Reporting to the show-caller on the status of callers. Using Companion Control / Automation to speak to individual presenters. Setting-up presenter headshots should a call disconnect. Liaising with E2 to confirm the presenters match the vMix Outputs/E2 Inputs they are expecting. Working with the audio engineer to check individual audio lines to/from each caller via the audio matrix and vMix buses. Speaking to callers to advise them of the best technical set-up for their laptop and camera position, as well as troubleshooting any connection issues. Overlays: Name Straps (Image and/or Video), Bugs, Stinger transitions and tickers.Īdding Countdown timer on presenter return only. Knowledge of how-to set-up and operate Internet Clicker/other remote presenter clickers for presenters to advance their own slides.īasic PowerPoint and Keynote experience and understanding how to capture them into vMix. Setting-up ISO records of each caller (up to 3) within vMix. Understanding the audio and video routing involved with external Zoom/Teams laptops with use of NDI, capture cards and audio interfaces. Remotely bring in presenters to vMix via vMix call, zoom and teams, or a combination of the three. Personable and communication skills are now more important than ever. Vmix, for example, has its own complex audio routing options and although operated by a separate technician will be part of your remit in configuring.įinally, you are required to work closer with producers and presenters to explain the methodology of this new working practice as well as troubleshoot local audio issues. This means having knowledge of audio embedders, hardware/software encoders, lip-sync check points etc. Generally, it is now a requirement to know more about the whole streaming infrastructure and where audio fits in so as to work with the other departments to test and troubleshoot. Engineers should be very confident in building, configuring and monitoring Dante networks, sometimes integrated with other trafficked networks. This is all run within a Dante network involving multiple instances of PCs with DVS. Engineers should be absolutely confident in the Yamaha CL series and its routing capabilities/limitations.Īs mics and monitors are now replaced by send and returns from caller software (Teams, Zoom, Vmix), audio engineers need to know the audio routing and options of all these programmes, plus be able to troubleshoot a remote presenter’s local audio issues whether they be on PC or Mac. As such, the desk routing is more complicated, as the ‘backstage’ comms is now an integral part of the mixing process (including unity comms for remote production staff), just as important as, and often more complex than, the TX mix. The main difference in audio streamed events vs traditional live events is that every line of communication needs to run through the desk and be bussed to remote locations. Livestream mixing is more analogous to broadcast engineering than traditional live with the added complexity of video conferencing.
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