Complete live solution

Questions about ATEM Switchers, Camera Converter and everything live!
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AndréRodrigues

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Complete live solution

PostSat Aug 03, 2019 1:09 am

This is my project and I would like to know if I'm losing something here:

1x ATEM Television Studio 4K
1x HyperDeck Studio Mini
1x SmartView 4K
8x Blackmagic Studio Cam 4K
8x Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO Lens
8x SDI 12gb Cables
8x SDI 3gb Return Cables
9x Headsets for talkback
1x Notebook for ATEM software

My objective is have ATEM Television + HyperDeck + SmartView in the same case, something "portable". And than use as much cameras I want acordlying with the project.

With these lenses, and return SDI cables, I can control the lenses and the color on the camera using the ATEM Television? I saw there's all controlers on the ATEM and 8 buttons which I assume is for switch between the cameras right?

There's something missing on the kit? And there's some other lens more "affordable"? Maybe the Panasonic Lumix G X Vario 35-100mm f/2.8 II POWER O.I.S. Lens? If it's possible control it of course.
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Xtreemtec

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Re: Complete live solution

PostSat Aug 03, 2019 9:36 am

why 8 3Gb return cables? Your Atem is running 12G is suppose from your 12G cabling. Then your return is also 12G ;)

About the lenses.. There are only a hand full of models that have full focus and zoom control from the Atem software. Be sure to check the manual.

Also i wonder if you really want to go for Photolenses.. Depending on your project and requirements you might need something with parafocal zoom, smooth zoom. etc.. And normally lens control is in the hands of the camera operator, not the director which already has his hands full on directing and switching ;)
Daniel Wittenaar .:: Xtreemtec Media Productions ::. -= www.xtreemtec.nl =-
4K OBV Trailer, ATEM TVS HD, 1M/E 4K, 4M/E Broadcast Studio 4K, Hyperdeck Studio Mini, Ursa Broadcast 4K, 4K fiber converters with Sony Control
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AndréRodrigues

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Re: Complete live solution

PostSat Aug 03, 2019 12:46 pm

Xtreemtec wrote:why 8 3Gb return cables? Your Atem is running 12G is suppose from your 12G cabling. Then your return is also 12G ;)

About the lenses.. There are only a hand full of models that have full focus and zoom control from the Atem software. Be sure to check the manual.

Also i wonder if you really want to go for Photolenses.. Depending on your project and requirements you might need something with parafocal zoom, smooth zoom. etc.. And normally lens control is in the hands of the camera operator, not the director which already has his hands full on directing and switching ;)


Thx for the answer. About the control of the cameras, be fine, I know what I'm doing. I work with A/V for 21 years, I just only want have control IF I need. There's some situations which I can have 5 cameras operating by someone and 2 or 3 just stood and controled by me, probably I would'nt even control it, but would be a plus if I could.

About the 12G cables, as far I could understand, the return cable is only for control of the colors and etc. So why spent more money on 12G cables if a 3G will work?

About the lenses, thx for the tip. Gonna look on the manual. But for what we gonna do, the photo lenses will work. I'll not spend thousand of dollars on parfocal lenses and etc because this will not make too much difference for us now. Maybe in future. But to start the project, the photo lenses are fine. My doubt it was about if the software could control photo lenses directly from the ATEM, which u are saying that they can, so, perfect!

Thank you for your help my friend. Have a nice day :D
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Xtreemtec

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Re: Complete live solution

PostMon Aug 05, 2019 9:45 am

AndréRodrigues wrote:About the 12G cables, as far I could understand, the return cable is only for control of the colors and etc. So why spent more money on 12G cables if a 3G will work?


If those 3G cables are going to work with a 12G return signal.. Why bother to put in 12G cables from the cameras in the first place ;)

Trust me i have 9 years of broadcast engineering on my sleeve. We have a 4K obv and a lot of fiber development in 12G. Your atem 4K will spit out 12G -sdi for control if you are running it in 4K mode for these cameras. Your return cables need to be 12G too if you want any reliability for this to work.
The issue is that you could stress out the camera if the return channel is failing due to signal flipping on and off.
It might even upset your CCU control due too the camera receiving partial color control packets, flipping the camera to an offset color or whatever. Tally LED's failing because they get signal and then lost again.

Also don't forget the fact that most 12G cabling does not work reliable over 20/30 meters of cabling.
Daniel Wittenaar .:: Xtreemtec Media Productions ::. -= www.xtreemtec.nl =-
4K OBV Trailer, ATEM TVS HD, 1M/E 4K, 4M/E Broadcast Studio 4K, Hyperdeck Studio Mini, Ursa Broadcast 4K, 4K fiber converters with Sony Control
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Royce Hildreth

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Re: Complete live solution

PostTue Aug 06, 2019 4:01 pm

I’d recommend a Taranex signal converter to help when clients wants you to connect to something different than system signal. Decimator can work too in most cases. I also have a couple Roland vc1sc that go with my ATEM systems.

I too recommend having all cabling the same. Sometimes so many pieces in live events, with little set up/testing time, why add to the madness. Plus, if having a cabling issue or trying to troubleshoot signal issue, it’s nice to be able to just swap outputs/inputs, etc.


Sent from my iPhone using Tapatalk
Last edited by Royce Hildreth on Tue Aug 06, 2019 4:18 pm, edited 1 time in total.
Royce Hildreth
Hildreth Media Group, Inc
https://www.hildrethmedia.com
https://www.productionhub.com/profiles/details/33793
ATEM Camera Control: https://www.youtube.com/watch?v=F1SepO8iYiE
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Kevin McGrath

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Re: Complete live solution

PostTue Aug 06, 2019 4:10 pm

on the 3 g cables
think about it this way
if your break your 12 g cable in the middle of the shoot what can you do
you take the OTHER 12 g cable and use it for camera
why use a 3g cable when you can have 2 12g cables
you also have to think further down the road
if you have camera operators you can use the return line for a second camera instead of having to run another set of cables

One thing i did not see here was what are you doing for graphics

for me i prefer a B4 lens because that is what i am used to using
what kind of events do you plan on shooting a blackmagic studio camera is no good for handheld work
Atem tvs , studio converter 4 camera converters, hyperdeck,40x40 videohub. Master control, jvc gy hm700 &170 2 Panasonic aw he60 aw he 2
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AndréRodrigues

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Re: Complete live solution

PostWed Aug 07, 2019 1:27 am

First: thx for all the answers. So yes, you're right, better use all them 12g, I got it.

Kevin McGrath wrote:on the 3 g cables
think about it this way
if your break your 12 g cable in the middle of the shoot what can you do
you take the OTHER 12 g cable and use it for camera
why use a 3g cable when you can have 2 12g cables
you also have to think further down the road
if you have camera operators you can use the return line for a second camera instead of having to run another set of cables

One thing i did not see here was what are you doing for graphics

for me i prefer a B4 lens because that is what i am used to using
what kind of events do you plan on shooting a blackmagic studio camera is no good for handheld work


we do already with pocket 4K and is fine for any use for us. I was thinking to change to studio cam first for the 4K which is not possible with pocket (fhd output hdmi) and second because of the simple talkback system which looks very nice and clean solution. And is for DVD recording and some live shows.

Like I said we already do this with 8 cameras in a ATEM 1. But using BMCC and pockets 4k



Xtreemtec wrote:
AndréRodrigues wrote:About the 12G cables, as far I could understand, the return cable is only for control of the colors and etc. So why spent more money on 12G cables if a 3G will work?


If those 3G cables are going to work with a 12G return signal.. Why bother to put in 12G cables from the cameras in the first place ;)

Trust me i have 9 years of broadcast engineering on my sleeve. We have a 4K obv and a lot of fiber development in 12G. Your atem 4K will spit out 12G -sdi for control if you are running it in 4K mode for these cameras. Your return cables need to be 12G too if you want any reliability for this to work.
The issue is that you could stress out the camera if the return channel is failing due to signal flipping on and off.
It might even upset your CCU control due too the camera receiving partial color control packets, flipping the camera to an offset color or whatever. Tally LED's failing because they get signal and then lost again.

Also don't forget the fact that most 12G cabling does not work reliable over 20/30 meters of cabling.


I completely trust you. About the 12G cables, this is a real thing? 20/30 meters? So I NEED to go Fiber... We normally work with pockets 4K doing FHD transmission and I think the cables are 3G, and we already setup them for 100 meters with no problems at all. So 12g only 20/30 meters is really not too much... Fiber need to be... Oh god this gonna be very expensive heheheheh

Royce Hildreth wrote:I’d recommend a Taranex signal converter to help when clients wants you to connect to something different than system signal. Decimator can work too in most cases. I also have a couple Roland vc1sc that go with my ATEM systems.

I too recommend having all cabling the same. Sometimes so many pieces in live events, with little set up/testing time, why add to the madness. Plus, if having a cabling issue or trying to troubleshoot signal issue, it’s nice to be able to just swap outputs/inputs, etc.


Sent from my iPhone using Tapatalk


Nice tip man, thx a lot!
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Denny Smith

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Re: Complete live solution

PostWed Aug 07, 2019 5:57 am

Also, the ATEM CCU is not going to control the Zoom on the Oly Pro MFT Zoom lenses, only focus and iris. ;)
Denny Smith
SHA Productions
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Royce Hildreth

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Re: Complete live solution

PostThu Aug 08, 2019 7:09 am

AndreRodrigues,
Here is a video we did that shows what most/all buttons do on the ATEM Camera Control panel. For this video we were using our 2/4ME in the rack behind Kevin. However in the bottom left you will notice our 2U ATEM Production Studio HD kit. It's been a good, portable box that gets used lots, when our bigger boxes are not needed, etc.

ATEM Camera Control


The case is the = 2U Studio Flyer Rack Case http://www.skbcases.com/music/products/proddetail.php?f=&id=1005&o=&c=117&s=. The 2U is a bit tight getting all connections hooked up. Best part = you can carry it on a plane/fits in overhead. At NAB last year I saw they have a 3U too.
Royce Hildreth
Hildreth Media Group, Inc
https://www.hildrethmedia.com
https://www.productionhub.com/profiles/details/33793
ATEM Camera Control: https://www.youtube.com/watch?v=F1SepO8iYiE
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AndréRodrigues

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Re: Complete live solution

PostTue Sep 10, 2019 6:55 pm

Royce Hildreth wrote:AndreRodrigues,
Here is a video we did that shows what most/all buttons do on the ATEM Camera Control panel. For this video we were using our 2/4ME in the rack behind Kevin. However in the bottom left you will notice our 2U ATEM Production Studio HD kit. It's been a good, portable box that gets used lots, when our bigger boxes are not needed, etc.

ATEM Camera Control


The case is the = 2U Studio Flyer Rack Case http://www.skbcases.com/music/products/proddetail.php?f=&id=1005&o=&c=117&s=. The 2U is a bit tight getting all connections hooked up. Best part = you can carry it on a plane/fits in overhead. At NAB last year I saw they have a 3U too.



THX MAN!

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