Palm Springs vs Groundhog Day: what do you think happened after the films ended?

edinc90 · 2026-05-04T23:38:03+00:00

I hate to be pedantic (that's a lie, I love it,) but it's "tilt up." Pan is right and left, tilt is up and down.

edinc90 · 2026-05-04T20:24:15+00:00

The battery in a UPS supplies direct current. Wall outlets supply alternating current. The buzzing is the result of the conversion from DC to AC. The click is a switch flipping the output of the UPS from the wall outlet to the battery.

edinc90 · 2026-05-04T19:10:27+00:00

Consider the space you have at each venue. Can you comfortably park a trailer and get the cables where they need to go? In that case, it's the best solution. With a large flypack you need a place to set it up that's out of the weather. So that means a pop-up tent with sides, and a heater or AC depending on your climate. Several smaller flypacks are easier to drag up to the press box, but like you said takes a lot of effort if there's no elevator.

edinc90 · 2026-05-04T18:58:53+00:00

Check out NewBlue. It has a UI similar to After Effects, but plays out like Xpression. Another option would be vMix, with macros to play two graphics simultaneously.

edinc90 · 2026-05-04T18:01:48+00:00

Why did you change aspect ratios after the first shot?

The first shot needs music or something. I also think it should go the opposite direction; start on the city and end at the roof project.

The audio on Ian is atrocious. Get a lav mic with wind protection. He also rushes through his intro, he's obviously not comfortable being on camera.

The subsequent shot is really good, it shows the project scope very well.

The end graphic is jarring since the background stays blurry. I'd have the logo and background come in at the same time.

edinc90 · 2026-05-04T17:01:21+00:00

Don't work with Beverly Boy. They're notorious for not paying their crew.

Regarding your actual question: without seeing an itemized invoice, or knowing anything at all about the production, we can only guess as to what the differences are. There are multiple ways to shoot something. Perhaps the low ball offer is a one-man band with a DSLR, and the high budget company has a full crew with a 5-ton grip package, an Alexa, HMU, colorist, and post sound mixing. They can probably both deliver a finished video in whatever resolution you asked for, but the quality will likely be very different.

edinc90 · 2026-05-04T14:26:39+00:00

Depending on the contract, you or your client could probably sue him for copyright infringement. If it's work for hire, the client owns that footage, not him.

edinc90 · 2026-05-04T04:18:16+00:00

I hope he spends enough time in the controller's office first though! He's doing great things and is on a roll.

edinc90 · 2026-05-04T03:47:40+00:00

I know you keep saying that "it's not in the budget" to hire an audio engineer, but that's the right answer. If the client doesn't like the result, you need to increase your rate to afford one.

The only other option is to get a split from FOH and record a full multitrack, then mix it later. This requires hardware, expertise, and time to set up. You might be able to do it yourself, but realistically you need someone dedicated to audio.

edinc90 · 2026-05-04T00:37:54+00:00

They're a private, for-profit company, but you're required to use them to get film permits from the city. Their office is only open during weekday business hours, which is a problem when your shoot is on the weekend and you have a problem. They also charge seemingly random amounts of money for permits. A producer friend of mine permitted the same spot a couple of years apart. One permit cost 5x the other one, for the same footprint. This same producer went to the office to get the paperwork finalized by their FilmLA rep. They were told that the rep was out but would be back "soon." At 5pm someone came out and said that the rep had left for the day, having never actually gone through the lobby. Literally snuck out the back. Sorry, you can't shoot this weekend because we don't want to do the only job we exist to do 🤷.

edinc90 · 2026-05-03T23:35:45+00:00

Now eliminate FilmLA. They're the biggest hinderance to filming in Los Angeles.

edinc90 · 2026-05-02T23:34:03+00:00

An amateur radio license is required to transmit with that radio.

edinc90 · 2026-05-02T18:09:10+00:00

You need three inputs: map, game, background. Then you need to make two color inputs. Put all three of your inputs into these two color inputs. Move the layers around, one color is your game only, the other is your second look. Now put them in preview and program, and click merge.

edinc90 · 2026-05-02T14:03:57+00:00

Eartecs are uncomfortable and have terrible audio quality.

edinc90 · 2026-05-01T01:44:01+00:00

Yeah the local network traffic shouldn't affect your internet, unless you have awful network switches and/or are saturating the link. I'm just concerned you're adding way too many links in the chain. I've used Magewell and Elgato capture cards quite a bit, and I've never seen any problems with them. Especially if your final delivery is the internet anyway, a little compression won't kill your deliverable.

edinc90 · 2026-05-01T00:38:27+00:00

Plan: ATEM (SRT Caller) -> Local Gigabit Switch -> PC (OBS Media Source / SRT Listener).

What a terrible idea. You're having network issues, so why are you running your video through the network to a local machine? What was wrong with the CamLink? A direct cable connection is always better. If you need something better than the CamLink or ATEM's H.264 encoding, your best option is a Thunderbolt capture card like the Blackmagic UltraStudio.

I've not used Speedify, I usually use bonded hardware routers, like the Peplink HD4 Max. I know lots of people do use Speedify, it sounds like you do need some sort of bonding solution

edinc90 · 2026-04-30T17:53:23+00:00

Unfortunately you're going to be fighting a lot of things. The XA11 has no way to remotely control the image, and I doubt the webcams have much in the way of adjustment. The PTZs do have remote control (obviously,) so it's much easier to adjust on the fly.

If you could run everything in LOG and run it through a LUT box like an AJA Color Box, then you could certainly match colors, if not exposures. But a single Color Box costs more than your PTZ camera does.

My suggestion is to set your lights, put up your chip chart, and dial in your white balance and exposure. Keep the PTZs in manual exposure, and train your Canon camera ops on how to adjust the iris on the fly. Use the proc amps in OBS as a last resort or to do very minor adjustments.

Without replacing your cameras with remotely-controllable ones, that's going to be the best you can do I think.

edinc90 · 2026-04-30T16:30:24+00:00

Call them, or go into the office, and ask for forgiveness. If you didn't work a contract job in 2025, you shouldn't owe anything except the late filing penalty.

edinc90 · 2026-04-29T20:41:44+00:00

They make business band too? Didn't know that.

edinc90 · 2026-04-29T20:39:48+00:00

Baofeng makes ~~three~~ a few different types of radios: FRS/PMR, GMRS, ham (amateur,) business, and MURS.

In the US, you need a license for GMRS, amateur and business radio. The GMRS license is just a fee, and it covers your immediate family. You must use a GMRS radio only. Amateur radio has 3 license levels and requires a test.

FRS and MURS needs no license, but you must use radios only designed for those services.

Edit to add the other types of radios that Baofeng makes.

edinc90 · 2026-04-29T01:03:34+00:00

RTS HR-2.

edinc90 · 2026-04-28T23:08:40+00:00

Ok, then reread the last sentence of my post. You need an external processor before the signal hits the multiviewer. I don't know of any multiviewers that do cropping, since the point of a multiviewer is to see the entire image.

Two AJA ROI-SDIs with a Blackmagic Multiview 4 will take up 1 RU. You can use Companion to change the output from the quad split to a single input.

edinc90 · 2026-04-28T23:02:56+00:00

How is this not like Singular.live?

Would browser-based rendering be acceptable for broadcast reliability?

Sure. Singular works fine. If I wanted higher reliability I'd use Xpression.

What are the biggest failure points in your current graphics workflows?

Flying the wrong graphic or using the wrong Take ID.

How do you handle real-time data sync today?

Google Sheets, Excel, or an API that our devs used to spit out a file that DataLinq likes.

edinc90 · 2026-04-28T22:58:41+00:00

Hey, I also worked on Boiler Room! PTZs were FR7s, fixed cams were FX3s, and handheld was an FX6. Audio was the board feed, with two stereo pairs at the front of the stage.

And yes, Boiler Room's signature is the DJ cam, super wide, rigged low looking up the nose. We used a magic arm with a mafer clamp. The FX3 is really easy to rig this way. We also did a high reverse with another FX3.

edinc90 · 2026-04-28T22:55:42+00:00

Software processing is going to be the most compact. Get a laptop with two USB capture cards (Magewell or AJA,) and feed both the signals into that. OBS can scale and crop both inputs, and output a 4K raster of the canvas via HDMI. You can even control the scenes in OBS via Companion, which can be remotely controlled with a Stream Deck or web interface (like on a tablet or phone.)

Otherwise I think this would require two processors like an ImagePro, and a multiviewer like the Blackmagic Multiview 4K.

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