Fantastic !!!! We get a good education as to what is involved & the background when we see news on TV or our phones. Keep uploading more such videos for our knowledge of modern broadcast equipment.
Wow. I subscribe to NFL Raider Nation. And I thought this was about their production truck, at first. Then realized this was for a HS! I am blown away. Wish this was something we had at my HS growing up. Good for you and the community invested in this technology
The fun thing to do in any control room is to get in the director’s chair before the e program and fart continually into their seat. Then, when they arrive and sit down, it will instantly be blown up into their face, and you can just observe from a distance and enjoy your fine work.
uhm. yeah. In the 90’s, I rewired the van i used with the cable company to shoot our high school football games in my hometown. It was a single 3/4” u-matic recorder and a no-name 8-input switcher. Don’t forget the composite analog CG. I was also involved with the engineering of pro broadcast semi trailers for a period. I have to say well done, even if you had to resort to blackmagic products (j/k)!
Are you using BlackMagic cameras? I didn't see any CCU's or RCPs, how are you shading cameras? If shading from the Constellation how do you like doing it there?
Absolutely love the setup! I'd love to know how your guy's pressbox kit is setup (Cameras, audio, return feeds, fiberbox, etc.) and along with more details on the scorebar operator (like clock cam, and how the op keeps score/time). I would love to connect, as we our in the beginnings of upgrading out broadcast trailer for the next football season and are always looking for things to improve!
Thanks so much! There will certainly be more videos coming out on more specifics but we would be happy to share if you have any more specific questions. Right now we have a small booth kit box with blackmagic fiber convertors for all cameras and return feeds to the booth. We use bidirectional fiber SFPs which allows us to send a video signal both ways at the same time over 1 box and 1 fiber. Audio was recently upgraded to Dante in the booth. We use Studio Tech talkback boxes. Also have some AVIOs. For other areas for audio we use SD8s and S16s which are stageboxes built for behringer or Midas. They use the AES50 protocol which is ran over an ethernet cable. We have some Klerk Teknik DN9620s which will convert the AES50 to fiber. We actually had to replace the SFPs inside those boxes to support singlemode fiber rather than multi mode which is what they are built for. We have a few ways to get clock and score data. Right now an operator runs Ross Dashboard which connects to our Ross Xpression to keep down and distance, score, and any pops or stats info on the bug. We can technically datalinq all the score and clock info but we like to be in control when we can. The clock is always datalinqd if we can. We have a few ways to get back data from the score and timing system at the stadium. We use Scorebot. We also have a daktronics all sport cg which can output rs232 to the Xpression and we use a laird wireless box to transmit that signal to the truck. It works great!
Amazing set up... Especially for a HS! I've been in "Professional" trucks that weren't as impressive... What are you/have you upgraded to for the audio console? "Jen-A-Leck" is how the speakers are pronounced, FYI...
This is Brandon from A2Z Productions. Love the Truck and your trailer from previous videos. Would love to take a tour of the truck in person. Obviously we use a lot of the same gear and work flow ideas but your truck is one of the most current and modern and well thought out builds i havre seen in a while. Let me know if you'd like to connect offline. Thanks!
@@A2ZProductions awesome, we've seen your content. Good stuff! Let us know if you are ever around the Jackson, MS area. We travel around mostly inside of Mississippi for sports broadcasts.
Gerling builds great trucks. I work for Game Creek Video and 95% of our fleet was built by Gerling and integrated by us in-house. It does make me laugh how the terminology changes from location to location and show to show. You guys call them storage bins, we call them belly bays. You can them levelers, we call them landing gear. Lol keep up the great work!
Game Creek, Nice! We really like our Gerling truck. Game Creek is an entirely different level though. That was my brother using that terminology. I am a firefighter and we use different terms too. Haha. We say compartments and jacks. Also, on your big trucks with compartments that reach from one side to the other, we call those transverse compartments on the fire and rescue side. I bet the “landing gear” term comes from the tractor trailer side of things. When we do rescue work on 18 wheelers the trailer landing gear is called a landing gear because we are not supposed to lift the loaded trailer with it. Just “land” it. I also do some grip and gaffer work on the film side and they would say jockey boxes.
great tour, was great to get some reassurance that OBS studio is still used and viable in a productions of this level. also wondering now how I can get into some sort of schooling or job position to learn some of this equipment.. Im an at home Esports Producer using a single PC with a few midi devices and couple monitors so this is a whole nother level
@ Gitago .. did you mention e-sport?? Please I want to get into that. . I Don't know the appropriate channel to look to. So I am super grateful for you Gitago
Seems so professional and then OBS, It feels weird that this is just some weird piece of software the amateurs use but I find it showing up in so many places. And meanwhile I run into people that give me the impression I should be using some big piece of hardware box, meanwhile I'm trying to consolidate everything as it is a mobile set up with one (Me) maybe two people.
As long as it does what you need it to do and is reliable then why not. I ask myself this same question too but have yet to find a reason to switch off of it.
@@CompPaintball there were certainly some growing pains. Like trying to use the 2nd GEN MEVOs in a multi camera situation when they don't support that. Then we upgraded to 2 of the newer gen3 ones that support NDI which is amazing. And then the boss said 3 cameras, can we use one of the old HDMI ones... so that's a whole chain of cables and adapters. So then I had to deal with color differences between the cameras, and now I'm dealing with HDMI issues. For a while audio delay was an issue but I seem to have that dialed in I think. I Had a good couple months with this client he does a "thing" approximately once a month. And I'm back to encoder crashing, of course it wiped out the back up recording so I had to revert to camera recordings. it's an impressive set up consisting of master control streaming laptop doing lower thirds, OBS, DMX control (4 Basic White LED lights). My laptop which is used for monitoring and audio with my Behringer XR12. Then I have a play out laptop and the OBS System has a separate touchscreen monitor for touchable multiview. I snagged the guest speaker's laptop output on its way to the projector which is great unless they use a laser pointer. And I'm just transitioning in HDMI to CAT5 converter's so I'll be down to CAT5 and audio cables only. It's nice and simple until you get to the control table that has to get packed up and torn apart every month. HDMI was never meant to be a long interconnect or be durable. Most of the equipment is his, so there's a certain level of "I want studio level multi million dollar production" and yet buying cheap neewer lights off eBay and "that's too expensive" stuff. then Those lights don't work so find out what we need to get, a week later... "I got these truck lights off eBay" and I'm tasked with making them work. There is way too much complexity as I keep trying to whittle it out. Meanwhile when I do stuff on my own I went out and got a 3rd gen MEVO for myself and I use an iPhone with ethernet adapter. My goal is to keep everything on ethernet cables, they're all the same, they can be swapped out, replaced and I can have any length I want. Last time I did something it worked great and I had no issues apart from audio delay paranoia. I was set up in 30 minutes and of course I was double booked for that day.
We have used OBS for a while with very little issues, but recently add a Blackmagic Web Presenter when we built the truck out. Unfortunately, the web presenter has given us fits with audio/video not being in sync, thus we fell back on OBS.
Nice set up. I spent 30 years as both an A1 and EIC, same size truck. For audio, I found the more faders the better. When replacing an old SoundCraft with a Wing it became a challenge, even with layers. As others have suggested, a shader position should be considered. Interesting idea using wireless coms for cameras. I would be interested in your announce booth setup, video and audio.
Thanks. We have definitely discussed shaders, etc. before and it continues to be a topic for us. We also have talked about shooting a booth setup video. We have some behind the scenes footage we shot awhile back but it is not very technical. It was shot more for our general audience to understand what our commentators do during a game.
@@SoundSpeeding A shader controls the image of a camera. So iris, shutter, color temp, black levels, filters and more. But mostly iris is changed when the lighting changes.
It just depends on the venue. We use several different methods. We always try to get a physical connection through our fiber infrastructure from the location we are working from. If we can’t do that we have a mixture of cradle point/hot spot configurations to use.
Schools all over the country are getting rid of pretty much any course that isn't sports (math, science, art, history, computers, shop, economics, etc.), meanwhile this HS has a freaking broadcast truck. I'd bet there are cities that don't have access to this kind of equipment, and this is at a high school. Yes I understand this is a private school, but there's no reason this kind of environment couldn't be offered at public schools if we just had politicians with a backbone, and that actually cared about the future, and funding education. (Obviously that means it'll never happen in this country.)
RTS is our intercom system we use. We used to use Clearcom but switched to the RTS Odin which gives us a lot more flexibility. We definitely don’t have an infinite budget. Haha We have just worked hard for many years to slowly build out everything and we’ve bought a lot of used equipment in the past as well. We do actually use Shure. We have four Shure QLXD receivers with two handhelds and two lavs. Those are located in our field kit. The AT units you see are old spares that we kept in the truck just in case we had an event or something right outside the truck. We could just drop some antennas out one of the small pocket doors and use them but we haven’t touched them in a long time.
It really depends on budget and what we can get into. I think we all like the smaller broadcast specific Digicos, the Calrec Brio series, and Allen and Heath Avantis. Digico and Calrec are going to be the higher price tags. Avantis is attractive to us because of the amount of flexibility and the I/O for the price. It’s a 64x42 console and we really need the 42 busses, that’s where we struggle the most. Of course the Digis and Calrecs can handle that as well. We have a performing arts center on campus that just went to the Avantis this past year so using the same console is convenient in several ways if we did that. But, we are migrating to Dante for most of our stuff so as long as we keep Dante compatible consoles it really won’t matter. We can still tie line with the arts center because they have Dante too. I have very little experience on a Digico SD10 but really enjoyed mixing on it. Digico makes some really powerful consoles.
@@creativefoundry2241 Have been mixing on A&H's dLive for bcast & foh for a while now. Would totally take an Avantis on the road in a mobile situation given featureset and footprint.
@@creativefoundry2241 You may also want to look at Wheatstone/Audio Arts, they are exclusively broadcast audio. Based in New Bern, NC, they design and build all of their stuff in house. High quality gear and great people.
wait hold on, did you say you use OBS for the routing, or just like livestreaming? i wasn't expecting it to scale to that type of application. i'm much more familiar with somewhat older dedicated hardware for that kind of thing, but it would be interesting to run a full router in software on a beefy server if it could handle it.
No OBS is used in our truck for streaming. We have a dedicated router and switcher that are hardware in the back of the truck. The same computer that has OBS has the software to control the router so you may have seen that.
That has been brought up in discussion many times. Haha We have one b4 that we use as a wireless shoulder/handheld cam. It’s been a big discussion for a long time as to when, how, etc to make the transition or if we should just rent packages on the bigger productions.
Didn't even known JA had a broadcast truck to begin with. I graduated Copiah Academy back in 2016 so I Haven't been back to JA since Marching Competition back then.
The truck is a very recent addition. The actual "Raider Network" did not officially begin until 2015 and it started out of a portable tent. We went into an enclosed production trailer in 2016 and just transitioned to a truck in 2021.
We can do a deaper dive into Comms. Just a quick overview though. We use an RTS ODIN frame with RTS Keypanels throughout the truck. For cameras we use a Clearcom HME DX210 Wireless system with beltpacks. That system is fed using a bidirectional rca audio to fiber convertor. This allows us to send and recieve audio from the unit and input it into out RTS system so they link together. We also have a Hytera Mobile Radio that we use and trigger from our RTS keypanels. Finally, we just started using Unity intercom running on a Mac with Dante Virtual Soundcard and love it. If you haven't heard about unity I highly recommend.
The 2 ACs are large power consumers. They will draw around 25 amps each while running. Equipment is probably around 25 amps as well. so a total of around 75 amps.
@@creativefoundry2241 Thanks! Quite a significant power draw, but not so bad considering the functionality. It's important that everyone (and everything) is staying cool! I found Blackmagic gear runs quite hot. I lost three Teranex converters out of an installation of six in the first six months of use in a reasonably well ventilated rack through running red hot.
@@TVJAY Right now operators shade their own cameras. It is not ideal but we work with a lot of our students and they do a very good job with it. We are looking into going to a camera that gives us shading ability but we are not there quite yet.
If anyone wants to work in such hitech mobile broadcasting facility as an audio-visual post production professional then in which software should the person be trained ?
We do not currently shade cams. This has been a big talking point for us many times. We are still in the "rent the system" stage instead of investing in all the CCUs etc. We do such a huge range of broadcasts both with and without the truck. We still do a lot of single camera/single operator broadcasts and then those same cameras are used on our biggest productions. Still building up though and that could definitely become a position in the future.
You have Ross graphics and replay, why did you go for the Constellation over a Carbonite? How has the Constellation been? I see you also have TVS HD in the rack, is that an emergency backup switcher?
I will let our EIC/TD give more details about the switcher, etc. But, we built and upgraded over time and it just made sense in the budget to retain the control panel and upgrade to the constellation. We use the TVS HD to run our commercial breaks… haha Its actually an awesome solution for us. Josh will go into more detail, and we already said we need to do a video on it, but essentially we “go to break” and the TVS HD switches from our program feed to our commercial feed. It is also set to AFV so all video and audio feeds cut off the main when we go to commercial break and the video and audio become the commercials. Then when we come back from break the opposite happens and we go back on air. Its really cool because as soon as we go to break we can talk, play music, get packages together, etc. and none of the audio goes on air because it all switches over.
That is a great question. I would certainly take a carbonite or an acuity over the constellation. It was a budget decision. Xpression was a huge upgrade and we decided to do that one first. The main reason was there are no other professional graphic systems that can measure up to Xpression. Character works was what we used before and it was great for the price, but we needed something more. We have also done a few games for ESPN and Xpression or Viz is required where as they don’t care what switcher you have. The Abekas was actually used when we purchased it. It kind of came out of no where but we got around a 75% discount off list for it. It was just an incredible deal. As we grow a new Ross router and switcher are certainly on the list. I have used the carbonite and acuity and they are both great.
I agree with you Curtis. As a broadcast EIC, I generally stay away from most blackmagic gear. There are a few things they make that work well, such as teranex,. However, not a fan of anything ATEM. And their cameras are absolutely horrendous. I would have definitely gone with a Carbonite over the ATEM, given if you had the budget. I would have also gone with ROSS routing and ditch the blackmagic 40x40. But again, just a personal choice. Another question... I didn’t see an area for the VC to sit and engineer the cameras. Are you using cine-style cameras? Other than that, great tour, love it and keep up the great work.
I totally agree Ross is a better system and more reliable. Unfortunately we had already bought into the Blackmagic system early into our venture and didn’t have the budget to switch. We currently use Panasonic UX180s which are basically large camcorder style cameras. They have SDI out for the video feed. Camera ops do their own shading. People usually turn their nose up when we say we don’t run studio cameras with ccus. We would love to if we could afford them but for now no one can tell the difference in what we have and a studio cam with a 22x lens. We only run into issues when we need more lens. Ours are around a 32x.
You can rent from Ross Production Services. They are an off branch of Ross Productions. They do a lot of rentals as well as packaging events for ESPN, NBC, etc. Rental was $2500 for a week. Make sure you ask about shipping though. We had an issue with that. They said they didn’t know the cost of shipping until after it was shipped and never gave us a heads up. It was $1000 just to ship. They were good to work with though and helped us with shipping cost once we asked.
Do you not have Vision Control AKA Shading AKA Racks? I hate to think you have all this beautiful equipment, yet don't have centralised camera matching.
We currently do not utilize camera control for shading. This has been discussed several times but we are still operating professional camcorder style cameras with SDI like the Panasonic UX180 for most of our broadcasts. We do use a Blackmagic Design URSA Broadcast cam as a wireless shoulder/hand-held cam but most of our cameras are controlled completely by the operator. There are a lot of reasons for this and we probably need to provide a video to explain everything. A big reason we still use cameras like this is because we do a ton of broadcasts all the time. Some of those are very small single operator productions and some are up to around 20 people with the truck. Just a huge range of broadcasts and most of the cameras are student run. For our largest broadcasts where we really need shading we have discussed rentals as opposed to ownership right now. We haven't come to the point where we need to own the cams, tripods, lenses, CCUs, etc. to justify ownership but it has been a very big talking point on numerous occasions.
As a truck engineer for a Junior College in Kansas, I can say this is truly, very well done. Fellow ATEM USER as well (4 M/E). My question is this; what do you use for music playback? I’m currently using a Denon SD card player and looking to upgrade.
Thanks! Much appreciated. We actually use QLab running on a Mac mini with Dante Virtual Soundcard. So, our playback is fired from an iPad which controls QLab on the Mac mini and it’s operating on the Dante network. We did that for a few reasons but one reason is music playback can be controlled from anywhere in the truck. This is really handy on our real small productions. We can give the production room two iPads and they can control the console with one iPad and the music playback with another. We can actually fire commercial breaks using it too… which needs to be an entire other video. Haha
@@creativefoundry2241 I would be interested in the commercial video. Every solution I have tired is prone to hot mics or the bug staying in on accident.
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
Goals! I work for a small network in Texas.
Wish we had that truck!
I understood about 1/10th of what you said (this is not my field), but I did find it fascinating. Great job of organizing all of that gear!
Thanks!
Fantastic !!!! We get a good education as to what is involved & the background when we see news on TV or our phones. Keep uploading more such videos for our knowledge of modern broadcast equipment.
Wow. I subscribe to NFL Raider Nation. And I thought this was about their production truck, at first. Then realized this was for a HS! I am blown away. Wish this was something we had at my HS growing up. Good for you and the community invested in this technology
Thanks!
Shortest 17 minute video I've ever watched. Nice work!
Thanks!
This is quite an impressive setup! Very well thought out, thank you for this inspiring tour!
Nice, I have worked many years in television and I have seen a lot of analogue and digital direction. Congratulations.
Thank you for this video. What a very very nice truck.
Excellent video. Congratulation guys! Awesome truck.
The fun thing to do in any control room is to get in the director’s chair before the e program and fart continually into their seat. Then, when they arrive and sit down, it will instantly be blown up into their face, and you can just observe from a distance and enjoy your fine work.
These setup are amazing! Love that
Nice! Great desk to use, the Behringer Wing..
It has worked for us well the past couple years. We are almost completely out of I/O though so we have some stuff to think about for the coming years.
Gorgeous truck ..
Nice “high school truck” :)
Thanks!
Very organized, great job!
Thanks!
nice truck, very clean setup...
Thanks!
Nice Truck! Greets from Germany 🤗
Thanks! Much appreciated.
Thanks!
Spit take: “…high school.”
uhm. yeah. In the 90’s, I rewired the van i used with the cable company to shoot our high school football games in my hometown. It was a single 3/4” u-matic recorder and a no-name 8-input switcher. Don’t forget the composite analog CG. I was also involved with the engineering of pro broadcast semi trailers for a period.
I have to say well done, even if you had to resort to blackmagic products (j/k)!
Thanks, sounds like you have been through the same hurdles as we have. It is a journey for sure... haha
Are you using BlackMagic cameras? I didn't see any CCU's or RCPs, how are you shading cameras? If shading from the Constellation how do you like doing it there?
Just stumbled across your channel! Great content, excited for your future content
Awesome! Thank you!
Beautiful truck 😍
Thanks!
Absolutely love the setup! I'd love to know how your guy's pressbox kit is setup (Cameras, audio, return feeds, fiberbox, etc.) and along with more details on the scorebar operator (like clock cam, and how the op keeps score/time). I would love to connect, as we our in the beginnings of upgrading out broadcast trailer for the next football season and are always looking for things to improve!
Thanks so much! There will certainly be more videos coming out on more specifics but we would be happy to share if you have any more specific questions. Right now we have a small booth kit box with blackmagic fiber convertors for all cameras and return feeds to the booth. We use bidirectional fiber SFPs which allows us to send a video signal both ways at the same time over 1 box and 1 fiber. Audio was recently upgraded to Dante in the booth. We use Studio Tech talkback boxes. Also have some AVIOs. For other areas for audio we use SD8s and S16s which are stageboxes built for behringer or Midas. They use the AES50 protocol which is ran over an ethernet cable. We have some Klerk Teknik DN9620s which will convert the AES50 to fiber. We actually had to replace the SFPs inside those boxes to support singlemode fiber rather than multi mode which is what they are built for. We have a few ways to get clock and score data. Right now an operator runs Ross Dashboard which connects to our Ross Xpression to keep down and distance, score, and any pops or stats info on the bug. We can technically datalinq all the score and clock info but we like to be in control when we can. The clock is always datalinqd if we can. We have a few ways to get back data from the score and timing system at the stadium. We use Scorebot. We also have a daktronics all sport cg which can output rs232 to the Xpression and we use a laird wireless box to transmit that signal to the truck. It works great!
Very nice. Thank you for the tour.
Thanks!
I barely manage Obs and 1 camera working...sometimes. Bravo👏👏👏👏👏
Sometimes we barely manage OBS too… haha
@@creativefoundry2241 😅
Amazing set up... Especially for a HS! I've been in "Professional" trucks that weren't as impressive...
What are you/have you upgraded to for the audio console?
"Jen-A-Leck" is how the speakers are pronounced, FYI...
This is Brandon from A2Z Productions. Love the Truck and your trailer from previous videos. Would love to take a tour of the truck in person. Obviously we use a lot of the same gear and work flow ideas but your truck is one of the most current and modern and well thought out builds i havre seen in a while. Let me know if you'd like to connect offline. Thanks!
Hey Brandon, where are you based? Location?
@@creativefoundry2241 We are in Washington DC but we do travel all over the country for events.
@@A2ZProductions awesome, we've seen your content. Good stuff! Let us know if you are ever around the Jackson, MS area. We travel around mostly inside of Mississippi for sports broadcasts.
First time i thought Brandon firm A2Z speaking im movie :) really passionate person
Can't wait for this collab guys 👏🏾👏🏾
Great tour!
Thank you!
Gerling builds great trucks. I work for Game Creek Video and 95% of our fleet was built by Gerling and integrated by us in-house.
It does make me laugh how the terminology changes from location to location and show to show. You guys call them storage bins, we call them belly bays. You can them levelers, we call them landing gear. Lol keep up the great work!
Game Creek, Nice! We really like our Gerling truck. Game Creek is an entirely different level though. That was my brother using that terminology. I am a firefighter and we use different terms too. Haha. We say compartments and jacks. Also, on your big trucks with compartments that reach from one side to the other, we call those transverse compartments on the fire and rescue side. I bet the “landing gear” term comes from the tractor trailer side of things. When we do rescue work on 18 wheelers the trailer landing gear is called a landing gear because we are not supposed to lift the loaded trailer with it. Just “land” it. I also do some grip and gaffer work on the film side and they would say jockey boxes.
great tour, was great to get some reassurance that OBS studio is still used and viable in a productions of this level.
also wondering now how I can get into some sort of schooling or job position to learn some of this equipment.. Im an at home Esports Producer using a single PC with a few midi devices and couple monitors so this is a whole nother level
Thanks!
@ Gitago .. did you mention e-sport??
Please I want to get into that. . I Don't know the appropriate channel to look to. So I am super grateful for you Gitago
I'd really love to work on something like this some day
Seems so professional and then OBS, It feels weird that this is just some weird piece of software the amateurs use but I find it showing up in so many places. And meanwhile I run into people that give me the impression I should be using some big piece of hardware box, meanwhile I'm trying to consolidate everything as it is a mobile set up with one (Me) maybe two people.
As long as it does what you need it to do and is reliable then why not. I ask myself this same question too but have yet to find a reason to switch off of it.
@@CompPaintball there were certainly some growing pains. Like trying to use the 2nd GEN MEVOs in a multi camera situation when they don't support that. Then we upgraded to 2 of the newer gen3 ones that support NDI which is amazing. And then the boss said 3 cameras, can we use one of the old HDMI ones... so that's a whole chain of cables and adapters. So then I had to deal with color differences between the cameras, and now I'm dealing with HDMI issues. For a while audio delay was an issue but I seem to have that dialed in I think. I Had a good couple months with this client he does a "thing" approximately once a month. And I'm back to encoder crashing, of course it wiped out the back up recording so I had to revert to camera recordings.
it's an impressive set up consisting of master control streaming laptop doing lower thirds, OBS, DMX control (4 Basic White LED lights). My laptop which is used for monitoring and audio with my Behringer XR12. Then I have a play out laptop and the OBS System has a separate touchscreen monitor for touchable multiview. I snagged the guest speaker's laptop output on its way to the projector which is great unless they use a laser pointer. And I'm just transitioning in HDMI to CAT5 converter's so I'll be down to CAT5 and audio cables only. It's nice and simple until you get to the control table that has to get packed up and torn apart every month.
HDMI was never meant to be a long interconnect or be durable.
Most of the equipment is his, so there's a certain level of "I want studio level multi million dollar production" and yet buying cheap neewer lights off eBay and "that's too expensive" stuff. then Those lights don't work so find out what we need to get, a week later... "I got these truck lights off eBay" and I'm tasked with making them work.
There is way too much complexity as I keep trying to whittle it out. Meanwhile when I do stuff on my own I went out and got a 3rd gen MEVO for myself and I use an iPhone with ethernet adapter.
My goal is to keep everything on ethernet cables, they're all the same, they can be swapped out, replaced and I can have any length I want.
Last time I did something it worked great and I had no issues apart from audio delay paranoia. I was set up in 30 minutes and of course I was double booked for that day.
We have used OBS for a while with very little issues, but recently add a Blackmagic Web Presenter when we built the truck out. Unfortunately, the web presenter has given us fits with audio/video not being in sync, thus we fell back on OBS.
@@creativefoundry2241 Good info, was looking at a web presenter HD.
@8:00 ... You talk about expression.. please how do you spell it.. so that I can get a look at it and perhaps use it . Thank you In advance
We use Ross XPression. Hope this helps.
Back when they used all low definition CRTs, the trucks were a lot longer & the generators were bigger.
Nice set up. I spent 30 years as both an A1 and EIC, same size truck. For audio, I found the more faders the better. When replacing an old SoundCraft with a Wing it became a challenge, even with layers. As others have suggested, a shader position should be considered. Interesting idea using wireless coms for cameras. I would be interested in your announce booth setup, video and audio.
Thanks. We have definitely discussed shaders, etc. before and it continues to be a topic for us. We also have talked about shooting a booth setup video. We have some behind the scenes footage we shot awhile back but it is not very technical. It was shot more for our general audience to understand what our commentators do during a game.
What is a shader position?
@@SoundSpeeding A shader controls the image of a camera. So iris, shutter, color temp, black levels, filters and more. But mostly iris is changed when the lighting changes.
Where is the Internet source? How do you broadcast?
It just depends on the venue. We use several different methods. We always try to get a physical connection through our fiber infrastructure from the location we are working from. If we can’t do that we have a mixture of cradle point/hot spot configurations to use.
@@creativefoundry2241 Thanx for the reply. Great to hear from you.
Schools all over the country are getting rid of pretty much any course that isn't sports (math, science, art, history, computers, shop, economics, etc.), meanwhile this HS has a freaking broadcast truck. I'd bet there are cities that don't have access to this kind of equipment, and this is at a high school. Yes I understand this is a private school, but there's no reason this kind of environment couldn't be offered at public schools if we just had politicians with a backbone, and that actually cared about the future, and funding education. (Obviously that means it'll never happen in this country.)
What is an RTS system? And why are you using Audio Technica for mics? You seem to have an infinite budget, so why not Shure?
RTS is our intercom system we use. We used to use Clearcom but switched to the RTS Odin which gives us a lot more flexibility. We definitely don’t have an infinite budget. Haha We have just worked hard for many years to slowly build out everything and we’ve bought a lot of used equipment in the past as well. We do actually use Shure. We have four Shure QLXD receivers with two handhelds and two lavs. Those are located in our field kit. The AT units you see are old spares that we kept in the truck just in case we had an event or something right outside the truck. We could just drop some antennas out one of the small pocket doors and use them but we haven’t touched them in a long time.
@@creativefoundry2241 Have you ever considered Intercoms from RIEDEL Communications?
What audio console do you think you'll upgrade to? The digico Broadcast stuff is amazing (SD9B probably suit your needs)
It really depends on budget and what we can get into. I think we all like the smaller broadcast specific Digicos, the Calrec Brio series, and Allen and Heath Avantis. Digico and Calrec are going to be the higher price tags. Avantis is attractive to us because of the amount of flexibility and the I/O for the price. It’s a 64x42 console and we really need the 42 busses, that’s where we struggle the most. Of course the Digis and Calrecs can handle that as well. We have a performing arts center on campus that just went to the Avantis this past year so using the same console is convenient in several ways if we did that. But, we are migrating to Dante for most of our stuff so as long as we keep Dante compatible consoles it really won’t matter. We can still tie line with the arts center because they have Dante too. I have very little experience on a Digico SD10 but really enjoyed mixing on it. Digico makes some really powerful consoles.
@@creativefoundry2241 Have been mixing on A&H's dLive for bcast & foh for a while now. Would totally take an Avantis on the road in a mobile situation given featureset and footprint.
@@creativefoundry2241 You may also want to look at Wheatstone/Audio Arts, they are exclusively broadcast audio. Based in New Bern, NC, they design and build all of their stuff in house. High quality gear and great people.
wait hold on, did you say you use OBS for the routing, or just like livestreaming? i wasn't expecting it to scale to that type of application. i'm much more familiar with somewhat older dedicated hardware for that kind of thing, but it would be interesting to run a full router in software on a beefy server if it could handle it.
No OBS is used in our truck for streaming. We have a dedicated router and switcher that are hardware in the back of the truck. The same computer that has OBS has the software to control the router so you may have seen that.
Great tour and nice setup. But the engineer in me is screaming at you for not having strain relief on that fiber on the outside BSP! Get some!!
Yeah good point. We actually do have a tie off that we use most of the time to give strain relief.
This is great, how can I get one of these trucks in my country
So cool. Next upgrade: broadcast b4 cameras, CCUs and triax cable drums.
That has been brought up in discussion many times. Haha We have one b4 that we use as a wireless shoulder/handheld cam. It’s been a big discussion for a long time as to when, how, etc to make the transition or if we should just rent packages on the bigger productions.
Very cool.
Thanks!
Outside broadcast trucks a lana rose house
did you guys end up upgrading to the yamaha DM7?
Where did the behind the scenes video of the MAIS championship go? I can’t find it now.
2023 MAIS Football Championships Broadcast Behind the Scenes
ruclips.net/video/Rdht7NM5kDM/видео.html
That is one loaded truck!
Thanks!
@@creativefoundry2241 I'm jealous 😅
Didn't even known JA had a broadcast truck to begin with. I graduated Copiah Academy back in 2016 so I Haven't been back to JA since Marching Competition back then.
The truck is a very recent addition. The actual "Raider Network" did not officially begin until 2015 and it started out of a portable tent. We went into an enclosed production trailer in 2016 and just transitioned to a truck in 2021.
Could you do a video about your comms system? I would love to know the setup you are using 🙂
We can do a deaper dive into Comms. Just a quick overview though. We use an RTS ODIN frame with RTS Keypanels throughout the truck. For cameras we use a Clearcom HME DX210 Wireless system with beltpacks. That system is fed using a bidirectional rca audio to fiber convertor. This allows us to send and recieve audio from the unit and input it into out RTS system so they link together. We also have a Hytera Mobile Radio that we use and trigger from our RTS keypanels. Finally, we just started using Unity intercom running on a Mac with Dante Virtual Soundcard and love it. If you haven't heard about unity I highly recommend.
@@creativefoundry2241 Thank you for your response, it is very interesting the systems that you have used, in a good way! 😀
Interesting you get by with single phase shore power. What sort of draw does the truck have when everything's up and running?
The 2 ACs are large power consumers. They will draw around 25 amps each while running. Equipment is probably around 25 amps as well. so a total of around 75 amps.
@@creativefoundry2241 Thanks! Quite a significant power draw, but not so bad considering the functionality. It's important that everyone (and everything) is staying cool! I found Blackmagic gear runs quite hot. I lost three Teranex converters out of an installation of six in the first six months of use in a reasonably well ventilated rack through running red hot.
Outstanding!
Thanks!
Stopf dir noch ein bisschen mehr in die Hosentaschen sieht super aus 👍🏻
What do you use for field cameras?
We currently use Panasonic UX180s. As well as a Blackmagic Broadcast camera with a teredek for handheld.
@@joshhinkle8792 how do you handle color shading? Does the BM switcher have color correction?
@@TVJAY Right now operators shade their own cameras. It is not ideal but we work with a lot of our students and they do a very good job with it. We are looking into going to a camera that gives us shading ability but we are not there quite yet.
@@joshhinkle8792 we have the same problem however we use vMix and it has some color correction capabilities.
All this for a high school o. Wow! Impressive.
Hi, I have a question... what if the track spoils or develops a fault.. what is the plan B for it? @creative Foundry
Omg I thought this was a college program at first. A high school football team with their own truck?! This has to be Texas... 😂
Thanks! Actually Mississippi. Texans do have some serious football stadiums though! Haha
What program do you guys use for your multiviews? is it all OBS?
The multiviews are created in the switcher. We use a Blackmagic Constellation which is capable of 4 multiviewers.
@@creativefoundry2241 thank you so much!
If anyone wants to work in such hitech mobile broadcasting facility as an audio-visual post production professional then in which software should the person be trained ?
Did any of those promised "more in-depth tour" videos ever happen, good sirs?
We became extremely busy but I hope we can get back on track. We just finished up the football season which is our busiest time of the year.
What happened to the old trailer and other old Equipment?
We still have the trailer on campus. We moved most of the equipment from the trailer into the new truck.
Camera shader or V1 V2 ops?
We do not currently shade cams. This has been a big talking point for us many times. We are still in the "rent the system" stage instead of investing in all the CCUs etc. We do such a huge range of broadcasts both with and without the truck. We still do a lot of single camera/single operator broadcasts and then those same cameras are used on our biggest productions. Still building up though and that could definitely become a position in the future.
You have Ross graphics and replay, why did you go for the Constellation over a Carbonite? How has the Constellation been? I see you also have TVS HD in the rack, is that an emergency backup switcher?
I will let our EIC/TD give more details about the switcher, etc. But, we built and upgraded over time and it just made sense in the budget to retain the control panel and upgrade to the constellation. We use the TVS HD to run our commercial breaks… haha Its actually an awesome solution for us. Josh will go into more detail, and we already said we need to do a video on it, but essentially we “go to break” and the TVS HD switches from our program feed to our commercial feed. It is also set to AFV so all video and audio feeds cut off the main when we go to commercial break and the video and audio become the commercials. Then when we come back from break the opposite happens and we go back on air. Its really cool because as soon as we go to break we can talk, play music, get packages together, etc. and none of the audio goes on air because it all switches over.
That is a great question. I would certainly take a carbonite or an acuity over the constellation. It was a budget decision. Xpression was a huge upgrade and we decided to do that one first. The main reason was there are no other professional graphic systems that can measure up to Xpression. Character works was what we used before and it was great for the price, but we needed something more. We have also done a few games for ESPN and Xpression or Viz is required where as they don’t care what switcher you have. The Abekas was actually used when we purchased it. It kind of came out of no where but we got around a 75% discount off list for it. It was just an incredible deal. As we grow a new Ross router and switcher are certainly on the list. I have used the carbonite and acuity and they are both great.
I agree with you Curtis. As a broadcast EIC, I generally stay away from most blackmagic gear. There are a few things they make that work well, such as teranex,. However, not a fan of anything ATEM. And their cameras are absolutely horrendous. I would have definitely gone with a Carbonite over the ATEM, given if you had the budget. I would have also gone with ROSS routing and ditch the blackmagic 40x40. But again, just a personal choice.
Another question... I didn’t see an area for the VC to sit and engineer the cameras. Are you using cine-style cameras?
Other than that, great tour, love it and keep up the great work.
I totally agree Ross is a better system and more reliable. Unfortunately we had already bought into the Blackmagic system early into our venture and didn’t have the budget to switch. We currently use Panasonic UX180s which are basically large camcorder style cameras. They have SDI out for the video feed. Camera ops do their own shading. People usually turn their nose up when we say we don’t run studio cameras with ccus. We would love to if we could afford them but for now no one can tell the difference in what we have and a studio cam with a 22x lens. We only run into issues when we need more lens. Ours are around a 32x.
How much was the Ross Piero rental, and where did you rent it from? Looking into doing 1st 10 graphic next year.
You can rent from Ross Production Services. They are an off branch of Ross Productions. They do a lot of rentals as well as packaging events for ESPN, NBC, etc. Rental was $2500 for a week. Make sure you ask about shipping though. We had an issue with that. They said they didn’t know the cost of shipping until after it was shipped and never gave us a heads up. It was $1000 just to ship. They were good to work with though and helped us with shipping cost once we asked.
@@creativefoundry2241 where can I find the game that y’all used it on?
It is currently behind a paywall at maisnetwork.org. Create an account and send an email to info@raidernetwork.org and we can give you access.
Do you not have Vision Control AKA Shading AKA Racks? I hate to think you have all this beautiful equipment, yet don't have centralised camera matching.
We currently do not utilize camera control for shading. This has been discussed several times but we are still operating professional camcorder style cameras with SDI like the Panasonic UX180 for most of our broadcasts. We do use a Blackmagic Design URSA Broadcast cam as a wireless shoulder/hand-held cam but most of our cameras are controlled completely by the operator. There are a lot of reasons for this and we probably need to provide a video to explain everything. A big reason we still use cameras like this is because we do a ton of broadcasts all the time. Some of those are very small single operator productions and some are up to around 20 people with the truck. Just a huge range of broadcasts and most of the cameras are student run. For our largest broadcasts where we really need shading we have discussed rentals as opposed to ownership right now. We haven't come to the point where we need to own the cams, tripods, lenses, CCUs, etc. to justify ownership but it has been a very big talking point on numerous occasions.
Wow!
Whats is the replay name sistem?
Ross Abekas Mira, and also a NewTek 3Play system.
I recognized some of those words
Wow this is nice can I get quote
That's it?
As a truck engineer for a Junior College in Kansas, I can say this is truly, very well done. Fellow ATEM USER as well (4 M/E).
My question is this; what do you use for music playback? I’m currently using a Denon SD card player and looking to upgrade.
Thanks! Much appreciated. We actually use QLab running on a Mac mini with Dante Virtual Soundcard. So, our playback is fired from an iPad which controls QLab on the Mac mini and it’s operating on the Dante network. We did that for a few reasons but one reason is music playback can be controlled from anywhere in the truck. This is really handy on our real small productions. We can give the production room two iPads and they can control the console with one iPad and the music playback with another. We can actually fire commercial breaks using it too… which needs to be an entire other video. Haha
@@creativefoundry2241 I would be interested in the commercial video. Every solution I have tired is prone to hot mics or the bug staying in on accident.
Genelec is pronounced "Jen-a-Leck", your welcome ;)
@Steve Woolcott Grammar police, Thank you!
😁 cool
👍🏻👍🏻✨✨
Thank you
haha stream deck nice
We use them everywhere... haha Thanks
i went to the wrong highschool
waw i wish high schools in my country had that... The disadvantage of living in a 3rd world country
stream deck lmao
Did I hear that right. You are operating OBS with a blackmagic control surface? Is the BMD control surface programable to other systems?
I think they're just using OBS for the streaming side and feeding that with black magic gear.