Hi Ryan, thanks for the information, could you tell me the lens model of the first ursa mini camera and what lanc cotrol arm u use for the zoom and focus? Thanks again.
its been a while since i did this video, but its only a 20 input switcher. i believe there was only around 10 physical inputs?? everything is on the multiview pretty much. you can see at 3:21
Here I am 6 years late. Would REALLY love to know your colours and shade settings on the cameras and am fascinated by your talkback line. Do you have any videos on these?
Not really sorry! There’s another one done a while ago showing the system again in 4K, things have changed a bit since then, also colours depend on the lighting situation, but most the time it’s extended video lut then work from there
Hi Ryan, I'm speaking from Argentina. I would like to ask you something about equipment similar to the one you showed that I have to buy and I want to make sure that it is correct. I do not want to take time, but it is very brief my query. I would like to contact me privately if possible. Thank you very much, Joaquin.
I would like to know more about your color matching process. We here in the states do not allow the bmd g2 cameras on our show as they are pretty much impossible to properly color match using their pretend rcp panel. Are you using the bmd triax tubs or just coax out and genlock into the cameras? Thank you and have a great day.
That’s interesting, which G2’s you talking about? Pro or broadcast? I’ve had good luck with the ccu, lots of adjustments can be made, I’ll often use the ccu panel for course adjustments and the grading panel for fine adjustments where needed. Even matching the pro g2 and the broadcast g2 can be done too with a bit of massaging. I just use sdi ccu, but there’s no technical difference for ccu
@@RyanSomerfield thank you for the response. I was referring to the last version of the bmd broadcast G2’s. We use the smpte fiber due to distance of cameras on conventions. My self and several other life long video engineering find them extremely difficult to paint vs traditional broadcast cameras. We find if we can get them close to correct the colors do not rack through the iris range. The bmd rcp panel is very limited compared to traditional rcps. Your youtube video is one of a few I have watched where folks are using the bmd color grade panel vs the bmd rcp panel. So it sound like with the color grading panel, it does give you options their rcp panel does not. The cameras are okay for concert type stuff, we do use them for corporate meeting stuff where color matching is ultra critical. Most production companies buy these cameras try and use them on a couple shows, then sell them off and replace with with traditional Panasonic, Sony or Grass Valley cameras. I am happy to see that you seem to have them nailed down and want to learn more about your success with them. It would be cool if you or your team would do a quick video of your color correcting process. I enjoy watching everyone’s technique videos, I love learning new tricks.
@@jameswadkins8082 Yeah interesting... I have had the opposite here.. i go into studios that I am hiring and take out the panasonics and sony cameras and replace them with URSA's (typically Pro's) and get a significantly better picture, and got a few studios selling their 4K Panasonics and Sony chains to replace them with URSAs after seeing what i come up with. I think the difference is its a film camera first then a broadcast camera, so grading it like a film camera vs a broadcast camera. I treat both very differently but interesting idea on how i do painting etc.. ill have a think about it! :)
Hello i am also using Ursamini 4k for my production but unfortunately i do not know, you are using head sets for talk back. can you explain it for me thank you
great Video, i planing a live video setup for my church at the moment. i'm thinking about to use one or two local operated cam (bmd Studio or bmd Ursa) and two bmd micro studio 4k one an rushworks ptx head.
Awesome I will like to make some recommendations for your CCU you need a multiviewer to router all the cameras to a multiviewer from the video hub for the person that is controlling the CCUcan see all the camera at once..
Hey Ryan, thanks for your awesome video! Got 2 question, i got a BMD production 4k switcher 2m/e, to get camera control, i plug the sdi In of the cameras to one of the program out? Also, you said you guys have a URSA mini (not pro), do you get camera control as well? Thx for your video, highly informative and educational!
Hey, super late response, but it might be helpful for others too. We're using both a Ursa Mini Pro & Ursa Mini (non-pro) in our broadcast setup - camera control works with both cameras just fine (can't speak for chaning the focal length/focus; we're only using iris/white balance etc). We weren't able to get Tally to work on the non-pro camera though, which is a bit of a headache. It works for the Pro one. I'm not sure if that's a problem on our end or a hardware/software limitation. I hope that helps :)
We use Belden 1505A mostly for cable, and yes the same for both directions, it doesnt technically matter if they are different going backwards and forward but might as well keep it the same as its sending the same amount of data so you shouldnt have issues with 1 cable working and another not. :)
Dan Williams Media Production thanks man! The jib is the jimmy Jib 3 from Stanton, they make great solid jibs, I don’t think they make the 3 anymore but the triangle is a great solid job with nice electronics, would definitely recommend them :)
Quick question for you: I have the same switcher but the video scaling on the 4K multiviewer outputs is horrendous. It’s as if the MVW video is being scaled onto a 1080p surface. All the video panes have half the resolution I’d expect. The labels and frames are overlaid at proper 2160p resolution; they look great, but all the video underneath is crazy pixelated. Do you have that issue on yours?
Hey mate, Hmm thats really weird... Ours looks really crispy, i have noticed though that if you are using interlaced it doesnt scale that well compared to progressive, but its by no means a bad picture still look much better than when its set to 1080. what resolution/frame rate you running on your system settings and multiview?
Yeah that's a good idea. We run the system at 1080i59.94 but I should see if it scales any better in 1080p mode. The multiviewers are in the 4K mode, I think 2160p29.97.
Ryan explicame como balancear las camaras en blanco con el panel de control por favor en español grasias. Desde teleislas canal regional. San andres islas colombia.
Hola, espero que esta traducción salga bien. Pero para conseguir negros combinados utilizando el panel, recomiendo encarecidamente obtener algunos ámbitos como el dúo de smart scope y establecerlo en RGB. Baje el iris de todas las cámaras para cerrarlas y añada obturador si es necesario para ayudar a bajar el nivel e intente alinear el rojo verde y el azul para estar en línea uno con el otro. Es mucho más fácil de esa manera que hacerlo a ojo. Puede que no sea la mejor manera pero funciona. ¡Espero que ayude!
I was *very* interested in the fact you can use that Resolve Micro panel to control the camera.. Does this work with the Resolve Mini panel too? Does it require any third party software or anything, or is it just plug and play?
Ola Haldor Solvik Voll it’s very cool! Basically as far as I know it only works with the micro panel and it’s plug and play with the atem software, as long as the firmwares match up, no options for it, it just works :)
Scott 97 I’ll have to check again now, they have released an update bringing down the delay in the sdi output, as well as making sure sync is correct in the system. I also know the projectors have a bit of delay as they are only hdmi and are being converted from sdi which doesn’t help, but at the time of filming there was delay, but didn’t get any complaints of it being horrible, ill do a proper test in a few weeks :)
Hey Ryan, Thanks so much for posting this video! It's a huge help:) Have you had a chance to test your I-Mag latency recently? I am looking at installing a similar setup for I-Mag and broadcast. We are trying to get a low latency without spending a fortune. You're insight would be greatly appreciated, thanks!
Hi Ryan, thanks for the information, could you tell me the lens model of the first ursa mini camera and what lanc cotrol arm u use for the zoom and focus? Thanks again.
Why do you have so many video channels when you only have 4 or 5 cameras. I think I counted 72 SDi inputs.
its been a while since i did this video, but its only a 20 input switcher. i believe there was only around 10 physical inputs?? everything is on the multiview pretty much. you can see at 3:21
Quite some set up, even if the content is a load of hogwash.
Thank you. So are you happy the the mini pro?
Here I am 6 years late. Would REALLY love to know your colours and shade settings on the cameras and am fascinated by your talkback line. Do you have any videos on these?
Not really sorry! There’s another one done a while ago showing the system again in 4K, things have changed a bit since then, also colours depend on the lighting situation, but most the time it’s extended video lut then work from there
Hey thanks for taking the time to show us your churches Broadcast system
It's pretty impressive actually, especially for the price.
Do you have to run the camera in a crop mode with the ENG lens?
@@Grey_Duck yes
Please do more videos i need more videos of churches using more black magic gear for streaming
wait why do you have a feedback loop? I didn't understand
Hi Ryan, I'm speaking from Argentina. I would like to ask you something about equipment similar to the one you showed that I have to buy and I want to make sure that it is correct. I do not want to take time, but it is very brief my query. I would like to contact me privately if possible. Thank you very much, Joaquin.
I was really disappointed with the B4 mount. It´s ok for HD but once you change to 4k the vignette takes over.
I would like to know more about your color matching process. We here in the states do not allow the bmd g2 cameras on our show as they are pretty much impossible to properly color match using their pretend rcp panel. Are you using the bmd triax tubs or just coax out and genlock into the cameras?
Thank you and have a great day.
That’s interesting, which G2’s you talking about? Pro or broadcast? I’ve had good luck with the ccu, lots of adjustments can be made, I’ll often use the ccu panel for course adjustments and the grading panel for fine adjustments where needed. Even matching the pro g2 and the broadcast g2 can be done too with a bit of massaging.
I just use sdi ccu, but there’s no technical difference for ccu
@@RyanSomerfield thank you for the response. I was referring to the last version of the bmd broadcast G2’s. We use the smpte fiber due to distance of cameras on conventions. My self and several other life long video engineering find them extremely difficult to paint vs traditional broadcast cameras. We find if we can get them close to correct the colors do not rack through the iris range. The bmd rcp panel is very limited compared to traditional rcps.
Your youtube video is one of a few I have watched where folks are using the bmd color grade panel vs the bmd rcp panel. So it sound like with the color grading panel, it does give you options their rcp panel does not. The cameras are okay for concert type stuff, we do use them for corporate meeting stuff where color matching is ultra critical. Most production companies buy these cameras try and use them on a couple shows, then sell them off and replace with with traditional Panasonic, Sony or Grass Valley cameras. I am happy to see that you seem to have them nailed down and want to learn more about your success with them.
It would be cool if you or your team would do a quick video of your color correcting process. I enjoy watching everyone’s technique videos, I love learning new tricks.
@@jameswadkins8082 Yeah interesting... I have had the opposite here.. i go into studios that I am hiring and take out the panasonics and sony cameras and replace them with URSA's (typically Pro's) and get a significantly better picture, and got a few studios selling their 4K Panasonics and Sony chains to replace them with URSAs after seeing what i come up with. I think the difference is its a film camera first then a broadcast camera, so grading it like a film camera vs a broadcast camera. I treat both very differently but interesting idea on how i do painting etc.. ill have a think about it! :)
Hello i am also using Ursamini 4k for my production but unfortunately i do not know, you are using head sets for talk back. can you explain it for me thank you
I would be interested to know what you are running on the arduino to get the commands to the switcher.
great Video, i planing a live video setup for my church at the moment.
i'm thinking about to use one or two local operated cam (bmd Studio or bmd Ursa) and two bmd micro studio 4k one an rushworks ptx head.
Awesome I will like to make some recommendations for your CCU you need a multiviewer to router all the cameras to a multiviewer from the video hub for the person that is controlling the CCUcan see all the camera at once..
I love how your all over the viewfiender and then im like....this viewnder does look nice...i should get one of those haha.
Hey Ryan, thanks for your awesome video! Got 2 question, i got a BMD production 4k switcher 2m/e, to get camera control, i plug the sdi In of the cameras to one of the program out? Also, you said you guys have a URSA mini (not pro), do you get camera control as well? Thx for your video, highly informative and educational!
Hey, super late response, but it might be helpful for others too.
We're using both a Ursa Mini Pro & Ursa Mini (non-pro) in our broadcast setup - camera control works with both cameras just fine (can't speak for chaning the focal length/focus; we're only using iris/white balance etc).
We weren't able to get Tally to work on the non-pro camera though, which is a bit of a headache. It works for the Pro one. I'm not sure if that's a problem on our end or a hardware/software limitation.
I hope that helps :)
Hey ! What is the lens equiped on the Ursa Mini (the B4 Lens) ? Which adapter did you used ?
Can you share information about iduino? I also want to know how to couple the midi controller with the black magic Switcher
Footage looks great. How is the delay on the IMAG screens?
Hi ! How do you mount your broadcast lens (B4,1/2",1/3") on the Ursa mini, witch is in EF ?
That camera was an ursa mini pro with the b4 mount on it, 2/3inch lens. The rest were ursa minis
Wow. Damn that's awesome setup. Really impressed bro.
awesome and very informative! thanks for taking the time.
Quick question: what specific Canon ENG 22x lens are you using on the first camera? Thanks!
Assuming it's the Canon HJ22ex?
Canon HJ22ex7.6 BIASE HD
Tele Zoom Lens :)
Beautiful. Great lens! Thanks!!
Hola Ryan. HAve a question. What model of sdi cable do you use? Do you use the same sdi cables for video signal and for control camera and lenses?
We use Belden 1505A mostly for cable, and yes the same for both directions, it doesnt technically matter if they are different going backwards and forward but might as well keep it the same as its sending the same amount of data so you shouldnt have issues with 1 cable working and another not. :)
@@RyanSomerfield thanks a lot. Seriously!!! 🎉🎉🎉
Hi Ryan, Great video thanks mate! Just wondering what jib you used and would you recommend it? Thanks bud!
Dan Williams Media Production thanks man! The jib is the jimmy Jib 3 from Stanton, they make great solid jibs, I don’t think they make the 3 anymore but the triangle is a great solid job with nice electronics, would definitely recommend them :)
Quick question for you: I have the same switcher but the video scaling on the 4K multiviewer outputs is horrendous. It’s as if the MVW video is being scaled onto a 1080p surface. All the video panes have half the resolution I’d expect. The labels and frames are overlaid at proper 2160p resolution; they look great, but all the video underneath is crazy pixelated. Do you have that issue on yours?
Hey mate, Hmm thats really weird... Ours looks really crispy, i have noticed though that if you are using interlaced it doesnt scale that well compared to progressive, but its by no means a bad picture still look much better than when its set to 1080. what resolution/frame rate you running on your system settings and multiview?
Yeah that's a good idea. We run the system at 1080i59.94 but I should see if it scales any better in 1080p mode. The multiviewers are in the 4K mode, I think 2160p29.97.
Ryan explicame como balancear las camaras en blanco con el panel de control por favor en español grasias. Desde teleislas canal regional. San andres islas colombia.
Hola, espero que esta traducción salga bien. Pero para conseguir negros combinados utilizando el panel, recomiendo encarecidamente obtener algunos ámbitos como el dúo de smart scope y establecerlo en RGB. Baje el iris de todas las cámaras para cerrarlas y añada obturador si es necesario para ayudar a bajar el nivel e intente alinear el rojo verde y el azul para estar en línea uno con el otro. Es mucho más fácil de esa manera que hacerlo a ojo. Puede que no sea la mejor manera pero funciona. ¡Espero que ayude!
I was *very* interested in the fact you can use that Resolve Micro panel to control the camera.. Does this work with the Resolve Mini panel too? Does it require any third party software or anything, or is it just plug and play?
Ola Haldor Solvik Voll it’s very cool! Basically as far as I know it only works with the micro panel and it’s plug and play with the atem software, as long as the firmwares match up, no options for it, it just works :)
Aw man. Too bad. I already have the Resolve Mini panel due to obvious reasons.. A pity it wont' be possible to use it with the ATEM too :(
Ola Haldor Solvik Voll I man give it a try?? Can’t hurt? Just a case of if they wrote it in the code or not
Ryan Somerfield if you can, that would be very helpful! :)
Ola Haldor Solvik Voll unfortunately I don’t have or have access to a mini sorry!
Which jib is that?
It’s a Jimmy Jib 3 in 24 foot setup :)
What kind of delay do you get for IMAG?
Scott 97 I’ll have to check again now, they have released an update bringing down the delay in the sdi output, as well as making sure sync is correct in the system. I also know the projectors have a bit of delay as they are only hdmi and are being converted from sdi which doesn’t help, but at the time of filming there was delay, but didn’t get any complaints of it being horrible, ill do a proper test in a few weeks :)
Hey Ryan, Thanks so much for posting this video! It's a huge help:) Have you had a chance to test your I-Mag latency recently? I am looking at installing a similar setup for I-Mag and broadcast. We are trying to get a low latency without spending a fortune. You're insight would be greatly appreciated, thanks!
I have a question , what kind of lens you are using on the URSA mini pro ?
All this for the invisible man in the sky - who doesnt exist!
But the people are very real
lakabimo sadly and so in their batshit crazy delusion