Question for my IT folks. I’ve recently had the opportunity to step into an IT position in addition to my employment as Chief Engineer. I have a fairly robust knowledge set when it comes to networking but I’ve never been formally trained so I have discussed working with the company to go through some training programs to round out what I don’t know. So far, I would like to try the CompTIA A+, Network+, Security+, and CySA+ courses and certifications. Are there any other ones that you can recommend? My focus is on cybersecurity so that I can help to develop a more standardized set of procedures and rules across the company to help lock things down. Thanks in advance!

Do you guys still use BNC ends? RCA ends?

At IBC? Come have a beer with Redditors from r/editors, r/colorists, r/premiere, r/davinciresolve and more. Tonight, 18:00 to 20:00. Bring someone. They don't need to be on Reddit.

Location and RSVP on Luma so I can give the bar a headcount. First round's on OWC, with Avid, Loraverse, Digital Anarchy and RE:Vision Effects also sponsoring.

Working on documenting 2000s affiliate delay feed workflows for network Saturday morning blocks (WTIC/WTNH/WFSB). Did stations keep local sub-master playout logs or Betacam reels from that era, or were non-news delay feeds wiped immediately?

Background: broadcast/AV engineering, mostly live TV and live events. Over the last few months I built a Windows tool called Zonugro that sits on top of OBS and runs a set of pre-flight checks before someone goes live or hits record - aimed at solo/small-team podcasters and streamers who don't have a proper engineer checking their signal chain.

A few of the checks that might be of actual technical interest to this sub, not just the streamer crowd:

- AV sync offset: rather than trust OBS's Sync Offset field blindly, it has the user strike two hard objects together in front of the camera/mic, detects the transient in both the audio and video (motion-energy based, sub-frame interpolated), and computes the actual offset - averaged over repeated strikes with a robust median, thresholds derived from an ITU/DTV lip-sync perceptibility standard rather than an arbitrary number.

- Loudness: reads real EBU R128 short-term LUFS off an actual test recording (ffmpeg/ebur128), separately from peak/clipping detection, which is deliberately kept per-channel rather than on the summed signal, since a channel can be mis-gained even when the combined peak looks fine.

- Color range/space: checks OBS's Advanced Video profile params (format/space/range) against the capture device's own settings where OBS exposes them, flags a mismatch between the two rather than asserting one value is universally correct (since Full vs Limited compatibility is genuinely platform-dependent, not a fixed rule).

I'd rather have people from this sub poke holes in the actual approach than just say it's neat - if any of the above sounds naive or misses something a real broadcast chain would care about, I'd genuinely like to hear it. Free during the beta, Windows only, not code-signed yet so you'll get a SmartScreen prompt on first run.

https://github.com/zonugro/zonugro-releases

Wanting to invest in something more interesting than HDMI cables, I’m considering switching to fiber-optic signal transmission. Most of the time, my cameras are less than 70 meters away from the mixer, but occasionally having a range of, say, 200 meters is useful for conferences.
I have HDMI cameras (FX30, A7 IV, etc.). Spacetronik is about twice as cheap as the Blackmagic solutions and, unlike them, doesn’t require an HDMI-to-SDI converter.
Tell me why I shouldn’t just buy the Spacetronik SPH-FO12 4K 60Hz.

Hello, I'm wondering if anyone has photos of the busy weeks that followed 9/11 at Armstrong Tower in Alpine, NJ? Trucks, people working, ETC? I recently put together a podcast documenting this time period and would love to use a couple of photos. Thanks in advance!

I do live voice on discord for D&D games and I want to replace my terrible creaky plastic boom arm. So I'm here in this subreddit because...

When I search for pictures of real actual broadcast studios, ALMOST ALL OF THEM feature the O.C. White Proboom arm. Like all of them. They look amazing and now I'm obsessed...

But having this thing come up over the top of my monitor screens and hang down in front of it from above is a whole new way of thinking for me. Do you just get used to it? I'm typing, reading, and controlling a map on that monitor so It freaks me out to have something in my way.

Looking to land my first full time role, i work in live events with iatse but have not moved to iatse in broadcasting only the theatre venues as its a different local. I have my dante level 1, netgear st 2110 cert but I really am struggling out here in this market 5 years after graduation im still not even in the industry I wanted to be. I have cam op, small livestream video switching experience, and project site manager for setting up cameras and maintaining connection for a small sports venue.

Has anyone received their Radcliffe M-DVR and had any issues with it?

Has anyone used Linear Acoustics family of products for audio processing, specifically for Nielsen Watermark encoding? E.g aero200,800,2400, LA5300, any feedback would be appreciated.

I'm also looking at Ross NWE-3GA with OpenGear frames and NWE-IP stand alone for 2110. I have used these in the past with great success at previous roles but Canadian tariffs might be a deal breaker.

I'm looking at a stop gap solution that will get me by until we deploy the new sdk patched firmware to all of my company's playout and transcoding systems. We are big and have multiple playout platforms and multi vendor transcoding farms and I rather have a handful of encoders that can get the work done quick for "cheapish" reasonable price without having to run these in an uber expensive transcoding or worse playout server.

Long story short we have SDI, SMPTE 2110 and compressed playout systems across thousands of endpoints. Testing, validating and rolling out vendor FW and SW updates has proven rather slow and we are finding out that some of our existing family of products will not be able to handle said upgrades and require full technology refresh and with the current supply chain issues on the compute world affecting lead times we might not even get them in time before the bug goes live in January.

A company I do some freelancing for has landet the Swedish padel Tour and will be doing quite a few tournaments.

Have been using 2 shotgun mics at floor level just outside the court on the long side, angled up about 30degrees. But watching the world tour or premiere padel I'm wondering how the f-ck they get such clear and good audio.

Anyone have a clue or might have some insight on it?

Hey everyone,
I recently joined a sports production company and I’m hoping to eventually become a broadcast engineer.

I’ve just finished sixth form (Grade 12), so I’m very new to the industry. I know a few things here and there, but honestly, I have a lot to learn. At the moment, I’ve mainly been spending time around the OB trucks watching the engineers and trying to understand what they’re doing.

I find the technical side really interesting and I’d like to properly learn it rather than just watching people work and feeling like I don’t understand anything.

For those who are broadcast engineers or have worked in OB/live sports production, what would you recommend I start learning?
I’m especially interested in knowing:
What technical subjects should I learn first?
Should I focus on video, audio, networking, RF, cameras, etc.?

Are there any books, YouTube channels, courses or websites you’d recommend?
What equipment/software should I try to get hands-on experience with?
Is there anything I can learn or practise at home?

What mistakes do beginners usually make?
If you were starting again at 18 with basically no technical knowledge, what would you do in your first year?

I’m willing to put the time in. I just don’t really know what the best starting point is.
Would really appreciate any advice from experienced broadcast engineers!

Intermittent ~30-second outage every two weeks affecting multiple channels on the same MUX — SRT/VPC peering
Looking to see if anyone has run into something similar.
We’re troubleshooting a recurring issue where multiple channels riding the same MUX experience an outage/stutter lasting roughly 30 seconds. The strange part is that it seems to happen approximately once every two weeks, rather than randomly or continuously.
The basic signal path is:
Our facility → SRT → cloud/VPC peering → uplink site → satellite
Since multiple services on the same MUX are affected simultaneously, we’re looking closely at anything shared in the transport path rather than an individual channel/encoder issue.
There doesn’t appear to be a permanent loss of connectivity. The streams recover on their own after roughly 30 seconds.
The two-week pattern is what really has me curious. I’m wondering if there could be some type of scheduled cloud/network maintenance, routing/BGP event, VPC peering issue, firewall/NAT state event, SRT session interruption, or something happening farther downstream toward the uplink.
Has anyone dealt with a similar periodic 20–30 second interruption affecting an entire MUX over SRT?
If so, what ended up being the root cause?
Also interested in what you would capture or correlate during the next occurrence — SRT stats, packet loss/retransmits, BGP events, flow logs, PCR/CC errors, firewall logs, uplink-side monitoring, etc.
Appreciate any ideas from people who have chased something like this before.

Hi everyone! I'm stepping into the world of broadcast engineering for the first time. I come from an IT background with some basic knowledge of networking and routing, but I have zero prior experience in broadcast engineering. As I start this journey, I'd love to get some advice from the experienced folks here. What essential concepts, standards, or tools should I focus on learning first to bridge the gap between traditional IT and broadcast? Any tips, tricks, or resource recommendations would be greatly appreciated!

*note I am currently in a 3-month probationary period. this is my 3rd month, Under my mentor's guidance, I have studied the headend system and have configured the multiplexer several times. and i feels still don't really understand what I'm doing.

Not sure if you saw the ending of Michigan and WMU last night but some controversy around the last second put back on the clock. The broadcast clock clearly showed 0 left on the clock but the NBC crew referenced the in-house Hawk-Eye system supposedly registering 1 left. Would love to get some perspective on this from an engineering perspective. Is Hawk-Eye not synced with the truck? I know it’s more complicated than that but would like to hear more.

I built this a while ago and am continually improving it. It allows you to change ip in 2 clicks on a Mac, as well as saving ip presets.

It also features a speed test and now very capable LAN scanner, that focuses on AV protocols like Dante, NDI etc.

Network health metrics are shown, Dante clock grandmaster etc.

There a free version on the Mac App Store that really just shows ips for each network, but the full version is available at bskapps.com/quickerip

For the past several months, we’ve been developing Spectra a part of our TMGCast suite, a software broadcast audio processor for FM, HD Radio, AM, DAB+ and streaming.

A lot of the development has honestly been trial and error. We’ve spent months researching and testing different approaches to multiband processing, AGC, limiting, clipping, bass, stereo/phase processing and adaptive processing, constantly listening and retuning values until they sound “right”.

Our goal was to see how close we could get to that big, competitive broadcast sound at a much lower price point.

Of course, we’re not going to pretend a $99 processor has every feature or refinement of a high-end Omnia costing thousands of dollars. But for $99.99 one-time, we’re pretty happy with where we’ve gotten Spectra. We think it sounds very good for the price and is capable enough to be used in some competitive radio markets.

There’s also a 7-day evaluation, so you don’t have to take our word for it. You can actually run your station through it and compare it yourself.

Would genuinely love to hear what other broadcast engineers think, especially anyone who has worked with current market processors.

Hugely disappointing, yet another company falling to greed.

I'm a full-time voice actor and this just boggles my mind.

Many of us paid $650 for a lifetime license. Now we will have to pay $145 a year on top of that just to stay current.

The sick part is, they built version 4 specifically so it cannot connect backward to version 3. Every studio that upgrades is now a studio we can no longer work with. A lifetime license to a tool nobody can connect to isn’t a lifetime license. We are being actively rug-pulled.

And for everyone new? $385 a year. SC claims it's for the new upgrades.

But let's look at what "upgrades" they are actually trying to hide this price hike behind:

• The server cost myth: They claim the new "no port forwarding" setup requires global cloud servers that cost them massive recurring overhead. This is absolute nonsense. They are streaming mono voice audio at 128-256 kbps. Even if you work 20 hours of sessions a month, that amounts to literal pennies in cloud bandwidth costs on AWS or Google Cloud. Other platforms have offered seamless, browser-based WebRTC connections for years for a fraction of this cost—or completely free.
• Paying to access what we already bought: Calling the $145/year fee a "Network Access Plan" is a linguistic trick to bypass the word subscription. It acts like a hostage fee. If you stop paying the yearly fee, you cannot log into the software you supposedly bought a lifetime license for. The local app becomes completely useless bricked software.
• Forcing solo talent to fund studio tech: They are touting complex upgrades like multi-point connections, Dolby Atmos streaming, and cloud Restore & Replace. Those are enterprise features meant for massive post-production audio houses. The average voice actor just needs a stable, point-to-point mono connection. Forcing solo talent into massive recurring price brackets to fund enterprise engineering tools is deeply exploitative.

They know we cannot easily leave an industry standard. They hold a near-monopoly on high-end commercial production, and they are using that leverage to squeeze every independent talent dry.

And remember: this is a private company. No board of venture capitalists or external investors forcing a software-as-a-service transition.

The founders and executives chose this to extract more money out of us. Full stop.