Tutorial: Connecting Content-Creation Workgroups with the ProMAX Platform Portable Y

This video production tutorial originally appeared on Streaming Media Producer

Whether you need to connect multiple workstations together with shared storage or multiple storage devices to a single workstation, the ProMAX Platform Portable series has you covered.

Whether you need to connect multiple workstations together with shared storage or multiple storage devices to a single workstation, the ProMAX Platform Portable series (Figure 1, below) has you covered. Small content-creation workgroups who have a large investment in external FireWire and USB drives will appreciate the legacy support, while those who require modern connection protocols for faster connectivity will love the ProMAX Platform Portable for its eight USB 3.0, two eSATA, and two Thunderbolt 2.0 (Figure 2, below Figure 1).

Figure 1. The ProMAX Platform Portable

Figure 2. The ProMAX Platform Portable’s extensive connectivity options

The Platform Portable lets small workgroups solve the problems associated with the sharing of external portable hard drives. This shared storage solution doesn’t require a costly reinvestment to replace and upgrade legacy external hard drivers, and it offers so many storage expansion port options. It frees creative types from having to worry about the technical compatibility details that are common when working with content in different file formats, including FAT32, exFAT, HFS+, and NTFS.

Platform Portable Model Options

The Platform Portable series is available in X and Y models. The X model starts at $5,995 at videoguys.com, and the Y model features a faster processor and a 2 TB on-board SSD RAID, which is great for video workflows that require proxy generation, transcoding, and After Effects and Cinema 4D rendering.

All you need to do to get started is to connect your Platform Portable to your workstation via ethernet. You can do this over your existing Internet network but you can also connect one of the additional ethernet ports on the back of the Platform (Figure 3, below) to your workstation, provided it has a secondary network card.

Figure 3. The ProMAX Platform Portable’s 4 additional Ethernet ports on the back of the unit

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Gearing Up for 4K Production, Part 3: Storage, Throughput, Switching, and Delivery

This article originally appeared on Streaming Media Producer and was delivered as a talk at Streaming Media Producer Live

Two big issues that concern almost everyone making the jump to 4K and UltraHD are throughput and storage. How are you going to manage and transfer all those additional bits?

Two big issues that concern almost everyone making the jump to 4K and UltraHD are throughput and storage. In the real-time atmosphere of live production, how are you going to move around all those extra bits you’re capturing in an image roughly 4 times the size of an HD image, and where are you going to store them? And when it comes to postproduction, are your current computer system, GPU, and NLE really 4K-ready?


As far as storage goes, we’re dealing with essentially the same math we were before, albeit with bigger numbers in most cases. It all comes down to translating the megabit-based bit rates we use to describe video acquisition to the megabyte-, gigabit-, gigabyte-, and terabyte-based capacities we associate with throughput and storage. For example, if you’re looking at about 25 megabits per second (Mbps), a common bit rate for AVCHD, that translates to about 12 gigabytes (GB) per hour. If your 4K/UltraHD bit rate is 100 megabits per second, you’ll need roughly 4 times as much capacity, or roughly 48 GB per hour of video. Storage requirements are something you definitely want to be paying attention to.

Hard drive and SSD speed are important as well. Let’s look at a practical example. The Sony 4096×2160 60p XAVC codec for UHD video has a maximum bit rate of 600 Mbps. That’s 24 times higher than the AVCHD codec I work with for HD video. When I looked at the Sony Z100 camera that used that codec, my question was, could I handle that in my existing acquisition/recording workflow?

600 megabits per second is only 75 megabytes per second. Given that a regular SATA hard drive can usually support up to 100 megabytes per second, the answer is yes. If you have a 100MB/sec SATA hard drive installed in your computer, you can edit in 4K on that drive. You don’t need to upgrade your hard drive to start working in UHD. Once you start moving into multiple camera angles, then that requirement becomes higher–at least for 600Mbps acquisition. Keep in mind that 600Mbps is the highest bit rate available for the XAVC codec. As with AVCHD, you can record in several other bit rates with the XAVC codec, all of them lower than 600Mbps.

What happens when you move into a faster arena? There are some higher-bit rate codecs that available for UHD acquisition. With Sony’s FS700 or F55 and the HXR-IFR5 interface unit and AXS-R5 recorder (Figure 1, below), you can acquire RAW 2K or 4K video at a bit rate of 2.4 gigabits per second (Gbps) or 300 MD/sec.

Figure 1. The Sony FS700 and F55 with attached recorder capable of RAW 4K acquisition

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Gearing Up for 4K Production, Part 2: Cameras and Lenses

This article originally appeared on Streaming Media Producer and was delivered as a talk at Streaming Media Producer Live

In part 2 of our 3-part series on gearing up for 4K live production, we’ll explore the cameras and lenses available today for professional 4K production.

When I talk about cameras with other video producers, one of the questions that I always find interesting is, “Do you need a 4K lens to shoot in 4K with interchangeable-lens cameras?” A lot of camera companies now are coming out with “Cinema 4K-class” lenses. I question that designation–at least the purported uniqueness of it. In terms of resolution, 4K means 4,000 pixels wide, which translates to 8-9 megapixels (MP) in photographic terms. It’s a different aspect ratio, of course, but 8-9 MP is actually pretty modest for a still camera when you consider that today’s entry-level photo cameras offer 16-18 MP.

Do you really need a “4K” lens for something that’s shooting at a smaller size? For me, the answer is no. Of course, it’s great marketing for them to promote their high-end lenses as “Cinema 4K.” That doesn’t mean these aren’t great lenses, of course; their ability to capture 8 MP images just isn’t their key point of differentiation.

If you’re shooting 4K for the big screen and your budget is unlimited, by all means get yourself Cine Zoom lenses that cost $40,000-80,000 each (Figure 1, below). But you don’t need a lens that expensive to shoot 4K for the web. In reality, you can get away with professional DSLR lenses, and even some of the consumer ones do a great job for 4K as well.

Figure 1. A Canon 4K Cine Lens that lists for $78,000

Crop Sensor Format

If you shoot with DSLRs, APS-C is the crop sensor format that you work with on your cameras. Some cameras also shoot full frame, which is comparable in size to old 35mm film. On the video side, while some full-frame 4K video cameras have either recently come to market or are coming soon, Super 35mm seems to be the sensor size that’s the most common right now. It’s very similar in size to APS-C.

Because APS-C cameras do not use the full frame in the sensor, the sweet spot on any lens is the middle. As you go out to the edges, the sharpness diminishes, resulting in vignetting and shading and other issues. The sweet spot is the middle. Pairing a Super 35 sensor with almost any photo lens will achieve excellent results. You don’t need it to be the sharpest lens in the world, because you’re not going to 50 megapixels, even with 4K. In general, prime lenses are sharper than zoom lenses.

4K Large-Sensor Cameras

I’m a big fan of large-sensor cameras because the sensor is so massive that you don’t have to do any interpolation of the image that comes from the lens. Small camcorders have tiny 6-7mm (diagonal) sensors. By comparison, Super 35mm cameras have sensors of 28.5mm diagonal (Figure 2, below).

Figure 2. Sony’s PXW-FS7 XDCAM camcorder, a recently introduced Super35mm 4K model

Sensors of this size make it possible to achieve shallow depth of field, and when you’re webcasting, you definitely want that look. Your bit rates are so aggressive when you’re webcasting that you don’t want noise, and you don’t want too much detail. Your subject needs to be sharp and in focus at all times. You want to allocate all your available bits to maintaining focus on your subject, and one way to maximize the bits available to your subject is to sacrifice focus on the background. Large-sensor cameras give you that ability.

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Gearing Up for 4K Production, Part 1: Connectivity, Codecs, and Capture

This article originally appeared on Streaming Media Producer and was delivered as a talk at Streaming Media Producer Live

We’ll begin this 3-part series with a look at the two 4K formats and a discussion of why you’d want to shoot in 4K today even though most viewers and potential clients aren’t demanding it, and start to examine the links in the 4K live production chain with an eye to connectivity, codecs, and capture.

When you’re making the transition to 4K production, choosing a 4K-capable camera or camcorder is only the beginning; you need to look at the entire workflow and assemble a toolkit of products that will work well together. You need to look at each piece of gear and locate your bottlenecks, identifying what works well and what doesn’t. From SD to HD to 4K to 8K and beyond, the entire chain of gear for live video production remains roughly the same, and the weakest link in that chain will always be your limiting factor.

In this three-part series, we’ll explore discuss all the factors you need to consider as you gear up for 4K production. We’ll begin with a look at the two 4K formats and a discussion of why you’d want to shoot in 4K today even though most viewers and potential clients aren’t demanding it, and start to examine the links in the 4K live production chain with an eye to connectivity, codecs, and capture.

h2>Introducing the 4K Formats

Today we find ourselves in an era of unprecedented change when it comes to video technology. The NTSC standard was introduced in 1941 in countries that had 60-hertz electricity, and except for some minor tweaks and improvements and the introduction of color in 1953, the standard changed very little over the next 60 years.

Here we are going into 2015. HD has been the broadcast standard for less than a decade, and now we’re rapidly moving into 4K. Netflix is offering 4K, YouTube says it supports 4K now, although it’s important to distinguish between the two flavors of 4K–even if Netflix and YouTube don’t. One flavor is ultra-high definition, or Ultra HD. That’s the consumer broadcast format with the 16:9 aspect ratio and the 3840×2160 resolution.

We describe our HD formats as 1080p, 1080i, and 720p, referring to the horizontal resolution and whether the video is interlaced (i) or progressive (p); with UltraHD, we’ll be talking about 2160p now. And unlike with HD, all of our pixel aspect ratios will now be 1.0, so we won’t have to worry about square and non-square pixels as we move into 4K.

The other 4K format is DCI PXW 4K, also known as Cinema 4K. This format is a bit wider than UltraHD, with an aspect ratio of approximately 17:9. The distinction won’t be readily apparent to the casual viewer, but there is a distinction between the two that you need to be aware of when it comes to workflow.

Some delivery media don’t support Cinema 4K. YouTube 4K isn’t Cinema 4K; it’s Ultra HD. Likewise, Netflix 4K isn’t Cinema 4K; it’s Ultra HD. If nothing else, it’s important to keep the two formats distinct in your mind to use the right lingo and communicate accurately with clients and crew.

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How to Integrate Real-Time Social Media with Streaming Video

This article originally appeared on Streaming Media Producer

Viewers interacting with a second screen while consuming content is not something that we, as producers, have much control over, but by integrating real-time social media with streaming video we can try to maintain viewer engagement and encourage them to use their second screens to interact with the content producers and other viewers, instead of with their wider social media network.

As a society, we recognize that our interactions compete for time with ever-present Internet-connected smart phones and tablets. Be it in a classroom, conference, or boardroom, or while out for dinner with friends and even first dates, we vie for attention with connected devices.

Broadcasters and advertisers know this as well as anyone. As the primary vehicle of TV consumption has shifted from live television to on-demand streaming and timeshifted playback of live television using a PVR, advertisers understand that in order to capture viewers’ attention, they need to engage them on their second screens–their smart phones and tablets. This effort to engage viewers on their second screens can be seen in the form of strategically timed Twitter hashtags that often summarize a storyline with run-together compound words.

This type of interaction is normally limited, although I have seen some shows like ABC’s The Voice read live tweets from viewers and display tweets supposedly written by the show’s quartet of celebrity coaches. Admittedly, the celebrity tweets appear to be written by social media handlers via the celebrity’s Twitter account, but The Voice still represents a solid example of broadcast television trying to engage the viewing audience on their second screens while they watch live television programming. Likewise, a webcast that properly integrates real-time social media with streaming video can replicate this type of Twitter interaction and take engagement and the conversation to the next level by adding Facebook comments.

Ironically, as television consumption has morphed into an on-demand and timeshifted experience, live streaming or webcasting—i.e., web video viewing in real-time—has become a growing market. Corporate webcasting is often used to connect remote employees or conference attendees in remote or satellite locations, and technology companies are increasingly webcasting product launches. Like broadcast television, today’s live webcasts often integrate real-time social media with streaming video in an effort to engage their viewing audiences. Engaging webcast viewers via social media results in higher viewer retention, because they stick around longer. It also means higher visibility, and consequently higher viewer numbers, as these viewers share their engagement activities across their social media networks.

Two Ways to Add Social Media

There are two ways to integrate real-time social media in live streaming video. The first is by engaging viewers through the use of chat, Facebook comments, and tweets. The second is by compositing Facebook and Twitter comments on the live video. I will discuss and demonstrate both methods.

A live webcast on a Facebook page with Facebook comments below the video and tweets and Facebook comments overlayed on the video

Encouraging viewers to share, like, and tweet the live broadcast URL is a good start, but true engagement requires interaction. Both Ustream and Livestream have channels and event pages that allow Facebook comments/likes/shares, Twitter tweets, and chat. It’s important to assign a moderator to monitor these different interaction methods to prevent conversations that are too risqué for the intended audience and discourage trolls and bots.

This communication channel can also double as a way for the webcast team to communicate with the viewing audience for technical support issues without interrupting the flow of the live webcast or involve the talent. It can also be used to send clickable web links that aren’t possible when you overlay a URL on live video.

If the webcast is going to be hidden from an event page or channel or simulcast via an embed code on a client website, social media functionality can still be maintained, depending on the embed code option selected. Additionally, both Ustream and Livestream have Facebook apps that allow the video to be embedded on a Facebook page, which adds a third simulcast location. My initial concern with multiple simulcast locations is that the different audiences wouldn’t be interconnected, but Facebook comments are seen across all three simulcast locations, which has the added benefit that the moderator doesn’t need to be in three web locations at once.

Ustream embed options include the video player only, player plus sidebar, and sidebar only.

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Sony a7S Full-Frame Mirrorless Camera, Part 3: Video Camera Review

This article was originally published at Streaming Media Producer

In the last two articles in this 3-part series on the Sony a7S, we covered a lot of ground discussing what to look for in video lenses and lens adapters for the Sony e-mount that is native to the Sony a7S. Now it is time to take a deeper look at the Sony a7S as a video camera, with comparisons to the Canon 5D MKIII and Panasonic DMC-GH4.

In any camera review it’s always helpful to compare a camera to a similar one, but in this regard, the Sony α7S is without direct peers. On the Canon front it would seem logical to compare the Sony α7S to the 5D MKIII because they’re both full-frame cameras, but this wouldn’t be a fair video test for Canon because the 5D MKIII is a photo DSLR with a 22.3MP full-frame sensor that isn’t as ideally suited for video use as is the Sony α7S’ 12MP video sensor. A more fair comparison for the 5D MKIII would be the Sony α7 with its 24.3MP sensor that sells for less than half the cost of the MKIII.

On the Panasonic front, it might seem logical to some to compare the Sony α7S to the Panasonic Lumix DMC-GH4 because the GH4 can record 4K internally, while the Sony α7S can output 8-bit 4K UHD live from its micro-HDMI port. And while internal 4K recording and external 4K HDMI output are very different features, the bigger difference between the GH4 and the Sony α7S lies in the size of their sensors.

The GH4 has a micro four-thirds sensor and the Sony α7S has a full-frame sensor. When you use the GH4 in 4K UHD or 4K DCI mode, it means you’re filming with a 2.3x crop factor and the individual photosites on the sensor are 1/5 the size of ones on the Sony α7S. A smaller sensor and larger crop factor has two consequences: first, your depth of field at an equivalent focal length will be greater; and second, your focal length will be longer. To calculate the 35mm focal length that your lens and camera combination will produce, you have to multiply your lens focal length by the crop factor. For example, a 50mm prime lens becomes a 115mm telephoto lens on the GH4.

High Marks for ISO and Dynamic Range

Ultimately, neither the Canon 5D MKIII nor the Panasonic GH4 can compete with the Sony α7S when it comes to low noise at high ISO values and a wide dynamic range. The Sony α7S is a low-light monster that produces usable video at ISO values of 102,400. This is huge when you consider that the GH4 image starts to fall apart and be very noisy at 1,600 ISO. Having access to a noise-free, high-ISO image means you can pick virtually any combination of shutter speed and f-stop without having to worry about balancing off high ISO noise. Ultimately, this can lead to more creative freedom and control of your image.

As for dynamic range, Cinema5D lab tests show the Sony α7S can produce a 14.1 stop dynamic range when shooting with SLOG2, which is 2.3 stops wider than the 5D MKIII and 3.2 stops wider than the GH4. Having a wider dynamic range means you can discern more detail in shadows and highlights simultaneously. Filming on a wide dynamic range camera is also more forgiving. You still can’t overexpose your image and hope to recover detail in post, but the range that you can work in is so much wider so you don’t need to worry so much with nailing the exposure as you do with a camcorder that has a smaller dynamic range.

The α7S lets you see in the dark well beyond what the human eye can. In this example, I took a photo of my son sleeping while camping. On the left is what I saw and on the right, what the α7S saw. Minolta Rokkor-x 50mm f.1.4 lens.

I’m sure it’s only a matter of time before Sony releases a full-frame video camera with the same sensor as the α7S and adds in missing and important features like internal 4K recording, SLOG2 shooting with a monitor preview using a LUT, unlimited recording time, and XLR audio inputs. But until they do, the α7S is a camera without direct competition, while at the same time it competes with DSLRs and professional video cameras alike.

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Tutorial: Grass Valley ADVC-G1 Converter

This article was originally published on Streaming Media Producer

Some video switchers have built-in scan converters for converting VGA signals to an internal standard that you can use in your live production workflow. If you don’t have that, then you’re going to need a converter like the Grass Valley ADVC-G1 that can convert that VGA to your output. In this tutorial we’ll explore how the ADVC-G1 works and how you can incorporate it into your workflow.

Sony a7S Full-Frame Mirrorless Camera, Part 2: Adapting Lenses to the E-Mount

This article was originally published on Streaming Media Producer

Now that we have covered some of the important characteristics of lenses from a videographer’s perspective, we’ll discuss several of the lens-and-adapter combinations for E-Mount cameras, like the Sony a7S, that are also relevant for the Sony FS100 and FS700/R.

Now that I have covered off some of the important characteristics of lenses from a videographer’s perspective, I am going to discuss several of the lens and adapter combinations for E-mount cameras, like the Sony α7S, that are also relevant for the Sony FS100 and FS700/R.

Canon EF Lens Mount

Without a doubt, Canon mount lenses are the most common lenses used by videographers, largely due to the popularity of Canon DSLRs for video. Unfortunately except for the 24-105mm f/4.0 lens, none are parfocal, although I should note that the one 24-105mm copy that I did test went a bit soft on the wide end and wasn’t perfectly parfocal. Fortunately for Canon users, this one lens covers such a desirable range that a complete lack of parfocal lenses throughout the rest of the line-up isn’t a deal breaker. The Canon 24-105mm is reasonably priced at $1,150 but sells for less when paired as a kit lens on several Canon camera bodies.

If you want to use your Canon lenses on an E-mount camera, you need a smart adapter like the Metabones EF to NEX Mark III & Mark IV. One bonus with using this pairing over any other non-E-mount lens, is that the Metabones Smart Adapter supports image stabilization (IS), which isn’t even available with Sony α-mount lenses when paired with Sony’s LA-EA adapters.

Unfortunately early reviews of the Metabones EF to NEX adapters haven’t been positive. The Mark III suffers from internal reflections and there have been reports of the Mark IV locking-up when you change lenses, requiring a camera reboot. Metabones is promising a new firmware update will fix this issue but this is definitely a set-back for early adopters. More importantly, like most adapters and full frame DSLR lens combinations, Canon EF lenses on the Sony α7S add a lot of weight and length to a camera body that is smaller and thinner than a typical DSLR.

Early versions of the Metabones MK III and MK IV EOS to NEX adapters have experienced issues.

Grip Solution

Adding the optional Sony VG-C1EM vertical battery grip does help to rebalance the diminutive Sony α7S when adding a DSLR lens and adapter and it also adds additional length to the body that gives the Sony α7S a more professional look, similar to how some videographers can on occasion dress up their lenses with follow focus and matte boxes purely for show.

The VG-C1EM battery grip isn’t likely to used by videographers as a vertical grip while filming videos as we understand that vertical video is a faux-pas, regardless of how many cell phone videos we see on our Facebook feeds, but the C1EM grip does appeal to videographers as it adds capacity for an additional Sony NP-FW50 battery.

This effectively doubles the battery life of the Sony α7S from one hour, which is too little, to two hours, which is more acceptable. I do recommend having additional spare batteries and chargers ready to go for those long filming days.

The Sony VG-C1EM battery grip adds additional camera height and can support an additional battery.

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Review: Canon XF205 Professional Camcorder

This review was originally published on Streaming Media Producer

The Canon XF205 pro camcorder resembles the acclaimed XA25 consumer model introduced last year in several respects, but adds welcome features such as individual rings for iris, zoom, and focus; 2 additional channels of internal microphone recording; 1080/30P HD-SDI output in the XF205, and more. As such, the XF205 comes highly recommended as a camcorder well-suited to webcasting workflows.

The Canon XF200 and XF205 were announced at NAB 2014 and are the larger professional versions of the prosumer Canon XA20 and XA25 camcorders that were announced at NAB 2013 and went on to win several awards and numerous accolades in the trade press. I was so impressed with the XA20 that I purchased one and have written about it and recommended it several times in various Streaming Media and Streaming Media Producer articles.

At NAB 2014, when Canon introduced the XF200 and XF205, I had the opportunity to speak with Canon’s Chuck Westfall about the key features of the new cameras:

The XA20/25 and XF200/205 share a lot of components and features so I already know going into this review that I will consider it a strong performer. The picture quality is very good and having a long zoom lens comes in handy when you need to film a speaker from the back of a conference room. Having had the opportunity to review the XF205, in this article I will compare and contrast the XA20/25 and XF200/205.

Form is a Factor

The technology and feature set in 1/3” sensor-class camcorders is fairly mature compared to large-sensor models. As a camcorder class matures, professional users look more and more to refinement and less on consumer-centric features that lack predictable results. I’ll focus mainly on the features that matter to me the most in my own workflows and skip over some of the ones I might think are cool but honestly would never use.

Before I delve deep into the manual and a camera’s menu system, I like to hand hold a camera to test its ergonomics. The camcorder form factor’s biggest asset is its form factor and that they are designed to be balanced and easy to hand hold. As a Sony FS100 and FS700 owner, I know the pains of owning cameras that cannot be handheld without a rig and external monitor system. This is largely the reason that I bought an XA20. The side LCD placement and overall light weight of the XA20/25 make it easy to operate off a tripod, although some might find it is too light.

The XF200/205 weighs about 6lbs fully equipped and the XA20/25, just over 2lbs. More importantly, the XF200/205 has a hand grip that can be rotated 120 degrees, and I appreciate this because it allows me to orient the hand grip to an ergonomically neutral and stronger wrist position than the typical wrist abduction (thumb-sucking motion) position that most hand grips require.

Canon XF205

A neutral ergonomic position allows you to keep the shot steadier for longer because you are shifting the muscle burden to larger and stronger muscles and smaller muscles aren’t contracted for extended periods of time. Stable body positions are an important start for when you pair a 20x lens with a camcorder but you will need more than just an ergonomic hand grip and neutral wrist position to get stabilized handheld shots.

Dual Stabilization

It used to be that the big differentiating feature in professional camcorders was that they featured three sensors. Light from the lens would first pass through a color-separation prism, which would split the signal into the primary colors of red, blue, and green. Each of the three sensors would be tasked with handling only one color value. This resulted in better color reproduction than consumer single-sensor solutions. The use of three sensors was leveraged with both CCD technology and more recently with CMOS technology.

The exception in use was DLSRs and large-sensor video cameras, but now Canon is bringing their single-sensor color technology to camcorders and this reduces cost, size, weight, and permits the use of additional forms of image stabilization that weren’t possible when using three sensors.

I mentioned earlier that the XF200 and 205, like the XA20 and 25, are 1/3”-class camcorders. Their sensor is actually a slightly larger 1/2.84” CMOS sensor, but the additional size and resolution are used to provide lossless stabilization on the sensor, in addition to more traditional optical lens stabilization. In digital stabilization systems the camera zooms on the image slightly in order to add stabilization. This method is effective, but there is a resolution loss as the image is not oversampled to begin with.

The Canon XA20/25 and XF200/205 sensor stabilization starts with a sensor that is effectively 2136×1362 and when this image is scaled and then cropped, the final resolution is a pixel-to-pixel 1920×1080. I normally would not recommend trying to film at 20x zoom handheld, but the dual stabilization is so good that I have successfully tracked flying planes and swimming dolphins while on a cruise ship.

The Canon XF205 competes with the Sony NX5U and the Canon XF200 with the NX3 and they have similar MSRPs, respectively, in the $4,000 and $3,500 range.

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Tutorial: Mixing, Switching, and Streaming Live with the Roland VR-3EX All-in-One A/V Mixer

This tutorial was originally published on Streaming Media Producer

In this tutorial we’ll explore the robust audio and video mixing, switching, and live-delivery feature set of Roland’s versatile next-generation 4-input VR-3EX, HDMI-capable A/V mixer.