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The author disappeared off of the internet a while ago. So getting the JustMacros software is difficult. On top of that, because it wasn't updated for years, it's no longer compatible with modern 9.x versions of ATEM Software. There isn't really a suitable replacement. MixEffect on the iPad can do some of this SuperSource animation, as can Central Control, but neither one is a 100% replacement.

All of the Studio models have RS422 remote control inputs, and all but the Mini have RS422 outputs. That gives you a way to synchronize transport controls. From here, I'll go over one way to use that, but it certainly isn't the only one. For any approach you might take, you'll want a common sync reference to make sure the decks stay in sync with one another. If you have a separate genlock source you can use it, but otherwise you can take the Reference Out of your first deck and connect it to the Reference Input of deck 2, and then repeat from the 2nd to the 3rd. In the menu for decks 2, 3, etc. set the Reference Source to Auto or External. Deck 1 can be set to Internal if you'd like but it isn't required. Back to RS422... get yourself some straight-through DB9 male-to-male cables, like amzn.to/4bmDwBU. Connect the Remote Out of deck 1 to the Remote In of deck 2, then Remote Out of deck 2 to deck 3, etc. This synchronizes the transport controls so that when you press play or record or stop on the first deck that all of the others follow suit. That will get you close. There are no guarantees that the decks will stay frame accurate though. There's nothing in these connections telling the slave decks to follow/go to a specific timecode position so if one decides to glitch and pause briefly at any point it will drift from the others. Using a piece of software to start playback via Ethernet commands might also be an option, but you'd want to use software specifically designed for that purpose. Both ATEM macros and BitFocus Companion, for example, offer control over HyperDecks, but those commands would be issued back-to-back rather than simultaneously so there's no guarantee that the last deck being controlled starts at the same time as the first deck. And even with software control you'd still need the Reference sources to be the same.

@@djp_video Thanks Doug for such a quick response. It’s greatly appreciated, I am currently using a Stream Deck to run three of them, and haven’t had an issue with the Hyperdecks staying in sync, but a few frames wouldn’t really be noticeable for my purposes. I’m still not completely comfortable with Companion, as I have had some issues with a string of commands only partially completing at times with a button press. I also tried MixEffect on an iPad which worked well with shortcuts, but I don’t like having to look down at the touch screen while switching at the same time. Is there a hardware controller that you can recommend? One that doesn’t have to run through a computer and software would be preferable, such as X-Keys and Central Control, which I’ve also used. In one of your previous videos you mentioned that you can’t use your X-Keys with a latest version of switcher or software, but I can’t remember which you referred to. I saw a video with Central Control at the latest show where they were talking about a module that can be programmed and then stays with the control surface, so you don’t have to run it through a computer anymore. Do you know much about that? That’s a whole video in itself 😉

If you can find armored cables, they'll be a lot more durable.

The 4-pin YC is also known as S-Video, which is standard definition analog video. I believe you're asking about the HyperDeck Studio Pro 2. It doesn't have a YC compatible input directly. So you'll need to go through a device to convert it to SDI first. The Analog-to-SDI Mini Converter from Blackmagic Design, amzn.to/3K0qL3Z, will do that for you. But you'll also need a cable, amzn.to/3yobur1, to separate the Y and C signals for the converter as well. You'll connect the Y output of the cable to the "B-Y or S-VIDEO Y" input of the converter, and the C output to the "R-Y or S-VIDEO C" input of the converter. You can then take the SDI output of the converter and connect it to the SDI In on the HyperDeck. The switches of the converter need to be set with switches 1, 6,7, and 8 OFF and switch 4 ON to tell it that you're sending it YC video.

More reliable, yes. Completely stable, well... still not yet. The biggest reliability issue with Companion is the buggy device drivers. Many of them are poorly written. At the time I made this video the module giving me the msot trouble was for the HyperDeck -- one that should be very easy. It would literally crash all of Companion whenever the HyperDeck reported that it was running in 4K mode... the developer never took into consideration that someone might shoot in 4K, and when it encountered an update message indicating that the video format was 4K it would just crash, and bring down Companion entirely. That one is better now, but that kind of experience isn't entirely atypical. Fortunately, the development team has taken steps to reduce the impact when a device driver acts up, but it still can have issues. I do use Companion somewhat. I'm still really hesitant to connect it to critical devices when I'm working for a paying client, but for my own CZcams videos and smaller, low proflie projects I'll use it. I've reluctantly re-enabled the ATEM module recently and so far it hasn't crashed my switcher, but the app still does crash on me. It isn't frequent, but it won't, for example, ever run for a full 24 hours without crashing or becoming unresponsive. So I've just gotten in the habit of shutting it down at the end of an event and starting it any time I need it. Periodic restarts besides are a good idea too. I still find it disappointing that the developers favor throwing in new features over making it stable. For their intended use case, reliability really ought to be the #1 priority. From time to time, I take a look at the source code for Companion, since it is open source. (I have been doing software development for more than 40 years at this point, so I feel qualified to assess code quality.) I can't say that I love what I see. Clearly much of it has been written by developers who either don't know what they are doing, or just don't care about the quality of the code. Being written mostly in Javascript doesn't help. It is certainly getting better, but it's nowhere near where it ought to be. And that's besides the awkwardness of using and limited capabilities of the product in the first place. It's incredibly time consuming and tedious to setup and get working. Bottom line is, use it at your own risk. And test, test, test, if you do.

At the time this video was created, CZcams's algorithm to convert from HDR to SDR wasn't great, and they didn't provide a way to specify how to do that conversion. It's much better now.

DNX-HD is for HD, DNX-HR is for 4K. Does that model distinguish between the two?

@@djp_video thank u for reply hyperdeck studio pro 2 don’t have HR option in codec what codec do u prefer for 2160 p25 ProRes HQ ?

I assume that means that running fiber isn't an option? Because that would give you all the bandwidth you could ever need.

ATEM switchers allow multiple connections for control. The exact number varies by model, but I believe it's at least 5 on all models. But each device or app counts as 1. So if you have ATEM Software Control running, and a Blackmagic Advanced Panel, and also Bitfocus Companion, and also MixEffect on an iPad, that would be 4 of your available connections. (The one exception to this is the just-announced Micro Panel, which shares its connection with ATEM Software Control.) Each device/app can control one or more M/Es. The exact implementation of that varies, but it's fairly standard that most will support up to 4. In the case of the Blackmagic control panels, they have four selection buttons per "row" (the 1 M/E panel has one row, 2 M/E panel has 2 rows, etc.) which allow you to pick which M/E you are controlling at any given time. If multiple people/panels/apps are controlling the same ATEM and M/E at the same time, they will all stay up to date with the current status, and they will all allow control at the same time. So if operator 1 selects input 3 as the preview source, all connected devices will turn input 3 green on the preview bus. If operator 2 selects input 2 as the program source, all connected devices will turn input 2 red for the program bus. So it can be collaborative, or you can have different devices controlling different M/Es. It's up to you on how you want to set that up.

@@djp_video so I have the 20x20 switcher. It only has one Ethernet port for control. How exactly would I hook up another control panel? Sorry to be annoying, just trying to understand.

@johnellieplay8793 Okay, so you have a video routing switcher… not referring to a video switcher. The names are similar and confusing. Got it. If it is one of the Blackmagic Videohubs, it connects to an Ethernet network, and multiple control devices can connect over the network. When any one of the connected control panels or apps makes a routing change, all other connected apps/panels are notified of the new route so they all stay up to date. If it’s a routing switcher from another manufacturer, it may do something similar, but many of them use RS232 serial and in that case, as a general rule, only one control panel or computer can be connected at once. There are ways of working around this, but generally speaking only one device has the ability to control at a time.

@@djp_video I’m so sorry for the confusion, Doug. I have the Blackmagic Design ATEM 2 M/E Constellation HD. I misspoke in my last comment. That’s my fault. I guess I’m just clear on how multiple controllers can work if there’s only one port. Sorry if that’s obvious, just very new to this world. Your videos are a huge help,

They connect over Ethernet. It sounds like you’re probably used to using USB, which does only work with one connected device. You can connect the ATEM to an Ethernet switch and the signal is available for any device on your network. The ATEMs know how to juggle that. But it boils down to it always keeping every device and app up to date so any change made by one device gets synchronized to all other devices.

It doesn't seem any more out of sync than the normal 1-2 frames I get with my Sony cameras.

@@djp_video Maybe it was then CZcams doing something funny :)

Rather than trying to have a back-and-forth conversation to establish your needs, start with the video I did on the HyperDeck lineup, and then ask questions after that... czcams.com/video/-2TgyJ3vA10/video.html

@@djp_video Sorry about that. I should have added more details. In our studio we currently are using Blackmagic 8k extreme Hyperdeck and also a HyperDeck Studio 4K Pro. Our SSD slot on all the previous models have went bad including this one as well. Also the 8k Extreme will not record all 4 camera feeds coming in from our 8k constellation at the same time. Do you think a good solution for just recording camera ISO would be the HyperDeck Studio HD Plus with the SD card slot and also FTP to our server? Just wanted to pick your brain.

I don't have one of the supported camera models to test. And none of the manuals mention it.

That's going to depend on what software you're using, and whether it requests shared or exclusive access to the file.

@@djp_video I tried with resolve and premiere. And I couldn't open. Maybe I had some permissions wrong. I've to try again.

Not sure what version... I don't see it documented anywhere.

I tried using a script and prompter for a single video several years ago. It didn't go well -- I made a lot more mistakes and my delivery was very unnatural. It was bad. So I don't bother with scripts at all; at most I might jot down a couple bullet points that I want to hit on a Post-It Note. I do a lot better at this just sitting down and talking to the camera. Most of the time I don't do any prep other than gather any equipment I'll be showing -- from there it's just flipping on the lights and camera, formatting the SSDs, hitting record, and start talking. And whatever happens to come out of my mouth is what you end up with, for better or worse. I usually have some kind of idea of what kinds of things I want to say so there's some kind of flow and it doesn't go too far off track, but it's very much all off the cuff. The specs are easy for me... Memorizing that kind of stuff comes pretty naturally; my brain is very compatible with that kind of information. I might glance over a spec sheet before I start just to verify that my memory hasn't gotten corrupted :) and I'll sometimes remember to check on current pricing and availability of products I'm going to mention (kind of embarrassing when I review a product that's been discontinued or is impossible to get), but that's literally all the preparation I do for most videos. It isn't uncommon that as I'm recording that I'll think of a better way of saying something, so I'll back up just a bit and try again (that's where the edits between segments often come from), while the edits in the middle of a thought are where I get tongue twisted and need to restate something. Having a natural stutter doesn't help there. But, yeah, it's all improvised on the spot.

@@djp_video man, that’s really good insights! I just picked up a teleprompter because I struggle recalling what I want to say on the spot. Panic under pressure I guess. Haha I don’t talk fast enough for the general CZcams audiences too I think. lol I have to remind myself, don’t try to be perfect, just be yourself. Wish it was easier though.

...would have been nice.

Only the 4K Pro has the 10 Gb port. The other models don't need it (though it would be nice for faster transfers to/from the SD cards). 1 Gbit is enough for a single stream of 4K30 in ProRes HQ. But two streams, or 4K60, are another story. For this video, 4K30 ProRes going to a computer is one of the things I did. If you look at 4:30 in the video, the two Hyperdeck HD Plus models combined are outputting at 1.25 Gb to the Cloud Pod, so even two records at that resolution/frame rate are more than a single 1 Gb connection can handle. So the computer would need a 2.5 Gb connection at a minimum in that case for two streams. USB 2.5 Gb adapters have become really cheap these days, so getting that speed into a computer isn't hard.

@@djp_video Thank you. We just got 3 Hyperdeck Studio 4K Pro and 2 Hyperdeck Studio HD Plus units and if we can connect all this to a NAS with 10Gbit.. wohoooo!! PS! BMD told us that we could not do this just a few weeks before NAB. So thank you for this video!!

As long as your NAS supports SMB, which they basically all do, you should be good to go.

So many cameras are able to do this on board, surprising that a hyperdeck couldn’t do it especially at x264

It would be really nice. And, yeah, it's surprising it's never been a priority for Blackmagic. But even with that feature, I'd still run two recorders in parallel anyway. Just in case. :)

@@djp_video we run one for each ISO and 2x for TX Last job was well over 10tb and had to be copied quickly for backups

Unfortunately, no.

Yes... and no. HLG is meant to be transparent and pass through a typical Rec.709 workflow. So the Web Presenter treats it like any other 709 video source. It doesn't "expand" it out to its full dynamic range and convert it to Rec.2020 so it gets treated like an HDR source, for example. So the video will go through it and look relatively normal. But it won't be HDR.

@@djp_video Thank you for your response. The actual requirement is to use HLG and S-LOG3 color space video signals as input sources. We want the Black Magic Web Presenter HD to act as a color space converter, or if it can load LUTs. This way, we can map the wide color space of video equipment to Rec.709 during live broadcasts, achieving better picture quality.

The Web Presenter itself does not have the ability to do color space conversions. And it does not have the ability to load and process a LUT. You'd need a separate box for that. The least expensive Blackmagic Design products that can do that are the SDI-to-HDMI Micro Converters... the 3G model can take a 17-point LUT while the 12G model can take a 33-point LUT. Both will allow you to apply the LUT at the SDI or HDMI output. djp.li/12gmicro Aside from that, my own experience (and that of quite a few of my viewers) is that the Web Presenter can be quite unreliable. Live test here czcams.com/users/liveUFgqLG1-CDA and re-tested recently here czcams.com/users/liveHU0PxFisOyI and Discord discussion here discord.gg/F7NzzCuuNv. It also seems to come up in facebook discussion groups at least weekly.

When you can do that, that is ideal. I need to be able to move solar panels and other things I mount around, particularly forward and backward. Horizontal (lateral) rails alone make that essentially impossible without making things complicated. The solar panels are not the only things I install on the roof; there are antennas (with masts), cabling, and other types of mounts that get installed and removed from time to time. I need flexibility in where things are mounted. They do get moved around. I could have added horizontal rails then added vertical rails on top of that to achieve front/back movement, but I am trying to keep things as low profile as possible to minimize drag and reduce the chance of something on the top getting caught in the wind and ripped off. There also isn't a great way to achieve good lateral strength when mounting to the sides. I wanted my installation to be able to handle hundreds of pounds of weight without having to worry about the mounts collapsing or bolts shearing under that weight. By bolting into the top of the crossbeams, all of that weight is directed downward through the very robust sleeves and has no chance to move in any direction whatsoever. It's indredibly solid. Four screws on the sides of a horizontal rail would not support that kind of load in a way in which I would have any confidence that it would hold and be secure, particularly since those would be going into the same 1-inch square, 1/8" wall beams. This method does make it harder to maintain a waterproof seal, but that hasn't been a problem. I used a lap sealant which remains pliable and flexes with the roof as it expands and contracts with temperature changes. It was nearly three years ago when I made these changes and I've had zero problems with leaking. I inspect it from time to time to make sure the sealant is holding up, and so far, so good. The method I used isn't right for everyone, especially if the load is going to be relatively light and doesn't need to be moved.

Premiere can, I'm not sure about FCPX. But even then, you can't be sure that the colors and exposure you're seeing are accurate, and neither Premiere nor FCPX will adjust the frame rate or resolution to match the timeline, so some scaling and/or frame rate conversion is likely, giving you an altered perspective of what is actually happening in your project.

@@djp_video Ahhh, makes sense. Thank you!!!!

Yes. Be aware of bandwidth requirements. The UltraStudio Monitor 3G doesn't necessarily require a lot of data (a little over 3 Gbps max), but if you have a high bandwidth device connected to the same Thunderbolt port on your computer (like a monitor), the two (or more) devices will share that available bandwidth. So if you were outputting video via the UltraStudio and have a monitor connected while writing big files to a fast SSD, all on the same Thunderbolt port at the same time, it's potentially possible to saturate that connection and experience slowdowns or even dropped frames.

​@@djp_video Thanks for the quick reply. Here's my situation.... Currently we output to two TVs at our church via ProPresenter using a 27" Intel iMac. Although I've been able to connect a third TV/monitor to the iMac the connection is unstable as I believe the imac has a 2 display output limit. We recently acquired 2 large TV/Wall displays that I also want to connect to the iMac/ProPresenter so I can control output from one computer. I looked into getting a PCIe DeckLink Duo 2 card and enclosure which will allow me to playback to all 4 displays no problem, but it will also require several HDMI to SDI converters plus SDI cabling, etc. I just discovered the UltraStudio Monitor and was going to see if I can connect 4 units (1 for each output display) to a 4 port TB3 dock, which then gets connected to the iMac via a single TB3 cable. I believe ProPresenter will see all 4 displays as separate devices, but hoping there are no bandwidth issues. NOTE: I don't plan to connect any other device(s) to the TB3 dock other than the (4) UltraStudio Monitors.

The limitation with bandwith is actually per Thunderbolt controller, not per-port. So if your iMac only has one controller driving all of its Thunderbolt ports, you still have a total of less than 40 Gbps limit for all devices. I don't know the internals on the iMacs, but you can more or less guarantee that there any controller is connected to more than one Thunderbolt port. The UltraStudio Monitor is going to have the same bandwidth limitations as a DeckLink card. I have run 7 1080p29.97 outputs on a single Thunderbolt port on my M1 Mac Mini, but it doesn't seem to like it that much. And that's with no other devices connected to the Thunderbolt bus. Someone somewhere on the Internet has probably figured out how the Thunderbolt controller(s) on your iMac are connected to the Thunderbolt ports. That might help you in deciding whether you can pull this off or not. Thunderbolt Monitors take up a lot of the available bandwidth, FYI. If your model of iMac has an HDMI port, you should use it. Also, connecting an HDMI or DisplayPort monitor directly to a Thunderbolt port (i.e. not through a hub or other Thunderbolt device) using a simple passive cable should not use any Thunderbolt bandwidth per se, as that puts that port into USB-C Alt mode rather than using the Thunderbolt controller. Allegedly. It's all overly complicated and very confusing.

And, for what it's worth, every type of device connected to a Thunderbolt dock uses Thunderbolt bandwidth, as that data has to travel over Thunderbolt to get between the computer and dock. That's different behavior than an HDMI or DisplayPort monitor connected directly to a USB-C port on the computer.

One more note... as far as I can tell, no iMac has multiple Thunderbolt controllers. So your total combined Thunderbolt bandwidth for all ports is going to be less than 40 Gbps.

It would likely require native support inside of a video card to "encode" the desktop into 2110-compatible data for good performance. While it isn't compressed, 2110 uses YCbCr (sometimes erroneously referred to as YUV) rather than RGB, and the conversion back and forth isn't necessarily complicated, it doesn't come for free. 1920x1080 at 60 fps is 124,416,000 pixels that have to be processed every second. Without hardware acceleration, that's potentially pretty processing intensive. Much of the live streaming of a desktop (Twich, Zoom, OBS, etc.) is accomplished using one of two methods: (1) the video card itself provides and/or encodes the data (since it has direct, raw access), or (2) a driver intercepts video data as the desktop is being drawn and builds an image from that, so it is effectively only having to process things that are changing rather than every pixel in every frame. Neither of those method gives full, direct access to uncompressed YCbCr data, so something has to do that conversion.

@@djp_video Yes the GPU would likely have to do the majority of the work and more than that there would probably need to be a gpu on the other side of the pipe to do the same. It is possible though. I think it is what intel is doing with their Intel Media Transport Library. I am pretty sure it is still in development as I am not aware of any products but that seems to be what they are doing.

IPMX, the continuation of ST 2110, holds the solution to unique resolution formats.

Yes, I am aware of that. I tested it both internally and externally in a USB enclosure where host RAM isn't available, and it still was meaningfully faster than the Samsung 980 Pro and 990 Pro I tested it against. I can promise that my test system didn't have 4 TB of RAM to buffer that entire drive's contents. I'll have to re-run the test and publish the numbers I got with the NM790 in a USB enclosure. But it was impressive for what the drive is. I can't really explain the performance of the SN850X. It seems like it should outperform both of the Samsungs. It's certainly more consistent than the Samsungs. For the most part it does perform really well up until it runs out of DRAM and SLC cache, at which point the performance tanks. www.djprod.biz/diskperformance.php?id=zSypfuFfqtIxBbTGv0g4. The 980/990 Pro seem to have relatively small SLC caches. I've frankly been a little disappointed with those drives.

@@djp_video Impressive and thank you very much for your quick response. Will have to revisit this with all the drives piling up here. Just to clarify, I LOVE the NM790, these are just such an underrated piece of equipment.