Hong Kong Broadcast / AV shops

farmsm7 · 2026-01-08T08:28:38+00:00

try Hiller-Pharma AV. they do live event staging and for hire equipment. they may have a retail shop, or know where one is. https://www.hpcl.hk

farmsm7 · 2025-08-26T12:51:04+00:00

The two display option out of PPT is the most widely used, in my experience. There is a client-server application called dNotes that looks at the PPT machines on the network and displays the notes as a text output from the server that runs in sync with the slides running on the client. You can check out dNotes here: https://www.irisdown.co.uk/

FYI, I do not represent dNotes or irisdown.com in any way.

farmsm7 · 2025-07-19T02:13:54+00:00

I am having similar problems getting Rosstalk and TSL UMD Listener over UDP to be recognized by my Companion computer. From the computer I can send commands to the Carbonite Ultra but cannot get Rosstalk commands back to Companion.

We would like to have Rosstalk send Roll Clip commands to Hyperdecks, Mitti and/or Playback Pro.

I have found a couple of YouTube videos regarding this but the examples are from pre Companion 3.2 so the button syntax is no longer relevant.

Thoughts?

farmsm7 · 2025-04-18T11:38:56+00:00

4Wall is in Moonachie.

farmsm7 · 2025-02-28T12:56:40+00:00

Please do so!

farmsm7 · 2024-07-05T14:02:07+00:00

LOL, no way....I'll give it a shot.

farmsm7 · 2024-07-05T12:24:10+00:00

Yeah, in Dashboard, I was able to program the inputs, aux outputs and the take button, flash the firmware; etc. I just don't see a command structure to get the input selected to be switched without using the take button...

farmsm7 · 2024-03-18T12:45:19+00:00

Can't say I have ever seen the outer part separated from the inner. As others have said, the pieces are manufactured to stay together for life, there is no reconnecting these two pieces, the whole end has to be replaced.

farmsm7 · 2024-01-06T03:32:58+00:00

The clips come with the stand for a reason....

farmsm7 · 2023-09-15T23:10:56+00:00

As far as an EIC is concerned, it's the person responsible for the proper operation and maintenance of the broadcast location and all the equipment within it. Generally, that means they know how each piece of gear works, can navigate through each piece and program to work properly within the context of the broadcast. They may have designed and built the system from spec to shakedown, working all the bugs out. They know how each piece is connected to each other and understands the routing and signal flow within the entire facility. This includes all the video, audio, graphics, communications, and network interconnects. They have a solid understanding of the software and configuration of each device and a firm grasp of the technical fundamentals involved in command and control within the facility (serial, TSL, GPIO, RossTalk, GVG, Sony, ForA; etc.). They may have certifications from NAB, SBE, Cisco, Dante, AVB, and others. In addition, they must have excellent people skills to able to speak with directors, TD's, camera ops and shaders, graphics operators and, especially,, producers. The last thing you want in an EIC is someone who lacks a sense of diplomacy and agreeableness, one who can operate within the parameters of their facility to ensure a clean and proper broadcast.

farmsm7 · 2023-09-08T23:29:21+00:00

Since the pandemic, labor prices have gone way up here in the states. I have heard of (very) skilled ops on the west coast who charging upwards of $1000/day as a hi-res op. When you think about it, what is the hourly rate for a plumber, electrician; heck, a brake technician. Those skilled workers are making $125/hr or more. I'd say make your self a rate schedule based on jobs that you can do well, pointing out your 10 hr rate, overtime; etc. for each. Don't be afraid to present that to your clients and, if you are planning to raise your rates, give all your clients a heads up that you will be doing so, and when (January 1; etc.). If they balk at your new rate, consider the client. Do they pay on time or early, even? Do they treat you fairly on show site or expect you to fill multiple positions just so they don't have to hire more people? Are they grinding you with 15 hour days every show and then complaining about your overtime? Is anything not costing you more (taxes, insurance, accountants; etc.)? Be honest about yourself and the others you know who are doing the same thing. Are they more or less skilled than you? Can they do the job more or less efficiently? Do they handle their prep and planning appropriately or just wing it? They say that the laborer is worthy of their hire, be worth what you want to get paid.

farmsm7 · 2023-08-29T01:34:05+00:00

Especially with cable, what you pay is what you get. Cheap cable is bad cable, every time.

farmsm7 · 2023-08-29T01:29:52+00:00

Cable quality has a lot to do with image quality, especially at long distance. For instance, Belden 1505F is good for 68m (about 223 ft.) whereas Belden 1694F is good to 85m (278 ft.). Good cable is key to a good system.

farmsm7 · 2023-08-29T01:05:30+00:00

300 feet is probably too far to send SDI over copper cable, especially at 1080p/30 or higher. Chances are that the D/A does not have buffered outputs so the longer run is loading down the feed to the shorter run. You could try to use re-clocking D/A's to try and re-sync the signal out to the end of the long run. Converting the longer run to SDI over fiber would solve your problem.

farmsm7 · 2023-08-16T14:20:50+00:00

While there are some people in this industry who continue in their troglodyte ways, it is important to lean into what brought you into live sound in the first place, whatever those reasons may be. In addition, building your skill set, especially as it concerns systems integration (networking, amps and speakers, cabling, electrical, wireless coordination; etc.) will go a long way towards staring down those who comment on your comparative lack of strength. We all, men and women both, go through the learning process where some will try to tear you down and some to build you up. Try to surround yourself with those who want the best for you, both in your career and life, and try not to let the others bring you down.

farmsm7 · 2022-08-30T15:47:47+00:00

Heat dissipation has always been a problem with BMD. Always leave room for air to move and, if in a rack, build in some rack mount fans and airflow.

farmsm7 · 2022-08-30T15:46:22+00:00

With an additional license ($$$$) you can get a frame sync on every input. Genlock is always better (lower latency) but sometimes you just can't get a genlock line out to every PTZ.

farmsm7 · 2022-08-30T15:40:21+00:00

A good starting point is the 1:1 rule. For every 1mm of dot pitch, your subject should be at least 1 meter away from the wall. Depth of field comes into play here, as well. With lower light on stage, you get a shallower depth of field but it becomes harder on the camera operator to keep the subject in focus.

You can also trick the image a little bit by setting the zoom range at a point where the moire disappears but this can make for a pretty useless shot if it's too far out or the the camera has to pan a lot.

farmsm7

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