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@@GioOgi-kq1ul sorry I’m not familiar. The atem has XLR audio input so you’d need XRL cables.

@@MR_DOME the camera is $600 body only and my regular cinema camera is $6000. Even a decent 4K webcam these days will cost you $300 (look at the Obsbot and Insta360 link as examples). This Sony camera is a very affordable option. You won’t find a comparable mirrorless camera that allows for interchangeable lenses so that you can get the necessary depth of field for anything less than that. When you toss an F1.4 prime lens on this camera you cannot recreate a similar image with a webcam. It’s just not possible.

@@ThinkShift thank you! I did just get access to the UA-cam beta for SRT so I’ll add that to my to do list.

@@goldieg6934 I’m afraid I don’t as I’m usually hiring an audio engineer to handle that live on my shows for me. I’m not a big fan of having to worry about audio when I’m focussed on managing the client, switching the show, directing the graphics and video playbacks, etc. It’s just one more thing and it’s better to have the audio experts listen out for and adjust those things live.

@@zephanmoses okay. Makes sense. Thank you anyway.any recommendations?

@@goldieg6934 there should be plenty of tutorials on UA-cam to learn how to EQ various frequencies but it’s going to always differ based on your location and the mics being used.

@@TheElvisFan100 you could use macros to make the super source layouts in various shapes and sizes and then just make sure to save your startup state so the macros come back when you boot back up again. You can also export them as an XML file and load them in any time. While in supersource you can switch what input goes into each box from the atem software or using a macro.

@@deonscheepers5666 hence why I released an update video talking about the software update 😀 if you’re subscribed to the channel you’ll see that I’m staying up to date and keeping people aware as the tech changes.

@@USQuail yea it’s not a bad setup. Personally I wouldn’t rely on just cell phone I’d get a disaster group router or something that will bond connections.

@@ewaldconsulting you should be able to do it with the built in HDMI output. For me the ultra studio was an easy way to convert the signal to sdi without any other converters and cables and since it’s powered over thunderbolt it was convenient.

Typically a graphics card HDMI port is an output, not an input. I'm afraid you would need a capture card still in order to capture a video signal into a computer. However you can use the ZVE10 as a webcam using a USB-C cable. I think it's limited to 1080p so you won't get a full 4K signal but that might be enough for your needs.

@@zephanmoses Okay thanks for your advice’I’m disappointed though ,those capture cards seem very expensive. I’ll see what I can do anyway. I’m a bit confused about the lenses for the Sony ZV E10. It’s different from the old 35mm system . I don’t want to be too close to the camera on my streams ,so I’m not sure which lens is right for me . I think the equivalent 35mm or 50mm on the old SLR system would be okay ,but I don’t know what the equivalent lens width would be for the Sony as it’s different. I’m told the 16mm lens you suggest is the equivalent to 24mm on the old DSLR system . It’s all rather confusing to choose a lens for a cropped image setup .

@@jazzycattruthkitten4101 capture cards aren’t that expensive. On the low end there’s the Elgato Camlink which you can usually grab for $99. There’s cheaper knockoffs on Amazon for half the price but you’ll get what you pay for. As far as lenses go the 16mm is great for me. The camera is mounted to my desk so it’s not very far away from me. The only reason I’d recommend someone go for anything tighter than 16 would be if they’re sitting further away from the camera and have a good amount of space. You’re just reading about the crop factor due to the sensor size when you see that 16 is equivalent to something else but 16mm is still 16mm. It’s just not as wide as 16mm would be on a camera that has a full frame sensor size.

@@zephanmoses Okay thanks very much for that ,very helpful ,cheers .

@@zephanmoses Okay thanks ,very helpful.

Thanks for watching!

Right now in the ATEM, the only delay can be added to mic inputs 1 and 2, not camera audio feeds. It's a great idea to run two audio feeds back to the ATEM but I wouldn't ever do it over wireless unless both feed 1 and 2 were wireless to match the delay.

@@pierredubois203 oh that’s nifty and good to know! I haven’t heard of those before.

@@varlerian enjoy

@@MaverickMario hey Maverick, thanks for following the videos. As mentioned in the video, it is sponsored by Artlist so in a way it is an ad. That being said, I found the biggest struggle will definitely be the pacing of the voice and timing it out. All things AI have only gotten better and improved over time. It looks like in the video world, getting limbs to appear properly and move around to display emotion is a struggle. Voice is seeing a similar limitation. I don’t wish to see voiceover artists disappear. But it’s worth acknowledging there’s some places where AI voice makes life easier in a pinch.

@@zephanmosesI appreciate that, and thank you for the respectful and well articulated response. Very glad I found your channel

@@oanthatakealeboga571 there is an EQ in the audio tab of the atem software control.

@@zephanmoses similar to that of a mixer where I can reduce bass?

@@oanthatakealeboga571 please view the information about the Audio mixing capabilities on the Blackmagic website here: www.blackmagicdesign.com/products/atemmini/software There are also entire pages that cover this in the ATEM Mini manual.

@@PT-td7pv decimator definitely has made my life easier. But you might want to try some cheap EDID emulators on Amazon first.

@@AcastroAX love my C70

@@zephanmoses I am thinking of buying my third or a C400 but not sure waiting on comparisons

@@AcastroAX Can't justify the price to be honest. Not a single one of my clients puts a video anywhere but UA-cam so the C400's features would never be appreciated.

@@zephanmoses for my it is a matter of workflow and features. Make my life easier and better plus 6K downscale to 1080p looks beautiful.

@@AcastroAX Oh I don't doubt the downscale. That's a huge plus, I just can't pay that much for it when the clients won't notice a difference.

@@chrissiemilnarskii I like Canare in general for anything SDI but many people simply make and crimp their own for cheaper.

@@NickSimpson1 it was a small spelling error we didn’t catch. No one is perfect.

@@cyabongampaul yea that tends to happen when tech advances. That’s why I put out newer videos 😊

Per both the manual and the tech specs - All ATEM Minis and Extremes max out at 1080p at 60 frames. They do not receive a 4K signal and certainly would not receive a 4K 25fps signal but rather the camera is probably outputting at only 1080p. Depending on the camera model you have, it will automatically down-scale the output resolution to 1080p when it notices that it's connected to an ATEM.

@@zephanmoses That makes sense, it was most likely downscaling in that case.

I do think there is an audience of people that want to switch from a webcam to an actual camera when it comes to streaming, and making a guide or video about how you set that up would be great. For instance, how would you go about connecting the ZV E10 and get it to record video for you in the best quality possible and how do you set that up on your computer?

@@fkmobile1 scaling up to 1080p60 and includes image flip.

@@desommetsensommets8065 having used the knock off apaches from harbor freight and a bunch of pelis there just isn’t anything quite like it.

Sure thing! I use these: amzn.to/3XIvvTX They're more decorative than anything. They don't do a whole lot for sound to be honest.

Hey! If you're seeing levels, that's a good thing! Are you seeing them in the multiview or in the ATEM software control? If you're looking in the software control and you see audio levels that are greyed out, it's because you have to turn the audio ON for that input. So whether you have the Podtrak plugged into Mic 1 or Mic 2, you'll still need to either click the "ON" button that's just below the level meter in the software control or you'll need to physically press the ON button on the ATEM for that input. Now, if you've done that already and your audio is showing levels on the multiview for the PROGRAM, this means your livestream is indeed getting audio and so is your recording but there's probably a simple mistake being made like you have your volume turned down. There's audio levels for your headphones and you have to look for the "MUTE" button on your atem under the headphones column to unmute and adjust the headphone volume.

@@zephanmoses hey! Thanks for the in depth response, I’m getting levels through. It’s just the hearing bit! Only way I’ve been able to hear is by turning on QuickTime and doing an audio recording, would that mean all is well? Another question (if that’s ok!?) - I have 2 mics connected to the podtrak right now. If it’s a single line out into the AMPI, will it know automatically to record those two mics separately? Or do I need to do Audio Split, which is what I’ve seen under Audio

@@xanderneal the atem is only seeing the mics as one feed coming from the pod track. You can only record ISOs of individual devices connected to the atem. Since the two mics aren’t individually connected to the atem, it’s all going to be one recording. Regarding audio, typically you want to run your multiview into a production monitor that has a headphone output so you can make sure the audio sounds ok. It sounds like maybe you were using a computer monitor or something that doesn’t have speakers or a headphone output?

Thanks! So I guess I just will record the podtrak and the line out is just for monitoring? That’s great! I have a wireless go as well, I was wondering if there’s any reason why when connected to my r6 it won’t show the audio when connected into the AMPI via hdmi.

@@xanderneal hmm I'm a bit confused by what you said. So you have a Rode Wireless Go microphone which is connected to a Canon R6 via the receiver so it's a 3.5mm cable? From there, you'd need to verify that the R6 is actually seeing audio levels to ensure that the camera is actually getting an audio feed. People make the mistake of using a TRRS instead of TRS audio cable so the camera doesn't end up getting audio. If you're looking at the camera and seeing audio levels and you confirm it's coming from the mic, then the audio should be transmitting over any HDMI cable to the ATEM. If you're not seeing any levels on the ATEM, even greyed out, then the camera isn't getting any audio. Start with basic troubleshooting there first.

Very similar cases, but small changes that are worth the investment.

it´s better and a little cheaper than the pelicans.

You may wind up with some fun EDID issues which can cause flicker or total black screen.

Appreciate the love! I'm hoping to start a Patreon or something of that sort soon so I can give back more. Thanks for reaffirming the idea!

I received some feedback about the transitions in the video, so I made it a point to make adjustments and release the video again. I'm always open to my audience's input and want to make videos worth watching. If the transitions the first time around were a hinderance to people watching, it's my duty to make it right.

@@zephanmoses Great, Then it wasn't just me having the deja vu of the century 😅. Thanks for the reality check. Also I need an MD-HX or a 12G-Cross. I've been ok without one so far but I'm dreading the day someone shows up with a keynote on macbook that just don't want to scale right on my switcher.

@@ivarmh Yep, you're not crazy. Just trying to listen to the people. I'd rather make the changes and have more people want to come back and watch then to have someone leave over something silly like too many transitions in a video. The MD-HX has been rock solid for years. I only recently added the 12G and it probably wasn't necessary outside the fact that I get some camera operators with cameras that will output 4K so it makes life easy to bring it down to 1080 going into an ATEM.

@@zephanmoses I was wondering the same thing as @lvarmh! If you're open to feedback if this happens again, maybe text on screen at the beginning or text in the title or something like that to indicate it's a repost? I also recently got the 12G model and it also wasn't totally necessary for me since my live workflow is 1080, but having it is a nice confidence boost for situations with a lot of unknowns. Which, let's be honest, is probably all of them, live being live. lol

@@GwenPark I took the other one down before too many saw it so it didn’t seem necessary to point it out but thankful for a loyal audience that remembers things 🙂

The atem can stream in 60. It’s in the software to set the framerate.

The USB output from the ATEM Mini is a UVC connection. It's compressed losing details in the highlights and the shadows with a noticeable difference in quality. However if you are recording from an ATEM to SSD directly and not using a USB connection into a computer (for software recording), you're still getting a high quality recording but it will be dependent on the bitrate which you set in the ATEM software control. It's still going to record H.264 compressed video files whereas the Hyperdeck can record in Apple ProRes and other higher quality codecs. Either way it's a good idea to have a hyperdeck backup because if the SSD recording fails, you've got nothing.