DVeBlog - News and Reviews

  • Which Ring Light is Right for You?

    <p style="text-align: center;"><iframe src="//fast.wistia.net/embed/iframe/yocrvksezn" title="Wistia video player" allowtransparency="true" scrolling="no" class="wistia_embed" name="wistia_embed" allowfullscreen="" mozallowfullscreen="" webkitallowfullscreen="" oallowfullscreen="" msallowfullscreen="" width="780" height="439" frameborder="0">&lt;/p&gt;</iframe></p><p> “<em>This light is amazing!</em>,” is a common reaction we get from someone who has “finally seen the light” and used one of our ring lights for the very first time. Ring lights have created a home for themselves among Youtube influencers and it’s become the go-to light source for creating vibrant photos on the Instagram feeds of the most admired beauty gurus. </p><p> What makes the light appealing is simple.</p><p> It is light weight and helps to achieve brighter, more natural skin tones. Part of its appeal is when streams of makeup artists on social media demonstrate close-up shots of their eye, viewers can see the unique “O” highlight created by the ring light itself. Great lighting is what is going to set you apart from the crowd.&nbsp;</p><p>Ring Lights are so effective because they accomplish with one light what would normally need two or three lights to accomplish.The halo of light pours over you. Your face is glowing while also being diminished of the appearance of fine lines and blemishes. Unwanted shadows become a thing of the past.</p><p> Whether your passion lies in doing portrait head-shots in your studio, doing vlogs on Youtube, or you just want better lighting for your selfies, the versatile ring light will be the simple solution to give you powerful high quality lighting that travels easy and takes up minimal storage space.&nbsp;</p><p><strong>Learn more by clicking on a ring light below.</strong><br></p><center> <p> <a href="https://www.dvestore.com/prismatic-14-mini-halo-ring-light/" target="_blank"><img src="/product_images/uploaded_images/mini-halo.jpg" alt="Prismatic Mini Halo Ring Light"></a><a href="https://www.dvestore.com/prismatic-halo-ring-light/" target="_blank"><img src="/product_images/uploaded_images/halo.jpg" alt="Prismatic Halo Ring Light"></a><a href="https://www.dvestore.com/prismatic-led-halo-ring-light/" target="_blank"><img src="/product_images/uploaded_images/halo-led.jpg" alt="Prismatic LED Halo Ring Light"></a></p><p> <a href="https://www.dvestore.com/diva-ring-light-nova/" target="_blank"><img src="/product_images/uploaded_images/nova.jpg" alt="Diva Ring Light Nova"></a><a href="https://www.dvestore.com/diva-ring-light-super-nova/" target="_blank"><img src="/product_images/uploaded_images/supernova.jpg" alt="Diva Ring Light Super Nova"></a><a href="https://www.dvestore.com/diva-ring-light-nebula-led-ring-light/" target="_blank"><img src="/product_images/uploaded_images/nebula.jpg" alt="Diva Ring Light Nebula"></a></p><p> <em><em>*Prices are subject to change</em></em></p><p> <em style="font-family: Arial,Helvetica,Verdana,Tahoma,sans-serif; font-size: 15px; background-color: initial;"><em>You can find this in the categories section under Lighting &gt;&nbsp;</em></em>Continuous Lighting &gt;&nbsp;<a href="https://www.dvestore.com/lighting/continuous-lighting/ring-lighting/?sort=priceasc" style="background-color: initial; font-family: Arial,Helvetica,Verdana,Tahoma,sans-serif;">Ring Lighting</a></p><p> <em><em> Hope this helps you choose your Diva Ring Light. Of course, if you still have questions you know who to call!&nbsp;</em></em></p><p> <em><em> Your comments are welcomed and valued :)</em></em></p></center>

  • Dave discusses the new K-Tek Gizmo Bags

    <iframe src="//fast.wistia.net/embed/iframe/jo6qt7hijv" title="Wistia video player" allowtransparency="true" scrolling="no" class="wistia_embed" name="wistia_embed" allowfullscreen="" mozallowfullscreen="" webkitallowfullscreen="" oallowfullscreen="" msallowfullscreen="" width="780" height="439" frameborder="0"></iframe><p><strong>Find out more about that Gizmo Bags by following these links:</strong></p><p><a href="https://www.dvestore.com/k-tek-kgbs1-gizmo-bag-small/" target="_blank">Small Gizmo Bag</a></p><p><a href="https://www.dvestore.com/k-tek-kgbm1-gizmo-bag-medium/" target="_blank">Medium Gizmo Bag</a></p><p><a href="https://www.dvestore.com/k-tek-kgbl1-gizmo-bag-large/" target="_blank">Large Gizmo Bag</a></p><p><a href="https://www.dvestore.com/k-tek-kgbset-gizmo-bag-set-s-m-l/" target="_blank">Gizmo Bag Set<br></a></p><p><a href="https://www.dvestore.com/k-tek-kgb-gizmo-bag-with-removable-padded-divider/" target="_blank">Original Gizmo Bag</a><a href="https://www.dvestore.com/k-tek-kgbset-gizmo-bag-set-s-m-l/" target="_blank"></a></p>

  • 'Old School' Upgrade: Video Production Class Goes HD

    <h4>I was recently contacted by a middle school video production class teacher named Adam.&nbsp;</h4> <p> He had been given a budget to <strong>upgrade his entire three camera live production studio</strong>. Great news! He had some ideas about equipment, but <strong>needed some guidance on putting the whole system together</strong>. Technology moves pretty fast and making sure all the pieces work together is important.&nbsp; </p> <p> I met up with Adam at the school to take a look at their current setup, and I was stunned by what I saw. They were making do with a hodgepodge of donated news gear––I mean the stuff was vintage! There was a morass of composite video cables going every which way and I don't know if I've ever seen so many CRT monitors in one place. </p> <p> <a href="/product_images/uploaded_images/tms-control-room-before.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/tms-control-room-before.jpg" style="width: 424px;"></a> </p> <p> They did have a few pieces of more modern equipment there, but still all standard definition composite. Ewww.&nbsp; </p> <p> I can't tell you what joy it brings me to upgrade a facility from analog SD to digital HD! It's like taking someone with cataracts and giving them laser surgery so they can finally see clearly 8)&nbsp; </p> <p> When I come into a situation like this, it's my job to go through what they've got, and based on their objectives, figure out what equipment needs to be&nbsp;tossed into the rubbish bin&nbsp;and what we&nbsp;can re-use. Because, you know, there's always this thing called a "budget" that demands obeisance.&nbsp; </p> <p> I snapped photos of everything as I went through, so I could reference them back at the office when writing up the upgrade proposal. Check out this old Commodore CRT! </p> <p> <a href="/product_images/uploaded_images/commodore-crt-monitor.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/commodore-crt-monitor.jpg"></a> </p> <p> And doesn't this composite router just make you pine for days of yore? </p> <p> <a href="/product_images/uploaded_images/composite-video-switcher.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/composite-video-switcher.jpg"></a> </p> <p> Did I mention there were a few CRT's sitting around? </p> <p> <a href="/product_images/uploaded_images/stack-o-crts.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/stack-o-crts.jpg"></a> </p> <p> Yeah, I'd say it's definitely time for some new cameras. What's with the foam?! </p> <p> <a href="/product_images/uploaded_images/mini-dv-camera.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/mini-dv-camera.jpg"></a> </p> <p> I'm pretty sure we can improve upon these makeshift teleprompter stands. </p> <p> <a href="/product_images/uploaded_images/makeshift-teleprompters.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/makeshift-teleprompters.jpg"></a> </p> <p> The tripods are sturdy enough, but maybe we can squeeze a head upgrade into this overhaul. </p> <p> <a href="/product_images/uploaded_images/old-tripod-heads.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/old-tripod-heads.jpg"></a> </p> <p> After studying out the needs of the school, reviewing the budgetary constraints and aligning my chakras, I decided that <strong>the core of the system would be a custom PC running&nbsp;<a href="https://www.dvestore.com/vmix-software/" target="_blank">vMix</a> HD software.</strong> </p> <p> <a href="/product_images/uploaded_images/dve-box-pc-w-vmix.png" class="blog-pop-img"><img src="/product_images/uploaded_images/dve-box-pc-w-vmix.png" style="width: 537px;"></a> </p> <p> One of the strengths of vMix is its relative ease to figure out how to use. I knew that this system was going into a middle school, so I didn't want to put in a switcher with a steep learning curve. And unlike some of the standalone hardware switchers, with vMix it's easy to integrate graphics, titles and prerecorded video clips. I also appreciate the scalability of a PC based system. Later on if you want more features, you can upgrade the software, or the capture card, and so on. </p> <p> Next came the camera decision. I ended up spec'ing out three JVC GY-HM200's, because they hit the price/performance sweet spot with their SDI output and LanC lens control. </p> <p> <a href="/product_images/uploaded_images/jvc-gy-hm200-cameras.png" class="blog-pop-img"><img src="/product_images/uploaded_images/jvc-gy-hm200-cameras.png" style="width: 676px;"></a> </p> <p> Then came audio. Adam wanted four channels of wireless. After pricing out the usual Sennheiser rack mount units, I had to face the bitter truth: I couldn't fit them into the budget! Enter the&nbsp; <a href="https://www.dvestore.com/blog/rack-mounting-rodelink-wireless-filmmaker-kits-ac5807/" target="_blank">RODElink Filmmaker Kits</a>. I just had to figure out how to power and rack-mount the receivers... more on that&nbsp;<a href="https://www.dvestore.com/blog/rack-mounting-rodelink-wireless-filmmaker-kits-ac5807/" target="_blank">here</a>. </p> <p> <a href="/product_images/uploaded_images/rodelink-wireless.png" class="blog-pop-img"><img src="/product_images/uploaded_images/rodelink-wireless.png" style="width: 256px;"></a> </p> <p> OK, I've wearied you enough with my teasings. It's time for some AFTER pictures!&nbsp; </p> <h4>Oh, and you can see the full equipment schematic&nbsp;<a href="https://www.dvestore.com/content/BlogDocs/Video%20Production%20Class%20Schematic.pdf" target="_blank">here</a>.</h4> <p> Here are the sleek new JVC cams, complete with com headsets and LanC zoom controllers. </p> <p> <a href="/product_images/uploaded_images/jvc-cams-02.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/jvc-cams-02.jpg"></a> </p> <p> A close up of the teleprompter rigging. </p> <p> <a href="/product_images/uploaded_images/prompter-mounting.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/prompter-mounting.jpg"></a> </p> <p> <a href="/product_images/uploaded_images/varizoom-controllers.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/varizoom-controllers.jpg"></a> </p> <p> The heart of the command center: The custom DVE Box PC on the bottom; the DataVideo com unit in the middle and the rack mounted RODE Filmmaker wireless kits on the top shelf. </p> <p> <a href="/product_images/uploaded_images/equipment-rack.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/equipment-rack.jpg"></a> </p> <p> A wide shot of the "new" control room desk. (We sourced it on craigslist in order to maximize the budget!) </p> <p> <a href="/product_images/uploaded_images/command-center.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/command-center.jpg"></a> </p> <p> It was a lot of fun to see this one come together, and the reaction from the video production teacher did my heart good. </p> <p> <em><span style="color: rgb(79, 129, 189);">"Jason at the DVEstore went above and beyond my expectations, working within my budget––while still giving my school a top-of-the-line HD video production studio.<br> <br> DVEstore helped set up all of the equipment and made sure everything was working perfectly. They are even available through email any time I have a question. I will most definitely be coming back to them if/when I need to upgrade again." </span></em> </p> <p> <span style="color: rgb(79, 129, 189);">–Adam Edinger; Totem Middle School</span> </p> <p> If you have any questions about upgrading your video production classroom, feel free to shoot me an email at&nbsp; <a href="mailto:jason@dvestore.com">jason@dvestore.com</a>! </p> <iframe width="853" height="480" src="https://www.youtube.com/embed/MkF-D_W8RuE?rel=0" frameborder="0" allowfullscreen=""> </iframe>

  • Upgrade Your Church Video Like A Boss!

    <h4>I get a lot of calls from churches that want to either add video to their church services, or upgrade the video they are already doing.&nbsp;</h4><p> <img src="/product_images/uploaded_images/church-video-icon-small.jpg" alt="" style="float: left; width: 309px; margin: 0px 10px 10px 0px;"></p><p> Whether I'm working with a church that has multiple congregations, or just one, I inevitably ask the same questions so I can fully understand how best to help them. <strong> If you are in the market for a church video upgrade,</strong> <strong>considering the following six questions can help prepare you to make the best decisions.</strong></p><h4><strong>1) What do you want to accomplish with your video?</strong></h4><p style="margin-left: 20px;"> The answers are usually one, or a combination of, the following:</p><p style="margin-left: 20px;"> "We want to increase the production value of our services by sending live video and graphics to multiple screens."</p><p style="margin-left: 20px;"> "We want to live stream our church services, to increase our audience and spread the good word!"</p><p style="margin-left: 20px;"> "We want to record our sermons, and upload them to Vimeo or YouTube, so that our house-bound parishioners &nbsp;can watch them at home."</p><h4><strong>2) How many cameras do you want, and will you have &nbsp; &nbsp; camera operators?</strong></h4><p style="margin-left: 20px;"> A church that is starting out with video may want just a single camera. Others may want three to five, or more. If they don't have the employees or volunteers to operate cameras, the conversation turns to pan, tilt, zoom cameras, also know as&nbsp;<a href="https://www.dvestore.com/pro-video/cameras/ptz-cameras/" target="_blank">PTZ cameras</a> or robotic cameras.</p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"> <img src="/product_images/uploaded_images/pt20x-sdi-gy-g2-6.png" alt="" style="float: right; margin: 0px 0px 10px 10px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"> You may also want to consider the scalability of a new system. Can you easily add cameras in the future? Can you add additional video outputs later on?</p><h4><strong>3) How is your audio?</strong></h4><p style="margin-left: 20px;"> You can have the greatest cameras in world, but if you don't have high quality audio to match, it will be a&nbsp;wasted effort.</p><p style="margin-left: 20px;"> It could be that a simple microphone upgrade could significantly improve your audio results. Perhaps the entire audio signal path needs to be looked over to verify that proper gain staging practices are being observed. You may need a more powerful transmitter to counteract signal loss. Whatever it may be, <strong>improving your audio is a reward well worth the effort.</strong> Your viewers will thank you!</p><p style="margin-left: 20px;"> <a href="https://www.dvestore.com/pro-audio/wired-microphones/headsets/" target="_blank"><img src="/product_images/uploaded_images/rode-hs2-pink.jpg" alt=""></a></p><h4><strong>4) How is your lighting?</strong></h4><p style="margin-left: 20px;"> Any camera will benefit from good lighting. Everything will just look better.</p><p style="margin-left: 20px;"> A common problem is not enough light. Without enough the light, the camera will have to compensate with a larger aperture and additional gain, which will increase the noise in the image.</p><p style="margin-left: 20px;"> Another frequent issue is that of mixed color temperatures. If you have tungsten lighting in your chapel, plus windows, then you have a Clash of the Kelvins! There are two different ways to deal with this; 1) Invest in drapes or shades to block out the daylight. 2) Replace the interior lights with daylight fixtures, so that the color temperatures will match.</p><h4><strong>5) What equipment do you have now, that the new equipment will be integrated with?</strong></h4><p style="margin-left: 20px;"> If you are upgrading to high definition, but you're determined to make use of that old DVD burner with only an analog composite input; well, be prepared to pay for a converter. But for the luvapete, don't throw away resolution if you don't have to!</p><p style="margin-left: 20px;"> For best results, I recommend maintaining the same resolution throughout the entire signal flow. For instance, if you are shooting and switching in 1920x1080, then send out 1920x1080 to your projectors and LED screens as well. If you are integrating PowerPoint or other graphics, then build those at 1920x1080 too. The less converting and scaling you have to do, the better the image quality will be.</p><p style="margin-left: 20px;"> <strong> This is a good time to talk about the two broad categories of video switchers; appliance and software.</strong> An appliance switcher is a hardware unit that is designed to do one thing, and do it well. They can be as inexpensive and simple as a Roland V-1SDI, or as complex and expensive as a TriCaster 8000. As you can deduce, software switchers are reliant on a computer system for their operation and also need an internal or external video in/out device. The BlackMagic Design ATEMs and UltraStudios are a kind of hybrid system––appliances that you connect to a computer. The following lists are not meant to be exhaustive but are representative of some of the most common switchers.</p><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"> <u style="font-size: 15px;">Appliance Switchers</u></p><ul> <li>Roland</li> <li>TriCaster</li> <li>BlackMagic ATEM</li> <li>Livestream</li> <li>Wirecast</li></ul><p style="margin-left: 20px; text-align: justify;"> <u>Software Switchers</u></p><ul> <li>vMix (PC only)</li> <li>mimoLive (Mac only)</li> <li>BlackMagic ATEM (PC/Mac)</li> <li>Wirecast (PC/Mac)</li> <li>Livestream Studio (PC only)</li></ul><p style="margin-left: 20px;"></p><p style="margin-left: 20px;"> Waitaminute. Some of those are listed twice! Indeed, some are available as preconfigured appliance systems or software only.</p><p style="margin-left: 20px;"> <strong>My two personal favorites are&nbsp;</strong><a href="https://www.dvestore.com/vmix-software/" target="_blank">vMix</a><strong>&nbsp;and&nbsp;</strong><a href="https://www.dvestore.com/mimolive/" target="_blank">mimoLive</a>. I tend to recommend TriCasters only for higher-end facilities that have a dedicated operator that can put in the time necessary to learn the very deep and powerful interface. If you want to do three camera virtual sets with aplomb––the TriCaster is your only choice.</p><p style="margin-left: 20px;"> <img src="/product_images/uploaded_images/vmix.jpg"></p><p style="margin-left: 20px;"> vMix is equally effective with single camera systems, or 8+ camera systems. Of course, your CPU and GPU requirements go up as you add video sources.&nbsp;</p><p style="margin-left: 20px;"> <strong>Three things that I love about&nbsp;</strong><a href="https://www.dvestore.com/vmix-software/" target="_blank">vMix</a><strong>:&nbsp;</strong></p><p style="margin-left: 20px;"> 1) Anyone that is computer literate can sit down and figure it out.&nbsp;</p><p style="margin-left: 20px;"> 2) The 4K version has built-in PTZ control and integrates perfectly with the PTZoptics cameras. You can set up multiple presets for each PTZ cam, and they can be recalled instantly.&nbsp;</p><p style="margin-left: 20px;"> 3) Integrated NDI technology. NDI is Newtek's Network Device Interface, which allows the sending of an HD video signal over a 1GB network. So incredibly useful when you want to send the PowerPoint from the pulpit to the control room without the time and expense of a converter and a long SDI run. For an example of this in action, check out the embedded video at the end of this blog post!</p><p style="margin-left: 20px;"> <a href="https://www.dvestore.com/mimolive/" target="_blank">mimoLive</a><strong style="font-size: 15px;">&nbsp;is Mac only, and oh so cool.&nbsp;</strong></p><p style="margin-left: 20px;"> <strong style="font-size: 15px;"><br> </strong></p><p style="margin-left: 20px;"> <strong style="font-size: 15px;"><img src="/product_images/uploaded_images/mimolive.jpeg" style="width: 752px;"><br> </strong></p><p style="margin-left: 20px;"> <strong style="font-size: 15px;"><br> </strong></p><p style="margin-left: 20px;"> I stumbled upon mimoLive after realizing how difficult and annoying it is to add alpha graphics and video playback to an ATEM system with the 'stock' software alone. mimoLive takes your ATEM productions to a whole new level! With the available ATEM Control Layer, you can switch your ATEM from inside of mimoLive. Adding graphics and video playback is made easy as well. I much to prefer the Photoshop-like layer based interface over other options like Wirecast. The folks at Boinx, who make mimoLive, have been really responsive to my input and I'm very excited about the future of mimoLive. I recommend it often!</p><p style="margin-left: 20px;"></p><h4>6) What is your budget?</h4><p style="margin-left: 20px;"> The answer to this question will inform the whole process, so it's best to get this nailed down from the get-go. It saves both you and the system integrator time when the budget is a known quantity.</p><h4>In my work at the DVEstore, I focus on live video system design and integration.&nbsp;</h4><p> I always enjoy working with churches because I get to meet great people. It's also just a lot of fun installing new gear and seeing the delight on a customer's face when they see how great it looks, or hear how much better it sounds! Whether you are looking to add video to your church services for the first time, or upgrade what you've been doing for years, feel free to reach out to me at&nbsp; <a href="mailto:jason@dvestore.com">jason@dvestore.com</a>. I'm happy to help!</p><p> I'll leave you with this short video which shows the practical application of some of the gear I discussed in this post. Thanks for stopping by!</p><iframe width="853" height="480" src="https://www.youtube.com/embed/3bM6yciCjtY?rel=0" frameborder="0" allowfullscreen=""> </iframe>

  • 24 hour live webcast: Dancember BTS

    <p>Each December for the last several years, DVEstore has donated knowhow, equipment and man hours to a charity fundraising event called Dancember. This is no ordinary charity fundraiser––It's a 24 hour live web show put on by local YouTubers&nbsp;<a href="https://www.youtube.com/user/BenjiManTV" target="_blank">Benji&nbsp;</a>&&nbsp;<a href="https://www.youtube.com/user/itsjudytime" target="_blank">Judy</a> Travis. In 2015, we raised over $200,000 dollars for&nbsp;<a href="https://www.convoyofhope.org/" target="_blank">Convoy of Hope</a>––a charity whose mission is to feed and educate kids around the world. This all happened out of Benji and Judy's house! It was so successful that we got YouTube's attention. So this year, they got involved to help support the even loftier goal of <strong>raising $500,000 dollars for Convoy of Hope</strong>.</p><p> <img src="/product_images/uploaded_images/jason-with-dancember-hoodie.jpg" style="width: 454px;"></p><p> So, yeah; double the fundraising and YouTube is watching. No pressure right!? It was up to me to design the system configuration we would need [all the equipment and how it works together&91; to make sure this would go over smoothly.&nbsp;</p><p> <img src="/product_images/uploaded_images/screen-shot-2016-12-30-at-6.24.23-pm.png" alt="Dancember 2016 Equipment Schematic"></p><p> I decided that a modular system would help prevent any one particular device from being overloaded. I delegated switching, lower thirds and PTZ control to the TriCaster 410. A Macbook Pro running mimoLive gained super I/O powers by being coupled with a Blackmagic Design UltraStudio 4K Extreme. I used mimoLive for superimposing a live Twitter feed, running playlists of pre-produced video clips and for recording the entire program to a G-Tech 8TB RAID in ProRes 422 format.</p><p> <img src="/product_images/uploaded_images/screen-shot-2016-12-30-at-6.21.57-pm.png" alt="mimolive with UltraStudio 4K and Vidiu Pros"></p><p> Instead of relying on software based streaming, we used two Teradek Vidiu Pro encoders to feed a 6Mb stream to YouTube Live. One Vidiu Pro was sending out the primary stream, and the other, the backup stream. YouTube Live will automagically switch to the backup stream if the primary goes down, so this gave us a nice comforting layer of redundancy.</p><p><img src="https://www.dvestore.com/product_images/uploaded_images/-rr7cipp.jpg" style="font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif; font-size: 15px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: normal;"></p><p>Part of the show consists of other well-known YouTubers calling in to interact and do "challenges" with Benji and Judy. To facilitate this, we employed a NewTek Talkshow VS-100, which you can see mounted in the rack above. This worked great on our end, but what we didn't have much control over is the equipment the Skype caller is using on their end!</p><p> <img src="/product_images/uploaded_images/screen-shot-2016-12-30-at-6.26.42-pm.png" style="width: 406px;"></p><p> As vital as good video is, good audio is at least as important––so we went to great lengths to make sure we got it right. We requisitioned a&nbsp;<a href="https://www.dvestore.com/sound-devices-688-16-track-audio-recorder/" target="_blank">Sound Devices 688</a> mixer from the DVEstore studio and paired it with a&nbsp;<a href="https://www.dvestore.com/sound-devices-cl-12-linear-fader-controller-for-the-688-664-and-633/" target="_blank">Sound Devices CL-12</a> fader controller. Our wireless mics were&nbsp;<a href="https://www.dvestore.com/lectrosonics-lmb-digital-hybrid-wireless-wide-band-transmitter/" target="_blank">Lectrosonics LMb transmitters</a>, with the&nbsp;<a href="https://www.dvestore.com/lectrosonics-src-dual-channel-receiver-with-superslot-a1-band/" target="_blank">SRc Dual Channel receivers</a> super-slot mounted in an SL-6.</p><p> <img src="/product_images/uploaded_images/sound-devices-688.jpg"></p><p> Great audio gear only gets you to the starting line, though. Without the right talent to run it, it's potential will remain unrealized. Coming on set with us to run audio were two local Seattle pro's, Jeremiah Sheets and Chuck Kraft. These guys don't come cheap, but man are they worth it. The audio for this year's show was the best it's ever been. Having them there took a great weight off of my mind.</p><p> <img src="/product_images/uploaded_images/screen-shot-2016-12-30-at-6.42.00-pm.png" alt="Sound Devices 688 with CL-12"></p><p> It took many talented people to pull off this 24 hour live broadcast. A shout-out to Jesse Pepin for coming up from Portland to be a part of it! The really beautiful thing about all this work is the payoff. As of this writing, Dancember has surpassed their goal of raising $500,000 dollars for&nbsp;<a href="https://www.convoyofhope.org/" target="_blank">Convoy of Hope</a>!</p><p> <img src="/product_images/uploaded_images/dancember-main-logo.png" alt="Dancember 2016 Logo"></p><p> <img src="/product_images/uploaded_images/screen-shot-2016-12-30-at-7.36.53-pm.png" alt="Dancember money raised $509,260.06"><img src="/product_images/uploaded_images/screen-shot-2016-12-30-at-7.37.21-pm.png" style="background-color: initial; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif; font-size: 15px;" alt="Benji and Judy Travis"></p><p> For an additional look behind the scenes, check out the video:</p><iframe width="853" height="480" src="https://www.youtube.com/embed/2dVkyrQXj-0?rel=0" frameborder="0" allowfullscreen=""></iframe>

  • Wireless Video 24/7: The Teradek Bolt Pro

    <p>We recently produced a very demanding live event that required wireless HD video transmission. We rented some gear for the 24 hour, live-stream, and included in that was a Paralinx Arrow-X. Or so I thought. Turns out the available wireless video device was a Paralinx Arrow +, which, [after a quick test&91;, was obviously not up to the task of delivering 1920x1080 29.97p video, flawlessly, [from various positions around the studio&91; for 24 hours straight. In a time crunch, we called on our friends at&nbsp;<a href="http://www.koernercamera.com/" target="_blank">Koerner Camera</a> in Seattle. They had a Teradek Bolt Pro 600 available––just what the doctor ordered!</p><p><img src="/product_images/uploaded_images/teradek-bolt-pro.png"></p><p>Our setup consisted of two stationary cameras, a PTZ camera and a mobile, wireless camera. I mounted the Bolt Pro RX unit in a position that overlooked the set and would mostly offer us line-of-sight camera positions.</p><p><img src="/product_images/uploaded_images/teradek-bolt-pro-mounted-sm.jpg"></p><p>There was no noticeable latency in the wirelessly transmitted video from the Bolt Pro 600. It synced up perfectly with our three other SDI wired cameras The transmitter and receiver paired up without issue and we had a rock solid wireless signal for the entire duration of the 24 hour live webcast. We had a few battery changes throughout, as you can imagine, but we always reconnected automatically when the TX unit was powered back on.</p><p>Here's a shot of DVEstore founder, Guy Cochran, running our wireless camera during the&nbsp;<a href="https://dancember.convoyofhope.org/" target="_blank">Dancember</a> broadcast.</p><p><img src="https://www.dvestore.com/product_images/uploaded_images/guy-on-the-mobile-camera-sm.jpg" style="font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif; font-size: 15px;"></p><p>Poor Benji was having his makeup done by his wife Judy. Entertainment value for the viewers? Yes, but I got the feeling Benji thinks he looks just fine without the makeup!</p><p><img src="/product_images/uploaded_images/guy-on-the-mobile-cam-02-sm.jpg"></p><p>I was <strong>very</strong> pleased with the performance of the Teradek Bolt Pro 600. I spent most of my time at the controls of the TriCaster, switching between cameras, and it was certainly a weight off my mind not having to worry about a flaky wireless signal. Even when the mobile camera followed Judy into the dressing room, where she did her makeup tuturial, the signal was solid.&nbsp;</p><p>That being said, apparently Teradek has improved upon this wireless video tech in their&nbsp;<a href="http://teradek.com/collections/bolt-family" target="_blank">latest Bolt Pro models</a>, the Bolt Pro 500, Bolt Pro 1000 &amp; Bolt Pro 3000. These models include Rapid Reconnect functionality which gets you your signal back even more quickly––should you be disconnected due to distance, interfering obstacles or power cycling for a battery swap.</p><p>To polish off this post, and in case you didn't know, the DVEstore carries the full line of&nbsp;<a href="https://www.dvestore.com/search.php?search_query=teradek+bolt+pro&amp;search=" target="_blank">Teradek Bolt Pros</a>, as well as streaming encoders such as the Vidiu Pro or the Cube.</p>

  • Essential Gear for Better YouTube Videos

    <p><img src="/product_images/uploaded_images/blog-post-banner-title.png"></p><p>If you have ever thought about becoming a YouTube star but didn’t know what equipment to start with then you have come to the right place. In this post we will be discussing the basic equipment you will need for a startup production. With a little filmmaking knowledge, you will be making pro looking videos all on your own. </p><p><img src="/product_images/uploaded_images/blog-post-banner-camera.png"></p><p>One of the biggest misconceptions that aspiring vloggers have starting a YouTube channel is that they need a very high quality camera to achieve professional results. The truth is, you can start making high quality videos today with the smartphone you currently own if a DSLR camera is currently out of your budget. </p><p>If you own an iPhone 6 or 6Plus you can record video in 1080p at 60 FPS which will result in sharper and smoother videos. The iPhone 6s can record in 4K for even better looking videos. Android phones also have very high quality cameras to produce videos in HD and 4K.</p><p>If you already own a DSLR camera and are thinking about the easiest way to achieve great results, consider your lens choice and Focal Length. If the lens is set at a wide angle your face will look distorted, and you will need to zoom in to limit perspective distortion. If you have a zoom lens, consider zooming it to at least 50mm, which is the focal length that will eliminate perspective distortion. You can also purchase a 50mm prime lens for around $200 from Canon or Nikon. A DSLR camera will also allow you to create the blurred, out of focus effect in your background that many people find pleasing to the eye, while also maintaining focus on you.</p><p><img src="/product_images/uploaded_images/blog-post-banner-mic.png"></p><p>The next thing you will need is a microphone. It is a good idea to get the best microphone that you can afford, as it is absolutely crucial that your viewers hear you loud and clearly. </p><p>If you can help it, do not use your phone or camera’s built-in mic. The built-in microphones produce very poor audio quality. People can look past poor video quality, but if your audio quality is so bad that it sounds like it was recorded inside a cave, your viewers will click to the next, better sounding, video. </p><p>Your goal is to produce your natural, warm voice in your video, and to limit background noise. If you are using a smartphone, the best option will be the <a href="https://www.dvestore.com/rode-smartlav-lavalier-condenser-microphone/">Rode Smartlav+.</a> It will clip to your shirt and be relatively invisible depending on where you attach it. The best option for DSLR users is one of the <a href="https://www.dvestore.com/rode-videomic-pro/">Rode Videomics</a>. These are shotgun mics that are great for recording what is directly in front of you while also reducing background noise. </p><p><img src="/product_images/uploaded_images/blog-post-banner-lighting.png"></p><p>Lighting is an absolute must if you want your videos to look professional and stand out from the crowd on YouTube. Even if you have a low-quality camera, your videos will be much better once you introduce lighting and ensure that you are well lit. </p><p>If your videos are recorded from your desk, the easiest and most cost effective way to get immediate, professional results, is to invest in a quality ring light. Some options that we recommend here at DveStore are the <a href="https://www.dvestore.com/search.php?search_query=prismatic&amp;x=0&amp;y=0">Prismatic</a> and <a href="https://www.dvestore.com/search.php?search_query=diva+ring+light&amp;x=0&amp;y=0">Diva Ring Light</a> lines of ring lights. The major benefit of using a ring light is that it floods your face with light, removing shadows, and limits the appearance of fine lines and wrinkles. You can watch a review of the Diva Ring Light <a href="https://www.youtube.com/watch?v=CoirO7e1cW0">here</a>, and the Prismatic Halo <a href="https://www.youtube.com/watch?v=4OK33EP4ZDY">here</a>. </p><p>If you are just starting out, a ring light will be sufficient. However, if you want to add more depth to your videos, more lights will provide even better quality to your productions. We recommend the <a href="https://www.dvestore.com/prismatic-fluorescent-luna-light-5500k-daylight/">Prismatic Luna lights</a>. A pair of these lights will allow you to light your hair and your background to help you stand out and add more depth to your final video. </p><p>Another solution for having well-lit videos is the <a href="https://www.dvestore.com/westcott-3-light-ulite-kit/">Westcott 3-Light uLite Kit</a>. It is an inexpensive, all-in-one 3 light kit. It comes with two soft boxes, background light, and all bulbs and stands. These compact, powerful lights can project light over a broad area, giving you a professional polish on a budget.</p><p><img src="/product_images/uploaded_images/blog-post-banner-tripods.png"></p><p>To ensure that you do not introduce shakiness or blurriness to your videos, you will need a stable tripod to place your phone or camera on. There are two options we recommend. The <a href="https://www.dvestore.com/diva-ring-light-video-tripod/">Diva Ring Light Tripod</a> is a great, inexpensive stand that will give you some great options for the price. It has a leveler and you can pan and tilt very smoothly with it.</p><p>If you want a tripod that is higher quality, <a href="https://www.dvestore.com/benro-ad71fk5-video-tripod-kit/">the Benro AD71FK5 Video Tripod Kit</a> will give you all the features you need to for smooth movement and adjustments with precision. </p><p>Many YouTube stars film with their space visible in the background. This is a great option if you have an interesting background and enough light for it to be well-lit. You can also purchase your own backdrop. We recommend the <a href="https://www.dvestore.com/westcott-x-drop-5-x-7-white-black-backdrop-bundle/">Westcott X-Drop 5’ x 7’ white/black backdrop</a>. This bundle is very compact and includes a white and black background that can be interchanged. The whole system can be assembled and disassembled in minutes and stored in the included traveling case.</p><p><img src="/product_images/uploaded_images/blog-post-banner-putting-it-all-together.png"></p><p>Following the tips in this post you can create awesome, professional quality videos without breaking the bank. You will accomplish your primary goal: getting views, likes, and followers. </p>

  • The Swiss Army Knife of Video Converters

    <p> <a href="/product_images/uploaded_images/swiss-army-knife-01.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/swiss-army-knife-01.jpg" style="width: 368px; float: right; margin-bottom: 10px; margin-left: 10px;" alt=""></a></p><p> I've been carrying a Swiss Army Knife around with me for more than 25 years. I use it daily to open packages, remove food from my teeth and to trim annoying hangnails. In high school, it was also good for loosening screws that hold together a locker door or a classroom desk. :) It's so handy I can't imagine living without it. In fact, I lost it once, back in high school, and I was so distraught that I drew up a reward poster and plastered it all over the school. "Have you seen this knife? 5 Dollar Reward!". I asked everyone I saw if they had seen my missing knife. It only took a day for someone to anonymously turn it in to the office. I'm carrying that same knife today. It gives me a sense of confidence; an assurance of preparedness––a readiness-for-anything-the-day-throws-at-me.</p><p> As I ponder on my experiences in the realm of live, multi-camera video production, there is another device that holds a similar position of unparalleled utility and supernal usefulness.</p><p> <strong>The Decimator MD-HX</strong>––this is a device that I don't want to be without, whether in the DVEstore studio, on-location for a multi-camera shoot, or for an installation job. This is one of those products that tends to sell itself when it's understood that they are capable of solving so many problems. So that is my purpose––to share with you how the Decimator has solved problems for me and become an indispensable "Swiss Army Knife" in my video tool kit.</p><p> Decimator Design makes&nbsp; <a href="http://decimator.com/Products/MiniConverters/MiniConverters.html" target="_blank">six different mini converters</a>, but for the purpose of this blog post, I'll be focusing on the affordable&nbsp;<a href="https://www.dvestore.com/decimator-md-hx-miniature-hdmi-sdi-cross-converter-with-scaling-frame-rate-conversion/" target="_blank">Decimator MD-HX HDMI/SDI cross converter</a>. Let's start with what comes in the box:</p><p style="text-align: center;"> <a href="/product_images/uploaded_images/decimator-whats-in-the-box.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/decimator-whats-in-the-box.jpg" alt="Decimator MD-HX breakdown" style="width: 408px;"></a></p><p style="text-align: center;"> <em> Click to enlarge</em></p><p> Pictured above is the red Decimator&nbsp;MD-HX&nbsp;unit itself surrounded by the included accessories. On the left is the power supply, with a locking barrel connector. Above the power supply are the power adapters for using the Decimator in any country around the world. On top is an adapter plate that allows rack mounting the Decimator. On the right is a USB cable [for computer based control&91; and a full-to-full HDMI cable. Not pictured is the 9 page operating manual.</p><p> The four basic operating modes of the&nbsp; <a href="https://www.dvestore.com/decimator-md-hx-miniature-hdmi-sdi-cross-converter-with-scaling-frame-rate-conversion/">Decimator MD-HX</a> are as follows:</p><ol> <li>HDMI to SDI while simultaneously converting SDI to HDMI</li> <li>HDMI to HDMI while simultaneously converting SDI to SDI</li> <li>HDMI to HDMI and HDMI</li> <li>SDI to SDI and HDMI</li></ol><p style="text-align: center;"> <a href="/product_images/uploaded_images/-md-hx-flowchart-02.png" class="blog-pop-img"><img src="/product_images/uploaded_images/-md-hx-flowchart-02.png" alt="Decimator MD-HX Signal Flow graph" style="width: 589px;"></a></p><p style="text-align: center;"> <em> The flow chart above can be helpful for visualizing the signal flow possibilities</em></p><p> As you can see, with the&nbsp;Decimator&nbsp;MD-HX, you have the ability to perform two conversions simultaneously, which means you are essentially getting two converters in one! This functionality is essential if you need to match two cameras to the frame rate of your switcher. ATEM switchers, for example, don't have any built in conversion or scaling, and if you feed it the wrong frame size or frame rate, you'll get no signal at the switcher.</p><p> This brings me to another point: It is extremely helpful to have a quick way to verify the signal on a given HDMI or SDI feed. With the Decimator&nbsp;MD-HX, you can plug in your cable and get an instant readout on frame size and frame rate! I can't emphasize enough how helpful this is when you are renting cameras that you may not be 100% familiar with [or you've hired a camera person who brings their own camera&91;. In a perfect production world, we'd have cameras that match exactly and we'd be perfectly familiar with every piece of gear on the scene. But how often does that happen?</p><p style="text-align: center;"> <a href="/product_images/uploaded_images/decimator-input-status-01.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/decimator-input-status-01.jpg" alt="Decimator MD-HX screen interface" style="width: 616px;"></a></p><p> On the MD-HX display "S" represents the SDI input signal; "H" represents the HDMI input signal; "D" represents the Down Up Cross Converter status. In the image on the right, a camera is plugged into the HDMI input, and the signal is recognized as 1920x1080 interlaced, at 59.94 frames per second.</p><p> Like any piece of gear, the Decimator MD-HX does have its limitations. It won't do 4K. It's also digital only. I recently got a call from a fellow working a new job at a city hall. He was trying to integrate a new switcher with the existing PTZ cameras in the council chambers. He had purchased a Roland V-1HD and a couple of Decimator MD-HX's from DVEstore.com. Sounds like a recipe for success, right? Well, he was having trouble seeing the signal from the cameras. He was plugging the BNC feeds right into the Decimators––and nothing. I asked him for the model number of the cameras, and a quick google search revealed that these cameras were putting out standard definition, analog composite video!</p><p> I tried not to make him feel bad about it, but I did mention that a call to me, <strong>before</strong> purchasing, would have saved him a serious headache. I initiated a return of his purchases and got him set up with a Roland V-4EX, which will work with those SD PTZ's. I would love to help him upgrade to some&nbsp;<a href="https://www.dvestore.com/brands/PTZOptics.html" target="_blank">PTZoptics HD PTZ's</a> in the future!</p><p> <strong>Bottom Line:</strong>&nbsp;</p><p> It's good to know what you're working with, but it's even better to be prepared for surprises too. I have found the Decimator MD-HX to be <strong>an indispensable SDI/HDMI converter, scaler, distribution amplifier, signal sniffer</strong>! All that functionality can be accessed by the four buttons on the front panel, but I recommend using the USB Control Panel utility first for getting familiar with the settings.&nbsp;</p><p style="text-align: center;"> <a href="/product_images/uploaded_images/decimator-usb-control-01.jpg" class="blog-pop-img"><img src="/product_images/uploaded_images/decimator-usb-control-01.jpg" alt="Decimator software interface"></a></p><p> <strong>True Story:</strong></p><p> Just as I was finishing up this blog post, I got a call from Alex Lopez in Miami. He asked if DVEstore carries&nbsp; <a href="https://www.dvestore.com/brands/Decimator.html?sort=bestselling" target="_blank">Decimator Design products</a>. I said "Yes, indeed!". He then went on and on about how Decimators have saved his bacon, (tofu for any vegans out there), time and time again while doing large music concerts with multiple cameras and IMAG. Alex knows the value of being prepared with the right tools and he will soon be upping the value of his 'Decimator insurance policy' if you know what I mean.</p>

  • Ins & Outs of the ATEM Production Studio 4K

    <p> Guest blogger, Steve Oakley, reviews the BlackMagic Design&nbsp; <a href="https://www.dvestore.com/blackmagic-design-atem-production-studio-4k/" target="_blank">ATEM Production Studio 4K</a>!</p><p> <iframe src="https://fast.wistia.net/embed/iframe/486d59ppsu" width="620" height="349" name="wistia_embed" frameborder="0"></iframe></p><p> This is Steve Oakley for the DVE Store and in this video, we're going to take a look at the Blackmagic ATEM Production Studio 4K. Let's go check it out.</p><p> Okay. So in a video that's only a couple minutes long, I can't go through every feature of this unit. There's that thing that I know people really hate to use. It's called a, it's a bad word. It's manual. Yes, you're going to have to take a quick look through the manual. Highly, highly recommend it if you really want to get the most out of this unit. Now that said, I basically did what everybody else does. I installed the software and I was pretty much up and running in a few minutes. So let me go over the highlights of that. Now one thing that's really important when you first get the unit out of the box is you need to configure it and to do that, you have to use the USB port. The USB port is not for operational control of the switcher. In other words, clicking buttons, making things happen. It's pretty much strictly for configuring the unit and uploading and updating any firmware that it might need.&nbsp;</p><p> So once you follow those directions, and this is really a place that you should take a quick look at the manual, which is basically how to set this unit up, because it talks to the computer using Ethernet. Now it was designed that way because they were thinking about big facility. You've got boxes put in one place. You've got control units in another. Everything's in separate rooms. So that might seem odd if you're, say, on location putting this onto a table and you've got a laptop and the unit right next to each other. If you're out on location and you have a MacBook Pro, especially a new one that doesn't have an Ethernet port, you're going to need to get yourself a USB to Ethernet adapter. You basically have to setup an IP address on the unit. Now you can use DHCP or you can manually set it. I prefer to set up everything manually just because it made things simpler for me and more consistent. It's pretty straightforward to get the whole thing working and once you do, you can launch the ATEM switcher software. If you've ever used a switcher before, then the software layout is pretty familiar. Now there are several hardware panels also available if you really prefer to have a tactile feel and that physical surface and if you do a lot of live event switching, whether it's broadcast or corporate events or whatever, having that control service might be a really worthwhile investment.&nbsp;</p><p> Let's check out the software because I think that's how a lot of people are going to use this. There are a couple of keystrokes you want to know. One is space bar. That gives you cut and "Enter" gives you transition. So if you want to do fly on/fly off picture in picture effects and that sort of stuff, you're going to have to go to one of the higher ME models of the ATEM switchers. This is a basic switcher. So, it does dissolves. It does wipes. It does different types of keys including chroma key and it doesn't do any sort of DVE move, meaning picture in picture, anything that involves scaling or pushing the image on or off the screen.&nbsp;</p><p> On this unit, you have a still store. You can upload those on the media page into the two media players and then use those just like any other video source. They are keyable. If you load a PNG, a TIFF, I think, a TGA file with an alpha channel, those will all work fine and they will be self-keying. You can use those both downstream and upstream. For example, you could use another laptop as a character generator for putting peoples' names on the screen. <br> So something new with the latest software update is the ability to use a HyperDeck as a virtual VTR. While not virtual, it is. It's just solid state. There's no tape involved. So when you set up a HyperDeck as a video source and route it into the switcher, when you take that effect, either with a cutter or transition, it will instantly go into play. Really cool. Great feature and I'm really happy that they added it.&nbsp;</p><p> Let's talk about the USB port on this unit because there's a little bit of confusion out there. The standard HD older model ATEMs will actually output either H.264 compressed video or in one or two cases, uncompressed video out of the port. The 4K models don't do that. If you want to record for streaming, you're going to need to have a different interface to bring that into your laptop. For example, I actually have an UltraStudio Express. A cool option in the ATEM software is that you can actually capture from the UltraStudio within the interface. Go to the top right and select "Capture." Set your input up and capture away.&nbsp;</p><p> One of the things that I really liked about this unit was the mix of inputs, particularly the HDMI ones. While I don't work with a lot of consumer cameras outside of maybe a GoPro or two, I do work with a lot of laptops for output of PowerPoint or some other type of presentation. It's easy to directly connect that right into one of the inputs. None of the inputs require, I guess if you're familiar with old school stuff, the time-based corrector. Everything has its own frame buffer for direct input. Now that said, here's something that's really important. You have to match the frame rate and the frame size identically across all the devices.&nbsp;</p><p> None of the ATEM units have the ability to scale a video frame or convert frame rates on the inputs, so it's important to get every signal into the same format. Now a camera, for example, might actually be set to 1080/30p but the signal becomes PsF. That's Progressive Segmented Frame. Thank you, Sony, for that tongue twister. Which means that your progressor frame is split into fields. It goes down the wire as fields and then the switcher reintegrates it back as progressive once it's inside the box. So there are ways of getting progressive into the switcher simply by using an interlaced signal as a transport stream. You're not actually interlacing the image itself. The ATEM has a bunch of separate audio inputs which are pretty handy. Now if you feed audio into this unit say, from a mixer, if you're using SDI out of the cameras, you're processing delays, you're going to be about one line, so you're never going to see any sort of sync errors. However, if you're using HDMI out of a camera, you could have up to an entire frame of delay and that's caused by the camera and the nature of HDMI. It's not a fault of the switcher. So it's quite possible if you're using all HDMI cameras, that you might need to purchase an additional audio delay and delay the audio a half to one full frame to bring everything back into sync.&nbsp;</p><p> Well, let's talk about these buttons on the front of the unit. Here's what they do. If you hit any of them, you can look at "Program." You can look at all your sources, your media players. Up on the screen, you'll see whatever's coming in or going out, depending on which one you picked. What this also does is it selects what video is being fed out the auxiliary output. That's pretty cool that this has an auxiliary output because it lets you do a couple of different things. One, you can do a nicer record. Two, if you wanted to do something really down and dirty bare bones, you could use the auxiliary output really, actually, as your program and do direct cuts between cameras on the front. Now you can only do cuts only and the unit really wasn't intended to be used as a switcher this way, but for certain things, it may get the job done. So it's a nice option to have available.&nbsp;</p><p> So I hope I've given you a lot of good information about this and cleared up any of the fuzzy points that people sometimes have prior purchasing one and, yes, I actually do own one and I am using it for doing live events and I'm really happy with it. This has really been solid piece of gear to work with.</p>

  • Rack Mounting RODELink Wireless Filmmaker Kits

    <p> I recently did a video studio installation/integration for a school and the budget was tight. Really tight! I wanted to give them the most for their money and, of course, meet the technical needs they had outlined for the project. I was scouring my equipment list for a place to shave off a few hundred dollars, so I started taking a closer look at the four rack-mount wireless receivers that I had specced out. They were on the pricey side, but I didn't want to cheap out and end up with a bunch of belt-pack receivers littering the console in the the control room––I could just see the mess of cables everywhere, not to mention having to constantly swap out batteries. Not gonna go there.</p><p> Being familiar with the relatively inexpensive&nbsp;<a href="https://www.dvestore.com/rodelink-digital-wireless-filmmaker-kit/" target="_blank">RODElink Digital Wireless Filmmaker Kits</a>, I thought perhaps there could be a way to rackmount them and power them externally. Sure enough, with the help of the&nbsp;Manfrotto 143S Flash Shoe, I was able to secure the RODElink receivers to a rack shelf that came with convenient pre-drilled holes. Handily, each of the RX units has a USB port for external power. I attempted to use a USB hub as a power distributer, but that resulted in a lot of interference noise. When I gave each receiver its own USB power source, the noise disappeared.</p><p> The video production teacher is pleased as punch with the audio performance, and I was happy that I was able to give them four channels of wireless audio within their budget. WIN WIN!!</p><p> The short video below shows the RODElink rackmount setup, and all the pieces I used to put it together.</p><div class="wistia_responsive_padding" style="padding:56.25% 0 0 0;position:relative;"><div class="wistia_responsive_wrapper" style="height:100%;left:0;position:absolute;top:0;width:100%;"><iframe src="//fast.wistia.net/embed/iframe/7jpacu8879?videoFoam=true" allowtransparency="true" frameborder="0" scrolling="no" class="wistia_embed" name="wistia_embed" allowfullscreen="" mozallowfullscreen="" webkitallowfullscreen="" oallowfullscreen="" msallowfullscreen="" width="100%" height="100%"></iframe></div></div>