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Welcome to my new series of ATEM (mini) tips.
These tips should apply to your ATEM no matter

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which model you have. If you have any questions
that you want answered or tips that you need

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help with, then feel free to drop a comment
below and I’ll try to answer them in a future

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show. Today we're looking at how to automatically
switch camera angles. We're using an ATEM

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Mini today and I’m going to show you how
to switch from camera 1 to 2 to 3 to 4 automatically

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using a macro. To create a macro open the
macros menu, go to the Create tab, click on

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PLUS (+) and give it a name; I’ll just call
this “auto”. The software will now record

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any and every action that we do inside the
ATEM software, but it will not assume anything.

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What I mean by this, is that if you want a
state to be activated, you have to explicitly

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click it. And here's why I tell you this;
right now I’m already on camera 1 and if

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I want my script to start on camera 1, I have
to actually tell it to start on camera 1.

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So, to do that, I could go to any other camera;
camera 2 or 3 or anything else and then go

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back to camera 1. That initial click to camera
2 will be overwritten by the click to camera

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1 because I have just given it a command and
then give it essentially a replacement command

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right after it. So now I’ve just told the
software to switch to camera one. The next

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thing I want to do is insert a pause. I do
want the software to eventually switch to

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camera 2 but I don't want it to do it right
away. If I don't insert a pause, then it will

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execute these commands as quickly as it can.
So to insert a pause, you go to the top of

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the window where it says “Add Pause”, click
on that and then give it a duration in seconds

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and frames, while in a real use case you'd
want to give it a longer duration than this,

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I’m just going to give it a one second duration
for this demo. I’ll click on Add Pause and

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then go to camera 2, I’ll go back to Add
Pause and add another one… go to camera

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3, add pause… add one more… and then camera
four. Now at this point, I could be done with

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the script. If this is all that I wanted,
was for it to go from one to two to three

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to four; I’m done. But what I can also do
is tell this script to loop; to play back

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over and over again constantly switching from
cameras 1 to 2 to 3 to 4 and back to 1 again.

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However, if I don't add a pause at the end
of the switch to camera 4, then as soon as

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the script ends, it's going to immediately
jump back to the beginning and start over

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which means that I will only be on camera
4 for a single frame. So, now I want to add

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that pause at the end of camera 4 as well.
Add the pause, add that in, and we're done.

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I’ll now stop recording; there's the “auto”
button, click on the Run tab, enabling Recall

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and Run, will mean I only have to click on
the button or if I disable that, then I can

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select the button and click Play. I’ll go
ahead and click play now and watch the program

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switch the cameras that are live over here.
I click on Play and there it goes from 1 to

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2 to 3 to 4. If I want that to repeat until
I stop it, then I’ll click this button here.

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That'll cause it to repeat, so now when I
click play, it'll run through the macro and

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then repeat when it gets to the end. When
you want the script to stop running, just

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click the Stop button. And that's all it takes
to automatically switch camera angles. If

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you want more tips like this, be sure to Like
and Subscribe and if you have any questions

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that you want answered, drop them in the comments
below. Today's ATEM Mini tip is answering

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a question that came in from a viewer. The
viewer asked how they can switch camera angles

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and simultaneously automatically load up a
different lower third graphic over each camera.

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So, something specific or unique to camera
1, 2, 3 and 4. To do that, we're gonna need

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to use macros. Let me show you first what
I’ve set up in preparation for this. First

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I have my four different camera angles; there's
camera 1, camera 2, camera 3 and camera 4,

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then I’ve created a series of lower third
graphics. Here they are; there's camera 1,

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2, 3 and 4. These are simply PNGs with transparency.
To load these graphics into the ATEM, go to

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the Media tab, locate your folder — here's
mine; lower thirds — and then start dragging

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the graphics into the media player. There's
1, 2, 3 and 4. Now back to the switcher, where

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we'll set up the downstream key. You can use
the downstream key or the upstream key for

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this — however, the upstream key provides
a lot of additional capabilities that we don't

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actually need for this, so we're going to
save that for something else. The downstream

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key is totally sufficient. Also the downstream
key is the last part of the chain, meaning

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that this graphic will sit on top of anything
else we might create which is perfect for

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a lower third or a bug or anything like that.
To set this, up we first need to set up the

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Fill Source. It's already set to Media Player
1 where I want it and the Key Source is also

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set to Media Player 1 key. That's what's going
to give us the transparency of this PNG file.

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Now, this PNG is very simple, it's just a
on-or-off transparency; there's no drop shadow

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or gradient or anything like that. To apply
graphics with gradients drop shadows and so

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on, you actually have to load the graphic
a bit differently, which is something we'll

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cover in another video. For now we have these
simple PNGs already loaded and ready to go.

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I want my mask off because I’m not masking
any of this out and I want my pre-multiplied

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key turned on. The only thing that's left
to do is to turn on the DSK and bring it on

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air, and there we have it. There is our lower
third graphic over this camera angle, but

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of course as I switch camera angles from 1
to 2 to 3 to 4, that same lower third graphic

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is in place. So, now we need to build up macros
to automatically switch the camera angle and

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load up the appropriate graphic. So, to do
that, we'll go up to the macros menu and select

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the Create tab and then click “Plus”. I’m
going to call this Camera 1 plus LT (CAM 1

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+LT) for lower third, and then hit Record.
Now remember, anything that you want the macro

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to do has to be explicitly recorded. So for
example, here we're already on camera 1 but

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the macro doesn't know that, so we have to
explicitly switch to camera 1 to load camera

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1. To do that since we're already here, I’ll
just load another camera angle and then come

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back to this one. I’ll go to camera 2 and
then back to camera 1 and that has now just

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written camera 1 into the script. Technically,
I just recorded camera 2 and then camera 1

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but the software knows that the camera 1 switch
overrides the camera 2 switch and it will

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only save that one command. Next we need to
set up the Downstream Key. Once again, everything

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has to be explicitly stated. So we want to
switch to Media Player 1; to do that, we'll

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switch to anything else and then back to Media
Player 1 and the same thing with the key.

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So, switch away and then back again. I don't
want the mask, so I’m going to turn that

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on and then off to make sure that that is
told to go off and the pre-multiplied key,

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I want on, so I’ll turn it off and back
on again. Next we need to make sure that the

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correct graphic is loaded. So, back to the
Media tab, again, it's already loaded but

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we're going to take camera 1 and drag that
in just so we know that that loads up when

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we run this macro. Back to the switcher and
the last stage is to turn the DSK on. I’ll

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go ahead and turn it off and then back on
again and that completes the macro. I’ll

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stop recording, and just to test it out, we'll
go ahead and turn this off, switch over to

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camera two, go to the Run command, recall
and run this set, which means I only have

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to click this button and there we go. Camera
1, with the lower third loaded. Now we need

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to repeat this for the other camera angles.
I’ll do number 2. Back to the Create tab,

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I’ll click the Plus again and put “camera
2 plus lower third”, hit Record, load up

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camera 2. Once again, explicitly say that
this is Media Player 1, Media Player 1 key,

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mask is off, Pre-Multiplied key is on and
the media player we're gonna switch to graphic

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two. I’ve been doing it from the media tab
but I can also do it from this drop down here.

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Let's load up camera two. Now once again,
we're gonna go ahead and turn the DSK off

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and back on again, stop recording, and now
we're ready to run these. We can now switch

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from camera 1 with the lower third to camera
2 with its lower third. At this point, you'd

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go ahead and just record the additional macros
for cameras three and four. But going through

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this process can be a little bit tedious and
it's certainly prone to error. If you forget

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to do something, you may not realize that
until it's too late and you're running this

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in production. So, in the next tip that I
release, I’m going to show you how to start

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with the “camera 1 plus LT“ that we already
recorded and then by modifying the XML file,

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we're going to go ahead and create cameras
2, 3 and 4 without having to record anything

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additional. And of course as always, don't
forget to Like and Subscribe, it's a good

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way to make sure that I know that you like
these tips and want more of them and if you

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have a specific question or a specific tip
that you want to get answered, go ahead and

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drop a comment below and I’ll do my best
to hit it in a future video. In the previous

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ATEM (mini) tip, I showed you how to create
a macro that allowed you to switch camera

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angles and also load up a different lower
third over each camera angle. However, the

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problem with that process of creating the
macros by recording them over and over and

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over again is that they're quite prone to
error. So, in this video I’m gonna show

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you how to take the first recording that we
did in the previous video and then replicate

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that out for cameras 2, 3 and 4 using XML
Editing. Here are the two macros that we created

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in the previous video; camera 1 plus lower
third and camera 2 plus lower third. Just

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to test them out again, we'll go to Run and
load up camera one plus LT and camera two

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plus LT, and they're working fine. But I want
to go ahead and create them for three and

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four and in fact, I’m also going to create
the one for camera 2 all over again. I’m

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just going to go back into the Create tab,
select Camera 2 and delete it, so we only

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have the first one created. I’m going to
go ahead and save this out as an XML file.

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Go to File, Save As, give it any name you
like, I’ll just call it “Camera Switching”,

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hit Save, and here in this window I can choose
what I want saved into the XML file. In this

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case, I don't want all of this; I only want
the macros. So I’m going to click on Select

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None, and then select Macros and save that.
It'll just make it easier to manipulate the

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file later. Next I’ll switch over to BBEdit,
which I like to use to edit these files. I’m

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going to go ahead and open the file that we
just created and from here we can see exactly

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what this macro is made of. There's the macro,
index 0, (that’s the first macro in the

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list), there's the name we gave it, “CAM
1 +LT” for lower thirds, and then here's

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all the different commands; program input
was set to camera 1, the key fill was set

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to media player 1 and there's the key source
for it as well. We disabled the mask so you

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can see the mask is set to “False”, we enabled
the Premultiply, so there's premultiply set

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to “True”, and then we chose the Media Player
source which was that first graphic which

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is showing up as “Index 0”. Now, this can
definitely get a little bit confusing because

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the index number is not the same as the number
in the software for that particular graphic.

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Let me show you what I mean; this is set to
index 0, however, if we look at the media

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player, it was actually graphic number 01.
This is position 0. This is position 1, position

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2, position 3 and so on. This applies to the
macros as well. You'll notice that our macro

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is set as index 0 but it's actually in position
1. So again, it's confusing but whenever you're

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dealing with these you have to know that you
are loading up a different number than the

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one that you need. All right, let's go back
into BBEdit and here we can see the downstream

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key on air was actually disabled and then
enabled. Curiously, it actually recorded that

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turning it off, so I’m going to go ahead
and delete that line because we don't want

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it. We don't want it to turn it off and back
on; we just want to leave it on. All right,

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now I want to go ahead and duplicate this
three more times. So we'll go ahead and select

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all of this from the opening of the macro
to the closing of it. I’ll hit Command-C

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to copy that, put the cursor here and then
just go paste, paste, paste, to give us three

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more of them. Now I need to change each one
of these for each camera angle. There's a

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few things I have to do. So, it's index 0,
camera 1. Let's change this one to index 1

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and we'll set that to camera 2, this one will
be index 2 and we're gonna set that for camera

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3 and this one is index 3 and set that to
camera 4. Next let's look at the camera inputs;

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this one's set to camera 1, this one is going
to switch to camera 2, to camera 3 and to

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camera 4. Finally we need to change the graphic.
The graphic is index 0. Here's the graphic

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right here, that's index 0, this one's going
to be set to index 1, index 2 and index 3.

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And of course, if you're ever confused at
which one you're switching to, simply check

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out in your software, the Media Player, it
was number 4 that we wanted to load, in position

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4, subtract one from that to get to the index
number and there we go, index 3. That's it!

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This should be everything we need to do to
save all four of these buttons as macros.

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I’m gonna go ahead and save this but I’m
gonna do a “Save As” and just a little tip

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on how I like to do this; under the “Save
As”, there's always a date and time automatically

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added by the ATEM software; I’ll go ahead
and update that timestamp so that it reflects

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the current time. It is currently six minutes
after the hour, so I’m going to say 6-00.

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The -00 is for me replacing the seconds but
also an indicator to me that that is one that

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I created, it's just how I do things. We'll
go ahead and save that, go back over to the

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ATEM software and from the file menu, Restore,
and we'll choose the new one that I just created.

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Restore that; it asks what I want to restore,
in this case, macros is the only thing available,

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click “Restore”, load up our macros and there
they are; camera 1, 2, 3 and 4 with the appropriate

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lower third. All that's left is to test it
out. Go to the Run, make sure “Recall and

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Run” is enabled and we'll switch to camera
2, camera 3, camera 4 and back to camera 1

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again. This is a great way to take total control
over your macros. Yes, it's a little bit complicated

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and it does take some getting used to, but
once you get comfortable with manipulating

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the XML file, you'll find that you can go
in and start copying and pasting individual

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lines of code from one macro into another
making it easy to combine complicated macros

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into one. You can also save off multiple macro
files, open those up and copy and paste one

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macro command into another file just making
sure to always give each macro a unique index

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number. That's a common mistake. If you have
multiple macros with the same index number,

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you're going to be missing one inside of the
macro list. So, just open up that XML file

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and make sure that each one has a unique index
number. Other than that, have some fun figuring

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this out. It’s, again, complicated but it's
worth the effort. As always, don't forget

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to like and subscribe so I know that you want
to see more of these videos, and if you have

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00:13:47,290 –> 00:13:50,370
any questions that you want answered; any
tips that you're trying to figure out, drop

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00:13:50,370 –> 00:13:55,010
them into the comments below, I’ll try to
get to it. In today’s ATEM Mini tip, we’ll

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be looking at how to create proper graphics
with proper transparency for your ATEM. This

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could be for an ATEM Mini, ATEM Mini Pro,
ATEM Mini Pro ISO, ATEM Mini Extreme… you

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get the idea, any ATEM model, this applies.
Now, we’re going to build this through a

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series of progressions because when you start
off with a basic transparent file — a basic

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PNG with no drop shadow, no gradients; nothing
fancy — you don’t need to do anything

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special, just output a PNG and you’re fine,
and we’ll look at that. But as soon as you

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start adding drop shadows, things get a little
bit tricky. You might add a drop shadow and

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export as PNG and it looks okay. You probably
don’t even notice the difference until you

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look really closely. But then if you start
doing things a bit more fancy, like having

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gradient transparencies, then things can get
pretty ugly pretty quickly. So, we’re going

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to look at all of that; we’re going to look
at how to create the proper graphic using

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Photoshop because there’s actually a plugin
that comes with your ATEM that is installed

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by default when you install your ATEM software
into your Photoshop plugins, but if you don’t

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have Photoshop then you can’t use that.
So, at the end I’m going to show you how

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to do this without Photoshop as well. Let’s
get started! Today we’ll be using the ATEM

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00:15:02,860 –> 00:15:06,811
Mini Pro ISO, but again this applies no matter
what ATEM you’re using. I’m going to start

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with Photoshop. We’ll create a new document;
I’m going to go to the Film and Video presets

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to choose HD TV 1920x1080 – that’s the
size of my output – and I’m going to

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set the background contents to Transparent.
Click Create… and I’m just going to do

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something really simple. I’ll grab the Text
tool, click it on here and type in “PhotoJoseph”,

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I’m going to make this nice and big on here,
you can see I’ve already got a bright yellow

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00:15:32,029 –> 00:15:36,500
color selected, and then I’ll add a Drop
Shadow. I’m just going to do this with the

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Photoshop tools; go to the Effects tab, add
a Drop Shadow, and I’m going to make it

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00:15:41,572 –> 00:15:47,130
really big and bold like this. Click “OK”
and that’s it. Now to export this as a PNG,

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I’ll go “Export As”, it’s set to PNG,
we have Transparency enabled and that’s

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all I have to do. Click Export; I’ll call
this “PhotoJoseph”… and save that. Now

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00:16:01,209 –> 00:16:05,880
let’s switch over to the ATEM Software and
go to the Media tab. I’ve already saved

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00:16:05,880 –> 00:16:09,819
this ATEM files folder as a Favorite, which
by the way if you don’t know how to do that,

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you can right-click on any folder and add
or remove from Favorites. There’s the file

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00:16:14,351 –> 00:16:17,890
that I just created, I’ll go ahead and drag
that into the Still Store and that automatically

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00:16:17,890 –> 00:16:22,530
loads it up into Media Player 1. Now let’s
go back to the Switcher, I’m gonna go to

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00:16:22,530 –> 00:16:27,741
my Downstream key, it’s set to Media Player
1 with the key source; that’s the Alpha

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00:16:27,741 –> 00:16:32,420
channel being set to Media Player 1 key which
is what I want and I’m going to leave premultiply

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00:16:32,420 –> 00:16:37,269
key OFF for now and go ahead and bring this
on air. So there’s the graphic. Now you

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00:16:37,269 –> 00:16:41,240
can see the transparency and you can see the
drop shadow and you can see that it’s not

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00:16:41,240 –> 00:16:46,389
exactly right, there’s some weird edging
to it. Okay, well, let’s turn on premultiply.

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00:16:46,389 –> 00:16:51,490
I’ll turn that on… and it’s better.
This is definitely better. And for the most

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part, this is perfectly fine. So, if all you’re
doing is adding a drop shadow, try it like

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00:16:56,030 –> 00:16:59,930
this and if it works, it works and you’re
good to go. It kind of depends on the graphic.

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00:16:59,930 –> 00:17:04,830
But now let me show you where this breaks.
Let’s go back over to Photoshop and I’m

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00:17:04,830 –> 00:17:08,900
going to create a rectangle in here; just
a simple shape, and then I’m going to add

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00:17:08,900 –> 00:17:14,980
a mask to that, grab the Gradient tool by
hitting the G key and I’m just going to

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drag the gradient across just to give it this
transparency. So, all we have now is a big

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box that goes from solid to transparent yellow
and you can see that it falls off somewhere

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00:17:24,449 –> 00:17:29,100
around here, it goes to completely transparent.
So just remember, right around the E to PH

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00:17:29,100 –> 00:17:33,650
in PhotoJoseph, that is really dropping off
to total transparency. Now, let’s export

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00:17:33,650 –> 00:17:44,220
this out as a PNG and this one we’ll call
“PhotoJoseph + grad”. Back over to the ATEM

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00:17:44,220 –> 00:17:49,070
Software, back in the media tab, there it
is, we’ll drag it in and right now it looks

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00:17:49,070 –> 00:17:52,520
just fine. Let’s go ahead and drag this
into place here and it’s going to immediately

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00:17:52,520 –> 00:17:58,190
load up and we see a huge problem in here
- that is not okay! So, clearly we have broken

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things. All right, well let’s just go back
and see what’s happened here. We’ve enabled

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premultiplied key, so the software is looking
for a premultiplied key but this isn’t a

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premultiplied key. Now, what is a “premultiplied
key”? We’ll get into that a little bit

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but for now this isn’t it. So, let me just
turn that off. Oh well, that’s better, right?

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But hold on, look at the drop shadow — the
drop shadow is back to its kind of weirdness.

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Well, I do have some options down here. I
mean, I can play with the clipping and try

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00:18:23,460 –> 00:18:27,190
and make that a little bit better and maybe
adjust the gain on that. Well, we can see

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where that falls apart pretty quickly. You
might, once again, find something that you’re

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happy-ish with, but this is definitely not
going to be correct. What’s correct is to

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export a premultiplied key. So, what does
that actually mean? Well, a premultiplied

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key has the alpha channel drawn against a
rendered-out black or white; in this case

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the ATEM software software’s looking for
black. And what that means is that your transparency

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00:18:50,039 –> 00:18:56,049
needs not to fade to transparent but fade
to transparent with black blended in. Now,

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00:18:56,049 –> 00:18:59,020
how do we know this? Well, we’ll come to
that. But let’s go ahead and look at how

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00:18:59,020 –> 00:19:03,450
to do this using Photoshop the easy way. Back
into Photoshop; the exact same document. I’m

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00:19:03,450 –> 00:19:08,400
going to go to the file menu and under Export,
you’ll find the ATEM Switcher Media Pool

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00:19:08,400 –> 00:19:13,120
option. This is a plug-in that is automatically
installed when you install your ATEM software.

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00:19:13,120 –> 00:19:16,210
The first thing we have to do is enter the
IP address of our switcher — if you don’t

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00:19:16,210 –> 00:19:21,130
know what that is switch back over to the
ATEM setup software, jump into here and you’ll

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00:19:21,130 –> 00:19:26,020
find the IP address right there; so, 10.0.1.105,
that’s the IP address for my switcher and

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00:19:26,020 –> 00:19:29,820
there we have it. I can name “My Export”,
I’m going to go ahead and call this one

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00:19:29,820 –> 00:19:34,630
“Plugin”, so I know this came from the plugin,
I can choose where I’m going to drop that.

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00:19:34,630 –> 00:19:38,610
We’ll drop that into media pool location
3; it even tells me that it’s empty. We’re

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00:19:38,610 –> 00:19:42,190
going to tell it that this is a premultiplied
alpha, this is an important step. To check

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00:19:42,190 –> 00:19:46,130
that checkbox is what’s going to make this
work. And then you can also choose to have

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00:19:46,130 –> 00:19:51,300
it, after export, do nothing, or actually
automatically set it to Media Player 1. What

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00:19:51,300 –> 00:19:55,871
this means is that once I export it, it’s
going to drop it into this spot here and load

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00:19:55,871 –> 00:19:59,970
it up into here at the same time. This is
actually really cool. This means that you

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00:19:59,970 –> 00:20:04,840
can create graphics on the fly during a live
production and send those graphics live to

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00:20:04,840 –> 00:20:11,410
air from Photoshop, neat. But let’s get
back to this - I’ll switch over to Photoshop,

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00:20:11,410 –> 00:20:14,550
again we’ve named it “Plugin”, it’s going
to media player 3. It’s going to send it

261
00:20:14,550 –> 00:20:20,309
live to air, click export and it loads it
into the ATEM and it loads it up on air, but

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00:20:20,309 –> 00:20:23,860
it’s still not totally right. Let’s go
back over to the ATEM software, go to the

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00:20:23,860 –> 00:20:28,230
Switcher, and premultiply key is not turned
on, let’s go ahead and turn that on and

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00:20:28,230 –> 00:20:32,971
now we have the right transparency . Look
at the drop shadow and look at the gradient

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00:20:32,971 –> 00:20:36,870
- the gradient is ending where we wanted it
to and the drop shadow looks really, really

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00:20:36,870 –> 00:20:41,500
good and clean. So, this is the way it’s
supposed to look, this is what we want. Okay,

267
00:20:41,500 –> 00:20:46,220
but this required a plug-in in Photoshop.
So, what is it doing? Well, remember I explained

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00:20:46,220 –> 00:20:51,059
the premultiplied key. Let’s take a look
at what the actual output file looks like.

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The way to do that is to save the output from
the ATEM into a new folder where we’ll be

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00:20:55,900 –> 00:21:07,800
able to see the graphics that this plugin
actually created. And then where we wanted

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00:21:07,800 –> 00:21:12,299
it to - and the drop shadow looks really,
really good and clean. So, this is the way

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00:21:12,299 –> 00:21:17,090
it’s supposed to look, this is what we want.
Okay, but this required a plug-in in Photoshop.

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00:21:17,090 –> 00:21:21,470
So, what is it doing? Well, remember I explained
the pre-multiplied key; let’s take a look

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00:21:21,470 –> 00:21:27,240
at what the actual output file looks like.
The way to do that is to save the output from

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00:21:27,240 –> 00:21:31,049
the ATEM into a new folder where we’ll be
able to see the graphics that this plugin

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00:21:31,049 –> 00:21:36,380
actually created. So, let’s go back into
the ATEM software, I’ll go to File > Save

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00:21:36,380 –> 00:21:43,070
As; I’m just going to call this “Export”
and click “Save” and on this menu, I’m

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00:21:43,070 –> 00:21:47,120
going to turn off everything except for the
Media Pool. This is going to save out the

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00:21:47,120 –> 00:21:51,740
graphics that are currently stored on the
ATEM. Click “Save”, it’ll export those

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00:21:51,740 –> 00:21:56,990
out, let’s go ahead back over to the Finder,
there’s the ATEM Media Pool folder and here’s

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00:21:56,990 –> 00:22:01,530
the three graphics. So, there’s the original
one that I created, the “PhotoJoseph”

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00:22:01,530 –> 00:22:05,730
one without the gradient, then here’s one
with the gradient in place; you can see what

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00:22:05,730 –> 00:22:09,820
that PNG looks like and then here’s the
one generated by the plug-in. Look at how

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00:22:09,820 –> 00:22:14,840
the gradient fades out to black. It’s this
weird thing that normally would not look right

285
00:22:14,840 –> 00:22:19,490
but in a pre-multiplied environment, is what
we need. So, that’s what we have to create.

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00:22:19,490 –> 00:22:24,799
We have to figure out how to create that PNG
with the black; with the pre-multiplied black

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00:22:24,799 –> 00:22:28,809
without using the plugin. So, to do that we’re
going to switch to another app just to show

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00:22:28,809 –> 00:22:33,950
that you don’t need to use Photoshop. I’m
going to use Affinity Photo. In Affinity Photo,

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00:22:33,950 –> 00:22:39,570
I’m going to go ahead and open up that original
PNG that I made. So, “PhotoJoseph + gradient”,

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00:22:39,570 –> 00:22:43,590
that’s the one that came out of Photoshop,
and here’s the steps; first thing you have

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00:22:43,590 –> 00:22:48,380
to do is duplicate the layer, then we’ll
go ahead and hide that top layer, create a

292
00:22:48,380 –> 00:22:53,600
new layer I’ll move this to the very back
here and I want to fill this with black. So

293
00:22:53,600 –> 00:23:01,100
I’ll go to the Edit menu, Fill, and I’m
going to fill this with black. Now I need

294
00:23:01,100 –> 00:23:06,760
to take these two layers and merge them together.
Right click and choose Merge Visible. We can

295
00:23:06,760 –> 00:23:11,190
now get rid of these extra ones here. There’s
the one that we’ve just created and then

296
00:23:11,190 –> 00:23:15,520
here is that original background layer that
we created. Remember, if I hide this and turn

297
00:23:15,520 –> 00:23:19,590
this one back on that’s where we started.
We actually need to load a selection from

298
00:23:19,590 –> 00:23:24,851
this layer. So, I’m going to go to the Select
menu and choose Selection From Layer, now

299
00:23:24,851 –> 00:23:28,460
we’ll go ahead and hide this and go back
to this one here, which is merged with the

300
00:23:28,460 –> 00:23:33,721
black background and create a mask for that.
To do that simply click the Mask button. There

301
00:23:33,721 –> 00:23:37,660
is our mask - I’ll deselect that and here’s
the end result. You can see in here how it’s

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00:23:37,660 –> 00:23:41,780
fading out to black just like what we had
before in that PNG that was generated by the

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00:23:41,780 –> 00:23:51,270
plugin. So now I’ll export this as a PNG.
Go to the File menu and Export as a PNG file…

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00:23:51,270 –> 00:23:58,130
export that and we’re going to call this
one “Affinity” version. Hit Save… back

305
00:23:58,130 –> 00:24:02,940
over to the ATEM software, into the media
pool, there’s the Affinity version, we’ll

306
00:24:02,940 –> 00:24:08,919
drag that into place, drag that on and with
pre multiply key enabled, we can see that

307
00:24:08,919 –> 00:24:13,840
the key looks correct. So, let’s just do
that one more time but without going through

308
00:24:13,840 –> 00:24:19,670
the whole process of exporting a PNG and bringing
it back in again. I’ll create a new file

309
00:24:19,670 –> 00:24:23,380
in Affinity photo and of course, this will
work in any graphic software. Once again,

310
00:24:23,380 –> 00:24:29,711
1920x1080 and I also have transparent background
enabled here, click “Create” and let’s

311
00:24:29,711 –> 00:24:33,750
do something crazy… I’ll go ahead and
do the PhotoJoseph again in there because,

312
00:24:33,750 –> 00:24:43,710
why not? Let’s make that some other color…
I’ll put not just a drop shadow… let’s

313
00:24:43,710 –> 00:24:48,770
go ahead and enable that and make that nice
and big and soft on there, make that pretty

314
00:24:48,770 –> 00:24:52,580
dark as well… but I’m also going to add
a glow on here because that would definitely

315
00:24:52,580 –> 00:24:58,970
break things… so, let’s make this a bright
yellow glow and put that behind the text in

316
00:24:58,970 –> 00:25:09,690
there, maybe make that drop shadow a little
bit bigger. Then I’ll also do a shape. Let’s

317
00:25:09,690 –> 00:25:15,000
go ahead and draw what would be a lower third
in the end and let’s put on a gradient on

318
00:25:15,000 –> 00:25:21,580
this. We’re obviously getting crazy here
and doing something really ugly, but that’s

319
00:25:21,580 –> 00:25:31,920
okay, it’s just to make a point. I’ll
put a mask on here and grab the gradient tool

320
00:25:31,920 –> 00:25:36,700
and just make that really nice and soft; drag
that out like so, grab the Arrow tool — let’s

321
00:25:36,700 –> 00:25:41,540
take this text here and we’ll put that on
top. And again, we’re really doing something

322
00:25:41,540 –> 00:25:47,160
that’s ugly but no doubt, this is something
that would not work without the pre-multiplied

323
00:25:47,160 –> 00:25:51,289
channel. Okay, so we’ve created all of this
at this point but now we don’t want to have

324
00:25:51,289 –> 00:25:54,970
to export it out as a PNG and re-import it
etcetera, etcetera. So, here’s what we’ll

325
00:25:54,970 –> 00:26:03,580
do. Go ahead and select these two items here
and group them. I’ll duplicate this, hide

326
00:26:03,580 –> 00:26:11,140
the top one and create a new layer underneath
this that I’ll once again, fill with black.

327
00:26:11,140 –> 00:26:20,080
Now, I’ll go ahead and merge down, select
that top layer — you do have to enable it

328
00:26:20,080 –> 00:26:25,500
to load the transparency, so enable that temporarily
— go to the Select menu and choose Selection

329
00:26:25,500 –> 00:26:31,080
from Layer, then we can go ahead and hide
that, select that background layer and create

330
00:26:31,080 –> 00:26:36,460
the mask. There you can see the fading off
to black that we need, so let’s go ahead

331
00:26:36,460 –> 00:26:43,480
and export this out as that PNG file that
we need and we’re just going to call this

332
00:26:43,480 –> 00:26:52,559
one “Fancy”. Hit Save, back over to the
ATEM software, take that Fancy one, load that

333
00:26:52,559 –> 00:26:58,000
into place and there we go. Verify that pre-multiplied
key is turned on, and of course it is and

334
00:26:58,000 –> 00:27:02,200
now you have the beautiful gradients, the
shadows, the glows and everything works right.

335
00:27:02,200 –> 00:27:06,480
So, that’s how you create these graphics;
they have to be pre-multiplied if you want

336
00:27:06,480 –> 00:27:11,030
to have your transparency and your opacity
look the way it was intended to. Again, you

337
00:27:11,030 –> 00:27:14,950
might be able to get away without doing that
with generating just a simple PNG if all you

338
00:27:14,950 –> 00:27:19,020
have is a simple drop shadow, but if you’re
seeing some anomalies in your drop shadow,

339
00:27:19,020 –> 00:27:23,260
this is why. Generate the graphic this way
either using the plugin from Photoshop or

340
00:27:23,260 –> 00:27:27,130
using the technique I just showed you and
that’s all you need. Hey, as always, don’t

341
00:27:27,130 –> 00:27:30,860
forget to subscribe, hit that Like button,
share this video with another ATEM user that

342
00:27:30,860 –> 00:27:34,330
you know and if you have any tips that you
want to see done, make sure you drop them

343
00:27:34,330 –> 00:27:38,600
in a comment below, I’ll do my best to get
to them, thanks. In this ATEM (mini) Tip,

344
00:27:38,600 –> 00:27:43,850
I'm gonna to show you how and where to download
the software to keep your ATEM hardare up

345
00:27:43,850 –> 00:27:48,590
to date. If you've just bought your ATEM hardware,
it didn't actually come with any software;

346
00:27:48,590 –> 00:27:52,049
you have to download it. And I gotta say,
the instructions that are in the box on where

347
00:27:52,049 –> 00:27:56,330
to find them; not that clear! So you might
be watching this having never have downloaded

348
00:27:56,330 –> 00:28:00,059
the software and are wondering where to get
it, or you might already have it, but aren't

349
00:28:00,059 –> 00:28:03,091
sure how to update it. So, we're going to
cover that right now. First thing you have

350
00:28:03,091 –> 00:28:08,549
to do, is go to the Blackmagic Design website;
blackmagicdesign.com, and then click on the

351
00:28:08,549 –> 00:28:15,679
support tab, and then under “Search by model”,
type in “ATEM mini”, or whatever model you

352
00:28:15,679 –> 00:28:20,520
have. The software is actually the same for
pretty much all, if not every single ATEM

353
00:28:20,520 –> 00:28:24,269
model, but just to be safe, you can type in
the full name, or find the model here. I'm

354
00:28:24,269 –> 00:28:28,700
going to be looking at the ATEM Mini Pro ISO,
so I'll select that one. Now, just to add

355
00:28:28,700 –> 00:28:32,549
a little bit of confusion to the interface
here, once you do that, nothing change here,

356
00:28:32,549 –> 00:28:36,970
except that a box highlights. And if you scroll
down, then you'll finally see the software

357
00:28:36,970 –> 00:28:41,370
that you need to download. The latest update
as of this recording was from the 18th of

358
00:28:41,370 –> 00:28:47,179
February, 2021; it's version 8.6. Click on
the button to download either macOS or Windows.

359
00:28:47,179 –> 00:28:50,660
If you haven't registered your hardware, I
definitely recommend you do that, or if you

360
00:28:50,660 –> 00:28:56,000
have, then just click on “Download now”. Once
the software is downloaded, locate it in your

361
00:28:56,000 –> 00:29:01,059
downloads folder, and double click the disk
image. And if you're on Windows, I guess it's

362
00:29:01,059 –> 00:29:05,370
an .exe… I'm sorry, I don't know, but I'm
sure you can figure that part out! And from

363
00:29:05,370 –> 00:29:10,429
the DMG that mounts, double click on the installer.
That's going to install a Blackmagic ATEM

364
00:29:10,429 –> 00:29:14,720
folder that has all the software you need.
The two main pieces are the “ATEM Setup” and

365
00:29:14,720 –> 00:29:19,780
the “ATEM Software Control”. Launch the ATEM
Setup, and navigate to your switcher. If you

366
00:29:19,780 –> 00:29:24,100
only have one switcher connected, then that
will come right up. From here, you have two

367
00:29:24,100 –> 00:29:27,779
options. You can either click this button,
which will launch the ATEM Software, or this

368
00:29:27,779 –> 00:29:31,600
one, which will launch the setup. If there
is an update available for your hardware,

369
00:29:31,600 –> 00:29:35,519
as soon as you click this button, it's going
to prompt you to update. Now the nice thing

370
00:29:35,519 –> 00:29:38,831
is, it will not force you to update. It will
actually allow you to “Continue”, so if you

371
00:29:38,831 –> 00:29:42,470
need to get to work right now, and you don't
have time to update, you can bypass that.

372
00:29:42,470 –> 00:29:46,040
But as soon as you can, come back in here,
open this interface again, and it'll prompt

373
00:29:46,040 –> 00:29:50,070
you to update. The update procedure is pretty
quick; it will just run through its process,

374
00:29:50,070 –> 00:29:53,100
reboot your ATEM, and you'll have the latest
software in there. And that's all there is

375
00:29:53,100 –> 00:29:57,710
to it! I definitely recommend checking for
updates pretty regularly; Blackmagic releases

376
00:29:57,710 –> 00:30:02,110
updates to their ATEM hardware lineup pretty
often, and quite often they have really cool

377
00:30:02,110 –> 00:30:05,850
new features in them. So definitely check
this out every once in a while, or just watch

378
00:30:05,850 –> 00:30:09,050
for videos on this channel, where of course
I'll tell you if there's anything new that

379
00:30:09,050 –> 00:30:13,020
you want to install on your ATEM. As always,
don't forget to like, subscribe, and share

380
00:30:13,020 –> 00:30:17,120
this video with another ATEM user, and if
you have any specific questions that you want

381
00:30:17,120 –> 00:30:22,179
answered, drop them into the comments below.
Today’s ATEM (mini) Tip is all about controlling

382
00:30:22,179 –> 00:30:27,080
the Picture in Picture or the PiP in your
ATEM hardware and software. This tip applies

383
00:30:27,080 –> 00:30:31,490
to any ATEM - however, it’s primarily focused
at the ATEM Mini, ATEM Mini Pro, ATEM Pro

384
00:30:31,490 –> 00:30:37,140
ISO, ATEM Mini Extreme and ATEM Mini Extreme
ISO because those are the ones that have the

385
00:30:37,140 –> 00:30:40,740
hardware buttons on them to control the Picture
in Picture which you want to watch out for.

386
00:30:40,740 –> 00:30:44,659
However, as far as controlling this and software
goes, everything I show you here will apply

387
00:30:44,659 –> 00:30:49,100
to any model. So, first let’s take a look
at what we have on the hardware; you have

388
00:30:49,100 –> 00:30:53,210
on here a series of buttons to enable Picture
in Picture. There’s the Off and the On button

389
00:30:53,210 –> 00:30:57,590
that just turns that on and off and then you
have a series of buttons to load up preset

390
00:30:57,590 –> 00:31:03,470
Picture in Picture positions; the bottom left,
top left, top right and bottom right. These

391
00:31:03,470 –> 00:31:08,330
buttons here are a little bit dangerous because
if you push one of those buttons after you’ve

392
00:31:08,330 –> 00:31:12,299
spent time configuring your Picture in Picture
the way that you want it, it might actually

393
00:31:12,299 –> 00:31:16,490
reset everything, so, you’ve got to be careful
of that. So, I’m going to show you first

394
00:31:16,490 –> 00:31:20,049
how to set up the Picture in Picture however
you want it. I’m going to give you a little

395
00:31:20,049 –> 00:31:23,299
bit of a nod towards something else that you
can do in here, although there’s a lot of

396
00:31:23,299 –> 00:31:27,169
options that we’re not going to cover today
and then I’m going to show you most importantly

397
00:31:27,169 –> 00:31:31,960
how to save the work that you’ve done so
you don’t lose it. Let’s get started.

398
00:31:31,960 –> 00:31:35,340
The first thing I want to look at is what’s
actually happening when you push this button.

399
00:31:35,340 –> 00:31:38,800
As I turn this on and off, you’ll see a
couple things happening - first of all you

400
00:31:38,800 –> 00:31:42,380
see the Picture in Picture showing up in the
video stream so there’s a Picture in Picture

401
00:31:42,380 –> 00:31:46,870
of myself there, not terribly exciting yet,
but look at the software interface - notice

402
00:31:46,870 –> 00:31:52,289
up here, this is the Upstream Key and as I
turn this on or off, that is what is being

403
00:31:52,289 –> 00:31:58,639
brought on air and off air. This On Air right
here indicates that the Upstream Key is on

404
00:31:58,639 –> 00:32:02,809
air, and this is your Upstream Key. What’s
inside of that Upstream Key is determined

405
00:32:02,809 –> 00:32:07,600
by the Fill Source. It’s currently set to
this camera, the main camera here which I

406
00:32:07,600 –> 00:32:11,710
could change in here to any other source,
for example here I have a little running loop

407
00:32:11,710 –> 00:32:16,420
of a stock video but what would actually make
more sense is to leave this as me and then

408
00:32:16,420 –> 00:32:20,960
to change the background, the primary stream
as that background video. So now we’ve got

409
00:32:20,960 –> 00:32:24,430
a more traditional Picture in Picture type
setting, and again, if I change the position

410
00:32:24,430 –> 00:32:28,750
of these, all it’s doing is moving me into
one of those other corners. But let’s look

411
00:32:28,750 –> 00:32:33,809
at how to take control over this. Again, this
is an Upstream Key and it’s a DVE Upstream

412
00:32:33,809 –> 00:32:38,970
Key. DVE stands for Digital Video Effects,
and it’s just the basic type of Upstream

413
00:32:38,970 –> 00:32:43,030
Key that we have on the ATEM hardware. We
already saw the Fill Source - underneath this

414
00:32:43,030 –> 00:32:47,779
you have Position, Size, Masking, Shadow and
Border controls. There’s more as we go down

415
00:32:47,779 –> 00:32:51,340
here as far as animations go but we’re not
going to get into that today. By the way,

416
00:32:51,340 –> 00:32:55,770
at any point you can go up to this menu and
reset any of these characters or go ahead

417
00:32:55,770 –> 00:33:01,200
and choose Reset All to reset everything back
to its default position, and this is the hardware’s

418
00:33:01,200 –> 00:33:05,909
default position. Now we’ve got the Picture
in Picture, the Upstream Key of me centered,

419
00:33:05,909 –> 00:33:10,029
scaled and not cropped. Once again, if I hit
the hardware in here though, it’s going

420
00:33:10,029 –> 00:33:15,190
to immediately push that back into those other
positions. So, if let’s just say that this

421
00:33:15,190 –> 00:33:20,429
position happened to be what we really wanted,
hitting one of those buttons on the ATEM itself

422
00:33:20,429 –> 00:33:25,049
is going to reset that. But now let’s look
at the controls that we have in here. First

423
00:33:25,049 –> 00:33:29,290
you have your position controls. I can control
these by clicking on the arrows here to move

424
00:33:29,290 –> 00:33:33,850
them, I can click in this field and then use
the arrows on my keyboard to move them as

425
00:33:33,850 –> 00:33:39,450
well, or I can just punch in a number. So
if I wanted to say 3.0, I can do that. There’s

426
00:33:39,450 –> 00:33:43,390
also a Size in here, I can change the size
of this, make it a little bit bigger, a little

427
00:33:43,390 –> 00:33:47,730
bit smaller - you’ll notice that the X and
Y axis are locked, however, I can actually

428
00:33:47,730 –> 00:33:51,700
unlock this. So if you wanted to scale and
stretch something for some reason, you could

429
00:33:51,700 –> 00:33:57,840
do that as well. I’ll go ahead and re-link
these and then I’m going to set the size

430
00:33:57,840 –> 00:34:03,220
to 1 which is 100% and makes it full screen.
However, you can actually make this bigger

431
00:34:03,220 –> 00:34:09,700
- you can zoom in pretty far. This was a feature
that was added at some point in the software

432
00:34:09,700 –> 00:34:16,400
and you can go - anyway let’s not do that.
Next is the mask - it’s by default set to

433
00:34:16,400 –> 00:34:20,450
zero, not masking anything, but if we go in
here and start typing in numbers or moving

434
00:34:20,450 –> 00:34:24,560
this with the cursor, you’ll see that we
can start to mask the image. You can crop

435
00:34:24,560 –> 00:34:27,930
the top, bottom, left or right on this and
what’s probably most common would be to

436
00:34:27,930 –> 00:34:32,710
crop off part of the edges on here to give
yourself a smaller Picture in Picture if you

437
00:34:32,710 –> 00:34:36,659
just wanted to crop a square out of a video
feed, for example, this is how you would do

438
00:34:36,659 –> 00:34:42,300
that. You can add a drop shadow to this but
make no mistake, this is not a fancy drop

439
00:34:42,300 –> 00:34:46,730
shadow, it doesn’t even have blur to it,
you can change the position of that, you can

440
00:34:46,730 –> 00:34:50,909
change the altitude of that just as how far
it goes, but that’s about it. You can also

441
00:34:50,909 –> 00:34:54,909
drag in this little guy here to reposition
that. But as you can see there, it’s - this

442
00:34:54,909 –> 00:34:59,650
is not a fancy drop shadow, so don’t get
too excited. You can add a border to this

443
00:34:59,650 –> 00:35:04,140
- the border allows you to change the color
so you can set any color that you want in

444
00:35:04,140 –> 00:35:08,230
here which you can do with the Color Picker
or you can do with the Hue Saturation and

445
00:35:08,230 –> 00:35:12,640
Luminance controls, which is extremely important
because if you are going to build the color

446
00:35:12,640 –> 00:35:17,380
choice into a Macro, you’re going to want
to define the Hue, Saturation, and Luminance

447
00:35:17,380 –> 00:35:22,660
inside of the Macro. You can change the outer
width, the inner width of that border, you

448
00:35:22,660 –> 00:35:27,990
can soften it which kind of like the shadow
is not really all that exciting but it’s

449
00:35:27,990 –> 00:35:32,000
there if you want it. I’m going to go ahead
and set all these back to their basics, we’ll

450
00:35:32,000 –> 00:35:36,020
leave a simple outer width on here and you
also have a Border Opacity, so you can make

451
00:35:36,020 –> 00:35:40,820
that solid or a bit transparent. Again, none
of this is terribly exciting but you do have

452
00:35:40,820 –> 00:35:44,190
the ability to do it if you need it. Most
likely if you’re going to use this, you’d

453
00:35:44,190 –> 00:35:49,010
keep it pretty simple - you’d probably leave
the border opacity at 100%, set a nice simple

454
00:35:49,010 –> 00:35:54,660
outer width, let’s just say 1 or even 0.5
on there and then set a simple color like

455
00:35:54,660 –> 00:36:00,671
a basic white just to ensure that you have
a nice clean border and let’s get rid of

456
00:36:00,671 –> 00:36:04,910
that silly shadow on there as well. So those
are the basic controls that you have over

457
00:36:04,910 –> 00:36:09,520
the DVE Upstream Key. Now, I said that I’d
give you a nod of some of the other things

458
00:36:09,520 –> 00:36:12,819
that are in here. If we scroll back up to
the top of this list, you’ll see that you

459
00:36:12,819 –> 00:36:17,430
have four different types of Upstream Keys;
there’s Luma keys, Chroma keys, Pattern

460
00:36:17,430 –> 00:36:23,020
keys and the DVE keys. The Luma and Chroma
keys are quite complex and quite powerful,

461
00:36:23,020 –> 00:36:27,250
we’ll cover those in other videos. If you’re
interested, let me know in the comments below.

462
00:36:27,250 –> 00:36:31,060
But for now I do want to take a quick look
at the Pattern keys because these can be kind

463
00:36:31,060 –> 00:36:35,020
of fun. Under the Pattern key right now, you’ll
see that this diamond shape is selected. I’m

464
00:36:35,020 –> 00:36:38,040
going to go ahead and set it to the circle
shape and then under here you’ll see that

465
00:36:38,040 –> 00:36:42,540
I can change the size of that circle, the
symmetry of it - so if I want to squish that

466
00:36:42,540 –> 00:36:46,420
out a little bit, make it a bit more oval,
I can put some softness on the edge of that

467
00:36:46,420 –> 00:36:51,390
if I want to and then change the position
of the circle itself. Now this is the position

468
00:36:51,390 –> 00:36:55,850
of that crop, so if I wanted to have a circular
Picture in Picture type of a thing and I wanted

469
00:36:55,850 –> 00:36:59,710
to let the person sit wherever they wanted
to on frame, I can go ahead and move that

470
00:36:59,710 –> 00:37:05,080
circle over their face and then from here,
go down to the Flying Key position and position

471
00:37:05,080 –> 00:37:09,520
where they are. There’s the Size, currently
set at 50% and then the position in here which

472
00:37:09,520 –> 00:37:14,140
I can now move to wherever I’d like. Let’s
put that up in the top - let’s go ahead

473
00:37:14,140 –> 00:37:18,109
and fix that symmetry as well to make it more
like a real circle and now let’s go ahead

474
00:37:18,109 –> 00:37:22,599
and save this. This is the Upstream Key position
that I want to save, that I want to be able

475
00:37:22,599 –> 00:37:26,270
to recall at any time. As you might have guessed,
we’re going to need to use a Macro to do

476
00:37:26,270 –> 00:37:32,160
this. So, let’s go to the Macros menu, open
the Macro page, select a new blank one here

477
00:37:32,160 –> 00:37:36,920
under the Create tab, click on PLUS and I’ll
call this “Circle PiP”, for Picture in

478
00:37:36,920 –> 00:37:42,369
Picture, and hit Record. Now as always, when
recording a Macro, you do have to explicitly

479
00:37:42,369 –> 00:37:47,350
record everything that you want the Macro
to do; it assumes nothing. So, in this case,

480
00:37:47,350 –> 00:37:51,069
let’s start by building out this Picture
in Picture. We’ll go up here to the type

481
00:37:51,069 –> 00:37:55,319
of Upstream Key, we don’t want a DVE key,
we want a Pattern key. So I’m going to switch

482
00:37:55,319 –> 00:38:00,980
away from Pattern and back to Pattern so that
now a Pattern key is enabled. The Fill Source

483
00:38:00,980 –> 00:38:04,060
needs to be defined, it’s going to be the
picture of me, so I’ll go ahead and switch

484
00:38:04,060 –> 00:38:10,390
it to something else and then back to me again.
We need the right shape, so we’ll select

485
00:38:10,390 –> 00:38:15,200
away and back to that. Invert Pattern; you’d
probably would never use this but we want

486
00:38:15,200 –> 00:38:18,400
to make sure that it doesn’t accidentally
end up inverted, so let’s go ahead and toggle

487
00:38:18,400 –> 00:38:23,869
that as well. Next let’s go to the size
- now, as we go through each one of these

488
00:38:23,869 –> 00:38:29,480
fields, I could move the slider on here to
get it dialed in or since I’ve already meticulously

489
00:38:29,480 –> 00:38:33,230
put it into place, I’m going to go ahead
and just click on here and then tap up on

490
00:38:33,230 –> 00:38:37,390
my keyboard and down again, just hitting the
up and down arrows just to change the number

491
00:38:37,390 –> 00:38:42,280
and then change it back to where it just was.
That will write that into the code. So, we’ve

492
00:38:42,280 –> 00:38:48,160
just done that one, I’ll go here, up, down,
up, down, position up, down, up, down - we

493
00:38:48,160 –> 00:38:51,460
want the mask off in this case, so we’ll
turn it on and back off, we want the Flying

494
00:38:51,460 –> 00:38:57,770
Key on, so we’ll turn it off and back on.
The position again, up, down, up, down, size,

495
00:38:57,770 –> 00:39:02,270
up, down, that’s written that into place
and now we’re ready to go except of course

496
00:39:02,270 –> 00:39:06,210
we need to make sure that it’s turned on.
So I’ll turn it off and back on again and

497
00:39:06,210 –> 00:39:10,190
there’s our Upstream Key. Now I seem to
have reposition myself in here but we’ll

498
00:39:10,190 –> 00:39:13,920
leave it there, we’ll go ahead and stop
recording, you can see that’s saved, go

499
00:39:13,920 –> 00:39:17,270
back to the run position and it’s ready
to go. Let’s just switch it away from this.

500
00:39:17,270 –> 00:39:22,140
Let’s go ahead and switch it back to the
default DVE key that’s built into the hardware.

501
00:39:22,140 –> 00:39:26,750
I’m going to go ahead and hit the button
down here to do that. Oh, wait a second - notice

502
00:39:26,750 –> 00:39:31,540
that the on button is flashing here. In fact,
at this point, if I push these buttons, they’re

503
00:39:31,540 –> 00:39:35,780
all going to flash and nothing actually changes.
This is because we have moved away from the

504
00:39:35,780 –> 00:39:40,420
DVE Upstream Key. So, as long as we’re off
of that tab, those buttons aren’t going

505
00:39:40,420 –> 00:39:45,490
to hurt us but again, if we’re on that tab,
it will overwrite whatever we’ve done. So,

506
00:39:45,490 –> 00:39:48,900
since those buttons are no longer doing anything,
I’m going to go ahead back over here and

507
00:39:48,900 –> 00:39:54,130
switch it in software back to DVE. As soon
as I go to that tab though, now these work

508
00:39:54,130 –> 00:39:58,990
again. So now I can turn that on or off and
I can change the position back to those defaults.

509
00:39:58,990 –> 00:40:02,680
But of course what we want, is to bring up
the circle Picture in Picture. Recall and

510
00:40:02,680 –> 00:40:06,980
Run is enabled, one click of that and there
we are back to the position of where I left

511
00:40:06,980 –> 00:40:11,500
it. So that is how you build a Picture in
Picture in the ATEM software taking complete

512
00:40:11,500 –> 00:40:15,530
control over its crop, position, scale and
everything else and then of course, how you

513
00:40:15,530 –> 00:40:20,440
write that into memory by saving it as a Macro
that you can recall at any time. Of course,

514
00:40:20,440 –> 00:40:23,830
as always don’t forget to Like, Subscribe
and Share this tip with another ATEM user

515
00:40:23,830 –> 00:40:28,109
and if you have any burning questions that
you want answered about your ATEM hardware

516
00:40:28,109 –> 00:40:32,819
or software, drop them into the comments below
and I’ll be sure to get to it. In this ATEM

517
00:40:32,819 –> 00:40:37,020
(mini) Tip, we’ll look at how to connect
a variety of devices other than a camera to

518
00:40:37,020 –> 00:40:40,910
your ATEM Mini. We’ll start with a computer
- one of the most common devices to want to

519
00:40:40,910 –> 00:40:45,609
integrate but we’ll also look at connecting
an iPad, an iPhone, a wireless Chromecast,

520
00:40:45,609 –> 00:40:49,810
an Airplay receiver, an HDMI receiver, so
you could wirelessly connect a camera from

521
00:40:49,810 –> 00:40:53,680
across the room, an ATEM streaming bridge,
which would allow you to connect to a camera

522
00:40:53,680 –> 00:40:57,800
from across the world and a dedicated video
player. I’ve got all this already connected

523
00:40:57,800 –> 00:41:02,000
to an ATEM Mini Extreme ISO, but it’s a
bit too much to fit on my desk here, so let’s

524
00:41:02,000 –> 00:41:07,210
step into the main studio. All right, as you
can see, I’ve got a lot of stuff hooked

525
00:41:07,210 –> 00:41:11,099
up to this ATEM Mini Extreme ISO. In fact,
I have something on every single one of the

526
00:41:11,099 –> 00:41:14,980
eight inputs right now which is kind of impressive.
I’m going to run through everything that’s

527
00:41:14,980 –> 00:41:18,849
in here right now and then we’ll go back
through and talk about how each one is connected

528
00:41:18,849 –> 00:41:22,120
and while we’re doing that, I’ll talk
about various things you might want to know

529
00:41:22,120 –> 00:41:25,250
as far as hooking these up, little tips and
tricks and so on. So let’s just start with

530
00:41:25,250 –> 00:41:30,480
input one which is the camera. I’ve got
just a BGH1 here plugged in, so I’m just

531
00:41:30,480 –> 00:41:34,690
straight HDMI into this - nothing fancy here,
it’s just my camera input. Now we go to

532
00:41:34,690 –> 00:41:40,050
camera two. Camera two is my laptop, so I’ve
got my MacBook Air here connected in on camera

533
00:41:40,050 –> 00:41:45,859
two, on camera three I’ve got the iPad,
on four I’ve got an iPhone, on five I’ve

534
00:41:45,859 –> 00:41:50,170
got something called the “Mirror screen”,
which is a wireless Chromecast/Airplay receiver

535
00:41:50,170 –> 00:41:54,839
- really inexpensive and really useful. So,
definitely highly recommend you check one

536
00:41:54,839 –> 00:41:59,690
of these out. The next input number six is
a Hollyland wireless HDMI receiver that’s

537
00:41:59,690 –> 00:42:03,460
hooked up to a camera over there - hello!
- and it’s just a way to get another camera

538
00:42:03,460 –> 00:42:08,711
into the device without having to run a log
cable to it. Number seven is the ATEM Streaming

539
00:42:08,711 –> 00:42:11,850
Bridge. Now, this can be streaming from anywhere
in the world but it is just now streaming

540
00:42:11,850 –> 00:42:15,849
from my office over there that I just walked
out of. And then finally on number eight,

541
00:42:15,849 –> 00:42:21,260
I have a very basic HDMI video player that’s
just looping some video. So, we’ll talk

542
00:42:21,260 –> 00:42:25,320
about all of these and how they’re connected
starting with the laptop. Now, the laptop

543
00:42:25,320 –> 00:42:29,350
here is connected over USB-C but let me back
up and talk about some other ways you might

544
00:42:29,350 –> 00:42:33,580
want to connect. You might have a computer
that has an HDMI port on it - go figure. Some

545
00:42:33,580 –> 00:42:37,040
of them still have those. If you’ve got
HDMI out of your computer, all you need is

546
00:42:37,040 –> 00:42:41,500
an HDMI cable from the computer into the ATEM
and that’s it. Now, we will talk about some

547
00:42:41,500 –> 00:42:44,660
of the setup things in a moment but that’s
all you’re going to need to physically connect

548
00:42:44,660 –> 00:42:49,590
it. If your computer has Display Port or Mini
Display Port, then just get a Mini display

549
00:42:49,590 –> 00:42:55,550
port or display port to HDMI cable or to HDMI
adapter and then a straight HDMI cable, that’ll

550
00:42:55,550 –> 00:43:01,980
work too. In my case here on this M1 MacBook
Air, I only have USB-C. So, I have here a

551
00:43:01,980 –> 00:43:07,280
USB-C to HDMI cable which actually works great.
I found a brand that has been really reliable

552
00:43:07,280 –> 00:43:10,800
for me, I’m going to put the link to these
down below. They come in some pretty long

553
00:43:10,800 –> 00:43:13,970
lengths and I’ve been digging these cables.
They work great and it’s just one cable

554
00:43:13,970 –> 00:43:18,490
to connect them. But that’s not the only
option - you can also get a USB-C to HDMI

555
00:43:18,490 –> 00:43:23,740
adapter. This is one from Belkin, and over
here on the iPad I have the one made by Apple.

556
00:43:23,740 –> 00:43:27,099
These both will work here and these actually
provide some other advantages if you’re

557
00:43:27,099 –> 00:43:31,240
doing things like HDR editing work and you
want to be able to view some of these devices

558
00:43:31,240 –> 00:43:36,329
on an HDR monitor, but as far as connecting
into the ATEM itself, these are definitely

559
00:43:36,329 –> 00:43:39,520
overkill - this simple cable will work but
if you’ve got one of these, that’ll work

560
00:43:39,520 –> 00:43:43,290
as well. All right, once you’ve got it connected,
your computer can operate in one of two modes

561
00:43:43,290 –> 00:43:47,990
- either in a screen mirroring mode, where
the same thing you see on your computer display

562
00:43:47,990 –> 00:43:53,040
will show up in the ATEM or in a dual screen
display, where you have this screen and then

563
00:43:53,040 –> 00:43:57,000
a separate display coming into the ATEM. And
what you choose to use will just depend on

564
00:43:57,000 –> 00:44:01,200
how you’re using it. But I also want to
talk about some problems that you might have

565
00:44:01,200 –> 00:44:05,570
when you connect a computer to the ATEM. If
you connect them and you’re just not seeing

566
00:44:05,570 –> 00:44:09,450
an image on the ATEM itself, here’s what
to look for - I’m going to start by going

567
00:44:09,450 –> 00:44:13,980
to the System Preferences and opening up the
displays. Now, I am of course doing this on

568
00:44:13,980 –> 00:44:17,800
a Mac, if you’re on a PC, I can’t walk
you through those steps but you will find

569
00:44:17,800 –> 00:44:21,660
these basic same settings there. First thing
I’m going to do is click on this button

570
00:44:21,660 –> 00:44:25,370
down here that says “Gather Windows”.
This actually brings over the display settings

571
00:44:25,370 –> 00:44:30,520
for the Blackmagic connected device so that
I can control both devices from this screen.

572
00:44:30,520 –> 00:44:36,970
So, if I don’t see the window with that
BDM HDMI monitor control panel on my Blackmagic

573
00:44:36,970 –> 00:44:40,609
device, then hit that button to bring both
windows over to this screen so you can see

574
00:44:40,609 –> 00:44:44,580
what’s wrong. By default, the resolution
will be set to “Default for Display” and

575
00:44:44,580 –> 00:44:49,849
this absolutely should work. But if it doesn’t,
you can click on Scaled and see a variety

576
00:44:49,849 –> 00:44:55,010
of alternate resolutions. Now again, you should
be seeing 1920x1080 here, but what if you’re

577
00:44:55,010 –> 00:45:00,070
not? I have seen situations where - not with
this Blackmagic device but with others - where

578
00:45:00,070 –> 00:45:05,720
instead of showing 1920x1080, the Mac is trying
to connect at 1920x1200 and therefore the

579
00:45:05,720 –> 00:45:10,470
receiving device can’t see it. It just doesn’t
understand what to do with that resolution.

580
00:45:10,470 –> 00:45:15,020
If you don’t see 1920x1080 here under the
Scaled, I’ll show you a little trick. If

581
00:45:15,020 –> 00:45:19,160
you hold down the Option key and then click
on Scaled, it shows you a bunch of alternate

582
00:45:19,160 –> 00:45:24,730
resolutions and in there you should find that
1920x1080. Again, it should just work straight

583
00:45:24,730 –> 00:45:28,920
out of the box, nothing special to do but
if it doesn’t, this is where you go. Now,

584
00:45:28,920 –> 00:45:32,540
if you select 1920x1080 and it still isn’t
working, there’s one more thing you can

585
00:45:32,540 –> 00:45:36,700
check. See under here there’s a Refresh
Rate option. By default mine is set to 60

586
00:45:36,700 –> 00:45:40,380
Hertz but you might want to play with different
refresh rate settings to find one that syncs

587
00:45:40,380 –> 00:45:46,440
up. If your ATEM Mini is set to 1080p 29.97,
then the 60 Hertz or 30 Hertz should be synced

588
00:45:46,440 –> 00:45:51,290
up automatically and that should work. If
you’re doing it at 1080p 25 in a pal region,

589
00:45:51,290 –> 00:45:55,540
then the 25 Hertz or 50 Hertz should work
and it should find those automatically. And

590
00:45:55,540 –> 00:46:00,140
if you’ve set your ATEM to 24p, then the
24 Hertz should work. But again, if it’s

591
00:46:00,140 –> 00:46:04,210
not finding it automatically, you can change
these manually. And once you’ve set that

592
00:46:04,210 –> 00:46:07,230
you should never have to set it again because
the Mac will remember the last device it was

593
00:46:07,230 –> 00:46:12,220
connected to. Next let’s look at the arrangement.
I currently have this set up as a dual display

594
00:46:12,220 –> 00:46:15,619
arrangement, but if I click on Mirror Displays,
then I’ll be able to see the same thing

595
00:46:15,619 –> 00:46:20,060
on this screen as I do on the ATEM. This might
be useful if you wanted to use this for video

596
00:46:20,060 –> 00:46:23,800
playback - you want to be able to open a video,
go full screen and hit Play and have your

597
00:46:23,800 –> 00:46:27,119
audience see what you’re seeing here. On
the other hand, if you’re doing something

598
00:46:27,119 –> 00:46:31,710
like a slideshow from Keynote or PowerPoint,
then being able to have those two separate

599
00:46:31,710 –> 00:46:35,309
displays is awesome. This will let you have
your current and next slide and even your

600
00:46:35,309 –> 00:46:39,190
notes on this screen while your audience is
seeing the full screen slideshow. Let’s

601
00:46:39,190 –> 00:46:42,772
take a look at how that works. I’ll go ahead
and switch over to Keynote where I’ve got

602
00:46:42,772 –> 00:46:47,730
a presentation ready to go and click on Play
and as soon as I do that, on my Mac screen

603
00:46:47,730 –> 00:46:52,520
I see my current slide and my next slide while
the ATEM, the audience, is only seeing the

604
00:46:52,520 –> 00:46:56,640
current slide. I can also change the display
on the Mac here, for example if I wanted to

605
00:46:56,640 –> 00:47:01,170
show my presenter notes, I can bring those
up and then I see my notes in here like here

606
00:47:01,170 –> 00:47:04,490
it’s telling me not to forget to tell you
guys to subscribe. If you haven’t subscribed,

607
00:47:04,490 –> 00:47:08,180
please do. That was a great chance to do that.
Hit that thumbs up too, share the video - you

608
00:47:08,180 –> 00:47:12,030
know the drill. Anyway, back over to this.
If I want to advance through my next slides,

609
00:47:12,030 –> 00:47:15,590
I can do that, always see the next slide up
on screen here and again, the audience is

610
00:47:15,590 –> 00:47:20,130
seeing just what I want them to see. Now,
I can also integrate myself into this and

611
00:47:20,130 –> 00:47:23,830
this is one of the advantages of using the
ATEM to show your slides. Instead of just

612
00:47:23,830 –> 00:47:28,480
having the slides up, I can do a Picture-in-Picture
with my face sitting in the corner. Now, I

613
00:47:28,480 –> 00:47:32,740
can do this as a standard default Picture-in-Picture
on the ATEM but we can completely customize

614
00:47:32,740 –> 00:47:36,310
this. That’s something that I covered in
the previous video. ATEM Mini tip number seven

615
00:47:36,310 –> 00:47:40,809
showed you exactly how to build a custom preset
Picture-in-Picture. I’ve already done that

616
00:47:40,809 –> 00:47:45,400
and I’ve got them saved as macros and because
this is the ATEM Mini Extreme, there’s actually

617
00:47:45,400 –> 00:47:48,160
macro buttons on here, so I’m going to go
ahead and call one of these up by pushing

618
00:47:48,160 –> 00:47:52,830
the macro one button and there I am up in
the corner. So, this is the power of a device

619
00:47:52,830 –> 00:47:57,859
like this combined with your slides and your
Picture-in-Picture, the customizable Picture-in-Picture

620
00:47:57,859 –> 00:48:01,880
really being able to bring this up however
you want. So, this is a really cool way to

621
00:48:01,880 –> 00:48:05,579
do things. All right, let me turn that off
and go back to this screen and now we’ll

622
00:48:05,579 –> 00:48:10,800
move on to the next device which is going
to be the iPad. There’s iPad on number three.

623
00:48:10,800 –> 00:48:16,609
Now, the iPad again is connected this time
over an HDMI adapter, the same USB-C to HDMI

624
00:48:16,609 –> 00:48:19,780
cable that I’m using on the Mac would also
work on the iPad, I’m just using this for

625
00:48:19,780 –> 00:48:23,890
now. And when you connect this, if there’s
any issues at all, there’s really only one

626
00:48:23,890 –> 00:48:28,460
place to look and that is the Display Settings.
So let’s take a look in the Settings, scroll

627
00:48:28,460 –> 00:48:33,369
down to Display and Brightness, scroll down
from there and you’ll see connected displays

628
00:48:33,369 –> 00:48:37,520
at the very bottom. In this case, there really
aren’t many options in here. If you’re

629
00:48:37,520 –> 00:48:41,520
connected to an HDR display, you’ll see
an HDR option in there or if you are playing

630
00:48:41,520 –> 00:48:45,960
back video that has some alternate resolutions,
you might want to tap on “Allow Display

631
00:48:45,960 –> 00:48:49,930
Mode Changes”. This is not something I’ve
ever actually needed but it’s there if you’re

632
00:48:49,930 –> 00:48:52,820
playing back various frame rates and they’re
not looking quite right on the output, you

633
00:48:52,820 –> 00:48:56,250
can try that out. Otherwise there’s not
really much to do - you plug it in and it

634
00:48:56,250 –> 00:49:00,000
should just work. Now let’s go to the desktop
on the iPad and I want to show you something

635
00:49:00,000 –> 00:49:04,299
a little bit odd about this. You’ll notice
that the iPad image is not filling the screen

636
00:49:04,299 –> 00:49:09,460
of the program out. Now, that makes some sense
- after all, the display screen is 16x9 whereas

637
00:49:09,460 –> 00:49:13,980
the iPad is not, so we would expect to see
some pillar boxing - black bars on the left

638
00:49:13,980 –> 00:49:17,270
and right hand side. But if you look closely,
you’ll see that there’s black bars on

639
00:49:17,270 –> 00:49:21,859
the top and bottom as well. I can’t exactly
explain why, it’s just how the output resolution

640
00:49:21,859 –> 00:49:27,230
of the iPad is synced up with the ATEM and
depending on your iPad, you might see a slightly

641
00:49:27,230 –> 00:49:31,750
different aspect ratio in there. But we can
crop that out. So, I’ve set up a couple

642
00:49:31,750 –> 00:49:35,790
of macros that are cropping this and doing
specific things with the iPad image. The first

643
00:49:35,790 –> 00:49:39,990
one that I’ll do has cropped the image and
scaled it down a little bit and brought it

644
00:49:39,990 –> 00:49:44,260
off to the side. So now I’ve got a situation
where maybe I want to demo on the iPad but

645
00:49:44,260 –> 00:49:47,970
I still want to be on screen and it’s okay
to make the screen a little bit smaller. But

646
00:49:47,970 –> 00:49:51,349
what if I don’t want to do it that way?
What if I want to fill the screen and I don’t

647
00:49:51,349 –> 00:49:55,589
want those black bars at the top? Well, here’s
another preset that I built. This one has

648
00:49:55,589 –> 00:49:59,910
cropped and scaled up. So, I’m actually
scaling the image up just a little bit - I

649
00:49:59,910 –> 00:50:04,700
think it’s 110 - 111%, so it’s just a
slight upscale to fill the screen with that

650
00:50:04,700 –> 00:50:08,210
and then I’ve set the background to be gray.
So a couple different ways that you can handle

651
00:50:08,210 –> 00:50:11,440
that depending on what you’re doing in there.
Now, one of the neat things about working

652
00:50:11,440 –> 00:50:15,349
with the iPad in here is if I do want to run
a slideshow presentation, let’s say I go

653
00:50:15,349 –> 00:50:19,670
back over to Keynote, I’ll get the exact
same output that I would get from the computer

654
00:50:19,670 –> 00:50:23,930
- meaning that I can see my current and next
slides on the iPad while the audience can

655
00:50:23,930 –> 00:50:28,590
see the full screen image. So, let me go back
to the iPad full screen and then I’ll start

656
00:50:28,590 –> 00:50:33,170
this slideshow from the beginning here and
here we are once again seeing the current

657
00:50:33,170 –> 00:50:38,090
and next slides on the iPad while the Program
Out is just the current slide. Pretty cool!

658
00:50:38,090 –> 00:50:42,170
All right, now let’s move on to the iPhone.
I’ve got my iPhone connected here and this

659
00:50:42,170 –> 00:50:46,660
of course is showing with big huge black bars
down the left and right side on the ATEM.

660
00:50:46,660 –> 00:50:50,200
So if I want to crop these up, it’s the
same thing as I did with the iPad and I’ve

661
00:50:50,200 –> 00:50:54,260
already built a macro to do this. So, now
I’ll pull up the image of me and bring up

662
00:50:54,260 –> 00:50:59,150
the cropped and moved view of the iPhone.
So now, once again, here I am on screen with

663
00:50:59,150 –> 00:51:03,260
my iPhone and you can see what’s happening
on the screen next to me - pretty cool. All

664
00:51:03,260 –> 00:51:07,740
right, now let’s move on to input number
five, which is the MiraScreen. The MiraScreen

665
00:51:07,740 –> 00:51:11,609
is this very inexpensive little device I’ve
got plugged in back here which is just a wireless

666
00:51:11,609 –> 00:51:17,420
receiver that can receive both a Chromecast
and an Airplay signal, which is pretty neat.

667
00:51:17,420 –> 00:51:20,820
With a Chromecast, I could do something like
share an Android screen. So, let’s bring

668
00:51:20,820 –> 00:51:25,190
that up next. Under the Settings when I go
to the Cast page, there’s my ATEM Mini.

669
00:51:25,190 –> 00:51:28,990
I have named the MiraScreen ATEM Mini so I
know what I’m looking at whenever I see

670
00:51:28,990 –> 00:51:33,950
it on one of my devices and in just a moment
here we’ll now see that Android phone being

671
00:51:33,950 –> 00:51:37,900
cast onto the screen. I’ll go ahead and
disconnect that and let’s jump over here

672
00:51:37,900 –> 00:51:43,130
to my Mac where if I bring up Chrome, I can
do the same thing. From Chrome, I can go to

673
00:51:43,130 –> 00:51:49,349
the three dots menu here, go to Cast, choose
the ATEM Mini and then that browser tab shows

674
00:51:49,349 –> 00:51:54,200
up on the ATEM as a cast screen. Pretty cool
and easy way to do this and in fact, this

675
00:51:54,200 –> 00:51:58,630
device doesn’t just do Chromecast, it also
does Airplay. So let me go ahead and turn

676
00:51:58,630 –> 00:52:04,799
this off from Chrome and then I’ll go to
my display settings, Screen Mirroring and

677
00:52:04,799 –> 00:52:09,380
there’s the ATEM Mini allowing me to, once
again, select the entire display of my Mac

678
00:52:09,380 –> 00:52:15,790
and over Apple Airplay, send that to the ATEM.
Next up is the Hollyland Mars 300 which is

679
00:52:15,790 –> 00:52:20,460
a wireless HDMI receiver. I’ve got this
connected to a camera up there mounted up

680
00:52:20,460 –> 00:52:25,130
by the ceiling, it’s just kind of a wide
view of the scene here and this is great for

681
00:52:25,130 –> 00:52:29,049
any kind of a far away shot where you don’t
want to run a really long cable. Now, keep

682
00:52:29,049 –> 00:52:33,119
in mind that there is some latency with wireless
HDMI, so it’s not going to be a good approach

683
00:52:33,119 –> 00:52:37,080
if you want to have a tight close-up of someone
where you’ll be able to see that their dialogue

684
00:52:37,080 –> 00:52:42,740
might be out of sync with their mouth, however
for a far shot, a wide shot, a rear shot,

685
00:52:42,740 –> 00:52:46,579
something over the shoulder, this is a great
option to use. So that’s hooked up here

686
00:52:46,579 –> 00:52:51,590
- just straight HDMI into the ATEM, nothing
to configure; it just works. The next display,

687
00:52:51,590 –> 00:52:55,230
number seven, is my ATEM streaming bridge.
Now right now I’m just streaming from my

688
00:52:55,230 –> 00:52:58,930
office right over here. It’s just streaming
from the ATEM Mini pro ISO that’s on my

689
00:52:58,930 –> 00:53:03,180
desk straight to this device. But as you may
have seen if you’ve seen some of my live

690
00:53:03,180 –> 00:53:07,210
shows, you can actually bring in people from
anywhere in the world - a camera anywhere

691
00:53:07,210 –> 00:53:10,941
in the world with a decent internet connection
can stream directly to your ATEM Streaming

692
00:53:10,941 –> 00:53:15,720
Bridge. All they need, to send (video) to
you, is either an ATEM Mini Pro or better,

693
00:53:15,720 –> 00:53:20,390
or one of the new Blackmagic Web Presenter
HD boxes, those will also stream directly

694
00:53:20,390 –> 00:53:25,319
to the ATEM Streaming Bridge. So this again
allows you to bring in a camera from literally

695
00:53:25,319 –> 00:53:29,120
anywhere in the world with an internet connection
- pretty awesome. And the last thing I have

696
00:53:29,120 –> 00:53:33,560
hooked up here is this tiny little really
inexpensive video box - believe me, it’s

697
00:53:33,560 –> 00:53:38,040
not great but it gets the job done. It just
allows you to pop in a USB stick or an SD

698
00:53:38,040 –> 00:53:42,641
card, copy over some 1080p videos to it and
then using the remote control here you can

699
00:53:42,641 –> 00:53:46,210
just navigate through and find a video and
hit Play. You can actually shuffle videos

700
00:53:46,210 –> 00:53:50,849
and randomize them or loop them like I’m
doing here. The cut between videos as it stops

701
00:53:50,849 –> 00:53:54,540
when it starts the other isn’t particularly
smooth but it gets the job done. So, if you

702
00:53:54,540 –> 00:53:58,140
just need some video playing in the background
on a constant loop, this is a great way to

703
00:53:58,140 –> 00:54:02,770
do that - maybe an interstitial or something
like that. Anyway, as you can see, there is

704
00:54:02,770 –> 00:54:07,319
a ton of ways to get a bunch of different
devices into your ATEM Mini - from the laptop

705
00:54:07,319 –> 00:54:11,270
to the iPad to the iPhone to the Android phone
to the video player to the Streaming Bridge

706
00:54:11,270 –> 00:54:16,809
to the wireless HDMI, the casting device - I
mean, it’s pretty slick what you can do.

707
00:54:16,809 –> 00:54:21,599
Eight inputs on this one or four on any other
smaller ATEM will get the job done. Now, there’s

708
00:54:21,599 –> 00:54:24,280
one other thing I want to throw out there
- everything that I’ve talked about today

709
00:54:24,280 –> 00:54:29,460
will work on any of the ATEM Minis - the ATEM
Mini, ATEM Mini Pro, ATEM Mini Pro ISO, ATEM

710
00:54:29,460 –> 00:54:35,680
Mini Extreme or ATEM Mini Extreme ISO. However,
ironically, if you have one of the older but

711
00:54:35,680 –> 00:54:40,290
bigger and more expensive ATEMs, then some
of this might not work without something else

712
00:54:40,290 –> 00:54:45,220
in between. You see, these ATEM Minis all
have scalers on every single input - which

713
00:54:45,220 –> 00:54:48,930
means that whenever you feed it - and here’s
a chart of what the device can accept and

714
00:54:48,930 –> 00:54:54,030
convert to from the Blackmagic website - will
be scaled to the proper resolution for the

715
00:54:54,030 –> 00:54:58,599
ATEM. All the other bigger older ATEMs don’t
actually have scalers on. So, if you don’t

716
00:54:58,599 –> 00:55:02,809
feed it the exact resolution and frame rate
or frequency that the device is looking for,

717
00:55:02,809 –> 00:55:06,131
then it’s just not going to show up so you
will need to insert some type of a scaler

718
00:55:06,131 –> 00:55:10,140
in between. Other than that on any of the
ATEM Minis, this is super easy to do. For

719
00:55:10,140 –> 00:55:13,839
the most part is just plug and play. I hope
you enjoyed this and found this tip useful

720
00:55:13,839 –> 00:55:16,931
and if there’s any tips that you want, be
sure to leave them in a comment below, tell

721
00:55:16,931 –> 00:55:19,990
me what you’re looking for next and I’ll
try to get to it. Take care and hey, don’t

722
00:55:19,990 –> 00:55:24,420
forget to subscribe, alright? See you next
time. Bye-bye. Today’s ATEM (mini) Tip is

723
00:55:24,420 –> 00:55:28,500
a mini tip indeed. This one is simply about
getting the right color to display on your

724
00:55:28,500 –> 00:55:33,339
ATEM when you’ve connected a Mac or possibly
a PC. This definitely applies to Mac and it

725
00:55:33,339 –> 00:55:37,250
might apply to PC as well. I’m sorry, I
don’t actually know. The problem is the

726
00:55:37,250 –> 00:55:42,150
color profile - the wrong color profile will
be selected by default when you first connect

727
00:55:42,150 –> 00:55:46,370
your Mac to your ATEM, and unless you go in
and manually choose the right one, the display

728
00:55:46,370 –> 00:55:49,810
image won’t look quite right. Now, to be
honest, most people will never notice, and

729
00:55:49,810 –> 00:55:53,369
if you’re simply doing things like playing
Keynote slide decks, you definitely won’t

730
00:55:53,369 –> 00:55:57,099
see it. However, if you’re using the ATEM
for things like software demonstrations, especially

731
00:55:57,099 –> 00:56:01,770
apps that have a very dark UI like Lightroom
or Final Cut Pro, then you’ll definitely

732
00:56:01,770 –> 00:56:06,140
see the dark grays go a bit too dark, a bit
too crunchy and you won’t actually be able

733
00:56:06,140 –> 00:56:10,530
to see all the details in the screen. Let’s
have a look. I’m currently in Screen Mirroring

734
00:56:10,530 –> 00:56:14,710
mode. Here’s my Mac and here’s the BMD
Display and you’ll see that it’s mirrored.

735
00:56:14,710 –> 00:56:19,430
When I look at the color options, there’s
only one option here: “BMD HDMI”. So you

736
00:56:19,430 –> 00:56:23,829
would think, “well, that should be right”,
right? But it’s not. If I go down here and

737
00:56:23,829 –> 00:56:28,000
deselect “Show Profiles for this display
only”, you’ll see a lot of other options,

738
00:56:28,000 –> 00:56:33,570
and the one that you want is right down here
- the very conveniently named “SMPTE RP

739
00:56:33,570 –> 00:56:39,930
431-2-2007 DCI (P3)”. Just remember that
it starts with “SMPTE” and ends with “P3”

740
00:56:39,930 –> 00:56:43,960
and you’ll find it each time. As soon as
I select that, you’ll see the gamma on the

741
00:56:43,960 –> 00:56:49,799
screen change. Let’s go back and forth again.
There’s the default and there’s the right

742
00:56:49,799 –> 00:56:53,430
one. Now, let’s take a look at this with
an app in the background. I’ll switch over

743
00:56:53,430 –> 00:56:58,559
to Lightroom first and bring my color displays
back up, let’s hide this guy and here we

744
00:56:58,559 –> 00:57:06,809
go - this is correct, this is not. That’s
correct, that is not. Let’s take a look

745
00:57:06,809 –> 00:57:17,380
at Final Cut as well. Same idea… this is
not correct but this is. Incorrect; correct.

746
00:57:17,380 –> 00:57:21,970
It’s a subtle change but it makes a difference.
And again, if you’re doing a software demo

747
00:57:21,970 –> 00:57:26,350
with an app that has a dark UI, you’ll really
appreciate the change here. So, that is the

748
00:57:26,350 –> 00:57:30,650
correct color profile to choose when you’re
running your Mac into your ATEM. Now again,

749
00:57:30,650 –> 00:57:35,130
this same color profile or something similar
might be on PC - I would say, if it doesn’t

750
00:57:35,130 –> 00:57:39,740
look right, simply look for a color profiles
option and if you don’t find the exact same

751
00:57:39,740 –> 00:57:43,080
SMPTE one, just try some other ones and see
if there’s one that looks better for your

752
00:57:43,080 –> 00:57:46,609
PC. As always, thanks for watching… don’t
forget to subscribe and I’ll see you in

753
00:57:46,609 –> 00:57:51,589
the next tip. In this ATEM Mini tip, we’ll
be looking at a feature that is unique to

754
00:57:51,589 –> 00:57:57,530
the ATEM Mini Extreme and the ATEM Mini Extreme
ISO. That feature would be the six Macro buttons

755
00:57:57,530 –> 00:58:01,700
that are built into the hardware. Those six
Macro buttons trigger the first six Macros

756
00:58:01,700 –> 00:58:05,750
in your collection - but what happens when
you have more than six or you want to simply

757
00:58:05,750 –> 00:58:09,940
rearrange them? Unfortunately there’s no
UI to do that, so to do it, we have to modify

758
00:58:09,940 –> 00:58:17,320
the XML. To show you, that let’s step into
Studio B. Here I have the ATEM Mini Extreme

759
00:58:17,320 –> 00:58:22,869
ISO. And as you can see on here, there are
one, two, three, four, five, six Macro buttons.

760
00:58:22,869 –> 00:58:27,170
These buttons will trigger the first six Macros
that you’ve created in your ATEM software.

761
00:58:27,170 –> 00:58:31,030
But again, if you want to rearrange them there’s
no interface to do that. Let me show you.

762
00:58:31,030 –> 00:58:35,250
In the ATEM software control, if I go to the
Macros menu and open this up, you’ll see

763
00:58:35,250 –> 00:58:40,569
here that I have seven Macros that I’ve
created; Macro A, B, C, D, E, F and G, and

764
00:58:40,569 –> 00:58:44,119
I’ve labeled them as such just so it’s
easy to track as I move them around; normally

765
00:58:44,119 –> 00:58:48,329
obviously you’d give them a proper name.
If I want to move one of these, I can’t.

766
00:58:48,329 –> 00:58:52,911
There’s no way to simply drag and drop these
around which, admittedly would be nice, but

767
00:58:52,911 –> 00:58:57,609
it’s just not how it works. So, for this
example, I want to take Macro G and move it

768
00:58:57,609 –> 00:59:02,740
into the ‘A’ position so that it will
be triggered by the Macro button 1. Of course,

769
00:59:02,740 –> 00:59:06,450
if I don’t want to do that, I can simply
go to the Run menu, here hit recall and Run

770
00:59:06,450 –> 00:59:10,680
and just trigger whichever Macro I would like.
But in this case, if I want to actually sign

771
00:59:10,680 –> 00:59:13,690
them to the hardware buttons, I’m going
to have to move them. So here’s how we do

772
00:59:13,690 –> 00:59:18,900
it. To do that, I’ll go to the Save As…
menu and I’ll give it a name - I’m just

773
00:59:18,900 –> 00:59:23,010
going to call this Macros and I’ll put it
on the desktop. This is going to save out

774
00:59:23,010 –> 00:59:28,380
the XML file which we will need to edit. From
the Save menu all I really care about right

775
00:59:28,380 –> 00:59:33,910
now are the Macros, so to make things easier,
I’ll select None and then turn on Macros

776
00:59:33,910 –> 00:59:38,319
and then click Save. I’ll hide the ATEM
software control and here’s the file that

777
00:59:38,319 –> 00:59:42,589
I want to edit. I like to work on these using
BBEdit, but you can use any text editor that

778
00:59:42,589 –> 00:59:46,710
you like. The nice thing about BBEdit is how
it color codes and automatically spaces the

779
00:59:46,710 –> 00:59:50,800
code. I’m going to collapse all of these
by option-clicking on this collapse triangle

780
00:59:50,800 –> 00:59:55,589
here and then clicking on it again, without
the Option key held down to expand it. By

781
00:59:55,589 –> 01:00:00,339
holding down the Option key when I first clicked
it to collapse it, it collapsed all the subcategories

782
01:00:00,339 –> 01:00:04,859
as well, making it easier now to see what
I’m looking at. I’ll open up the Macro

783
01:00:04,859 –> 01:00:09,270
Pool and here we can see the Macros that I’ve
created: there’s Macros A through G with

784
01:00:09,270 –> 01:00:15,180
index numbers zero through six. Now yes, the
index numbers are confusing. The index numbers

785
01:00:15,180 –> 01:00:20,490
start at zero, whereas the Macro position
buttons start at one. It’s just the way

786
01:00:20,490 –> 01:00:24,470
it is, it’s this way throughout the system
- everything starts at “0” in the code;

787
01:00:24,470 –> 01:00:28,310
not at “1”. You just have to keep this
in mind when you’re modifying things. Okay,

788
01:00:28,310 –> 01:00:34,700
so remember, I wanted to move Macro G into
position one. Right now, Macro G is in index

789
01:00:34,700 –> 01:00:39,299
six, which would be position seven but there
isn’t one, so I’m going to take index

790
01:00:39,299 –> 01:00:44,850
six and change that to zero; again, zero being
position one. Now I can’t have two Macros

791
01:00:44,850 –> 01:00:49,500
occupying the same space, so I’ll go up
here and change this index from “0” to

792
01:00:49,500 –> 01:00:55,099
“6”. Now, I’ve got indexes 6 and then
1 through 5 and then 0. The order of these

793
01:00:55,099 –> 01:00:59,270
does not matter; don’t worry about rearranging
them in here. Once you load it back into the

794
01:00:59,270 –> 01:01:02,859
ATEM, if you save it back out again, it will
actually put them out in the right order,

795
01:01:02,859 –> 01:01:08,500
but the order does not matter. All that matters
is that you do not have overlapping index

796
01:01:08,500 –> 01:01:13,220
numbers. So this is ready to go - I’ll save
this - I’m actually going to do a “Save

797
01:01:13,220 –> 01:01:17,849
As” so that I have a backup copy, which
I always advise doing, and then the way that

798
01:01:17,849 –> 01:01:22,810
I like to name my documents is by simply putting
a time on there. So, I’ll just put -31,

799
01:01:22,810 –> 01:01:25,789
and then if you really want to, you could
add another name at the end - a note like

800
01:01:25,789 –> 01:01:32,799
“Reordered Macros”. Save that and then
we’ll switch back over to the ATEM software.

801
01:01:32,799 –> 01:01:39,569
From the file menu, choose Restore. There’s
the one I just did. And once I click Restore,

802
01:01:39,569 –> 01:01:46,920
watch the Macros themselves; you’ll see
A and G trade places. Restore and there we

803
01:01:46,920 –> 01:01:52,430
go - G and A have swapped places. So now,
when I push button “1” on the hardware,

804
01:01:52,430 –> 01:01:57,340
it is going to trigger Macro G, and that is
how you rearrange the Macros in your ATEM

805
01:01:57,340 –> 01:02:01,319
Mini Extreme or ATEM Mini Extreme ISO. If
you’re enjoying these tips, be sure to hit

806
01:02:01,319 –> 01:02:04,410
Subscribe and let me know in the comments
below if there’s a new tip that you’d

807
01:02:04,410 –> 01:02:09,279
like to see in a future video. In this ATEM
Mini tip, we’re going to look at how you

808
01:02:09,279 –> 01:02:14,010
can control a Black Magic Pocket Cinema Camera
(BPMCC) connected to an ATEM Mini. We’ll

809
01:02:14,010 –> 01:02:17,210
start with the software control – because
you can actually control the Pocket Cinema

810
01:02:17,210 –> 01:02:21,280
Camera from any ATEM Mini model – then we’ll
look at how you can control the camera by

811
01:02:21,280 –> 01:02:26,510
the hardware buttons on the ATEM Mini Extreme
and the ATEM Mini Extreme ISO. This is all

812
01:02:26,510 –> 01:02:32,550
set up in studio B, so, let’s go have a
look. This is a Black Magic Pocket Cinema

813
01:02:32,550 –> 01:02:36,550
Camera 6K, and it’s currently connected
to an ATEM Mini Extreme ISO. We’re going

814
01:02:36,550 –> 01:02:40,349
to start with the software to show how you
can control the camera from the software because

815
01:02:40,349 –> 01:02:45,360
this works, once again, on all the ATEM Mini
models. From the ATEM software control, go

816
01:02:45,360 –> 01:02:49,570
to the camera tab where you’ll see access
to all the cameras connected. Now, while it

817
01:02:49,570 –> 01:02:53,550
may appear that you can actually control any
camera from here, you can’t. Even though

818
01:02:53,550 –> 01:02:57,220
you see all these controls no matter what
you’ve connected to the switcher, these

819
01:02:57,220 –> 01:03:01,029
controls only do anything if you have the
Blackmagic Pocket Cinema Camera connected.

820
01:03:01,029 –> 01:03:04,340
Let’s start with a tour of the interface
– first of all, you’ll see that camera

821
01:03:04,340 –> 01:03:08,230
one is currently listed as On Air – that’s
camera 1 and that’s the camera that’s

822
01:03:08,230 –> 01:03:11,980
currently on air. If I switch to camera 2,
you’ll see that change in the interface

823
01:03:11,980 –> 01:03:17,050
here as well. We’re also seeing this change
on the camera itself. There’s a red tally

824
01:03:17,050 –> 01:03:21,079
light on the front of the camera that indicates
whether it’s on air or not, and there’s

825
01:03:21,079 –> 01:03:24,870
also an indicator on the back of the camera
telling me whether it’s on air or not, which

826
01:03:24,870 –> 01:03:30,980
is really, really convenient in a live situation.
Under that, you have three tabs; Lift, Gamma

827
01:03:30,980 –> 01:03:34,950
and Gain. If you’re not familiar with those
terms, you can think of them like black point,

828
01:03:34,950 –> 01:03:39,760
mid and white point or shadows, mid-tones
and highlights – basically the same idea.

829
01:03:39,760 –> 01:03:43,369
Each one of these three tabs are individually
controlled with the Color Wheel here. So,

830
01:03:43,369 –> 01:03:46,970
if I make a change to this under Gain and
I switch to Lift, this will be reset back

831
01:03:46,970 –> 01:03:51,250
to where it is. But if I want individual control
over all these, I can click this button to

832
01:03:51,250 –> 01:03:55,080
expand this out and give me, not only three
separate wheels, but much larger ones, which

833
01:03:55,080 –> 01:03:58,300
makes it all easier to control. Before I start
moving these around, let’s take a look at

834
01:03:58,300 –> 01:04:02,190
the rest of the settings. Here’s a Reset
button, and if you click on that, you can

835
01:04:02,190 –> 01:04:06,789
individually reset the Lift camera Gain or
you can choose to reset all. Also if you’ve

836
01:04:06,789 –> 01:04:09,880
made some changes and you want to copy these
over to other cameras, you can select Copy

837
01:04:09,880 –> 01:04:13,700
from here and then going to one of the other
camera controls, you can click on this and

838
01:04:13,700 –> 01:04:18,970
choose to paste or paste to all of the existing
cameras. Underneath this, you see a variety

839
01:04:18,970 –> 01:04:24,180
of sliders for your Filter, Gain, Shutter
and Balance. The Filter setting honestly doesn’t

840
01:04:24,180 –> 01:04:27,650
seem to do anything right now, and I couldn’t
find any reference to it in the manual – this

841
01:04:27,650 –> 01:04:31,539
might be a setting that is there for future
use or maybe it only works with the bigger

842
01:04:31,539 –> 01:04:34,559
switchers and different types of cameras – I
honestly don’t know, sorry. And actually

843
01:04:34,559 –> 01:04:38,400
if you do, let me know in the comments below.
I’d love to figure this one out. Next to

844
01:04:38,400 –> 01:04:42,380
that you have the Gain, which as I adjust,
you can see that the exposure is getting brighter

845
01:04:42,380 –> 01:04:48,940
or darker. The Gain is kind of like the ISO.
Base Gain is zero – that is your native

846
01:04:48,940 –> 01:04:52,690
ISO, if you will, for the camera. That’s
where you’re going to get the least noise

847
01:04:52,690 –> 01:04:57,410
and the best possible picture. Anytime you
gain up or gain down, you are increasing or

848
01:04:57,410 –> 01:05:01,700
decreasing the exposure but you’re not using
the sensor at its prime position, and you’re

849
01:05:01,700 –> 01:05:05,510
best off leaving it at a Gain of zero, and
I find that to be especially true with the

850
01:05:05,510 –> 01:05:10,160
Blackmagic cameras – they definitely perform
best at their native Gain. Then you have your

851
01:05:10,160 –> 01:05:14,910
Shutter Speed control and White Balance control.
With this control pad here, you can drag this

852
01:05:14,910 –> 01:05:19,609
knob to the left and right or up and down.
Dragging it left and right is affecting the

853
01:05:19,609 –> 01:05:24,200
Lift, and it’s a neutral Lift. You can see
here that the Lift overall is changing as

854
01:05:24,200 –> 01:05:29,010
I move this, but the RGB values are staying
intact – so, we’re not affecting the color.

855
01:05:29,010 –> 01:05:34,410
By dragging it up and down, I’m opening
and closing the aperture of the lens. The

856
01:05:34,410 –> 01:05:39,089
Coarse slider here is an interesting one and
then it allows you to limit how far the aperture

857
01:05:39,089 –> 01:05:42,859
can be opened. So, if you want to make sure
that you can’t accidentally overexpose during

858
01:05:42,859 –> 01:05:47,650
a shot, here’s how this works — you start
by opening the aperture all the way up, and

859
01:05:47,650 –> 01:05:52,270
then you take the Coarse slider and you slide
it down until the exposure is correct, closing

860
01:05:52,270 –> 01:05:55,710
the aperture until you get it to the point
where you want it to be. Now that that’s

861
01:05:55,710 –> 01:05:59,750
been lowered, you’ll notice that the aperture
indicator here has dropped down, even though

862
01:05:59,750 –> 01:06:04,520
the aperture control is all the way up. What
this means now is as I drag this down, I can

863
01:06:04,520 –> 01:06:08,160
close the aperture, but even bringing it up
all the way to the top will not open it any

864
01:06:08,160 –> 01:06:14,220
farther than it was set here as defined by
the Coarse Slider. Next up have Focus Control.

865
01:06:14,220 –> 01:06:17,990
This ring down here allows me to manually
focus the camera so I can drag this back and

866
01:06:17,990 –> 01:06:22,349
forth to focus one way or the other, and then
the “A” button here will auto focus it.

867
01:06:22,349 –> 01:06:25,589
Now, I’m going to tell you it’s not the
fastest autofocus in the world, but it’ll

868
01:06:25,589 –> 01:06:29,670
get the job done. Next, let’s take a look
at the Color Adjustments for the Lift, Gamma

869
01:06:29,670 –> 01:06:34,000
and Gain. If I go to the Lift tool, I can
take the Color Wheel and push that, for example,

870
01:06:34,000 –> 01:06:38,390
towards blue, adding blue into the shadows.
I could then go to Gain, push it the other

871
01:06:38,390 –> 01:06:42,460
way and add some warmth into the highlights
– allowing you to have quite a lot of color

872
01:06:42,460 –> 01:06:46,260
control over your scene. Now, what’s really
cool about this is you can actually save this

873
01:06:46,260 –> 01:06:50,420
into macros. So, for example, here I’ve
already created a couple of macros where if

874
01:06:50,420 –> 01:06:56,570
I run these, I can choose to reset it back
to neutral or add a cool blue look or add

875
01:06:56,570 –> 01:07:01,650
a greenish look in there as well. It’s pretty
neat that you can dial in the controls exactly

876
01:07:01,650 –> 01:07:06,160
the way you want them, make your colors match
across multiple cameras and then recall those

877
01:07:06,160 –> 01:07:11,450
at any time using macros. Another thing you
can do in here is trigger Autofocus from the

878
01:07:11,450 –> 01:07:15,670
macros. You’ll see I have that set up there
– so, if I move the focus out-of-focus and

879
01:07:15,670 –> 01:07:20,900
then push the Auto button, it’ll trigger
auto-focus in there. Now, you can technically

880
01:07:20,900 –> 01:07:26,290
record the macro of changing the focus manually,
but all it records is the change – a little

881
01:07:26,290 –> 01:07:30,360
bit up or a little bit down. It doesn’t
actually record a position. So, you can’t

882
01:07:30,360 –> 01:07:34,579
really use it to, for example, focus from
point A to point B, it just doesn’t really

883
01:07:34,579 –> 01:07:38,789
work that way. You might be able to eke it
out if you’re really, really careful with

884
01:07:38,789 –> 01:07:41,700
your starting and ending points, but it’s
not really what it’s designed for and it

885
01:07:41,700 –> 01:07:44,990
doesn’t really work that well that way.
But the autofocus does work just fine. All

886
01:07:44,990 –> 01:07:48,809
right, next up let’s take a look at the
hardware buttons on the ATEM Mini Extreme

887
01:07:48,809 –> 01:07:53,609
ISO. Here you’ll see that I have two up
and down arrows, underneath four other buttons

888
01:07:53,609 –> 01:07:58,230
that are listed as Gain, Black, Focus and
Shutter. Without any of these four buttons

889
01:07:58,230 –> 01:08:02,609
to press, the Up and Down arrows here will
open and close the aperture, making the image

890
01:08:02,609 –> 01:08:09,049
brighter or darker. If I press the Gain button
while that’s lit up, these arrows now adjust

891
01:08:09,049 –> 01:08:14,359
the Gain, and you can see the adjustment happening
over in the software control as well. You

892
01:08:14,359 –> 01:08:21,370
also have your Black Level that you can adjust,
the Shutter and even Focus. If I press the

893
01:08:21,370 –> 01:08:25,909
Focus button and then tap the arrows, it will
refocus the camera a little bit at a time,

894
01:08:25,909 –> 01:08:29,739
or if I press and hold the Focus button for
three seconds, that will trigger autofocus

895
01:08:29,739 –> 01:08:34,440
– and there we go. Now the camera’s in
focus. Pairing the Blackmagic Pocket Cinema

896
01:08:34,440 –> 01:08:38,020
Camera with the ATEM Mini is a pretty great
combination. Being able to have this level

897
01:08:38,020 –> 01:08:42,530
of control from the software or even the hardware
is pretty great. Keep in mind as well that

898
01:08:42,530 –> 01:08:47,409
if you’re using one of the ISO models, not
only can you record the ISO streams as an

899
01:08:47,409 –> 01:08:52,500
MP4 file on an attached hard drive, but you
can also trigger recording in cameras to record

900
01:08:52,500 –> 01:08:57,210
bRAW in the camera natively which you can
then sync up with the xml file inside of DaVinci

901
01:08:57,210 –> 01:09:00,819
Resolve. It’s all pretty advanced, so we’ll
look at that in another video, but for now,

902
01:09:00,819 –> 01:09:04,190
just know that connecting one of these cameras
to the ATEM is going to give you a pretty

903
01:09:04,190 –> 01:09:07,949
sweet level of control. Hey, that’s everything
I wanted to show you today. As always, if

904
01:09:07,949 –> 01:09:11,581
you have a tip that you want to see, something
that’s troubling you with your ATEM, let

905
01:09:11,581 –> 01:09:15,069
me know in the comments below and I can try
and do a video on it. And of course, as always,

906
01:09:15,069 –> 01:09:19,000
please like subscribe and share the video
and I’ll see you in the next Mini tip. Today’s

907
01:09:19,000 –> 01:09:23,929
ATEM (mini) Tip isn’t really a tip actually,
it’s more like a demo with kind of half

908
01:09:23,929 –> 01:09:27,480
of a tip thrown in. Basically, I have a piece
of gear in the studio right now that’s not

909
01:09:27,480 –> 01:09:32,849
normally here and I wanted to show you what
it can do with the ATEM that’s a bit unique

910
01:09:32,849 –> 01:09:37,690
– it’s pretty cool. Let’s go check it
out. In the previous tip, I showed you how

911
01:09:37,690 –> 01:09:42,640
you can control a Blackmagic Pocket Cinema
Camera with the ATEM Software Control, and

912
01:09:42,640 –> 01:09:47,210
in the case of the ATEM Mini Extreme or ATEM
Mini Extreme ISO, also with the hardware.

913
01:09:47,210 –> 01:09:51,310
There was one facet of that that I did not
show you though, and that was zoom. You see,

914
01:09:51,310 –> 01:09:55,840
to control a camera’s zoom, you actually
have to have a powered zoom lens – otherwise,

915
01:09:55,840 –> 01:10:00,540
there’s no mechanics or engines to actually
move the zoom. Well, today I’ve got one

916
01:10:00,540 –> 01:10:06,310
of those zoom lenses here in the studio. This
is a Canon cinema… uh, big huge honkin’

917
01:10:06,310 –> 01:10:11,690
motorized lens! It’s pretty cool, actually.
And this lens has a powered zoom function

918
01:10:11,690 –> 01:10:15,560
on it – meaning that you can control it
with a LANC Controller or any other number

919
01:10:15,560 –> 01:10:19,740
of devices but you can also control it from
the ATEM Software Control. Now, there’s

920
01:10:19,740 –> 01:10:25,080
no hardware buttons on the ATEM Mini Extreme
ISO to control the zoom. This is all in software,

921
01:10:25,080 –> 01:10:29,020
so let me just show you how this works. You’ll
notice over here on the Camera Control, there

922
01:10:29,020 –> 01:10:33,770
is a zoom rocker, and we’re looking through
that lens right here and it’s at the widest

923
01:10:33,770 –> 01:10:38,489
position. So, if I just slowly rotate this
up towards the “T” for telephoto, you’ll

924
01:10:38,489 –> 01:10:42,410
see that it zooms in. Now, this particular
lens is actually parfocal, which means if

925
01:10:42,410 –> 01:10:46,449
we zoom in all the way… and then let’s
auto focus that… let it focus right on my

926
01:10:46,449 –> 01:10:52,550
eye there… now, it should hold that focus
point. I’ll try not to move my head as I

927
01:10:52,550 –> 01:10:57,200
zoom it out. And as I hold the rocker down
all the way, it zooms quickly, or up all the

928
01:10:57,200 –> 01:11:01,710
way, it zooms quickly. If I rotate it just
a little bit below the line there, you’ll

929
01:11:01,710 –> 01:11:06,320
see that I can make it zoom quite a bit more
slowly and even ramp it up as I move my finger

930
01:11:06,320 –> 01:11:10,520
down to make it go a little bit faster or
a little bit slower. So you have this level

931
01:11:10,520 –> 01:11:14,310
of zoom control – again, only with very
specific lenses. Now, of course, this Canon

932
01:11:14,310 –> 01:11:18,140
lens isn’t the only lens in the world that
does this – any powered zoom lens that is,

933
01:11:18,140 –> 01:11:23,540
in this case, an EF mount or in the case of
one of the Micro Four Thirds size Pocket Cinema

934
01:11:23,540 –> 01:11:26,890
cameras, a Micro Four Thirds mount, which
would include a couple of Panasonic and a

935
01:11:26,890 –> 01:11:31,160
couple of Olympus lenses – not many, but
there’s a few, you can do the same thing.

936
01:11:31,160 –> 01:11:37,040
Now, I used to use a Blackmagic studio camera
which is basically the SDI pro version of

937
01:11:37,040 –> 01:11:41,300
this little pocket cinema camera here that
is meant for a broadcast situations along

938
01:11:41,300 –> 01:11:46,610
with a Olympus Power zoom lens, and with that,
I really didn’t have any way to control

939
01:11:46,610 –> 01:11:50,280
that over macros – which I always found
a little bit disappointing. In getting ready

940
01:11:50,280 –> 01:11:53,400
to record this video, I actually was doing
a little bit of research and I came across

941
01:11:53,400 –> 01:11:59,190
a question that I had posted on the Blackmagic
forums years ago and in there, somebody was

942
01:11:59,190 –> 01:12:03,139
talking about how some lenses do actually
have certain levels of zoom control and it

943
01:12:03,139 –> 01:12:06,699
really is going to vary from lens to lens.
And while I don’t know if I’ve figured

944
01:12:06,699 –> 01:12:10,770
out everything that you can do with this lens,
I did figure out something – it’s a little

945
01:12:10,770 –> 01:12:14,080
weird but it’s kind of cool. So, I just
want to show that to you. I’m going to go

946
01:12:14,080 –> 01:12:17,820
ahead and open up the macros palette and I’ll
create a new macro here – we’re just going

947
01:12:17,820 –> 01:12:22,480
to pop it in that first place and I’ll just
call this “zoom”, hit record and then

948
01:12:22,480 –> 01:12:26,190
I’m going to take the zoom button and I’m
going to move it. That’s it. It’ll stop

949
01:12:26,190 –> 01:12:31,521
recording. Now let’s go ahead and save this.
I’ll just call this “zoom test”, put

950
01:12:31,521 –> 01:12:39,320
it on the desktop and I’m only going to
save the macros. Now, let’s go to the desktop

951
01:12:39,320 –> 01:12:43,659
and check this out. There’s the file that
I just created and you’ll see in here, if

952
01:12:43,659 –> 01:12:49,670
we expand this out that the macro control
did recognize something – camera control

953
01:12:49,670 –> 01:12:56,699
fixed point, 16 bit, address 1, category 0,
parameter 9, action set, values 0. So, it

954
01:12:56,699 –> 01:12:59,850
recorded something. Let’s go back over here
and see if it actually did anything. We’ll

955
01:12:59,850 –> 01:13:05,770
open the macros and I’ll reposition the
zoom where it was before. Right on my ear

956
01:13:05,770 –> 01:13:09,949
– perfect. Hit Run, Recall and Run and hit
zoom and nothing happens. I’ll go ahead

957
01:13:09,949 –> 01:13:14,650
and do this manually. Let’s go back out
to wide, hit the zoom button again – nothing’s

958
01:13:14,650 –> 01:13:19,159
happening. So, triggering the macro as it
is now – even though we know that something

959
01:13:19,159 –> 01:13:24,670
was there isn’t actually doing anything.
But I was looking at the code and I saw that

960
01:13:24,670 –> 01:13:28,610
the value is set to zero and that kind of
surprised me. The value shouldn’t be zero,

961
01:13:28,610 –> 01:13:33,139
it should be something. So, I tried a bunch
of different numbers and here’s what I came

962
01:13:33,139 –> 01:13:37,679
up with – between zero and one, at least
on this lens, and again, I can’t speak to

963
01:13:37,679 –> 01:13:42,469
other lenses here, but at least on this lens,
a value of zero to one controls the zoom speed.

964
01:13:42,469 –> 01:13:47,120
Now, it doesn’t control how far it will
zoom to. If that’s possible, I have not

965
01:13:47,120 –> 01:13:51,780
figured that one out. But it will control
the speed. So, the smaller the number, the

966
01:13:51,780 –> 01:13:55,670
slower it zooms, the higher the number up
to one, the faster it will zoom. And if you

967
01:13:55,670 –> 01:14:00,150
go with a negative number, it will zoom out,
a positive number will zoom in. So, I’ve

968
01:14:00,150 –> 01:14:04,199
already saved a bunch of these, I’m just
going to go ahead and open up my extra macros

969
01:14:04,199 –> 01:14:09,080
here. This is just a bunch of macro code that
I saved. I’m going to copy that and I’m

970
01:14:09,080 –> 01:14:12,420
going to go ahead and paste that into here.
I’m just going to drop it in over the one

971
01:14:12,420 –> 01:14:17,210
that we just made – index zero. So now you
see I have them index zero through nine and

972
01:14:17,210 –> 01:14:21,659
you’ll see that I’ve named them the same
as their number values. So, this one’s name

973
01:14:21,659 –> 01:14:29,929
is 0.0001 with a value of 0.001 and then one
less 0 to 0.001, 0.01, 0.1, and then 1 and

974
01:14:29,929 –> 01:14:34,150
then negative going the other direction, all
the way down to -1. So, let’s try this out.

975
01:14:34,150 –> 01:14:38,179
I’ll go ahead and save this. I’ll just
do a Save As and we’ll call this “zoom

976
01:14:38,179 –> 01:14:45,040
test 2”, switch back over to the ATEM Software
Control. Let’s go to the Restore menu and

977
01:14:45,040 –> 01:14:49,469
select that file, test number two, restore
that – macros are all that are in there,

978
01:14:49,469 –> 01:14:53,630
and I’m going to go ahead and bring up the
macro list so you can see it populating there

979
01:14:53,630 –> 01:14:57,650
– there it is, and we’ve got all those
new macros in place. Okay we’re on the Run

980
01:14:57,650 –> 01:15:01,860
mode, so let’s start with Zoom 1. So, that’s
going to be a positive zoom. That’s going

981
01:15:01,860 –> 01:15:05,780
to zoom all the way in, as fast as it goes
and there it is. Let’s get my eye back into

982
01:15:05,780 –> 01:15:12,659
position here and let’s do zoom –1 as
fast as it goes all the way out. Now, let’s

983
01:15:12,659 –> 01:15:19,969
do zoom 0.1 and you’ll see that it is now
zooming in a bit more slowly. Zoom –0.1

984
01:15:19,969 –> 01:15:27,550
will zoom out a bit more slowly, and then
I can do 0.01 – a bit more slowly still.

985
01:15:27,550 –> 01:15:32,370
Now, I will point out that you can’t actually
stop these because it’s issued a single

986
01:15:32,370 –> 01:15:35,910
command. I don’t see a way to stop it so,
if you’re doing this, it’s just going

987
01:15:35,910 –> 01:15:42,770
to zoom until it runs out of room to zoom,
but it does work. Let’s try minus –0.001,

988
01:15:42,770 –> 01:15:48,770
and this seems to be the slowest that we can
get. If we go to the point 0.0001, it doesn’t

989
01:15:48,770 –> 01:15:54,110
appear to make any difference on here. If
I hit that point 0.0001… it does nothing

990
01:15:54,110 –> 01:15:59,190
at all. The –0.001 is the slowest that we
can do. And of course, you can pick any number

991
01:15:59,190 –> 01:16:04,239
in-between presumably and make it work. So,
there you go. Again, more a demo – most

992
01:16:04,239 –> 01:16:07,750
of us aren’t going to run out and buy lenses
like this, but if you do have a lens like

993
01:16:07,750 –> 01:16:13,239
this and you want to control the zoom, you
kind of sort of can. Again, not a huge amount

994
01:16:13,239 –> 01:16:16,160
of control, but it’s there. In most cases,
you’re probably just going to use the Rocker

995
01:16:16,160 –> 01:16:20,620
in the software to do the zoom, but if you
want to build a macro around it, you can.

996
01:16:20,620 –> 01:16:26,020
That’s it for this mini tip/demo/half-tip.
I hope you enjoyed this one. It was kind of

997
01:16:26,020 –> 01:16:30,020
fun to figure out once I got my hands on this
lens. I got to send this thing back tomorrow,

998
01:16:30,020 –> 01:16:33,060
so this is the last I’ll have of this one.
Thanks again as always for watching. If you

999
01:16:33,060 –> 01:16:36,150
haven’t yet subscribed, please be sure you
do and of course, as always, if there’s

1000
01:16:36,150 –> 01:16:38,949
a tip that you want to see, make sure you
let me know in the comments below, I’ll

1001
01:16:38,949 –> 01:16:43,270
do my best to get to it. To connect the camera
to your ATEM Mini, you of course are going

1002
01:16:43,270 –> 01:16:47,830
to use an HDMI cable. And HDMI cables come
in all shapes and sizes. You can get little

1003
01:16:47,830 –> 01:16:53,219
itty bitty ones like this, kinda normal size
and shaped ones like this, or you can get

1004
01:16:53,219 –> 01:16:58,590
longer ones like this one here. This is a
ten-meter or about 33 foot cable and you can

1005
01:16:58,590 –> 01:17:05,489
see how big and heavy duty this is. It’s
thick, it’s inflexible, and it is expensive.

1006
01:17:05,489 –> 01:17:09,909
This one at ten meters is about half the maximum
length. You can go up to about 20 meters which

1007
01:17:09,909 –> 01:17:13,360
is the maximum length that you really are
supposed to run HDMI and that’s pretty much

1008
01:17:13,360 –> 01:17:17,469
the longest you’re gonna find on the market
today, unless you step into the world of HDMI

1009
01:17:17,469 –> 01:17:22,540
over fiber optics. Now, HDMI over fiber optics
used to be really expensive. You had to buy

1010
01:17:22,540 –> 01:17:27,720
a converter box on one end to convert from
HDMI to fiber, and then a long fiber run,

1011
01:17:27,720 –> 01:17:31,590
and then another box for the other end to
convert it from fiber back to HDMI — and

1012
01:17:31,590 –> 01:17:35,930
this would add up to a lot of money very quickly.
Well, within the last year or so, something

1013
01:17:35,930 –> 01:17:41,120
new has come to the market, and that is dedicated
fiber HDMI cables. They’re a lot more affordable,

1014
01:17:41,120 –> 01:17:44,321
there’s a bunch of brands on Amazon, you
can buy them today for cheap — and I’ve

1015
01:17:44,321 –> 01:17:49,320
got a couple of them here to show you. Now,
while this here is a thirty-foot cable, this

1016
01:17:49,320 –> 01:17:59,500
one right here is 100 feet. This one, 300
feet. This is 300 feet of fiber optic HDMI.

1017
01:17:59,500 –> 01:18:04,210
I’m kind of afraid to uncoil it but um,
but there we go. Now, there’s a couple of

1018
01:18:04,210 –> 01:18:07,540
really important things to know about HDMI
and there’s a reason that I have two separate

1019
01:18:07,540 –> 01:18:12,770
cables here to explain the differences. The
thing about HDMI is that it is a two-way protocol.

1020
01:18:12,770 –> 01:18:17,480
Data can transfer both ways down the HDMI
cable. Now, that may not seem like a big deal,

1021
01:18:17,480 –> 01:18:21,219
but what does it matter? You’re hooking
up a camera to a TV, or to an ATEM, you don’t

1022
01:18:21,219 –> 01:18:26,040
need to talk both ways. But having two-way
communication gives you two things. For one,

1023
01:18:26,040 –> 01:18:30,010
it’s the convenience of not mattering which
end of the cable goes in where. You can take

1024
01:18:30,010 –> 01:18:33,890
either end of the cable, plug them into the
camera or the ATEM, and it doesn’t matter.

1025
01:18:33,890 –> 01:18:39,110
That’s standard HDMI. However, fiber optics
is one-way communication. With a fiber optic

1026
01:18:39,110 –> 01:18:43,370
cable, there is an input and an output. In
fact, if we look at this one here, you’ll

1027
01:18:43,370 –> 01:18:47,370
see that it has a “source” and a “TV”
indicator on it. So, the source being the

1028
01:18:47,370 –> 01:18:52,071
camera and the TV in this case being the ATEM.
If you connect them the wrong way, then you

1029
01:18:52,071 –> 01:18:56,870
just don’t get a signal. Now, that’s fine
and well for most uses. If you’re just using

1030
01:18:56,870 –> 01:19:01,420
pretty much any digital camera on the with
your ATEM, that is perfectly fine. However,

1031
01:19:01,420 –> 01:19:05,350
if you’re using a Blackmagic camera, specifically
a Blackmagic Pocket Cinema Camera and you

1032
01:19:05,350 –> 01:19:10,590
want to be able to control the camera from
the ATEM, then you need two-way communication.

1033
01:19:10,590 –> 01:19:15,269
But all is not lost because there is a branch
of the fiber optic cables that are ARC compatible

1034
01:19:15,269 –> 01:19:19,580
- A-R-C. And ARC is something that you’ll
find on modern televisions that is used to

1035
01:19:19,580 –> 01:19:24,139
communicate with your set-top box. It turns
out that that ARC communication — that data

1036
01:19:24,139 –> 01:19:28,770
path back — is enough to control the camera.
So, let’s have a look some of these cables

1037
01:19:28,770 –> 01:19:33,520
on Amazon and we’ll plug it in and see how
it works. This is the 300 foot cable that

1038
01:19:33,520 –> 01:19:38,120
I have in front of me. It’s not available
anymore for some reason but I paid about $115

1039
01:19:38,120 –> 01:19:42,390
for it but you can get a 200 foot one for
just $90. So, there’s an option but again,

1040
01:19:42,390 –> 01:19:46,720
that one does not have ARC compatibility so
that one is not going to work with the Blackmagic

1041
01:19:46,720 –> 01:19:50,520
camera. That said, if you just need a long
cable run and you’re not using the Blackmagic

1042
01:19:50,520 –> 01:19:55,430
camera, that cable is perfectly fine. Then
let’s look at this one. This is a 100-foot

1043
01:19:55,430 –> 01:19:59,870
cable that is ARC compatible and this in fact
is the cable that I have in front of me here

1044
01:19:59,870 –> 01:20:05,199
and this cable comes in at just $80. So, about
the same price as the 200 foot one without

1045
01:20:05,199 –> 01:20:09,521
the ARC. So again, it depends on what you
need. Now, I did actually find a 200 foot

1046
01:20:09,521 –> 01:20:14,270
fiber optic cable with ARC compatibility and
this one comes in at just $90. I have not

1047
01:20:14,270 –> 01:20:17,310
tested this cable, so I don’t know if it
works but it’s good to know that the options

1048
01:20:17,310 –> 01:20:20,620
are out there. Alright, with that said, let’s
go ahead and plug this thing into the camera

1049
01:20:20,620 –> 01:20:25,400
and see what happens. So, here’s the camera
end of this. You see it says “source”

1050
01:20:25,400 –> 01:20:30,500
on it. I’ll go ahead and plug this in. And
looking at the Multi View on the ATEM, you’ll

1051
01:20:30,500 –> 01:20:34,439
see of course we have picture and if I switch
away from that camera — let’s say I put

1052
01:20:34,439 –> 01:20:37,870
it into the Preview Mode — you’ll see
it switches over to Preview and the light

1053
01:20:37,870 –> 01:20:41,500
on the front of the camera goes green, telling
me that it’s in Preview Mode. If I switch

1054
01:20:41,500 –> 01:20:46,130
back, it switches over and the camera is now
on air, the light goes red and it says “on

1055
01:20:46,130 –> 01:20:50,449
air” on the back. But it’s not just that
communication, I do have full camera control.

1056
01:20:50,449 –> 01:20:56,270
So, if I jump over to the ATEM software, I
can control the exposure by changing the aperture

1057
01:20:56,270 –> 01:21:02,090
there… I can tint the scene… I have full
camera control of the Blackmagic Pocket Cinema

1058
01:21:02,090 –> 01:21:06,680
camera from the ATEM over this fiber optic
HDMI cable. That’s all I wanted to show

1059
01:21:06,680 –> 01:21:09,930
you. It’s a new thing that’s on the market
today and it’s exciting that we have this

1060
01:21:09,930 –> 01:21:14,400
ability now for so inexpensively compared
to what it used to cost; that’s absolutely

1061
01:21:14,400 –> 01:21:17,679
remarkable. Now, this isn’t the only way
to go along, you can of course go wireless

1062
01:21:17,679 –> 01:21:21,770
as well but wireless, while it means you don’t
have to have a cable running across the floor

1063
01:21:21,770 –> 01:21:25,659
does have other issues — it’s more susceptible
to drop out and there’s added latency. With

1064
01:21:25,659 –> 01:21:29,810
this, you get no additional latency. It’s
just like a regular HDMI cable. So, depending

1065
01:21:29,810 –> 01:21:32,470
on what you’re looking for, you’re gonna
find the right product for you. I’ve got

1066
01:21:32,470 –> 01:21:36,100
links to these down below and I guess that’s
about it. Thanks a bunch for watching. As

1067
01:21:36,100 –> 01:21:40,080
always, like and subscribe, share, tell a
friend, and I’ll see you in the next video.

1068
01:21:40,080 –> 01:21:44,140
The Blackmagic ATEM Mini is a great way to
take a real camera and feed that into your

1069
01:21:44,140 –> 01:21:48,350
computer to use as a webcam for Skype, Zoom,
whatever you like. But what if you want to

1070
01:21:48,350 –> 01:21:53,600
take that Zoom call and use that in a live
broadcast? Basically, what if you want to

1071
01:21:53,600 –> 01:21:57,540
take LIVE callers on your LIVE show? Well,
that’s what we’re going to look at how

1072
01:21:57,540 –> 01:22:01,429
to set up today. And the good news is you
probably already have all the hardware needed

1073
01:22:01,429 –> 01:22:05,100
to do this. So let’s start with a tour of
all the different hardware that you will need

1074
01:22:05,100 –> 01:22:08,200
and then we’ll talk about configuring it
and getting it all set up. We’re gonna start

1075
01:22:08,200 –> 01:22:13,540
with the ATEM itself. Now, today I’m using
the ATEM Mini Extreme ISO and by using the

1076
01:22:13,540 –> 01:22:17,130
Extreme, I am getting some additional advantages
to this. There’s a few things that we can

1077
01:22:17,130 –> 01:22:20,810
do in here that of course we can’t do with
the smaller ATEM that are going to make this

1078
01:22:20,810 –> 01:22:24,790
easier. One of those things I’ll show you
later on how to do a work-around if you are

1079
01:22:24,790 –> 01:22:28,320
using the smaller one… one of them is a
feature that you just aren’t gonna have

1080
01:22:28,320 –> 01:22:32,060
but that’s okay, you can live without it…
and the third one is a really nice to have

1081
01:22:32,060 –> 01:22:36,781
feature, but again, it’s not critical. Alright,
let’s get into it. So first the ATEM Mini

1082
01:22:36,781 –> 01:22:40,600
Extreme; that’s the ATEM that we’re using.
Next let’s talk about the camera; today

1083
01:22:40,600 –> 01:22:45,449
I’m using a LUMIX G7 and I’m using this
camera because this is, to my knowledge, the

1084
01:22:45,449 –> 01:22:50,960
least expensive camera that you can use in
a setup like this. The LUMIX G7 is a mirrorless

1085
01:22:50,960 –> 01:22:55,610
camera that has the two things that you need
to use one as a webcam. You need to have clean

1086
01:22:55,610 –> 01:23:00,659
HDMI out; that means that your HDMI output
has just a picture and no camera information

1087
01:23:00,659 –> 01:23:05,050
on it, and you need to have a camera with
an audio input or a microphone input. That

1088
01:23:05,050 –> 01:23:08,060
allows you to hook up an external microphone
so that you have something better than just

1089
01:23:08,060 –> 01:23:12,560
the built-in mics on the camera. So today,
I’ve got the G7 along with this little mic,

1090
01:23:12,560 –> 01:23:18,060
this RØDE mic - RØDE video - Today, I’ve
got this RØDE VideoMicro hooked up to it

1091
01:23:18,060 –> 01:23:22,219
and I like this microphone for this because
it doesn’t require any external power or

1092
01:23:22,219 –> 01:23:26,370
battery. It gets its power from the camera
itself. That means that I don’t have to

1093
01:23:26,370 –> 01:23:30,590
worry about the battery dying in the microphone.
And speaking of power and batteries, I also

1094
01:23:30,590 –> 01:23:35,150
have this G7 hooked up to a simple little
AC adapter. This allows me to never have to

1095
01:23:35,150 –> 01:23:39,080
worry about the battery dying in the camera.
In fact, with this on there, I can turn the

1096
01:23:39,080 –> 01:23:43,310
camera on and literally never turn it off.
It’s pretty convenient to have that. It’s

1097
01:23:43,310 –> 01:23:47,219
actually very affordable and I put links to
all of this down below as well. So, there’s

1098
01:23:47,219 –> 01:23:50,960
the camera. Then, I have a monitor hooked
up here as well that’s plugged into the

1099
01:23:50,960 –> 01:23:55,300
ATEM. This is allowing me to monitor whatever’s
happening on the ATEM, and while I’m using

1100
01:23:55,300 –> 01:24:00,780
a Shogun from Atomos, you can use literally
any HDMI monitor. Whether it’s an old computer

1101
01:24:00,780 –> 01:24:04,429
display, an old television, anything that
you want will work for this. It just needs

1102
01:24:04,429 –> 01:24:08,490
to have an HDMI input. Now, you’ll see that
I’ve got this configured where the monitor

1103
01:24:08,490 –> 01:24:12,260
and the camera are very, very close to each
other and I definitely recommend setting it

1104
01:24:12,260 –> 01:24:16,940
up this way for any kind of Zoom conversation.
You’re gonna be using this monitor to see

1105
01:24:16,940 –> 01:24:20,790
your guest, to talk to your guest, and by
having it right by the camera, when you’re

1106
01:24:20,790 –> 01:24:24,580
looking at your guest, it’s going to feel
more like you’re looking at them as opposed

1107
01:24:24,580 –> 01:24:28,170
to having a conversation where you’re looking
off to the distance here. So, I definitely

1108
01:24:28,170 –> 01:24:32,571
recommend setting it up that way if you can.
Next up, we’ve got a computer here. This

1109
01:24:32,571 –> 01:24:36,170
is a laptop. You could use a desktop. It doesn’t
really matter. We’ll come into the configuration

1110
01:24:36,170 –> 01:24:39,760
for this in a moment and then I have headphones
here. Now, today, I’m gonna be using these

1111
01:24:39,760 –> 01:24:43,510
big headphones but if you’re gonna be doing
this often, I definitely recommend that you

1112
01:24:43,510 –> 01:24:47,420
invest in some in-ear monitors like these
guys here. I’ll put links to a couple different

1113
01:24:47,420 –> 01:24:51,449
options down below but having that just looks
better. It’s more discreet sitting in your

1114
01:24:51,449 –> 01:24:55,380
ear and it’s easy to have one in your ear
and one out so you can hear the outside world

1115
01:24:55,380 –> 01:25:00,010
as well. It’s just a nice convenient way
to go. Okay, so let’s talk about configuration.

1116
01:25:00,010 –> 01:25:05,290
First up, the camera into the ATEM; simple
HDMI out, of course, so it’s HDMI from the

1117
01:25:05,290 –> 01:25:11,480
G7 into the ATEM. And then the ATEM is connected
to the computer over USB. So, nothing unusual

1118
01:25:11,480 –> 01:25:16,520
here. USB from the ATEM into the computer
allows the software like Zoom, Skype, whatever

1119
01:25:16,520 –> 01:25:21,900
to see this camera and the switcher as a simple
webcam. Then, I’ve got my headphones plugged

1120
01:25:21,900 –> 01:25:26,360
into the ATEM itself and this is one of the
situations where the Mini Extreme is going

1121
01:25:26,360 –> 01:25:30,690
to give us some advantages because it does
have a dedicated headphone port. If you don’t

1122
01:25:30,690 –> 01:25:34,219
have that, you can do the monitoring from
your computer. It’s a little bit trickier

1123
01:25:34,219 –> 01:25:37,360
there but we’ll get to that when we come
to it. You’ll also see up here that I have

1124
01:25:37,360 –> 01:25:43,429
a ClonerAlliance Flint D4P. This is an HDMI
to USB converter. We’re using this for the

1125
01:25:43,429 –> 01:25:46,770
latter part of the configuration. This is
kinda one of the bonus features. You definitely

1126
01:25:46,770 –> 01:25:50,621
don’t need to have this for the main setup
but if you can, it’s kind of cool thing

1127
01:25:50,621 –> 01:25:55,740
to do. Alright, so again, the camera is into
the ATEM, the ATEM is into the computer. But

1128
01:25:55,740 –> 01:26:00,250
now, the additional setup — I need to take
the computer and loop that back into the ATEM.

1129
01:26:00,250 –> 01:26:04,380
To do that, I want to have HDMI out of the
computer into the ATEM itself and in this

1130
01:26:04,380 –> 01:26:09,020
case, I’ve got it into input number two.
This way, the computer sees the ATEM as a

1131
01:26:09,020 –> 01:26:13,090
second monitor. How you do the physical connection
will depend on your hardware and I actually

1132
01:26:13,090 –> 01:26:17,219
recently did a video about how to connect
just about anything to the ATEM including

1133
01:26:17,219 –> 01:26:22,409
your computer. If your computer has an HDMI
output, then just plug that straight in. If

1134
01:26:22,409 –> 01:26:26,780
you’re using a laptop like I am here, the
MacBook Air which just has USB-C outputs,

1135
01:26:26,780 –> 01:26:32,020
then you need to go from USB-C to HDMI. There
are dedicated cables to do this but today,

1136
01:26:32,020 –> 01:26:37,489
I’m using the Apple AV adapter to go from
USB-C to HDMI because that also gives me a

1137
01:26:37,489 –> 01:26:42,260
USB-C power input, meaning that I can use
one port to both power the computer and get

1138
01:26:42,260 –> 01:26:46,020
the HDMI out which is going to be important
because I’m gonna need that second port

1139
01:26:46,020 –> 01:26:49,969
when it comes to the bonus part of hooking
up the Flint D4P here. Alright, let’s get

1140
01:26:49,969 –> 01:26:53,940
into the computer. Here in my system settings,
we can see how the two displays are configured.

1141
01:26:53,940 –> 01:26:58,640
There’s the built-in display and then this
is the Blackmagic ATEM. You can see here that

1142
01:26:58,640 –> 01:27:02,730
they are not set to mirroring. Now, you can
set them to mirroring but it’s actually

1143
01:27:02,730 –> 01:27:06,860
better if you don’t. There’s two advantages
to not having them mirrored; to having them

1144
01:27:06,860 –> 01:27:11,239
as two separate displays. The first advantage
is that you can still use your computer for

1145
01:27:11,239 –> 01:27:15,480
other things while you’re on a call with
somebody else. This display will not be what

1146
01:27:15,480 –> 01:27:19,520
your audience sees whereas the second display
— the ATEM itself — which is where we’re

1147
01:27:19,520 –> 01:27:23,510
gonna put our Zoom caller; that is what your
live audience will see. So, having those two

1148
01:27:23,510 –> 01:27:26,900
separate means that you can still use the
computer for other things. You can be on there

1149
01:27:26,900 –> 01:27:30,670
browsing the internet, looking up facts, whatever,
while you’re talking to your guest. The

1150
01:27:30,670 –> 01:27:36,139
second reason is that when you go full screen
in Zoom, the entire interface disappears except

1151
01:27:36,139 –> 01:27:39,969
for one little window that shows you who is
actively talking. That little window can be

1152
01:27:39,969 –> 01:27:44,469
minimized, but it can’t be gotten rid of
completely unless you have a second screen

1153
01:27:44,469 –> 01:27:48,130
to drag it off to. So by having these dual
display setups, then you can drag that off

1154
01:27:48,130 –> 01:27:52,050
to a second screen. And again, we’re not
talking about another complete display, it’s

1155
01:27:52,050 –> 01:27:55,670
simply the computer treating the ATEM as a
separate display, giving us that appearance

1156
01:27:55,670 –> 01:27:59,550
of a second monitor there. Now, if I can bring
your attention up to this display, it’s

1157
01:27:59,550 –> 01:28:03,500
currently set to the Multi View Out from the
ATEM and so I’m seeing all of my images

1158
01:28:03,500 –> 01:28:08,160
here. We’ve got me on the G7 on input one
and then my computer coming in which I’ve

1159
01:28:08,160 –> 01:28:12,340
labeled “Zoom” on input two. So, this
allows me to see everything that’s happening.

1160
01:28:12,340 –> 01:28:16,310
But one of the cool things about using the
ATEM for this is I can actually switch what

1161
01:28:16,310 –> 01:28:20,239
I’m seeing on this display from the hardware
buttons here and you have this on the smaller

1162
01:28:20,239 –> 01:28:23,940
Minis as well. So, I can be looking at the
Multi View as I am now or I can switch this

1163
01:28:23,940 –> 01:28:28,150
over to show just my camera input, or just
my computer screen. And by looking at just

1164
01:28:28,150 –> 01:28:32,119
the screen here, that allows me to treat this
as a true second display from the computer.

1165
01:28:32,119 –> 01:28:37,130
It’s pretty good. Okay, so now let’s get
Zoom configured. I’ll launch Zoom here and

1166
01:28:37,130 –> 01:28:40,340
let’s go into the preferences and we’re
going to go through general, the video, and

1167
01:28:40,340 –> 01:28:44,600
the audio tab. The first thing at the top
of the general tab is this option to use dual

1168
01:28:44,600 –> 01:28:49,790
monitors and honestly, this just depends on
your preferred setup for calls. I’m gonna

1169
01:28:49,790 –> 01:28:52,889
leave this off for now ‘cause it just makes
it a little bit easier to run things the way

1170
01:28:52,889 –> 01:28:57,070
that I want to run them but if it works out
better for you, you can turn that on and effectively,

1171
01:28:57,070 –> 01:29:01,871
when you have dual displays like we have here,
then, Zoom gives you a second display or a

1172
01:29:01,871 –> 01:29:05,199
second window that you can manipulate, move
around, and put different things on. I’m

1173
01:29:05,199 –> 01:29:08,500
gonna leave it off though I think it’s a
little bit easier to do this with it set off.

1174
01:29:08,500 –> 01:29:12,660
Then, let’s go to the video tab. Under the
Video Tab, you’ll set your camera, and we’ve

1175
01:29:12,660 –> 01:29:16,850
got this set right now to Blackmagic Design.
That’s the ATEM and how this actually shows

1176
01:29:16,850 –> 01:29:20,550
up in your software might be different but
it’s showing up as Blackmagic design here.

1177
01:29:20,550 –> 01:29:24,600
That’s the input, the USB input, from the
ATEM feeding into the computer, so that’s

1178
01:29:24,600 –> 01:29:28,930
what we want there. You’ll also wanna make
sure that you have HD enabled on here to ensure

1179
01:29:28,930 –> 01:29:33,550
that you get the highest quality signal. Next,
let’s go to audio. For both the speaker

1180
01:29:33,550 –> 01:29:36,790
and the microphone, you’re going to want
them set to the Blackmagic hardware. The names

1181
01:29:36,790 –> 01:29:40,390
actually show up differently depending on
which one they are. I don’t know why, just

1182
01:29:40,390 –> 01:29:45,700
how it is but under speaker, it shows up as
BMD HDMI and under microphone, it shows up

1183
01:29:45,700 –> 01:29:50,469
as Blackmagic design. What this means is that
your Zoom caller’s audio is going to be

1184
01:29:50,469 –> 01:29:54,821
fed out of the laptop into the ATEM which
then means you can send this out to your live

1185
01:29:54,821 –> 01:29:59,660
audience. By having the microphone set to
the ATEM as well, this means that you, as

1186
01:29:59,660 –> 01:30:04,310
the host, YOUR audio coming through this microphone
will go through the ATEM and be fed back into

1187
01:30:04,310 –> 01:30:08,440
Zoom. Now, you might be thinking at this point,
“Hold on a second, something’s not right

1188
01:30:08,440 –> 01:30:13,980
here. Because if I’m feeding all of the
audio from the ATEM back into Zoom, doesn’t

1189
01:30:13,980 –> 01:30:18,170
that mean that the caller is going to hear
themselves?” And you’re right! They would

1190
01:30:18,170 –> 01:30:24,770
hear themselves. But Zoom is so good at removing
its echo and removing its own input that they

1191
01:30:24,770 –> 01:30:28,350
won’t be able to tell at all. It’s actually
kind of remarkable. It’s one of those things

1192
01:30:28,350 –> 01:30:31,790
that you go, “This really shouldn’t work
but it does”. Zoom is really, really good

1193
01:30:31,790 –> 01:30:35,000
at this. So, you don’t have to worry about
it. Just set that to the input and even though

1194
01:30:35,000 –> 01:30:38,660
they will technically, be getting their own
audio, your caller will not be able to hear

1195
01:30:38,660 –> 01:30:42,920
it. Underneath the microphone setting, there’s
an option to automatically adjust the microphone

1196
01:30:42,920 –> 01:30:46,710
volume. Definitely turn this off, however,
I have to say, I don’t think it actually

1197
01:30:46,710 –> 01:30:50,350
matters. You’ll notice here if I try to
change the input levels, I can’t. It automatically

1198
01:30:50,350 –> 01:30:55,270
pops back to zero. I think this just has to
do with the HDMI audio input. Maybe it’s

1199
01:30:55,270 –> 01:30:59,659
overriding that control but the UI is still
there but just turn it off to be safe. Next,

1200
01:30:59,659 –> 01:31:04,370
you want to enable this option to show in-meeting
option to enable original sound. Now, to be

1201
01:31:04,370 –> 01:31:08,940
honest, it probably doesn’t really matter
but what this is doing is giving you a little

1202
01:31:08,940 –> 01:31:13,710
button in your call that allows you to bypass
all of Zoom’s audio processing when sending

1203
01:31:13,710 –> 01:31:18,280
audio your caller. Whether they get audio
that’s additionally processed by Zoom or

1204
01:31:18,280 –> 01:31:23,040
not, doesn’t really matter but you as the
host, do want to do any treatment to your

1205
01:31:23,040 –> 01:31:28,139
audio that needs to be done for background
noise removal or just EQing in the ATEM itself

1206
01:31:28,139 –> 01:31:32,530
because what gets done in the ATEM is what
your live audience will hear. It’s also

1207
01:31:32,530 –> 01:31:36,489
what your caller is going to hear. If there’s
an additional processing on top of that, it’s

1208
01:31:36,489 –> 01:31:40,580
okay, but by having that check box enabled,
you get that button to bypass all Zoom processing

1209
01:31:40,580 –> 01:31:44,690
and ensure that your caller hears exactly
the same thing that your live audience is

1210
01:31:44,690 –> 01:31:49,130
hearing. And that’s about it. Let’s go
ahead and close that and I’ll start a call.

1211
01:31:49,130 –> 01:31:52,489
Now, I have a computer setup in the other
room with my assistant, Betty, standing by

1212
01:31:52,489 –> 01:31:57,130
ready to join the call. So, let’s get her
in and then I’ll show you how this all comes

1213
01:31:57,130 –> 01:32:01,510
together. Okay, there we go. Betty has joined.
You see, I have that original sound option.

1214
01:32:01,510 –> 01:32:05,370
I’ll go ahead and turn that on and Betty
is now connected to this call. So, now what

1215
01:32:05,370 –> 01:32:09,630
I want to do is take this call with Betty
in it and move it over to the second display.

1216
01:32:09,630 –> 01:32:13,400
You’ll notice that I have my second display
showing up here full screen because I’ve

1217
01:32:13,400 –> 01:32:18,790
set the ATEM to display input 2. I’ll go
ahead and take this window, drag it over to

1218
01:32:18,790 –> 01:32:23,020
here, and then double click on it to make
it go full screen. At this point, let your

1219
01:32:23,020 –> 01:32:27,139
finger off the mouse for a moment and the
whole UI disappears and you now have a clean

1220
01:32:27,139 –> 01:32:31,080
feed of just your caller in there. Now, if
I move my mouse around here, that interface

1221
01:32:31,080 –> 01:32:34,890
is going to pop back up. But you’ll also
notice that over here, I have the window that

1222
01:32:34,890 –> 01:32:38,820
shows who’s on the call. When you first
set this up, that window might show up in

1223
01:32:38,820 –> 01:32:42,300
the middle there which is what you don’t
want. So, you take that and just drag that

1224
01:32:42,300 –> 01:32:46,350
off. This way, you have a view of who’s
calling and you have that full clean picture

1225
01:32:46,350 –> 01:32:50,179
on the screen. Now, let’s go back to the
Multi View and looking on the screen here,

1226
01:32:50,179 –> 01:32:54,560
we can see that we’ve got my input, the
G7 on input one and there’s the Zoom caller,

1227
01:32:54,560 –> 01:32:58,540
Betty coming in on input two. So that’s
all set up and working great. Now, we’re

1228
01:32:58,540 –> 01:33:03,180
ready to start mixing them together to build
a show. Now, I’m using, again, the ATEM

1229
01:33:03,180 –> 01:33:06,580
Mini Extreme which means I have something
called SuperSource and SuperSource gives me

1230
01:33:06,580 –> 01:33:10,949
a lot of options and how I want to configure
things. I’m gonna show you just the basics

1231
01:33:10,949 –> 01:33:14,480
of setting it up and then I’m going to run
a few macros that I built to load up different

1232
01:33:14,480 –> 01:33:18,710
layouts and then I’m gonna bring in a real
caller, a live caller so that we can find

1233
01:33:18,710 –> 01:33:22,750
out what it sounds like on their end as well
but first let’s get this all set up. I’m

1234
01:33:22,750 –> 01:33:26,900
going to switch the program to SuperSource
and then open up the SuperSource options where

1235
01:33:26,900 –> 01:33:30,909
I have a couple of default layouts. You can
see what this first layout looks like but

1236
01:33:30,909 –> 01:33:34,070
it’s a four-up so it doesn’t really make
sense here. I have a two-up display that works

1237
01:33:34,070 –> 01:33:37,750
pretty good but of course I can completely
customize this. I can change the background,

1238
01:33:37,750 –> 01:33:40,910
the positioning, and everything. So again,
I’ve already got a bunch of these built

1239
01:33:40,910 –> 01:33:44,530
as macros, and because I’m on the Extreme,
I’ve got macro buttons on here. So, I’m

1240
01:33:44,530 –> 01:33:49,710
going to just switch first over to macro one.
So, here’s a simple side by side full screen,

1241
01:33:49,710 –> 01:33:54,929
split screen conversation. Go to macro 2,
same idea inset a little bit with a custom

1242
01:33:54,929 –> 01:33:58,760
background. Macro 3, I’m actually gonna
be using this in a moment when I’m bringing

1243
01:33:58,760 –> 01:34:03,060
my friend Aaron as an actual live caller and
then I’ve got a simple DVE picture-in-picture

1244
01:34:03,060 –> 01:34:07,240
effect which is actually the type of effect
that you can do even with the smaller ATEM.

1245
01:34:07,240 –> 01:34:09,960
But we’ll come back to that a little bit
more later and I’ll show you some better

1246
01:34:09,960 –> 01:34:13,250
options than this one for doing something
like that. Alright, the last thing that we

1247
01:34:13,250 –> 01:34:17,461
need to configure is audio. I’m gonna put
my headphones on and at this point, if we

1248
01:34:17,461 –> 01:34:21,650
look the audio configuration, you’ll see
that I have audio coming in from both me,

1249
01:34:21,650 –> 01:34:26,080
— that’s me talking — and the Zoom caller.
It’s actually just music that I have playing

1250
01:34:26,080 –> 01:34:29,331
in that room; that’s what we’re seeing
here. But here’s the really cool thing that

1251
01:34:29,331 –> 01:34:33,989
we can do with the Mini Extreme. Notice on
here this headphone icon; that means Solo.

1252
01:34:33,989 –> 01:34:39,960
I am now only listening to the audio coming
from Zoom, not listening to my own audio.

1253
01:34:39,960 –> 01:34:44,560
See if I don’t have this option, then I’m
going to be hearing my own audio on an echo.

1254
01:34:44,560 –> 01:34:49,560
And this - This isn’t okay. Here’s what’s
going on. The audio that’s coming through

1255
01:34:49,560 –> 01:34:54,640
the camera is going out the HDMI out into
the ATEM. The thing is that all cameras with

1256
01:34:54,640 –> 01:34:59,719
an HDMI output have a latency. There is a
delay. Some cameras are better than others

1257
01:34:59,719 –> 01:35:04,400
but there is always a delay and this delay
off this camera is probably about five to

1258
01:35:04,400 –> 01:35:09,400
seven frames. So, it’s enough where if you’re
hearing your own voice on delay, it’s gonna

1259
01:35:09,400 –> 01:35:13,040
drive you crazy. You really can’t have a
conversation where you’re hearing your own

1260
01:35:13,040 –> 01:35:17,560
voice on an echo. Now, there’s a couple
of work-arounds here. One of the work-arounds

1261
01:35:17,560 –> 01:35:21,639
is to use a camera like this one. This is
the Blackmagic Pocket Cinema Camera and even

1262
01:35:21,639 –> 01:35:26,430
though it too is HDMI out, it has what is
probably the lowest latency in the industry.

1263
01:35:26,430 –> 01:35:29,920
It’s still not real-time and I’ve heard
a lot of people say that it is real time — but

1264
01:35:29,920 –> 01:35:34,719
it’s not. If you hook up your microphone
to this and you route your HDMI into here

1265
01:35:34,719 –> 01:35:39,690
and you listen, you will still hear the delay
— but it is very slight. It’s slight enough

1266
01:35:39,690 –> 01:35:43,600
that you can probably get away with it; hold
on a medium-length conversation and you’ll

1267
01:35:43,600 –> 01:35:47,700
be okay. I wouldn’t wanna do it all day
long but it’s okay for a short call. However,

1268
01:35:47,700 –> 01:35:52,090
if you want true real-time audio, then, the
only way to do that is to feed your audio

1269
01:35:52,090 –> 01:35:56,570
directly into the ATEM. There are of course
two microphone inputs on the ATEM so you can

1270
01:35:56,570 –> 01:36:00,370
feed your audio directly into there but you
can’t feed your audio into there and have

1271
01:36:00,370 –> 01:36:03,730
your video coming from here because then they
won’t be in sync. If you are using this

1272
01:36:03,730 –> 01:36:08,010
camera, then run your audio into the ATEM
itself and even though there will still be

1273
01:36:08,010 –> 01:36:11,650
a slight out-of-sync, it’ll be very, very
slight and I think you’ll be able to get

1274
01:36:11,650 –> 01:36:16,290
away with it but that is the only way to have
truly real-time audio, is to feed it into

1275
01:36:16,290 –> 01:36:20,841
the ATEM and then you don’t need to have
the solo option. If you don’t have the ATEM

1276
01:36:20,841 –> 01:36:24,950
Extreme and you don’t have a camera like
this, then you need another solution. I can’t

1277
01:36:24,950 –> 01:36:28,920
plug my headphones into the smaller ATEM Mini
Pro ISO, so that means I have to monitor my

1278
01:36:28,920 –> 01:36:34,060
audio from the computer. But the audio is
already being sent from the computer into

1279
01:36:34,060 –> 01:36:38,230
the ATEM so I can’t monitor it on the headphones
as well. There’s actually a trick for this.

1280
01:36:38,230 –> 01:36:43,670
There’s a piece of software from Rogue Amoeba
called Loopback. Loopback will actually allow

1281
01:36:43,670 –> 01:36:49,920
you to build virtual interfaces letting you
send the audio from Zoom to both the ATEM

1282
01:36:49,920 –> 01:36:54,570
and the headphone output simultaneously. It’s
a $99 app, so that is an additional purchase

1283
01:36:54,570 –> 01:36:58,430
you have to make but again, you only need
that if you’re using the smaller ATEM, which

1284
01:36:58,430 –> 01:37:02,640
is still a more affordable upgrade than jumping
up to the Mini Extreme but it is an option

1285
01:37:02,640 –> 01:37:07,070
that you have. Okay, so we’ve got our audio
sorted out and our video sorted out. Let’s

1286
01:37:07,070 –> 01:37:10,969
get Aaron in here for a real live call and
see how that works. How’s it going, Aaron?

1287
01:37:10,969 –> 01:37:16,110
Welcome to my live / not live show. What I’ve
been showing the audience here is how to bring

1288
01:37:16,110 –> 01:37:21,800
a live call like a Zoom call and use that
as part of a live show. You should be seeing

1289
01:37:21,800 –> 01:37:27,219
the monitor out or the program out from the
ATEM which means if I switch over to the Multi

1290
01:37:27,219 –> 01:37:30,550
View setup, the split screen, you’re now
seeing me in-split screen, right? [Aaron]

1291
01:37:30,550 –> 01:37:34,080
Yup. That’s exactly what I see. So, as I
said, I’ve got a couple of different macros

1292
01:37:34,080 –> 01:37:37,880
built already for this and I have one set
up just for our call here where I’ve got

1293
01:37:37,880 –> 01:37:42,090
the two of us in an inset with our names underneath
and so that’s all set up and ready to go.

1294
01:37:42,090 –> 01:37:47,349
How do I sound to you, Aaron? [Aaron] I hear
you loud and clear. And then how is your audio

1295
01:37:47,349 –> 01:37:51,679
sounding to you? Are you hearing yourself
on this call? [Aaron] I’m not hearing myself

1296
01:37:51,679 –> 01:37:55,750
through Zoom, nope. So, that’s the amazing
thing that I was talking about, where Zoom

1297
01:37:55,750 –> 01:38:00,380
will take the audio that’s being fed back
to itself even though it does include Aaron’s

1298
01:38:00,380 –> 01:38:04,449
own voice and it is removing that for him
so he doesn’t hear himself. So, at this

1299
01:38:04,449 –> 01:38:08,770
point, we’ve got this simple two-up layout.
But what if we want to bring in a third caller?

1300
01:38:08,770 –> 01:38:13,500
Well, remember, if we go back to my main screen
here, I actually already have a third caller,

1301
01:38:13,500 –> 01:38:17,099
Betty here. So, what I’m gonna do now is
I’m going to pin her to the call as well.

1302
01:38:17,099 –> 01:38:23,500
So, I’ll pin Betty and I’m also gonna
pin Aaron in there. So now I’ve got a side

1303
01:38:23,500 –> 01:38:28,100
by side on there. I have built a layout that
is using super source that is allowing me

1304
01:38:28,100 –> 01:38:31,889
to take the split screen from here — these
two different pieces — cut them up into

1305
01:38:31,889 –> 01:38:35,981
two separate inputs and put them all side
by side. This has given me the ability to

1306
01:38:35,981 –> 01:38:42,040
have a dual call. Having multiple callers
on Zoom and then rearranging that layout and

1307
01:38:42,040 –> 01:38:45,929
putting that into a live show to send out
to the live audience. Now, here’s the one

1308
01:38:45,929 –> 01:38:50,330
other thing I wanted to show you. Kind of
a bonus move. Aaron, what are you seeing on

1309
01:38:50,330 –> 01:38:55,739
your screen of me? [Aaron] I am seeing the
full layout here. I can see the three-up view.

1310
01:38:55,739 –> 01:39:00,890
So, Aaron is seeing the three-up because I’m
sending him the output from the ATEM; the

1311
01:39:00,890 –> 01:39:05,810
USB-C output. So, Aaron’s gonna see whatever
the live audience is seeing, which can be

1312
01:39:05,810 –> 01:39:10,200
great because then he’s got the confidence
of knowing when he’s on air. However, it

1313
01:39:10,200 –> 01:39:14,810
also means that he’s seeing himself with
a bit of a delay and that can be a bit disconcerting.

1314
01:39:14,810 –> 01:39:20,040
If you’re using the ATEM Mini Extreme, because
it has that second HDMI output, I can actually

1315
01:39:20,040 –> 01:39:25,080
set this up so that he’s getting a clean
feed of just me and then he’ll be experiencing

1316
01:39:25,080 –> 01:39:29,390
what would feel like a normal Zoom call. So,
the way that I have this configured is the

1317
01:39:29,390 –> 01:39:35,520
HDMI 2 output from the ATEM is feeding into
this Flint D4P. That is then feeding into

1318
01:39:35,520 –> 01:39:39,980
my computer over USB-C. So, now if we look
at the Zoom preferences, you can see here

1319
01:39:39,980 –> 01:39:46,969
what Aaron is seeing. This is the on-air camera.
If I switch this over to the Flint… now,

1320
01:39:46,969 –> 01:39:53,170
Aaron is just seeing me. So now, Aaron has
got a clean feed of me and he doesn’t have

1321
01:39:53,170 –> 01:39:57,570
the whole kinda jumbled “seeing himself
side by side with me, on delay” experience.

1322
01:39:57,570 –> 01:40:01,351
So, this is a much cleaner way to do it. Again,
to do this, you really do have to have the

1323
01:40:01,351 –> 01:40:05,020
Extreme ‘cause you need that second HDMI
out but it’s a way to go. Hey Aaron, we’re

1324
01:40:05,020 –> 01:40:08,830
going to say goodbye but before we go, when
is your next live show? [Aaron] I go live

1325
01:40:08,830 –> 01:40:12,810
every Sunday at 10 AM Pacific. Thanks a bunch.
Make sure you subscribe to Aaron. We’ll

1326
01:40:12,810 –> 01:40:16,610
put a link to his channel down below. We’ll
see you later, buddy. Bye-bye. So, there you

1327
01:40:16,610 –> 01:40:20,650
have it. Everything you need to know to bring
a live caller into your next live show. It

1328
01:40:20,650 –> 01:40:24,460
is made better by using the ATEM Mini Extreme
‘cause you do have more options but again,

1329
01:40:24,460 –> 01:40:28,310
you can do all of this with the regular ATEM
Mini. You’re gonna have to route your audio

1330
01:40:28,310 –> 01:40:32,570
using software through the computer… you’re
not gonna be able to have that clean second

1331
01:40:32,570 –> 01:40:36,170
HDMI output… and the third thing you’re
not going to have is the super source — the

1332
01:40:36,170 –> 01:40:39,630
ability to really reposition things wherever
you want but I did tell you that I would show

1333
01:40:39,630 –> 01:40:43,560
you a better way to do a split screen using
the regular ATEM. So, let me show you how

1334
01:40:43,560 –> 01:40:48,060
to do that now. I’m gonna turn off SuperSource,
so it’s just me in the Program now and then

1335
01:40:48,060 –> 01:40:51,869
I’m going to enable picture-in-picture on
the ATEM. You have the same picture-in-picture

1336
01:40:51,869 –> 01:40:57,010
options on the big ATEM as you do on the little
one here. And by default, you have the picture-in-picture

1337
01:40:57,010 –> 01:41:01,659
showing up in one of these four corners in
there. Just a really simple small little picture-in-picture,

1338
01:41:01,659 –> 01:41:06,291
but you can change that. You can position
it wherever you like. So, to do this, we go

1339
01:41:06,291 –> 01:41:10,260
over to the upstream key which is already
turned on. That’s the picture-in-picture

1340
01:41:10,260 –> 01:41:15,080
that we’ve got here. And then you can change
the settings of this. The position and the

1341
01:41:15,080 –> 01:41:21,060
size of it. I can take the size up to 50%
or I can take it up to 100% to full one-to-one

1342
01:41:21,060 –> 01:41:24,570
and then I can reposition that wherever I’d
like. So, I’ve already get this set up as

1343
01:41:24,570 –> 01:41:28,720
a macro, so let me just activate that and
there’s my layout. Now, it’s not as good

1344
01:41:28,720 –> 01:41:32,389
as a super source but it totally works. I’ve
got my guest where I’ve cut off the edges

1345
01:41:32,389 –> 01:41:36,369
and moved her off to the side and now, I’m
in the background and so all that really means

1346
01:41:36,369 –> 01:41:39,960
is I just need to step over to the side to
make sure that I’m in the picture. Sure,

1347
01:41:39,960 –> 01:41:43,650
it means that I have to stand in just the
right spot but my guest doesn’t. They can

1348
01:41:43,650 –> 01:41:47,190
just be center screened and then I can crop
them and push them over to the side and so

1349
01:41:47,190 –> 01:41:51,021
this is a very useful way to do this. So that’s
everything you need to know. I hope you enjoy

1350
01:41:51,021 –> 01:41:55,210
this and if you end up setting up a live show
where you’re bringing in callers over your

1351
01:41:55,210 –> 01:41:58,639
ATEM, I want to hear about it. Let me know
down in the comments below. Thanks as always.

1352
01:41:58,639 –> 01:42:02,920
Don’t forget to subscribe and we’ll see
you in the next ATEM Mini tip. In today’s

1353
01:42:02,920 –> 01:42:07,530
ATEM Mini Tip, we’ll be talking about why
and how you might want to connect your ATEM

1354
01:42:07,530 –> 01:42:11,670
Mini to your network. I’m trying something
new on this channel where for the next couple

1355
01:42:11,670 –> 01:42:17,170
of months, every new video will have ads disabled.
No more ads. I know that I don’t like watching

1356
01:42:17,170 –> 01:42:20,570
them and I’m sure you don’t either. What
that means is that I’m asking you instead

1357
01:42:20,570 –> 01:42:24,530
to consider becoming a channel member. If
you’re benefiting from the videos that I’ve

1358
01:42:24,530 –> 01:42:28,530
produced here on YouTube, consider signing
up. It cost just 99 cents a month or more

1359
01:42:28,530 –> 01:42:32,770
if you want to but that allows you to support
me without having to watch ads. So, let’s

1360
01:42:32,770 –> 01:42:37,580
get into this tip. We’re talking about putting
your ATEM Mini onto your network. First, “why”,

1361
01:42:37,580 –> 01:42:41,159
and then “how”. So, let’s talk about
why to begin with and let’s actually start

1362
01:42:41,159 –> 01:42:44,869
by talking about what happens if you don’t
connect it to your network. To start off,

1363
01:42:44,869 –> 01:42:49,810
the ATEM Mini by default connects to your
computer over USB. A simple USB-C cable from

1364
01:42:49,810 –> 01:42:54,140
the ATEM Mini hardware into your Mac or PC.
This allows you a couple of things — it

1365
01:42:54,140 –> 01:42:58,820
gives you complete control over the hardware
(switching, adding graphics, changing audio

1366
01:42:58,820 –> 01:43:03,469
settings, and so on), plus it allows you to
see your ATEM Mini as a webcam in software

1367
01:43:03,469 –> 01:43:07,500
like Skype or Zoom. And if that’s all you
need out of your ATEM, then that’s great,

1368
01:43:07,500 –> 01:43:10,880
you probably don’t need to watch this video.
Hope to see you in the next one. But for those

1369
01:43:10,880 –> 01:43:13,850
of you who do want to take it to the next
level, here’s why you might want to add

1370
01:43:13,850 –> 01:43:18,480
your ATEM to the network. First of all, if
you want to stream from the ATEM hardware

1371
01:43:18,480 –> 01:43:23,119
itself, meaning, streaming to YouTube, Facebook,
whatever, then you need to have your ATEM

1372
01:43:23,119 –> 01:43:27,040
on your network. It needs internet access
and the way that it gets that is by connecting

1373
01:43:27,040 –> 01:43:30,780
to your local network. So, that’s the first
one. But even if you’re not live streaming

1374
01:43:30,780 –> 01:43:34,320
from it, you can still benefit by putting
it on your network. For example, you could

1375
01:43:34,320 –> 01:43:39,510
access the same hardware from multiple computers
on the network even at the same time. Meaning,

1376
01:43:39,510 –> 01:43:42,820
you could have one computer doing the live
switching while another one is controlling

1377
01:43:42,820 –> 01:43:46,801
audio and yet another one is controlling graphics.
So, that’s something you can do when you

1378
01:43:46,801 –> 01:43:50,900
have the hardware on the network. Or you might
want to be controlling it from third-party

1379
01:43:50,900 –> 01:43:56,490
solutions like Companion on your desktop or
even apps like MixEffect on your iPad. There’s

1380
01:43:56,490 –> 01:44:00,659
lots of third-party solutions for controlling
your hardware remotely but all the require

1381
01:44:00,659 –> 01:44:05,260
a network connection. So, let’s first start
with the connection over USB. I currently

1382
01:44:05,260 –> 01:44:09,409
have this connected over USB but not to my
network and if we look over here at my computer,

1383
01:44:09,409 –> 01:44:13,239
you’ll see that I have the ATEM Mini Pro
ISO connected and if you look at this little

1384
01:44:13,239 –> 01:44:17,770
icon right here; that USB symbol tells me
that it is connected to the computer over

1385
01:44:17,770 –> 01:44:21,580
USB. At this point again, I have complete
control over it, but if I want to add it to

1386
01:44:21,580 –> 01:44:26,090
the network, then all I have to do is plug
the Ethernet cable into the ATEM and the other

1387
01:44:26,090 –> 01:44:30,000
end into my network. Okay well, what does
that actually mean? Well, let’s back up

1388
01:44:30,000 –> 01:44:33,690
a minute and talk about that. This is going
to depend on the type of network you have

1389
01:44:33,690 –> 01:44:36,740
and the type of environment that you’re
in. Let’s start with the most basic — you’re

1390
01:44:36,740 –> 01:44:40,900
just using this at home. At home, you have
some type of internet coming into your house,

1391
01:44:40,900 –> 01:44:44,880
over cable, fiber, whatever it might be — but
it’s coming into a modem. Somewhere in your

1392
01:44:44,880 –> 01:44:49,179
house, you have a modem that’s got a cable
running in from the outside. From that modem,

1393
01:44:49,179 –> 01:44:53,260
it might be connected to a Wi-Fi router. That
Wi-Fi router is what gives you Wi-Fi connection

1394
01:44:53,260 –> 01:44:57,080
throughout your house and that might be all
you have. In fact, you might even have a single

1395
01:44:57,080 –> 01:45:02,340
box that is both the modem and the Wi-Fi router
all in one. Either way, there’s going to

1396
01:45:02,340 –> 01:45:07,690
be an Ethernet connection somewhere on that
router or on the modem and router combo. That

1397
01:45:07,690 –> 01:45:11,699
LAN connection means that you can connect
an Ethernet cable like this one into there

1398
01:45:11,699 –> 01:45:15,470
and then the other end into a computer or
some other device to give it direct network

1399
01:45:15,470 –> 01:45:19,032
access. Why would you want to do that? Why
not just connect everything over Wi-Fi? While

1400
01:45:19,032 –> 01:45:23,590
Wi-Fi is great for things like watching video
or browsing the web, it’s not so good for

1401
01:45:23,590 –> 01:45:28,369
live streaming. So, the ATEMs don’t even
have Wi-Fi built into them for this exact

1402
01:45:28,369 –> 01:45:31,670
reason. Alright, so that’s why we’re not
going to use Wi-Fi. So, let’s get back to

1403
01:45:31,670 –> 01:45:35,320
connecting this. Where are we going to plug
this in? Again, into that LAN port on your

1404
01:45:35,320 –> 01:45:39,200
router or your modem. But what if that port
is already taken? Maybe you already have a

1405
01:45:39,200 –> 01:45:42,690
computer or other device on your network that’s
plugged into that taking up that one port.

1406
01:45:42,690 –> 01:45:46,219
Well, that’s an easy solution. There’s
something called a network switch or network

1407
01:45:46,219 –> 01:45:50,210
hub that you can add to your network giving
you additional ports and that’ll allow you

1408
01:45:50,210 –> 01:45:54,770
to connect multiple devices over the hardwire
directly into your system. Beyond that, there’s

1409
01:45:54,770 –> 01:45:58,510
a lot of ways that you can get even bigger
and more extensive on this but if you are

1410
01:45:58,510 –> 01:46:01,311
into a system like that, then you’re not
going to gain anything from this part of that

1411
01:46:01,311 –> 01:46:04,640
video. So, let’s just move on. Alright.
So, you’re going to plug one end of this

1412
01:46:04,640 –> 01:46:08,900
cable into your network and the other end
into the ATEM. Before I do this though, let’s

1413
01:46:08,900 –> 01:46:12,510
take another look at the software. From the
ATEM setup app, if I go into the settings,

1414
01:46:12,510 –> 01:46:16,070
we’ll see in here on the first page, Network
settings and you’ll see that it currently

1415
01:46:16,070 –> 01:46:20,530
has an IP address of zero, basically meaning
it doesn’t have an address. This tells me

1416
01:46:20,530 –> 01:46:23,830
that it’s not on the network. So, I’m
going to go ahead and connect this Ethernet

1417
01:46:23,830 –> 01:46:29,540
cable to the ATEM and in just a few moment
over in the software will see that it gets

1418
01:46:29,540 –> 01:46:36,310
an IP address. In my case, 10.0.1.57. This
tells me that the hardware is now on the network.

1419
01:46:36,310 –> 01:46:40,540
So now let’s back out of this and you’ll
see here that the logo next to the ATEM Mini

1420
01:46:40,540 –> 01:46:45,449
Pro ISO name has updated. We’re seeing both
USB and an Ethernet connection icon. That

1421
01:46:45,449 –> 01:46:49,949
tells me once again that it’s connected
both over USB and over Ethernet. Now I can

1422
01:46:49,949 –> 01:46:54,400
actually unplug the USB connection. As soon
as I do that, you’ll see the USB symbol

1423
01:46:54,400 –> 01:46:58,990
goes away. This tells me now that I’m connected
only over the network. To control this, if

1424
01:46:58,990 –> 01:47:03,070
I launch the ATEM software, in just a moment,
it’ll update and we now see that we’re

1425
01:47:03,070 –> 01:47:07,340
controlling the hardware. I can click on camera
1, camera 2 in here and we’ll see that those

1426
01:47:07,340 –> 01:47:11,369
settings are changing both in software and
on the hardware. So now, I’ve connected

1427
01:47:11,369 –> 01:47:15,780
the ATEM to the network and I’ve disconnected
the USB. What have I lost, what have I gained?

1428
01:47:15,780 –> 01:47:19,000
We’ve already talked about what I’ve gained
by connecting it to the network but I’ve

1429
01:47:19,000 –> 01:47:23,330
lost something by disconnecting the USB. I
no longer have the ability to treat the ATEM

1430
01:47:23,330 –> 01:47:27,570
Mini as a webcam in software like Skype or
Zoom, but I’ve actually gain something on

1431
01:47:27,570 –> 01:47:32,020
USB as well. I’ve gained the ability now
to connect an external hard drive to the ATEM

1432
01:47:32,020 –> 01:47:36,510
to record the program, or if you’re using
one of the ISO models, the program and the

1433
01:47:36,510 –> 01:47:41,480
ISOs directly to that hard drive. Unfortunately,
with the ATEM Mini, ATEM Mini Pro or ATEM

1434
01:47:41,480 –> 01:47:46,800
Mini Pro ISO, you can’t do both at once.
You can’t record the show and use it as

1435
01:47:46,800 –> 01:47:50,969
a webcam because there’s only one USB port.
If you need to do that, then there, you’re

1436
01:47:50,969 –> 01:47:55,710
going to want to buy the ATEM Mini Extreme.
The Extreme model has dual USB ports meaning

1437
01:47:55,710 –> 01:48:01,429
that you connect both the ATEM as a webcam
and connect it to a hard drive at the same

1438
01:48:01,429 –> 01:48:04,800
time. But now that I’ve got my hardware
on the network, once again, I can connect

1439
01:48:04,800 –> 01:48:09,889
to it from multiple computers or even from
an iPad. So here, I’m running an app called

1440
01:48:09,889 –> 01:48:14,970
MixEffect, you can see my network address
there of 10.0.1.57 and if I tap Connect, it’s

1441
01:48:14,970 –> 01:48:20,070
going to go ahead and connect to my ATEM Mini.
From here, I can now do the switching in software

1442
01:48:20,070 –> 01:48:24,800
just as I could on the computer but now using
the iOS app. But now if we look at all three

1443
01:48:24,800 –> 01:48:28,820
of these at the same time, you can see that
they’re all talking to the same hardware.

1444
01:48:28,820 –> 01:48:32,590
Both apps are communicating with the same
device at the same time. So, that’s the

1445
01:48:32,590 –> 01:48:36,800
how and why you might want to connect your
ATEM Mini to the network. If you have any

1446
01:48:36,800 –> 01:48:39,850
questions about this, drop them in the comments
below and if there’s a specific tip that

1447
01:48:39,850 –> 01:48:43,160
you’d like to see, let me know in the comments
below as well. I’ll add it to my list and

1448
01:48:43,160 –> 01:48:47,300
be sure to get that done for you. Take care.
We’ll see you in the next video. In this

1449
01:48:47,300 –> 01:48:51,750
ATEM Mini tip, we're going to talk about how
you can use your cellular connection as either

1450
01:48:51,750 –> 01:48:56,590
a backup or a primary network connection for
your live streams. Now, setting either of

1451
01:48:56,590 –> 01:49:00,730
those up is actually really easy. The tricky
part though is setting it up so that your

1452
01:49:00,730 –> 01:49:05,330
computer and your ATEM can talk to each other
even when you're off of your local network

1453
01:49:05,330 –> 01:49:10,420
and the USB port is being used by your phone.
This video picks up where we left off in video

1454
01:49:10,420 –> 01:49:15,550
number 15 where I showed you how to get your
ATEM onto your local network. Once the ATEM

1455
01:49:15,550 –> 01:49:19,889
is on the network, you can use the ATEM to
stream directly to YouTube, Facebook, or wherever

1456
01:49:19,889 –> 01:49:24,969
directly from the hardware using its built-in
encoder. If you want to have a backup connection

1457
01:49:24,969 –> 01:49:28,790
using your cellphone, this is actually really
easy to configure. First of all, you're going

1458
01:49:28,790 –> 01:49:32,719
to need to have a cellular plan that allows
tethering. Assuming that you do, then all

1459
01:49:32,719 –> 01:49:36,940
you have to do is connect the phone to the
ATEM and it will just see it as an optional

1460
01:49:36,940 –> 01:49:40,861
streaming device. It's actually really easy
to do. Let's just do that first. I'll take

1461
01:49:40,861 –> 01:49:48,170
a Lightning to USB-C cable and I'll plug this
into the back of the ATEM and then let's take

1462
01:49:48,170 –> 01:49:53,080
a look over at the ATEM software. If I go
into the settings, you'll see that I have

1463
01:49:53,080 –> 01:49:58,060
a connection priority option as Ethernet or
Mobile. By setting the priority you're telling

1464
01:49:58,060 –> 01:50:01,910
the ATEM which connection you want it to use
first and for most cases, you're going to

1465
01:50:01,910 –> 01:50:05,869
want it to be the Ethernet connection that's
using your local network for your primary

1466
01:50:05,869 –> 01:50:10,469
stream, and then only relying on your phone
as a backup. Now let's verify that the phone

1467
01:50:10,469 –> 01:50:18,000
is actually being seen by the ATEM. I'll launch
the ATEM software and under the live streaming

1468
01:50:18,000 –> 01:50:21,820
connection, you'll see there's a new symbol
here, a little phone icon that's currently

1469
01:50:21,820 –> 01:50:26,300
grayed out. This tells me that the hardware
sees the phone as an optional connection.

1470
01:50:26,300 –> 01:50:31,990
Now, let's go ahead and start live streaming.
You can see that we're now on air and the

1471
01:50:31,990 –> 01:50:36,361
cellular icon is still gray telling me that
it's in standby mode. Now, let's go ahead

1472
01:50:36,361 –> 01:50:41,100
and just yank the Ethernet connection out
of the ATEM as if it lost connection to the

1473
01:50:41,100 –> 01:50:45,699
network. First of all, as soon as I did that,
I lost connection to the ATEM from the computer

1474
01:50:45,699 –> 01:50:49,560
but if we look at the multi-view out, you'll
see that that icon in the corner has gone

1475
01:50:49,560 –> 01:50:53,830
red, telling me that it is now streaming using
my cellular connection. Now, let's say we

1476
01:50:53,830 –> 01:50:59,270
get our network access back. I'll go ahead
and plug that back in. And it'll take a few

1477
01:50:59,270 –> 01:51:03,170
moments but eventually, the ATEM software
shows up on the network again and after a

1478
01:51:03,170 –> 01:51:07,060
few moments, the live stream switches back
to the Ethernet connection. Okay, so that's

1479
01:51:07,060 –> 01:51:10,540
everything you need to do to set it up as
a backup; really straightforward. If you're

1480
01:51:10,540 –> 01:51:14,300
in a studio environment like this but you
can't use your local internet connection for

1481
01:51:14,300 –> 01:51:18,150
whatever reason, maybe your ISP is down but
you still want to go live, then you can go

1482
01:51:18,150 –> 01:51:22,929
ahead and leave everything set up as it is
but set the priority to be the cellphone.

1483
01:51:22,929 –> 01:51:28,369
To do that, I'll go back to the ATEM setup
app, open the settings, and switch the connection

1484
01:51:28,369 –> 01:51:33,980
from Ethernet to Mobile. As soon as I do that,
you'll see that that icon turns blue telling

1485
01:51:33,980 –> 01:51:38,060
me that it's the primary connection and ready
to go live. Okay, so that's what we need to

1486
01:51:38,060 –> 01:51:42,810
do to set it up so that it can stream either
as a backup or using your mobile as a primary

1487
01:51:42,810 –> 01:51:47,650
connection but what if we're out in the field?
Let's say that we're going to go out somewhere

1488
01:51:47,650 –> 01:51:51,460
remote. We're going to take the ATEM and my
computer and my cameras and everything else

1489
01:51:51,460 –> 01:51:55,800
and do a live stream from the mountain top.
I've got power sorted out for the ATEM but

1490
01:51:55,800 –> 01:51:59,480
of course, I'm going to rely on the internet
connection from my cellular phone to do the

1491
01:51:59,480 –> 01:52:04,820
live stream. That's all well and good, but
how am I going to control the ATEM from my

1492
01:52:04,820 –> 01:52:07,830
computer? How am I going to load graphics
and do all the other things that I would normally

1493
01:52:07,830 –> 01:52:12,699
do from a computer? Well, normally, I'd use
the USB connection but I can't because that's

1494
01:52:12,699 –> 01:52:16,690
being taken up by this. Okay, then that's
what the network connection is for, right?

1495
01:52:16,690 –> 01:52:21,580
Well, the thing is that I don't have a network
to connect to anymore. If I plug my ATEM directly

1496
01:52:21,580 –> 01:52:26,310
into the computer via Ethernet, that's not
going to, by default at least, just work.

1497
01:52:26,310 –> 01:52:30,699
So, we need to set it up so that it does work.
It's a pretty simple network configuration

1498
01:52:30,699 –> 01:52:34,480
but you do need to set this up. So, let's
get into that. I'll go back over to the ATEM

1499
01:52:34,480 –> 01:52:39,340
setup, jump into the settings again, and you'll
notice up here that it says, “Connect using

1500
01:52:39,340 –> 01:52:44,480
USB to adjust the network settings”. To change
the network settings, I have to make a USB

1501
01:52:44,480 –> 01:52:48,579
connection. Now, this is a really important
point. It's obvious right now because it's

1502
01:52:48,579 –> 01:52:52,409
telling me and so I'm going to do that, but
it's important to remember this because once

1503
01:52:52,409 –> 01:52:55,699
you set everything up and you go out in the
field and you do your event, and then you

1504
01:52:55,699 –> 01:52:59,291
come back, and a week later, you go to put
your ATEM back on your network, and you plug

1505
01:52:59,291 –> 01:53:03,360
it into the Ethernet connection, it won't
show up on your network because it is still

1506
01:53:03,360 –> 01:53:07,920
set to be looking for your computer directly
— which we're about to configure. You won't

1507
01:53:07,920 –> 01:53:11,350
know what's wrong because you'll have no interface
telling you what's wrong, it simply won't

1508
01:53:11,350 –> 01:53:15,820
be there the reason being that you'll need
to reconnect over USB to reset the network

1509
01:53:15,820 –> 01:53:20,260
back to the way it was. So again, just reminding
you that once you set this up over USB, you'll

1510
01:53:20,260 –> 01:53:24,750
have to put it back the way it was using USB
as well. Alright, let's do this. I'll go ahead

1511
01:53:24,750 –> 01:53:29,100
and disconnect the cellphone for now… take
the USB cable that is plugged into the computer…

1512
01:53:29,100 –> 01:53:34,140
I'll exit out of the settings and jump right
back into them again and now I have setup

1513
01:53:34,140 –> 01:53:39,150
control for my network. So, by default, it's
set to DHCP, which means that the ATEM is

1514
01:53:39,150 –> 01:53:42,940
going to get an address assigned to it by
the router on your network but we're removing

1515
01:53:42,940 –> 01:53:47,429
that router from the equation, so now we need
to set this up manually. To do that, I'll

1516
01:53:47,429 –> 01:53:51,310
switch over to static IP and at this point,
some of these numbers might change, some of

1517
01:53:51,310 –> 01:53:54,800
them may stay the same from the way you had
it before, but now we need to set it up with

1518
01:53:54,800 –> 01:53:58,520
the right numbers so the two pieces of hardware
can talk to each other. Effectively, what

1519
01:53:58,520 –> 01:54:03,340
we're going to do is build a tiny little network.
The numbers that we enter in here don't actually

1520
01:54:03,340 –> 01:54:07,290
matter that much as long as they're in the
right form and we have some of the same numbers

1521
01:54:07,290 –> 01:54:11,750
between the two devices. I'll show you. You
can use these same numbers for your setup

1522
01:54:11,750 –> 01:54:16,980
if you want to or different ones. It really
doesn't matter. I'm going to use an IP address

1523
01:54:16,980 –> 01:54:26,090
of 192.0.0.3. Subnet mask of 255.255.0.0 and
then a gateway of 192.0.0.1. Now, this gateway

1524
01:54:26,090 –> 01:54:30,640
is very important. The gateway address and
the IP address have to have the same numbers

1525
01:54:30,640 –> 01:54:38,840
in the first three positions. So again here
192.0.0. Then we have the fourth number. The

1526
01:54:38,840 –> 01:54:43,520
gateway IP typically ends in 1. This is also
called the router field. Now, we don't have

1527
01:54:43,520 –> 01:54:47,469
a router so the computer is going to become
the router effectively for this but again,

1528
01:54:47,469 –> 01:54:54,000
we're setting that IP address to 1 at the
end. So 192.0.0.1. I've set this IP address

1529
01:54:54,000 –> 01:54:59,530
to 0.3 and on the computer, I'm going to set
it to 0.2. Again, for the IP address, it doesn't

1530
01:54:59,530 –> 01:55:03,380
matter as long as those two numbers at the
very end are different from each other and

1531
01:55:03,380 –> 01:55:07,489
the first three numbers are the same across
the devices. I'll move this over to the side

1532
01:55:07,489 –> 01:55:12,070
and open up my computer's network settings
next. Here you'll see that I'm currently connected

1533
01:55:12,070 –> 01:55:16,290
to my Wi-Fi network but to ensure that I set
this up properly and that I'm not accidentally

1534
01:55:16,290 –> 01:55:20,449
seeing the devices across the network, I'm
actually going to turn off Wi-Fi to ensure

1535
01:55:20,449 –> 01:55:25,850
that there's no way that I'm possibly connected
to my actual local network here. I'll turn

1536
01:55:25,850 –> 01:55:31,060
that off and then, I'm going to set a new
location here. Now, this is not necessary.

1537
01:55:31,060 –> 01:55:34,790
This just makes it easier to switch back and
forth between your home or studio or work

1538
01:55:34,790 –> 01:55:38,980
location and some other location where all
your network settings change at once. It's

1539
01:55:38,980 –> 01:55:43,000
totally up to you if you set this up or not.
Now, I'm obviously on a Mac here. If you're

1540
01:55:43,000 –> 01:55:47,340
doing this on a Windows PC, I know that there
are very similar network configurations on

1541
01:55:47,340 –> 01:55:50,720
Windows. I don't know exactly what they are
but following the same guideline, you should

1542
01:55:50,720 –> 01:55:56,290
be able to sort this out. I'm going to create
a new location and call this “ATEM in the

1543
01:55:56,290 –> 01:56:01,810
wild”. And now, I'm ready to configure an
IP address just like I did on the ATEM. Because

1544
01:56:01,810 –> 01:56:05,889
my Mac doesn't have a built-in Ethernet port.
I need to use an adapter. So I've got that

1545
01:56:05,889 –> 01:56:10,530
right here. This is a simple Belkin USB-C
to Ethernet adapter connected to an Ethernet

1546
01:56:10,530 –> 01:56:14,920
cable, and the other end of that is right
here. Let's go ahead and take the ATEM off

1547
01:56:14,920 –> 01:56:19,869
of my local network and plug it into this
cable here. I'll take the other end of this

1548
01:56:19,869 –> 01:56:24,849
and plug it into my Mac. As soon as I do,
you'll see that a new network interface has

1549
01:56:24,849 –> 01:56:29,080
become available, the Belkin USB-C to LAN
adapter. Now I'll go ahead and configure the

1550
01:56:29,080 –> 01:56:33,210
IP address manually just as I did for the
ATEM and here's where I need to enter the

1551
01:56:33,210 –> 01:56:38,520
same numbers. I'll start with the IP address
here. Copy and paste that in but of course

1552
01:56:38,520 –> 01:56:44,139
I need to make it different, so I'll set that
to .2 then I'll take my subnet mask and paste

1553
01:56:44,139 –> 01:56:51,040
that in and the gateway which has to be the
same, set in there. Click Apply, and that's

1554
01:56:51,040 –> 01:56:55,270
it. So again, the router or gateway are the
same, the subnet mask is the same and the

1555
01:56:55,270 –> 01:56:59,310
IP addresses are different. Now, we're ready
to test this out but make sure that you save

1556
01:56:59,310 –> 01:57:04,540
the settings in the ATEM setup first. I'll
go ahead and click Save here and then to test

1557
01:57:04,540 –> 01:57:09,290
this, I'm going to just yank out that USB
connection and they should find each other

1558
01:57:09,290 –> 01:57:13,380
over the local network that we just set up.
The ATEM Mini still shows up on the network

1559
01:57:13,380 –> 01:57:17,290
here. If I click on the setup, we'll see that
it must be talking to it because it has an

1560
01:57:17,290 –> 01:57:22,510
IP address and I'm able to get into it, and
if I launch the ATEM software, we'll see it

1561
01:57:22,510 –> 01:57:26,929
connects and there we go, the ATEM and the
computer are talking to each other. Next,

1562
01:57:26,929 –> 01:57:31,300
we need to set the cellular connection to
be the primary connection; not the backup.

1563
01:57:31,300 –> 01:57:35,829
Otherwise, as soon as I try to go live, the
ATEM seeing this network is going to try to

1564
01:57:35,829 –> 01:57:40,210
use this computer to live stream but of course,
this computer doesn't actually have an internet

1565
01:57:40,210 –> 01:57:44,329
connection. So, let's make sure we change
that. We'll go back over to the ATEM setup,

1566
01:57:44,329 –> 01:57:48,119
jump into the settings and ensure that the
connection priority is set to Mobile. It is,

1567
01:57:48,119 –> 01:57:51,610
so that means we're ready to go. Finally,
I'll just go ahead and reconnect my phone

1568
01:57:51,610 –> 01:57:57,260
to the ATEM. Back over to the ATEM software,
we see that blue icon which means we're ready

1569
01:57:57,260 –> 01:58:01,960
to go. Click On Air and there we have it.
I'm now live streaming using the cellular

1570
01:58:01,960 –> 01:58:06,250
connection from my iPhone. If you have any
questions about setting up this network configuration,

1571
01:58:06,250 –> 01:58:09,449
please drop them in the comments below. This
can get a little bit tricky but as long as

1572
01:58:09,449 –> 01:58:13,520
you get the right numbers in there, everything
should just work. Thanks as always for watching.

1573
01:58:13,520 –> 01:58:16,780
If you haven't subscribed, please be sure
you do that. Don't forget to share this video.

1574
01:58:16,780 –> 01:58:21,070
Hit that like button and also, remember that
I'm now publishing videos without ads. If

1575
01:58:21,070 –> 01:58:24,810
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1576
01:58:24,810 –> 01:58:28,440
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1577
01:58:28,440 –> 01:58:31,699
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1578
01:58:31,699 –> 01:58:35,690
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1579
01:58:35,690 –> 01:58:39,300
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is a better way to watch YouTube. Thanks so

1580
01:58:39,300 –> 01:58:50,080
much for watching and we'll see you in the
next video.