I took a short road trip to western Massachusetts with my buddy Andy. He brought his GoPro Karma drone. I brought my personal camera rig.
Whether you’re trying to reach prospects, customers, or internal stakeholders, live video provides a powerful, engaging way to get your message out into the world. But if you don’t have any live streaming experience, the process can seem a little daunting — especially if you’ve ever witnessed any live streams gone wrong. I mean, no one wants to be remembered for that live stream when the audio went out or the camera stopped recording.
So, you may be wondering: Where do I even begin? And how can I ensure my live stream goes off without a hitch? Well, fear not! We’ve got you covered.
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Get the guide over at the Brightcove blog.
Every marketer knows doing things “the old fashioned way” is unsustainable yet most people still don’t think this same way about video. Agencies and brands alike keep getting stuck viewing video through the lens of the “deliverable,” meaning a snappy 15 or 30 second spot that you make once, then syndicate across platforms.
That’s no longer good enough. We’ve seen email and social marketing thrive on the notion of personalized content that resonates with a hyper-specific audience, and we have to approach video in the exact way.
I’m a lifelong avgeek and as I’m learning to fly for real, I use my home simulator as a really useful training tool. Occasionally I’ll stream my flights, and because I have a production background I really wanted to have a proper audio workflow. The following setup is exactly what I use to send audio to OBS for live streaming on Twitch and elsewhere.
Getting the sound out
In order to hook into the pro mixer I have, I needed a pair of external USB sound cards, hopefully ones that either output a pro line or mic signal. My same friend who’s working on those overlays recommended a digital DI box by Peavey that outputs to two XLR jacks. It rocks.
It’s a step above some similar USB cards that I’ve found and it includes circuitry to eliminate electrical noise and ground loop hums. This is really nice because PCs are noisy and most cheaper external sound cards don’t output truly clean audio. I have two of these, one for X-Plane ambient sound, and the other for PilotEdge output.
Mixing the sound
Everything gets sent into a Behringer 1002b mixer. With 5 XLR inputs and a total of 10 channels of audio, I have a lot of granular control. It’s very easy to adjust the mix to compensate for a quiet controller, or an extra loud plane. In order to use a typical pc headset with a mixer, you need to supply it with ‘plugin power.’ This is sort of a lower voltage version of phantom power and it’s tricky to find the right adapter. I found a nice one from a company that makes a lot of small adapters and power modules, Sound Professionals.
Routing audio to the right places
Two 1/4″ patch cables go from the mixer’s main outs to a Tascam USB audio interface that I typically use for recording into my Mac. I use Tascam’s app or hardware knobs to tweak the signal levels and OBS recognizes the input as a generic USB soundcard.
The mixer has both monitor and FX Send submixes, so I can isolate my headset mic and just send that back to the PC for PilotEdge. With the other submix, I send ATC to my headset plus my own mic input to simulate sidetone.
Full parts lists
An excerpt from a post on the Videostrategy.org blog:
Whether you’re working in a studio or on location, controlling your lighting setup can be a pain. As your setups get more complex, it takes more time to tweak individual lights and even if you’re working with a larger crew making final adjustments can eat up a lot of time unless you have a dedicated pre-light day which is pretty uncommon for the kind of work we do.
In 2014, I worked on a Superbowl campaign that used Rat Pac Dimmer’s Cintenna system to wirelessly control DMX lights via an iOS device and it was awesome. Unfortunately, it costs a lot to get up and running so I wanted to build my own for smaller projects.
Another roadblock was that many of the lights we use (fresnels, Quasar Science LED tubes) might not have DMX control built in like some high end lights do so I needed to figure out how to make a system that would work with that.
This is that system. It’s a combination of a portable wireless router, an ethernet to DMX adapter, and a portable dimmer pack that allows you to have DMX control over any light that accepts a dimmer. This setup works great in the studio, and packs into a pelican case for using on location. You can plug it into any DMX system, wired or wireless and it’ll just work. Here’s what each part does.
Read the full post at Videostrategy.org.