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  • The NVS-40 Ultra Versatile Streaming Encoder


    The Datavideo NVS-40 is a must-have for all video producers, particularly those looking to livestream to multiple servers at the same time. As a multi-channel video streaming and recording device, the NVS-40 enables users to record and stream high-quality videos simultaneously as the device features independent SDI and HDMI inputs. Simply by setting different video formats and bitrates, up-to four sources can be recorded to any hard drive or SSD and be live streamed all at the same time.

    Supporting one SDI and the four HDMI video inputs, up to four 1080P signal sources can be encoded to 8 streamings in different bitrates simultaneously with the NVS-40 unit. The videos can be live-streamed to up to ten different streaming platforms at once, and the device is suitable for all the major streaming and social media platforms including YouTube, Facebook, UStream, Wowza, Adobe Media Server and DVS-200 server.

    The NVS-40 encodes using the H264 codec and supports RTSP / RTMP and HLS protocols. The independent encoder settings and built-in video down scaler can be used to downscale and de-interlace each incoming signal to meet the destination specifications.

    The NVS-40 also features an HDMI Multiview output and allows external XLR balanced audio and RCA unbalanced audio input so you can monitor your sources. An extremely versatile unit, the NVS-40 can also be an ISO recorder to record backup files for each of the four input channels, or even a Video IP switcher to switch between different videos via web connection, which is suitable to control remotely.

    The Datavideo NVS-40 can replace multiple streaming encoders and recorders, making it a cost-effective, space-saving solution for any video producers who may need to simultaneously live stream a feed and record a master copy to a hard-drive. Users will have a lot of creative freedom and flexibility using this multipurpose device.

  • DataVideo Go- 500 Studio is a Powerful Portable Video Production Studio

    Datavideo GO 500 Studio 4 Channel

    Complete with an SE-500HD video switcher, TLM-102 dual monitor for preview and program, NVS-25 streaming encoder, and HDR-1 H.264 USB recorder, the DataVideo Go-500 Studio is an all-in-one video production system. The Go-500 Studio comes racked, connected and contained all in one HC-800 case, making it perfect for easy transportation and use. A small but fully equipped system, this professional production equipment will be your new go-to video studio set-up.

    One component of the DataVideo Go-500 is the SE-500HD—a small but powerful video switcher. Simple to use, it offers 4 HDMI inputs and 2 HDMI outputs, and supports video formats up to 1080p. The SE-500HD has an inbuilt audio mixer with microphone, headphone mini jack, volume control and unbalanced RCA audio inputs/outputs. It also has PiP and red, yellow and green tally output features, as well as flexible mix/effects processor with wipe function.

    The Go-500 comes with a foldable dual 10.1” rack-mounted LCD monitor unit with front panel headphone jacks. it features a 4RU rack mount design and supports the connection of HDMI and SDI signal sources. This is a perfect piece of equipment for broadcast, video production and AV users. You can also make individual adjustments of the brightness, contrast, colour saturation and LED backlight level for each monitor to make it adaptable to the user or production location.

    The video streaming server (NVS-25) accepts HD/SD-SDI, HDMI and Composite video formats and offers two professional audio inputs. It encodes incoming video to H.264 for real time video playback, such as live stream, or can be put online for on demand streaming, while simultaneously recording to a USB drive for post-recording editing. Scaling and deinterlacing can be accomplished on any video input.

    Of the Go-500, the NVS-25 is simple to use, controlled via computer or mobile device, which is accessed through a standard web browser. Particularly, this is a great piece of equipment for those with special audio needs.

    The Go-500’s standalone recorder produces high quality HD files (up to 20 Mbps in MP4), which is ideal for capturing and saving footage from public announcements, seminars, corporate meetings, lectures, or live concerts. It can also be used by broadcasters to create a web-optimized proxy recording. One of the greatest benefits of the HDR-1 is that you can use it independently of a computer.With front panel buttons, the record/pause feature enables you to record an event in a single file even if there are breaks in the proceedings.

    Transporting your professional production equipment has never been easier. Neatly packed into its heavy-duty polypropylene case, the Go-500 system is always protected from dust, rough handling and the elements. Simply pair this compact system with the 2 Camera GoKit and you can have an easily transportable, fully complete video production workflow.

  • Powerful Broadcast Equipment with the DATAVIDEO 4K Multi-Camera Unit

    DATAVIDEO 4K Multi-camera Unit


    The Datavideo KMU-100 is a 4K multi-camera unit production solution offering a multiple simulated Full HD of a maximum of 1080p mounted camera angles. You can link the production of one 4K-UHD camera to KMU-100, which can display a maximum of four 16x9 personalised cropped frames that are later sent out in four different HD signals using HD-SDI. You can mount these user-defined frames to zoom in on an object that you want to focus on with the 4K signal.

    You can connect an extra 4K camera to get a maximum of eight distinct outputs using two 4K signals. As an alternative, you can also add the RMC-180 camera regulator to easily tilt, zoom and pan to create the user-defined frames on the 4K signals. You can program these shots beforehand and use them in real-time or save them in the unit as presets.

    KMU-100 can convert different signals originating from two video inputs using resolutions of up to 3840x2160 (UHD) into eight separate output video streams. This device allows several video formats and supports the connection of HDMI and SDI signal sources including HDMI 2.0 and 12G SDI technologies.

    KMU-100 can generate a maximum of eight channels of production signals. Each channel produces an active spot of the input signals outlined by the user. To highlight these spots, you install a software application on your computer while connected to the 4K camera through a LAN interface.

    Users can use the two multi-viewer outputs for device configuration and preview. You can use this professional broadcast camera in multiple applications for various purposes since it's capable of creating many effects that will satisfy all professionals involved in event live coverage, production and TV broadcast due to the use of the audiovisual resources. The unit is appropriate for use in places of worship, broadcast applications, and live events.

    The RMC-185 KMU regulator is a physical regulator designed mainly for the control of the KMU 4K multi-camera processors. The RMC-185 links with KMU-100 using an RS-422 connection. This devoted controller enables operators to create smooth pan, tilt and zoom motions using a joystick. The four buttons hold speed, motion path, position, and scale of all the four separate 3 GB/s productions per channel. These preset enable start/reset/stop of motion in a defined speed for each output.

    KMU-100 is a developed video converter that supports conversion and processing of UHD signals using a resolution of 3840x2160 into eight or four separate high-quality streams with resolutions of up to Full HD. The device provides the user with two individual conversion channels. It supports parallel and simultaneous processing of two 3840x2160 signal sources. The input signals get converted into 8-3G SDI productions, which can get harmonised into a Genlock input.

    KMU-100 is ideal for those professionals involved with Studio broadcasting and video resources adopting various signal types and sources. It's a perfect option for a variety of program scenes as well as live coverage of different events. Moreover, its converter is extremely easy to use. This professional broadcast camera is portable due to its user-friendly interface, small size and the DV Link program will give you a memorable experience with this device.

  • Wireless Video Transmission in a Backpack

    H.264 and H.265 Video Encoders

    When you are in need of a system to help with video transmission, the quality of your video output will be hugely dependent on the quality of the encoder that you use with your file. Encoding a video recording converts the raw file into a compressed format without affecting the quality of the image to be played back, giving you the best-looking video possible. Therefore, for a wireless video transmission system it is particularly important that the video encoding that you use is as efficient as it possibly can be. With this in mind, H.264 and H.265 encoders are the only way to go if you want the best quality videos.

    H.264 video encoding is the professional standard for video compression, used the world over for professional cameras. H.264 provides great quality video, but at far lower bit rates than previous industry standards. This means that the video file sizes are vastly decreased, which is ideal for professional wireless video transmission. Be it an important world news story or a just a sports game, it is vital that you have the capability to record as much as possible. In addition to this, it is critical that you are able to record in as high a quality as possible at the same time. By using H.264 to encode, both of these requirements are met.

    However, H.265 is a new high efficiency video coding technology that can provide the newest compression standard. The goal of H.265 encoding is to provide twice the compression rate of H.264, which can be used in 2 ways. You can either record identical video quality to H.264 but compress this to half the size, or you can provide demonstrably higher visual quality at the same file size.

    Teradek Bond Backpacks

    The Teradek Bond family of backpacks are an all in one wireless video transmission system especially made for for the Teradek
    HEVC streaming solution that give you the professional quality discussed. The Teradek Bond Backpack come with a custom modem that gives the capability to pick up cellular coverage, and capture footage at a far higher bitrate. However, the Teradek Bond 759 VU backpack most importantly houses built in H.264 and H.265 encoders, allowing you to stream up to 1080p resolution. With an optimised system that boots up in under 20 seconds, the functionality of the backpacks are second to none as well. Top quality connectivity wherever you need it, an internal battery for power back up while you swap power sources and an ergonomic, lightweight design all mean that the Teradek is perfect for all requirements, including use with professional cameras.



  • What Is a White Box Lens?

    When shopping for broadcast lenses, you've probably come across listings that describe the item as a "white box lens." What exactly does this mean?
    A white box lens is a lens that was originally part of a camera kit that the retailer bought and subsequently split out into separate products. Instead of having retail packaging, these lenses come in a plain white box. They have the same quality as retail lenses, as well as the same warranty, but they are usually less expensive. Sometimes they are considerably less expensive.
    White Box LensThis means that white box lenses are a suitable alternative when buying broadcast lenses. You just need to make sure that the lens came from a kit that was intended for your country. For example, if you live in the US, you need to ask the retailer or seller if the lens came from a kit intended for the US market. If it didn't, then the lens would be considered a "grey market" item.White box lenses are often confused with grey market lenses, but this is a mistake. A grey market lens is one that is being sold in a market different than what the manufacturer intended. This lens would not have a warranty from the manufacturer. It could have other problems as well, such as missing or incorrect documentation, and inferior quality.A grey market lens could be sold as a white box lens. So. how can you identify when this happens?Grey market lenses will often have one of following terms in its description:

    • Import Model
    • Warranty via Seller
    • USA Seller Warranty
    • Off Market
    • USA Coverage by Seller
    • Seller Warranty


    You can also avoid grey market lenses by buying from a reputable retailer.

    White box lenses should also not be confused with refurbished lenses. A refurbished lens is one that has been returned to the manufacturer, who then corrects any faults in the lens before reselling the item. The quality of a refurbished lens is usually the same or close to the same of a new lens, but it often comes with a shorter warranty period.

    Like with a grey market lens, a refurbished lens could be sold as a white box lens, but it should explicitly state
    that it is refurbished. A white box lens does not imply that the lens is refurbished.

    So, should you buy a white box lens?

    Yes. You will get the same quality and warranty as a retail lens, and you'll save money. You just need to look out for grey market and refurbished lenses being sold as white box, and the best way to avoid these is to buy from a reputable retailer.

  • Transfer Video From Panasonic Camcorder to Computer

    You just shot a video on your Panasonic camcorder, and now you want to transfer that footage to your computer. How this is done depends on the type of camcorder and computer being used.

    Older Panasonic camcorders utilize a cable connection called FireWire. This is often found on camcorders that use video tapes for storing footage. The computer needs a FireWire enabled connection card, and a special cable is needed to connect the camcorder to the computer. Some models updated this connection with a USB connection. From here, software is needed to record the data. Some models of camcorders ship with software to be downloaded to the computer that allows the footage to be imported, but many computers ship with some form of software for footage imports.

    Transfer Video From Panasonic Camcorder to Computer

    A modern day Panasonic camcorder often stores footage on a medium known as the SD card. These are formatted to record based on the requirements of the camcorder. To transfer footage from this type of storage device, the SD card usually must be removed from the camera. The card can then be inserted into a builtin SD card reader on the computer or inserted into a USB card reader which can then be connected to a USB port on the computer. An adapter like this also exists for lightning connections to import videos to an iOS device, if need be.

    Importing From an SD Card

    Most computers made today ship with built in software for importing videos. Windows Movie Maker is a basic editor for Windows machines that enables the import of digital data from the SD card. iMovie is the software available for the Mac.

    Additionally, when the SD card is inserted in the computer, it appears within the file navigator and can be accessed like any other folder on the computer. Within the SD card folder is a video folder, either labelled to be a videos folder, or labeled as private. Within this folder is an AVCHD folder, and in this folder are the video files. They will be numbered and ordered chronologically based on when they were created. From here, the files can be copied into folders on the computer, then the SD card can be ejected. It is important to copy the files onto the computer so that the video editing software on the machine can find the files. If these remain on the SD card, the video editing software will not be able to find the files when the SD card is removed.

    Importing from FireWire to Ma

    Most Macs manufactured between 2008 and 2011 included a FireWire port built into the machine. To import footage over FireWire, the tape of the camcorder must be rewinded to the beginning of the footage, then software on the computer is used to record the tape information as it is played on the camera. Older versions of iMovie are able to natively import footage over FireWire. The Adobe suite of video editing software is also able to natively import footage.


    Importing from FireWire to PC

    Not every PC ships with a FireWire capture card. These can be purchased separately, then added to a desktop setup. For a laptop, it would need to already ship with a FireWire port to import via a FireWire cable. Assuming the hardware is present, the next step is the software. This follows a similar procedure as the Mac, where the software must be set to capture the footage playing on the camera. The tape of the camera must be set to the beginning of the footage before importing through the software. Windows Movie Maker is the Windows alternative to iMovie (which is a Mac exclusive). The Adobe suite can also be used here and any prepackaged software that came with the camcorder can also be used for importing footage.

    For both Mac and PC, the software gives options for quality settings and locations for the import. This stores the files on the computer to later be imported into the video editing software. The import software can then be closed and the camera safely ejected, either by selecting the eject option on the Windows start bar or dragging the camera/SD card to the trash on Mac.

  • Best Handheld Camcorder for Short Filmmaking

    A short film isn't limited to a linear story line meant to express a cohesive story. Short filmmaking is such a broad subject that it can apply to any type of recorded media across a spectrum, the usual short, music videos, experimental film, commercials, and so much more. As such, it goes without saying that there is not likely to be a one size fits all solution to what you're looking for to tell the story best within your particular project's vision.

    Handheld Camcorder for Short Filmmaking

    The good news with today's long reaching resources, for the beginner filmmaker hoping to get their feet wet but with little budget to speak of, things like editing software and even lighting equipment can be found for a low price online. Some software can even be acquired through free or low priced apps and downloaded easily to personal laptops and tablets. What to do about the actual recording equipment itself? There are plenty of options to choose from for those just starting out with building a decent reel through the act of short filmmaking.

    While it may not scream "super pro status" there is actually a lot to gain from starting out as a short filmmaker using handheld devices. Handheld camcorders come in a variety of sizes and an even wider variety of added features. They're an inexpensive way to get used to being behind the lens and are easy to transport to pretty much anywhere you might be hoping to shoot. The truth is that, even if it isn't a snazzy, expensive studio setup, handheld camcorders can potentially shoot at a high, clean quality, just as long as you know what you're looking for in a device. It's also not impossible to make a "documentary" styled short film look just as pro.

    First, figure out what it is that is causing you to seek a handheld camcorder. Then, figure out what types of features you're needing in a setup. The very best camcorder will differ depending on what it will be needed for. If it's a question of price, portable camcorders will always be offered in a variety of prices. If you're looking for a cheap handheld cam, then any old HD camcorder new on the market should do. If you're needing something a little more specific, then the price will likely go up.

    If you're looking for a device with a more intuitive ability, such as something with more gimmicks and better control over zooming, panning, light adjustment, better focus, and so on, then a simple HD camera simply will not do. What most students of film go for is instead a DSLR cameras, which offers the ability to change lenses at the drop of a hat. It's being able and willing to extend the extra few hundred to receive the added benefits that DSLR cameras offer that make all the difference to the quality of your short films.

  • Why Should You Buy Lens Controllers?

    An Important Device

    If you are a professional camera operator, you will need to buy lens controllers. These devices help you to deal with lenses from a variety of perspectives and allow you to get great shots from every possible angle. Lens controllers are an important part of every camera operator’s arsenal because they help to ensure that the shots are captured when they present themselves. Every great image maker knows that shot opportunities are fleeting. You never get a second chance to get an amazing shot, so you should make certain that you are fully prepared to get the shot when it happens. When you have a lens controller, you can relax, knowing that no change to get the best shot possible will get past you, and that you’ll be able to capture every possible situation as it happens.

    What to Look For

    When you buy a lens controller, you want to be certain that it is compatible with the camera that you are using. Some lens controllers can be used for multiple cameras and are perfect for all types of situations where focus needs to be automatic. Most of these units are designed to be lightweight so that they don’t add anything extra to the camera weight, which is often already quite substantial. The camera information is displayed so that it is easy for the camera operator to read. The display technology makes it perfectly readable in every type of lighting condition including ambient.

    Super-smooth focus knobs help to achieve proper sharpness and offer an integrated light source that shines through a pre-marked focus ring. This helps with even the lowest of lighting conditions and is a way to provide the most readable focus marks at any time. Feedback that you can feel with your fingers allows you to be able to keep an eye on what you are filming in any type of challenging situation. Camera alerts can be felt with vibrations to the hand unit, and when these alerts occur, you can check for low battery or full recording notifications.

    Buy Lens Controllers Today

    Many professional camera operators overlook the importance of the lens controller because of the substantial price. However, the truth is that these controllers are very crucial to getting the best shots possible. If you are balking at the thought of purchasing one, you should think about how having a lens controller for your camera set up will allow you to move your work head and shoulders above the work of your competitors in the field. These devices are operated with lithium batteries to ensure that they last a very long time, and this ensures that you never miss a shot or opportunity that presents itself.

    Every professional camera person needs to use a lens controller to ensure that they get the best possible shot. There are times when the most spectacular shots present themselves for just a fleeting moment. You want to make sure that you are always ready to capture it with the right equipment. As you probably know all too well, there may never be a second chance.

  • Use of Broadcast Lighting for Virtual Reality

    Virtual environment: a virtual environment is a 3 dimensional, spatial and synthetic world with a first-person based point of view; other variations of virtual environment include the virtual world and virtual reality. A viewer in a virtual environment usually has real time control of his/her view i.e. control on what he/she perceives as the virtual frame of the camera.

    Broadcast Lighting

    Lighting concepts

    What is light? It is an electromagnetic radiation that travels in waves, just like sound, only faster.

    The basis of lighting is the 3 point lighting method that directors of photography and their lighting crews usually use to approach lighting in a scene, this has changed with technology but still forms the backbone of lighting any scene. The importance of lighting is underlined in the designing of the virtual environment. Every light sources color depends with the color temperature that is unseen since our eyes autocorrects the color of the light by adapting to any color temperature change. The quality of any light is determined by its feel (softness or harsh), attenuation (weak or strong lighting) and color. Thus by manipulating light intensity, its direction and color, one can use lighting to deliver to the viewer/audience in a scene the desired atmosphere to enable them pragmatically interpret what they are watching.

    The choice of light type to use

    3dimensional software like MAYA provide virtual filmmakers with a wide range of lighting options that have varying qualities to offer the desired effects and also which can be manipulated to create real world impressions. These different light types include;
    Directional lights: the parallel rays of directional lights are used to create a distant light effect e.g. sun that has coherent, parallel rays of light. Directional lights produce harsh, high intensity light quality giving an object hard edges with zero change in the shade of the surface because its parallel rays offer no light decay. This makes directional lights cheap in rendering due to the angle consistency of the light rays and decay need not be computed.

    Point lights: Used to insinuate rays of light coming from a single source going outwards, point lights are used to create impressions of localized light sources like a burning candle or a light bulb. It comes with no decay and gives subtle higher shading on any surface the rays fall on.

    Ambient lights: If you want to create an impression of real life reflected non directional light, ambient Lighting is what you need. Often used as a second source of light in a scene to support either a directional or spot light, ambient lights are easy to render since they come with no decay or any highlights.

    To create sharper focus on an object, the spotlights cone angle qualities comes with a drop off, penumbra and light decay.

    Area lights: Area lights help to give a more believable light spread than the aforementioned light types Light just like matter, occupies space thus the need for area lights are used to compute and show light size and its orientation.
    Volume lights: Volume lights give an idea of any visual objects light extent, it also gives the filmmaker better control of volume color thus it offers good lighting for various object shapes(box, round, spheres etc.)


    In summary, a perfect combination of different broadcast lighting techniques and equipment, skills and design, a filmmaker can create a virtual environment more realistic in nature to his audience and help give the scene a natural feel. At our work is to ensure you get all the quality broadcast lighting equipment you need and offer a wide variety to give you better choices to choose from.

  • How to Broadcast Live Videos From Your Camera

    Live streaming of events has largely contributed to the shift in how several people use social media and various content websites. Instead of posting a long, unreadable and boring description of the activities of an event, broadcasting live videos over the Internet has become the trend. Have you been wondering how to catch up with this powerful shift? You have come to the right place.

    How to Set Up a Camera for Live Broadcast

    You can start a small-scale live broadcast without any budget strains if you already own a camera or a good smartphone. With a smartphone, all you need is either a reliable cellular internet connection or a strong WiFi connection to begin broadcasting on different content media like Facebook.

    Live Stream

    However, if you desire to broadcast live videos in an improved, professional way, you will need a reliable broadcast camera. Here is a brief description of how to achieve this effortlessly. Before you set out to begin a live broadcast, you must have a few things to set up a live stream camera. They include a broadcast camera, which will be the source of your video, an encoder, and a very reliable internet connection.

    First, ascertain the kind of video your camera outputs. Most available consumer-level cameras output an HDMI signal while professional-level cameras often output HDMI signals and HD-SDI connectivity as well. You can find what kind of video your device outputs by either checking its manual or looking up its model and make on the internet.

    Secondly, get an encoder into action. A camera records your videos in a format that cannot be transmitted over the internet. Therefore, you will need an encoder to optimize your videos for online broadcast. There are different types of encoders: software encoders that run on computers and hardware encoder devices that are dedicated to video streaming. Whichever you settle on, do your research first.

    If you choose a software encoder, you will need to get a capture device that will capture the live video feed from the recording device (camera) and transmit it to the encoding device. Blackmagic’s UltraStudio Mini Recorder and Magewell’s USB Capture HDMI are some of the most common examples of such capture devices.

    Tips for Quality Live Broadcast

    Important tips that will help you get a good quality stream that satisfies your audience include:

    • If you are using a phone, do not scrape your hand across the microphone. Doing this will hurt people’s ears.
    • Using external microphones will greatly improve the audio experience of your streams.
    • Use a tripod stand to provide your audience with quality, professional streams. Remember, a shaky camera may cause a dizzying experience for your audience.

    During a live stream, especially if you are dealing with video media, a stable internet connection is mandatory. Otherwise, you will end up with an angry audience. Make sure your connection also has sufficient upload speeds of at least 1 Mbps per second. Just to be sure before you begin a live broadcast, test your upload speeds. gives accurate test results.

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