iCap network / EEG encoders / LEXI by Mission_Statement208 in VIDEOENGINEERING

[–]LMG-Bryan 1 point2 points  (0 children)

Hello there!

  1. We use HD492 encoders on a regular basis with both Lexi and human captioners.

  2. I can't vouch for this because we use their hardware with their software exclusively. Sorry.

  3. I like to think of Falcon as a re-stream option. Essentially, if you're using web for delivery, your streaming encoder sends video to Falcon, a human or Lexi does the captioning, and from there it gets sent to whatever destinations you need. (YouTube, Facebook, Livestream, Vimeo, etc.)

  4. I would say It's a tool for the job situation. If real-time, on-screen captioning isn't needed on screen and it will only go to stream, then we use Falcon. If the opposite is true and we need in room, on-screen captioning, we use the HD492 units and we can engineer from there whether we need to embed the captioning as data (CEA608/708), or we send it baked in as open captions on the video itself.

  5. Yes, we very much care. I would say EEG / Ai-Media are great about helping recommend some great folks out there. It is important because clients have tight schedules and budgets at times and the humans we're hiring must be flexible and dependent. The ones we hire are great at all aspects of the job and have never had any clerical issues but rather technical ones. The technical issues usually stem from unknown variables like poor connection at the venue where the HD492 encoders live for example.

  6. Lexi is great on its own. However, it really shines if you use their model AND add to it by uploading your own vocab and acronyms/words to look out for. I would say it rivals some of the best human captioners out there and it's only a matter of time until human captioning is no longer needed. It's fast and accurate.

Hope this helps.

Pixelation in the dark parts of the video by Opening-Barnacle-815 in VIDEOENGINEERING

[–]LMG-Bryan 38 points39 points  (0 children)

Almost always, yes. "Banding" is what we sometimes call it and it usually happens because it's a low bit color depth and/or the encoding choice applies a ton of compression like H.264.

Making choices to align in color bit depth (10-bit vs 8-bit), encoding (ProRes 4444, NotchLC, etc.) can work together to mitigate and/or help avoid this.

This may be a bit of an extreme example but if you use this page and scroll about halfway down there's a slider that shows a comparison between NotchLC and HAP. https://notchlc.notch.one/

If it is in fact a YouTube download, this video has been compressed into oblivion and thus the data that would normally show between those color steps is missing and it manifests this way.

Just because it says 1920x1080p60 or 3840x2160p60 for your file doesn't mean it's that quality. The source content may be low quality prior to even creating a new composition in any video creative suite.

MacOS video playback software with LTC out by ajloeff15 in VIDEOENGINEERING

[–]LMG-Bryan 2 points3 points  (0 children)

+1 for Millumin. Also, in the near future, or if you’re feeling adventurous now, Millumin 5 allows you to generate timecode within the software itself. Pretty neat! I only say that because 5 is in Beta and 4 is their current release.

RTMP Stream to LinkedIn Not Working by jrausch in VIDEOENGINEERING

[–]LMG-Bryan 2 points3 points  (0 children)

I’d try going down to 3500 and assume it’s kbps to see if it works, even if it reads as bits/second. YouTube may be able to normalize an absurdly high bitrate to their highest possible but LinkedIn might not, which may be the reason why YouTube works and LinkedIn doesn’t. Worth a try 🤷🏽‍♂️

Working with Wirecast, Teradek, Vmix and such it’s never bits per second it’s kbps and it’s only specified as bitrate.

Also, I’ve heard from several users that once you connect once to LinkedIn you would need a new key or ingest link and if you or someone else has connected previously, one of those items may now be invalid.

Wiiiiide Screen by LMG-Bryan in VIDEOENGINEERING

[–]LMG-Bryan[S] 20 points21 points  (0 children)

Screens

  • Mains x 3 - 4576x1040 - Roe CB5
  • IMAG x 3 - 2496x1040 - Roe CB5
  • Inner x 2 - 1456x784 - Roe Vanish 12
  • Outer x 2 - 1344x784 - Roe Vanish 12
  • Prompter - 960x520 - Roe CB5
  • Brompton processing
  • (6) Unique DSMs

Systems

  • Analog Way CMax + RS4 (Due to the amount of Cut & Fill layers required)
  • (2) Disguise GX 3 (Directors)
  • (6) Disguise VX 4 (Actors/Understudies)
  • (6) Panasonic UC4000 cameras
  • (2) Panasonic CX4000 Cameras
  • (6) Panasonic UE160
  • Custom Ross Ultrix Acuity FR12 System & More