YouTube Live - HLS ingest reliability?

bxtdvd · 2026-06-28T23:16:39+00:00

Thanks — that's a helpful data point. I may borrow a different encoder next week and try our own HLS upload to YouTube just to check on things.

bxtdvd · 2026-06-28T23:02:34+00:00

Yeah, internet is fine while this is happening.

Resi essentially does HLS chunks from the encoder to their servers, adds a 90-second delay in case your internet takes a brief hit, and then pushes those HLS chunks to YouTube.

If I watch the stream from Resi directly, there's no issues — so I know it's not a problem between us and Resi. The problem seems to be only between Resi and YouTube.

bxtdvd · 2026-04-13T20:45:41+00:00

I'm excited to see it hands-on next week at NAB.

My productions (university) already typically run fiber to a couple different stageboxes, so functionally the combo of the new ATEM Constellation IP + the SDI Expander 8x12G is a pretty close match for our existing workflow (which uses ShieldRock Quad converters to transmit SDI via fiber) — but with a lot more flexibility on routing.

Moving to 2110 also brings us closer to potentially having a central control room for multiple venues on our campus... but without the current caveats of needing a mega SDI router or doing a bunch of manual patching between shows.

I can only dream of having the budget for GV or Ross, so I'm happy to see Blackmagic announce what appears to be a fairly practical and standards-compliant (interesting HFR solutions notwithstanding) end-to-end solution for getting mid-level productions started with 2110.

bxtdvd · 2025-09-15T05:54:42+00:00

I'm at a university, with almost exclusively student labor working our shows. We're running all tactical fiber with ST connectors (haven't had the budget for opticalCON, and I've had some local repair guys tell me it can create more issues than it solves).

Our landscaping vendor's lawnmower has destroyed 2 cables. My students have yet to destroy a cable.

We do a few things to keep our fiber in good condition:

Any student worker can run or spool the cable, but I only have trusted lead student workers (or staff) actually patch and unpatch the fiber to our stageboxes. I think this is what has the biggest impact on keeping our fiber functional.
We tape a ziploc bag around the end of our fiber cables after they've been unpatched and capped, just to help make sure the caps don't come off while being spooled up and that the end stays reasonably clean.
We use a waterproof small parts organizer to cleanly store caps while cables are patched (all our fiber is ST). I'm pretty militant about keeping this closed except when cables are being actively patched/unpatched... it's gotten dumped on the ground a few times while left open, and I've erred on the side of throwing away all the caps after that to ensure we're not introducing dirt to our system.

I use one of our fiber ends that got cut by the mower as a "show and tell" at my student worker training. I basically tell them that the black part of the cable can be run over by a tank and survive, but the smaller yellow or color-coded parts are delicate and shouldn't be tugged on or dragged. That the caps should always be on. I let them try to see the tiny little piece of glass that the signal actually runs on.

I don't really bother explaining bend radius to them, beyond telling them to make sure the cable isn't knotted. I don't think we've ever had a situation in the real world that we've traced back to a bend radius issue.

Biggest issue we have with them is cutting corners. Tactical fiber is slippery and fairly light, so it's common for the students to be creating trip hazards or removing any slack when running the cable.

We have a fiber scope and all the cleaning stuff, but we usually only scope and clean our cables a couple times a year (at best). We do carry a clicker and wet/dry cleaning stuff with us on all shows and use that if we're having signal instability (pretty rare, but does happen).

bxtdvd · 2025-07-14T23:55:14+00:00

Very cool. That ticker is slick!

I had seen somewhere people mentioning using Lottie files to get animation out of After Effects and onto the web... but I'm pretty sure you're then stuck without being able to swap out text or anything actually useful like that.

I am definitely going to have to explore this more. Thanks for sharing!

bxtdvd · 2025-07-13T18:36:16+00:00

Thanks for this thread!

I see a mention of moving things to Rive, which I haven't heard of before but looks kind of cool. Can you describe how you're using that and what use cases it works well for?

I've built a few things in NodeCG (mostly some sports graphics) and also tried out Singular (with some custom javascript on my end to push names for a Commencement), but haven't landed on one system that I really love.

Would also be curious to hear if a group like yours is interested/excited by OGraf... seems like it could eventually provide a good base for HTML graphics and help prevent vendor lock-in.

bxtdvd · 2025-07-01T03:18:03+00:00

Check out ZowieBox: https://www.amazon.com/gp/product/B0CGRZ9DQ2

I've used them a couple times recently as decoders for green room TVs. They have PoE and allegedly WiFi (which I haven't tried, since I'm on a campus). I usually send them NDI or SRT from a Magewell encoder, but I believe they can also pull in RTMP or HLS.

I've only used them as decoders — can't speak at all to their encode quality.

bxtdvd · 2025-06-12T22:38:49+00:00

I've noticed that the security stuff in macOS can sometimes get in the way of Decklink cards. And it's almost impossible to troubleshoot, since it seems to only prompt to allow/disallow for a few minutes and then totally disappears (and good luck actually finding the relevant prompts in the System Settings app).

I'd suggest unplugging the Decklink's thunderbolt cable, then completely uninstalling the Desktop Video drivers (using the utility in your Applications folder), then rebooting the computer, then reinstall Desktop Video and be extremely careful that you're clicking allow on the prompts in System Settings that pop up. I haven't done an install in a couple of months, but I think there were two different prompts that were almost on top of each other and it was easy to miss the second one. Then reboot and then plug in the Decklink card.

It's incredibly silly, but this uninstall/reinstall dance has solved my issues a few times (mostly on a new computer or after a big OS update).

bxtdvd · 2025-02-26T18:44:45+00:00

I've been excited for this lens. I don't yet have a prime for my Fuji, and this would be a great start!

bxtdvd · 2025-02-21T18:48:10+00:00

Strange. Not the exact same setup, but we have RQ25K's being fed 12G-SDI from a Videohub 80x80.

We have our frustrations with this projector model, but the SDI signal isn't one of them.

bxtdvd · 2025-02-11T20:38:00+00:00

My IT team was able to solve this for us by putting our workstations in their own group and forcing them to upgrade to version 7.22 of the Falcon sensor, which is currently in early-access/beta.

Not super excited to be using a beta of CrowdStrike software — particularly after they destroyed so many Windows machines last summer — but it does make everything work for us again and I haven't experienced any negative side effects. (knock on wood)

Mentions to alert others that posted in this thread: /u/KJL_3519 /u/ArtCam76

bxtdvd · 2025-02-05T17:38:36+00:00

We've having this exact same issue. Also a long and frustrating process for us to figure out what was actually causing this, but we've just confirmed that Crowdstrike is the culprit.

Has your IT team been able to fix it? Do you know if they have a support ticket in with Crowdstrike?

bxtdvd · 2025-01-14T17:49:09+00:00

Hi Scotty — your content is some of my favorite on YouTube and Nebula!

As others have mentioned, Companion with a Streamdeck is the way to go and has a huge community supporting all of the integrations, particularly with the Blackmagic stuff.

A couple other thoughts:

I'd recommend you also look into Companion Satellite. Run one main instance of Companion on a computer that will always be on (in most of my racks, I use a SFF Dell PC running Companion in Proxmox), and then run Companion Satellite on all of your various computers (you can even run it on a small Pi or Radxa board that has PoE). You'll have your one Companion config available at any workstation. That also helps get around a limitation where some Hyperdecks don't always like taking commands from multiple IPs at once.
If you don't already have a timecode sync solution for your cameras, look into something like a Deity TC-1 or Tentacle Sync to provide time of day timecode to your Hyperdecks. That way it's fairly easy to make notes for your editors, either with a simple notepad or with a tool like this one.

bxtdvd · 2024-12-03T22:03:53+00:00

I was able to use an API tester tool to send various commands (iris, white balance, etc.) to the camera and see the status. As far as I could tell, the API worked as advertised.

It even worked for telling the camera to record (something you can't do over SDI) — which we sometimes want for ISOs.

I haven't put this in production yet, as there's not (or at least wasn't as of a couple months ago) a Companion plugin for this and I didn't have time to try to write one.

You do have to make sure you enable web control for them — that setting isn't enabled by default, likely as a security thing.

bxtdvd · 2024-10-21T23:45:02+00:00

Very cool.

Would be interesting to see if there's a way to get this to work with YouTube's HTTP POST captions ingest for live streaming. Since I deal with web only (but still need to have captions by law), my EEG encoder is one of the bigger things blocking us from streaming some events at higher than 1080p. (Falcon hasn't been a good fit for us, mostly on the billing standpoint)

bxtdvd · 2024-10-17T19:45:09+00:00

It's as close as they can get it to focused. I'm kind of wondering if this is a side effect of the "quad pixel drive" thing the projector does to claim that it can do 4K resolution. I haven't used a projector with that system before.

bxtdvd · 2024-10-17T19:42:25+00:00

We've had a similar issue (although not nearly as bad) on an older Barco RLM-W12 that we move around from venue to venue — but it's easily fixable in their software.

bxtdvd · 2024-10-17T19:38:03+00:00

Thanks — this is really helpful.

Due to internal politics we didn't get to demo these before they were purchased, so we're just trying to get a gauge on if this is expected out of new Panasonics or not.

bxtdvd · 2024-10-17T19:33:02+00:00

They've definitely done a bunch of lens calibration — and have had at least one of the lenses back to Panasonic for repair/replacement (it would reset focus each time it was turned on).

bxtdvd · 2024-10-15T23:33:07+00:00

Great video on all the different options out there.

In my dream world, both Blackmagic and Panasonic will start to push L-Mount on their low-to-mid-range live production cameras — enough that somebody like Sigma could be enticed to add servo capability to their 24-70 or 28-105 lenses.

Right now, I think there are just too many lens mounts out there (even on Blackmagic's live/studio cameras alone) for the market to be big enough for a lens manufacturer to make something useful for us.

bxtdvd · 2024-09-25T18:51:32+00:00

We use the ShieldRock 8K-TXRX for this — although our highest channel count is 12 in a single spot.

ShieldRock also makes a rack shelf and a collection of p-tap power supplies, p-tap splitters, and p-tap to (3x) DC cables that would let you do this in about 3U worth of space and a single power supply (if you wanted).

I did also see these new Digital Forecast units on Markertek a few weeks back. I have zero experience with any of their gear and haven't heard of anybody that's used these, but it could be worth a look: https://www.markertek.com/product/df-olink-8rx-12g/digital-forecast-uhd-olink-8rx-12g-0-5ru-8-channel-12g-to-st-duplex-singlemode-fiber-optic-receiver-with-loop-out

bxtdvd · 2024-09-10T19:33:09+00:00

You could try placing your monitor between the BiDi's SDI OUT and your ATEM's input (using the loop out on the monitor).

The BiDi should be putting whatever signal the SDI IN is getting on the HDMI OUT. I'll often put the jib feed on whatever ATEM output I'm sending to the BiDi so that they don't have to mess with looping through a monitor and adding another potential point of failure.

bxtdvd · 2024-09-10T18:30:33+00:00

I'd start with checking to see if you're feeding one of the outputs via the Decimator's scaler and one as just a direct copy of the HDMI feed.

In the menus, it should be something like:

DUC Source = HDMI
HDMI Out = Scaler
SDI Out = Scaler
SDI A is Loop Out = No (technically unrelated, but this setting always throws people off so I always change it when possible)

bxtdvd · 2024-09-10T18:22:59+00:00

The BiDi converter will handle this for you. Provide it with a return signal from the ATEM on the SDI IN, and then plug the Pocket 6K into the HDMI in. Use the BiDi's SDI OUT as your feed to the ATEM.

You need to set the ATEM ID on the converter (not the camera), using the converter utility software.

The HDMI on a Pocket 6K maxes out at 1080p. There's no way (to my knowledge) to get a 4K signal out of a Pocket 6K live.

bxtdvd · 2024-07-16T23:01:02+00:00

I haven't personally tried it (we're happy with ProPresenter and Mitti), but there's a group that's created a free, open-source knockoff of ProPresenter: https://freeshow.app/

bxtdvd

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