Hi everyone,

I've just released NxFrame v1.1 RC1, an open-source, low-latency SDI contribution encoder.

This release introduces several improvements, including:

• Configurable MPEG-TS PIDs, Service ID and PCR intervals.
• Improved MPEG-TS CBR pacing and traffic shaping.
• Custom PID configuration through JSON presets and the Web GUI.
• H.264 encoding with AAC and SMPTE 302M PCM audio.
• Additional transport diagnostics and Web GUI improvements.
• MPEG-TS capture directly from the CLI, on both sender and receiver sides, for troubleshooting and transport analysis:
  • Sender: --ts-capture video.ts
  • Receiver: --capture-ts receiver_video.ts

I've completed several stability tests using the following configurations:

• 1080p50, 10-bit 4:2:2 SDI input, encoded to H.264 at 30 Mbps video bitrate with a 40 Mbps CBR MPEG-TS.
• 1080i50, 10-bit 4:2:2 SDI input, encoded to H.264 at 14.5 Mbps video bitrate.

Testing included AAC and SMPTE 302M PCM audio, SRT disconnections and reconnections, MPEG-TS analysis using TSDuck, and playback through VLC and NxFrame's own receiver.

So far, the results have been encouraging, with stable playback and no recurring audio dropouts in the tested configurations.

I'm now looking for broadcast engineers who can help validate NxFrame against professional IRDs, particularly:

• MediaKind RX1, beam
• Haivision Makito decoders
• VITEC receivers
• ATEME IRDs
• Other professional broadcast IRDs

I'm particularly interested in MPEG-TS compliance, PCR/PTS timing, audio/video synchronization, long-term stability and SRT interoperability.

If you have access to professional receiving equipment and would be willing to run some tests, I'd really appreciate your feedback. Information about the receiver model, firmware version, tested configuration and any issues encountered would be especially helpful.

GitHub: https://github.com/Michalis-Michael/nxframe

Release: https://github.com/Michalis-Michael/nxframe/releases/tag/v1.1-rc1

My plan is to use this feedback to address any remaining compatibility issues in v1.1 RC2, before moving on to additional features such as:

• Sender-side video upscaling and downscaling.
• Receiver-side video upscaling and downscaling.
• Multiple output destinations per encoding session.

Thanks to everyone who has already provided feedback and helped improve the project!

Open Scoreboard OCR v1.2 BETA

Hey everyone i made a Scoreboard OCR and here is the new beta v1.2!

New beta version of Open Scoreboard OCR (OSO) has just been released!

This update brings several improvements and fixes to make scoreboard recognition more flexible, reliable, and easier to use during live sports productions.

• Improved OCR accuracy and clock reading stability
• Support for multiple OCR fields, allowing you to read scores, clocks, fouls, and more
• Independent OCR settings for each field
• Two OCR modes: 7-SEGMENT and DIGITAL FONT
• Improved handling of blinking separators, leading zeros, and incomplete clock readings

OSO is a free Windows application designed to read scoreboard information from video sources and export the results to XML/JSON, making it easy to integrate with vMix/Obs Studio and other broadcast workflows.

Still in Beta!

The software is actively being developed, and your feedback is extremely valuable.

If you use OSO, I'd love to hear how it performs with your scoreboards. Feel free to share screenshots, report bugs, or suggest new features!

Download v1.2 Beta here:

https://github.com/openscoreboardocr/OSO-Open-Scoreboard-OCR/releases/tag/v1.2-beta

#OpenScoreboardOCR #OSO #vMix #LiveProduction #SportsBroadcasting #OCR

Got a studio rail and pantograph system for a small studio space that needs to be quickly repositioned to use 3 of the 4 sides for different sets.

Got the lights on the pantographs all good but looking for some sort of mount bracket to hold cameras. I’m thinking of some sort of u shaped bracket that can have the junior pin on the top and on the bottom a tripod head can be mounted?

Anyone know of anything of the shelf to achieve this?

Quick note it’s to be used only for static shots. Operators aren’t needing to pan or tilt during so no issues there. Once set that is it

hello everyone, I have the opportunity to become a Broadcast Maintence engineer at a local Fox station. I have a large IT networking background and am coming from a live event production background as well. I feel pretty confident I know there is a lot I need to learn. But wanted to ask how it is working for Fox corporation? I have been reading and hearing a lot of good things about it.

(EDIT) Has anyone else seen that Neutrik BNC connectors have gone from around £4 a unit to £8.99 per unit on RS components?? Why the sudden hike??

I bought some cheaper on Canford. Half the price. Still don’t know why RS was so much.

The first in-depth video about OSRTIME Syncbox TCR is now available in English. 🎬

I show what I’m currently working on and how the app has evolved from a standalone timecode generator into a compact timecode, sync, and field-recording system for Android.

The video covers LTC, master/slave sync over Wi-Fi, Time of Day, 24-bit USB audio recording, and a look at the current beta.

The beta is still open. If you’d like to try it yourself, you’ll find all the details and how to join here:
👉 https://osrtime.com/beta/

Feedback, questions, and especially real-world tests with different hardware are very welcome.

I work in post-production and our edit/VFX machines sit in a server room, extended to the desks with Thinklogical TLX 10G fiber extenders. I'd like to replace a pair of 24" 1920x1200 monitors with a single 34" ultrawide (3440x1440 @ 60Hz), and I'm trying to find out whether the hardware can do it.

Setup:

- TX: CHS 4 Quad Chassis with a TLX-TMM-U00D22 module

- RX: CHS 2 Dual Chassis (firmware V25.07) with a TLX-RMM-U00D22 module

- Source: Apple Mac Studio (macOS)

- Multi-mode fiber, LC

- Current monitors: dual 24in EIZO 1920x1200 @ 60Hz

What I've seen so far:

- A previous ultrawide I tried (34", 3440x1440) came through as a stretched 16:9 image, which looks like macOS only being offered 16:9 modes by the KVM's EDID

- The CHS 4 front panel has a "Load EDID Table" menu that currently says "No Table Load"

- I can't find a datasheet for these exact module part numbers, so I don't know the max pixel clock per head or whether single-head mode gets more bandwidth than dual-head

- I've emailed Thinklogical support and haven't heard back yet

Questions:

1. Has anyone gotten a 3440x1440 or similar 21:9 resolution through TLX modules, and which modules?
2. If the limit is just the EDID the extender presents, did a custom EDID (via the chassis menu, an EDID emulator, or on the Mac side with something like BetterDisplay) fix it? Or did the signal fail further down the path?
3. Any idea what the "D22" in TLX-TMM/RMM-U00D22 means for video format and head count?
4. If it turns out to be a hard bandwidth limit, what did you use instead (a different extender, a second computer at the desk with remote desktop, etc.)?

I haven't changed any settings on the chassis, since the CHS 4 serves other stations. Any experience or pointers appreciated, including "it won't work, don't bother." Thanks!

https://youtu.be/9q9fGi1HQmg?si=dBDTg-wzDiSmmgvI
first in-depth video about OSRTIME Sync-Box TCR is now available in English. 🎬

The

I show what I’m currently working on and how the app has evolved from a standalone timecode generator into a compact timecode, sync, and field-recording system for Android.

The video covers LTC, master/slave sync over Wi-Fi, Time of Day, 24-bit USB audio recording, and a look at the current beta.

The beta is still open. If you’d like to try it yourself, you’ll find all the details and how to join here:
👉 https://osrtime.com/beta/

Feedback, questions, and especially real-world tests with different hardware are very welcome.

We run this on a 42x for sports and on tight shots the focus has so slightly a bind. It’s not the cable or lens attachment…I’m hoping to try and try some lubricant in the focus controller and see if that helps…anyone know if it would be better to use an oil/silicone/graphite lubricant?

Hi everyone,

A quick development update on NxFrame.

One of the bigger changes is a new dedicated AVX2/AVX-512 SIMD pixel-conversion path for the common color-space and bit-depth conversions used by the encoder, supporting both progressive and interlaced video.

The optimized paths now include:

10-bit 4:2:2 → 8-bit 4:2:2
10-bit 4:2:2 → 8-bit 4:2:0 progressive
10-bit 4:2:2 → 8-bit 4:2:0 interlaced
10-bit 4:2:2 → 10-bit 4:2:0 progressive
10-bit 4:2:2 → 10-bit 4:2:0 interlaced

The SIMD implementations are considerably faster and, depending on the conversion and system, can save up to roughly 50–60 ms of processing time per second of 1080p50 video.

I’ve also tuned both the sender and receiver pipelines to remove unnecessary latency while maintaining enough buffering for stable SDI playout.
In a controlled local network/test environment, current end-to-end latency results are approximately:

1080p50: ~300 ms end-to-end
1080i50: ~400 ms end-to-end

This is the complete SDI → encode → MPEG-TS/SRT → decode → SDI path. These are local-network results and are not representative of SRT over a real WAN, where network conditions and SRT latency will increase the total delay.

The sender and receiver CLI telemetry has also had a significant cleanup. It is now much easier to read live information about encoding/decoding performance, transport health, queues, dropped frames, DeckLink buffering, A/V scheduling and system utilization.

As always, testing and feedback—especially with different professional receivers and real WAN/SRT links—is very welcome.

https://github.com/Michalis-Michael/nxframe

It's the only port on this device that I have not used for anything other than VISCA. What else can I do with this port? Any cool suggestions or ideas?

Heya all
I’m not in the broadcast space I’m a focus puller so forgive any stupid questions.
Ive got a job shooting in the o2 arena in London during a sold out concert and I was wondering if anyone has experience using teradek bolt 6 1500s for wireless video feed in such an environment.
The current plan is to only run a single camera wireless which would be an onstage steadicam the video village will be positioned just off stage left so it’s not a massive distance it would need to cover

I was also wondering what the longest bnc run you’d recommend I run would be before needing to convert to fibre (which would involve hiring a team to do that)

Any other advice appreciated!!
Cheers!!

I’ve recently dropped out of college, (for both financial reasons and simply being exhausted from being a student)

As of right now I started something called Signal Academy I want to find the price for the full thing but can’t seem to find it?

Does anyone have any suggestions on how to learn besides apprenticeships (NEP, Game creek) and Dante?

Then is there any tips of finding an actual job related to broadcast engineering?

What’s your favorite brand & model connector?

How would you technically design your own studio if you had the means to build one? The studio should accommodate a maximum of four people simultaneously in front of the camera. Additionally, there should be three cameras and a PTZ streaming system using Zoom.us.

I am currently building my own studio, but there are numerous design options available. The most cost-effective option would be to use Blackmagic equipment.