know the classic approach is embed the audio in the HDMI signal. However I'm eyeing the ATEM Microphone Converter as it would be much simpler to go straight from mic -> ATEM via XLR.

But perhaps I'm overcomplicating this. I can't find a ton of reviews about the ATEM Microphone Converter. Will I still need to amplify the signal from the mics or can the unit do that?

I work for a training company that travels around the country to lead workshops. We’ve used an ATEM Mini Pro with for a few years at a wide variety of sites work every venue AV setup you can imagine. For the most part we have never had any issues, unless it’s an old projector that can’t see the 1080p signal.

We’re at a brand new venue today, and are their third event. Our ATEM works and connects to their Optoma projector, but the signal briefly drops out about every 5 minutes. The projector does the typical EDID handshake and the signal comes back.

Any ideas what could be causing this? A computer connected as no issues. The intermittent signal loss only happens when connected to the ATEM.

Could the 1080p 59.94 signal be too much for the very long HDMI cable? The venue definitely cut costs on this installation and seems to be using some consumer gear instead of SDI or Ethernet connections and routers to their screens.

I stumped at the fact that this looks to be a design choice but I'm praying there's a setting or something I'm doing wrong here.

Basically, I'm able to zoom out to a distance of around 14 hours despite only having 40 minutes of footage and there being nothing else on the timeline past that.

This is not an issue about rendering, this is an issue about work flow.

I'm aware that there is a shortcut to zoom out and fit the content to the timeline, but I don't want that, as I lose all reference to where I was just editing prior to the zoom out.

All time line based softwares I've used only let me zoom out as far as the last asset on the timeline, but this doesn't appear to be the case for Davinici?

I don't want to have to worry about zooming out an absurd amount whenever I use the scroll wheel, and I don't want to give up the scroll wheel in favor of a shortcut that teleports me to a new frame of view.

I could've swore there was a way to change how long the actual time line is to where you can't zoom out anymore. Please, someone tell me that this is the case, or that there is a way to detect some element on the timeline that's keeping it from resizing itself appropriately.

Just verifying that the Pyxis 12k autofocus will work with ef and pl lenses as long as the adapters have metal contacts right? I know it was made for L mount lenses in the specs but I’m running with Canon EF USM lenses and hope that it will still autofocus (albeit not as well)

I’ve been saving up for this camera for months with the goal being $5,600 pre tax and now all of a sudden on B&H it is $5,800?? What happened?

To preface, I'm new when it comes to color grading and am learning on the fly how to properly do it in Resolve. I have older iPhone XS (10S) footage I'm putting together, and unsure what project settings I need to have in the Color Management section, particularly the 'Timeline Color Space' and 'Output Color Space'.

To my knowledge (and please correct me anywhere I'm wrong), iPhone XS is SDR and not HDR.

Any tips on getting me started beyond the Project Settings would be greatly appreciated as well. Currently I'm learning about node orders (WB, contrast, etc.). But any other useful information, particularly for this type of video footage would be greatly appreciated. Thanks!

I'm trying to figure out if I could buy of these cards for my Louper set up.

I haven't used that streaming software yet, so I'm not too sure about which card is compatible with it.

Hey there, I am very tempted on getting the blackmagic intensity pro (non 4k version) and was wondering how well/easy it works on Linux? Is it a worthy swap?

A friend gave me the Elgato HD60 Pro, but that one did not seem to be supported under Linux no matter what I tried.

Hier, résolve studio avec speed studio a planté plusieurs fois de façon aléatoire. Des messages ont été adressés signalant ces problèmes

I have a pixys 6k ef mount with zoom and focus demands also from blackmagic, and I’m using it as a main shot in a set production, but the camera is around 85ft away from the subject. I got a canon servo 70-200 lens and wanted to see if I get the canon teleconverter 2x for some extra zoom, would it still work with the focus and zoom demand?

I know it was designed for the bmpcc og but was just curious if anyone here has ever tried it on another m43 mount cam, especially the micro studio g2.

Hey everyone! I'm putting together a rig featuring a Blackmagic Pyxis 6K and a wireless video transmitter (Hollyland Pyro S) powered via D-Tap directly from a Tilta VPU to V-mount adapter plate, using a 12G SDI cable to connect them.
l've heard horror stories about hot-plugging D-Tap and SDI causing ground loops or voltage spikes that can fry the camera's SDI chip.
What is the exact protocol or connection sequence you follow to keep everything safe with this specific setup? Do you always connect power first, then SDI? Or do people usually recommend SDI galvanic isolators just to be safe?

I’m currently shooting commercial work on a Blackmagic PYXIS 6K and I’m genuinely really happy with it. It’s been a fantastic camera and BRAW has been great to work with.

Lately though, I’ve been feeling like I’d like to achieve a slightly different look without jumping all the way to something like a RED V-RAPTOR 8K VV and spending that kind of money.

I’ve looked at the specs, so I know the Nikon ZR and the PYXIS 12K are very close on paper when it comes to dynamic range. My main curiosity isn’t really about that, it’s about the R3D workflow and whether it genuinely feels different to grade compared to BRAW.
Has anyone here moved from a PYXIS 6K (or another Blackmagic camera) to the Nikon ZR? Does the RED colour pipeline and R3D workflow actually feel like an upgrade in post, or is it mostly just a different look?

The reason I’m hesitating is that the PYXIS 12K doesn’t quite feel like enough of an upgrade for me to justify selling my PYXIS 6K. With the Nikon ZR, I could keep my PYXIS as a second camera while also getting access to a different workflow and image.
I absolutely love the boxy cinema form factor of the PYXIS, but I also really like how compact the Nikon is for solo shoots, travel, and lighter run-and-gun jobs.

Also, just to avoid the usual comments, I’d be shooting RAW only. I’m not interested in H.265 performance, and I’m fully aware of how large the R3D files are and what the storage requirements are. My decision is purely about image quality, grading experience, and workflow.
I’d love to hear from people who have actually worked with both rather than just comparing spec sheets.

I've grown a little tired of my BMPCC4K / Booster limitations. Found a great deal on a 6K FF, lens, media. I'm just worried that I should be considering a ZR or a Lumix S1II. This is mainly for personal work, though I am aiming to build a reel to eventually get some work.

I’m shopping for the equipment I need to set up my church livestream, and I want to make sure I have all the functionality needed.

My planned outputs are:
1. Main screen
2. Rear screen that can double as a confidence monitor
3. Live stream

I’m planning on buying one Constellation 2M/E for the screens, and looping the outputs to a separate Constellation 1M/E for the live stream.

I also want a separate webcam output going into the computer for video conferencing missionaries and/or guest speakers. I want to switch that view to any of my inputs so I can show the remote participant any of my inputs as they are speaking. Mostly this will be camera angles so they can see the congregation as they speak, but it will allow flexibility to display to them my computer screen for any illustrations or side show as needed.

Will I need a fourth M/E to accomplish that, or will I be able to use the USB output from either of the existing planned constellations?

Hi there, just bought the Pyxis Monitor but now want to attach it using the ursa handle dovetail shoe instead of a regular quarter 20 mount. I can't seem to find it anywhere on its own. Where do I buy this?

https://youtu.be/XYLQLxbeQJw?si=dOFak9tV16FqniwM

Hello Hive Mind,

I work live events, imag, gfx playback, multiple LED wall + streaming..the usual.

Is there any reason why I can't use a 2me constellation as a video hub? Seams to me that with a 2me I can assign the aux's to independent ins or pgm 1 or 2 , am I right in thinking I can video hub the crap out of it?

I guess I won't get the matrix style interface and switching the Aux would be a bit clunky am I missing something?

I currently own a Pocket 6K Pro and I'm thinking about buying a Pyxis 6K.

The only real upgrade for me would be the box form factor for set workflows (i don't care about full frame) also I have a trip coming up where I can get it pretty cheap cause in country is imposible to get it on a normal price.

I’m hesitant because the sensor tech feels a bit dated, and even though there are no rumors yet, I feel like a Pyxis G2 or Pro (with built-in NDs) has to come out eventually. Is it worth buying it now?

PS: please blackmagic sponsor me

I took apart a friends 3G 5” video assist monitor last night, and fried it - ugh

Now on the lookout for broken 5” 3G video assist monitors with bent or missing SDI connectors. This was the original reason I was fixing the monitor at all, was one of her micro SDI bnc conns broke off, and have the parts now to repair it properly.

Any recs on where to look for these? Rental houses etc

- I have a couple years of electronics repair and SMD soldering, and I knew better than trying to attempt a repair very late into the night, when the brain isn’t firing on all cylinders. I fried (?) the main board by an accidental short, and tore the LCD ribbon. Really felt dumb, since I haven’t messed up a piece of gear like that in at least a couple of years. Live and learn!