Brandon Peltz Talks Tech About Black Magic Design, and So Many Other Companies, Brands, Products and Topics. As well as shows the secret sauce of how his gigs, events and projects are executed.
Hey Brandon, how are you? Recently I'm having a lot of delay when doing IMAG in the events I broadcast. What approach do you use when doing IMAG at events? I tried using the direct outputs from the ATEM 1 M/E Constellation 4K that I currently use and nothing. I remember you talking about this in some video on A2Z but I don't remember which one. Thank you and take care.
Hey yeah the atem’s with direct SDI out do very well with low latency signal for imag. What cameras are you using? What projectors or video walls are you using? Trying to determine where your delay or lag is coming from? Also are you doing a bunch of conversions in signal after the atem or direct to your screens via SDI/fiber?
What kind of line array was the speaker system? What kind of boards was she using? How about DSP? Not really into lights more, much more into the sound. Anybody know if there’s a video that goes and takes a deep dive into the sound reinforcement system?
This would be absolutely insane for flight sims. Even better... a spherical version where all the panels are part of the sphere with a slight curvature in the horizontal and vertical axis.
I'm still in awe that there exists whole industry providing and supplying such systems. Which means there exists such demand and a high number of paying customers. Mind blowing.
I wonder if the panels themselves could be made in a way where each pixel sits atop a cone shape with a little bit of foam padding behind. It would make the panels thicker and heavier but could help absorb sound
Slowly but surely, this _is_ the way going forward. Everything virtual and CGI on demand. No more green screen or pre-rendered graphics, the Engine runs EVERYTHING in "real time" once assets are created including lighting & ray tracing (insane!). ONLY MADE possible by the recent HUGE advancement in GPU (The Quadros). About the only thing that is still hard to do is you guessed, HUMANS. But I hear A.I would like to have a conversation with you on that topic.
Imagine the pressure on Taylor. If you so much as get a sore throat, sprain an ankle getting off the plane, get stomach flue from some strange food, this whole thing can come to a grinding halt and lose millions! And it's a three hour show to boot! Not like you could just tough it out for a couple songs. Taylor looks slim and rather delicate, but she must be a tough lady underneath!
You should really use a group for the mics. Why? 1) You don't want the feedback EQ in your livestream/recording. It won't feedback there, no reason for it. This is the main reason. 2) No need to copy/paste and adds the ability to adjust them all on fly. 3) You'll have the channel EQ free for adjustments based on the speaker. 4) Not really a benefit here, but if you have other inputs, you'll get a way to control the volume of all mics on a single fader. But even here it can serve as a mute group when no one is talking. 5) You have the GEQ on the group. Although I like the PEQ much more, it can be handy when you need more control.
I wonder if the floor should be a raised composite mesh/grid that has sound insulation below it. you could use an irregular grid pattern. sound reflection aint no joke and sometimes a high density foam mat doesnt cut it. you could also duct AC in from below because I'm sure this thing runs HOTTTTT (probably equivalent to a 10kw heater or more). you shouldnt try to cool the whole room when you only need to cool the people
I wonder if you guys could blast a thin wall of air from the top over the screens to mitigate the echo. I'm thinking the audio just won't bounce off of a thin column of fast moving air?
I thought the Wall I work on was wide. Who does your repairs? I would like to familiarize with this manufacturer. I repair Unilumin Upanels 1.5mm Pitch. Driven by Analog Way Helios Processors and Aquilon Scalers using Watchout. Would love to repair those. Do you just RMA them or do you do repairs local to your operation?
In music studios, portable absorption panels commonly referred to as "gobos" are used to mitigate echo or shape the sound of the room depending on the current needs of the band. Perhaps as similar solution could be utilized? Owens Corning 703 is great for absorbing full-band frequencies - if you were to build a few dozen gobos on wheels that could be easily positioned within the volume, as well as some suspended paneling or thick velvet curtains from the ceiling, you could probably tame a lot of that echo. Plus, as you add set pieces or change the floor surface material depending on shoot, you will notice the sound of the room changing. There are always sound restoration tools that can be used in post production, but it is always much better if you can achieve a clean result in production!
Do you guys offer internships or anything along those lines to get first hand experience with these technologies I have experience with networking but this seems like a whole different ball park?
Imagine walking into that environment as a person from 2000 years ago. Nothing in that space would be recognizable as human created technology. It would be perceived as magic in the trueist sense of the word.
This is incredible. This guy knows his s**t. Listen, I'm not throwing bad mojo anyone's way, I'm just wondering whether these volumes will be accelerated by AI generated art and sfx, or will they be made redundant. I'm an optimist, and I think these things will leverage AI tech...at least for a while. What say you?
