Welcome to my new series of ATEM (mini) tips.
These tips should apply to your ATEM no matter which model you have. If you have any questions
that you want answered or tips that you need help with, then feel free to drop a comment
below and I’ll try to answer them in a future show. Today we're looking at how to automatically
switch camera angles. We're using an ATEM Mini today and I’m going to show you how
to switch from camera 1 to 2 to 3 to 4 automatically using a macro. To create a macro open the
macros menu, go to the Create tab, click on PLUS (+) and give it a name; I’ll just call
this "auto". The software will now record any and every action that we do inside the
ATEM software, but it will not assume anything. What I mean by this, is that if you want a
state to be activated, you have to explicitly click it. And here's why I tell you this;
right now I’m already on camera 1 and if I want my script to start on camera 1, I have
to actually tell it to start on camera 1. So, to do that, I could go to any other camera;
camera 2 or 3 or anything else and then go back to camera 1. That initial click to camera
2 will be overwritten by the click to camera 1 because I have just given it a command and
then give it essentially a replacement command right after it. So now I’ve just told the
software to switch to camera one. The next thing I want to do is insert a pause. I do
want the software to eventually switch to camera 2 but I don't want it to do it right
away. If I don't insert a pause, then it will execute these commands as quickly as it can.
So to insert a pause, you go to the top of the window where it says "Add Pause", click
on that and then give it a duration in seconds and frames, while in a real use case you'd
want to give it a longer duration than this, I’m just going to give it a one second duration
for this demo. I’ll click on Add Pause and then go to camera 2, I’ll go back to Add
Pause and add another one… go to camera 3, add pause… add one more… and then camera
four. Now at this point, I could be done with the script. If this is all that I wanted,
was for it to go from one to two to three to four; I’m done. But what I can also do
is tell this script to loop; to play back over and over again constantly switching from
cameras 1 to 2 to 3 to 4 and back to 1 again. However, if I don't add a pause at the end
of the switch to camera 4, then as soon as the script ends, it's going to immediately
jump back to the beginning and start over which means that I will only be on camera
4 for a single frame. So, now I want to add that pause at the end of camera 4 as well.
Add the pause, add that in, and we're done. I’ll now stop recording; there's the “auto”
button, click on the Run tab, enabling Recall and Run, will mean I only have to click on
the button or if I disable that, then I can select the button and click Play. I’ll go
ahead and click play now and watch the program switch the cameras that are live over here.
I click on Play and there it goes from 1 to 2 to 3 to 4. If I want that to repeat until
I stop it, then I’ll click this button here. That'll cause it to repeat, so now when I
click play, it'll run through the macro and then repeat when it gets to the end. When
you want the script to stop running, just click the Stop button. And that's all it takes
to automatically switch camera angles. If you want more tips like this, be sure to Like
and Subscribe and if you have any questions that you want answered, drop them in the comments
below. Today's ATEM Mini tip is answering a question that came in from a viewer. The
viewer asked how they can switch camera angles and simultaneously automatically load up a
different lower third graphic over each camera. So, something specific or unique to camera
1, 2, 3 and 4. To do that, we're gonna need to use macros. Let me show you first what
I’ve set up in preparation for this. First I have my four different camera angles; there's
camera 1, camera 2, camera 3 and camera 4, then I’ve created a series of lower third
graphics. Here they are; there's camera 1, 2, 3 and 4. These are simply PNGs with transparency.
To load these graphics into the ATEM, go to the Media tab, locate your folder — here's
mine; lower thirds — and then start dragging the graphics into the media player. There's
1, 2, 3 and 4. Now back to the switcher, where we'll set up the downstream key. You can use
the downstream key or the upstream key for this — however, the upstream key provides
a lot of additional capabilities that we don't actually need for this, so we're going to
save that for something else. The downstream key is totally sufficient. Also the downstream
key is the last part of the chain, meaning that this graphic will sit on top of anything
else we might create which is perfect for a lower third or a bug or anything like that.
To set this, up we first need to set up the Fill Source. It's already set to Media Player
1 where I want it and the Key Source is also set to Media Player 1 key. That's what's going
to give us the transparency of this PNG file. Now, this PNG is very simple, it's just a
on-or-off transparency; there's no drop shadow or gradient or anything like that. To apply
graphics with gradients drop shadows and so on, you actually have to load the graphic
a bit differently, which is something we'll cover in another video. For now we have these
simple PNGs already loaded and ready to go. I want my mask off because I’m not masking
any of this out and I want my pre-multiplied key turned on. The only thing that's left
to do is to turn on the DSK and bring it on air, and there we have it. There is our lower
third graphic over this camera angle, but of course as I switch camera angles from 1
to 2 to 3 to 4, that same lower third graphic is in place. So, now we need to build up macros
to automatically switch the camera angle and load up the appropriate graphic. So, to do
that, we'll go up to the macros menu and select the Create tab and then click "Plus". I’m
going to call this Camera 1 plus LT (CAM 1 +LT) for lower third, and then hit Record.
Now remember, anything that you want the macro to do has to be explicitly recorded. So for
example, here we're already on camera 1 but the macro doesn't know that, so we have to
explicitly switch to camera 1 to load camera 1. To do that since we're already here, I’ll
just load another camera angle and then come back to this one. I’ll go to camera 2 and
then back to camera 1 and that has now just written camera 1 into the script. Technically,
I just recorded camera 2 and then camera 1 but the software knows that the camera 1 switch
overrides the camera 2 switch and it will only save that one command. Next we need to
set up the Downstream Key. Once again, everything has to be explicitly stated. So we want to
switch to Media Player 1; to do that, we'll switch to anything else and then back to Media
Player 1 and the same thing with the key. So, switch away and then back again. I don't
want the mask, so I’m going to turn that on and then off to make sure that that is
told to go off and the pre-multiplied key, I want on, so I’ll turn it off and back
on again. Next we need to make sure that the correct graphic is loaded. So, back to the
Media tab, again, it's already loaded but we're going to take camera 1 and drag that
in just so we know that that loads up when we run this macro. Back to the switcher and
the last stage is to turn the DSK on. I’ll go ahead and turn it off and then back on
again and that completes the macro. I’ll stop recording, and just to test it out, we'll
go ahead and turn this off, switch over to camera two, go to the Run command, recall
and run this set, which means I only have to click this button and there we go. Camera
1, with the lower third loaded. Now we need to repeat this for the other camera angles.
I’ll do number 2. Back to the Create tab, I’ll click the Plus again and put “camera
2 plus lower third”, hit Record, load up camera 2. Once again, explicitly say that
this is Media Player 1, Media Player 1 key, mask is off, Pre-Multiplied key is on and
the media player we're gonna switch to graphic two. I’ve been doing it from the media tab
but I can also do it from this drop down here. Let's load up camera two. Now once again,
we're gonna go ahead and turn the DSK off and back on again, stop recording, and now
we're ready to run these. We can now switch from camera 1 with the lower third to camera
2 with its lower third. At this point, you'd go ahead and just record the additional macros
for cameras three and four. But going through this process can be a little bit tedious and
it's certainly prone to error. If you forget to do something, you may not realize that
until it's too late and you're running this in production. So, in the next tip that I
release, I’m going to show you how to start with the “camera 1 plus LT“ that we already
recorded and then by modifying the XML file, we're going to go ahead and create cameras
2, 3 and 4 without having to record anything additional. And of course as always, don't
forget to Like and Subscribe, it's a good way to make sure that I know that you like
these tips and want more of them and if you have a specific question or a specific tip
that you want to get answered, go ahead and drop a comment below and I’ll do my best
to hit it in a future video. In the previous ATEM (mini) tip, I showed you how to create
a macro that allowed you to switch camera angles and also load up a different lower
third over each camera angle. However, the problem with that process of creating the
macros by recording them over and over and over again is that they're quite prone to
error. So, in this video I’m gonna show you how to take the first recording that we
did in the previous video and then replicate that out for cameras 2, 3 and 4 using XML
Editing. Here are the two macros that we created in the previous video; camera 1 plus lower
third and camera 2 plus lower third. Just to test them out again, we'll go to Run and
load up camera one plus LT and camera two plus LT, and they're working fine. But I want
to go ahead and create them for three and four and in fact, I’m also going to create
the one for camera 2 all over again. I’m just going to go back into the Create tab,
select Camera 2 and delete it, so we only have the first one created. I’m going to
go ahead and save this out as an XML file. Go to File, Save As, give it any name you
like, I’ll just call it “Camera Switching”, hit Save, and here in this window I can choose
what I want saved into the XML file. In this case, I don't want all of this; I only want
the macros. So I’m going to click on Select None, and then select Macros and save that.
It'll just make it easier to manipulate the file later. Next I’ll switch over to BBEdit,
which I like to use to edit these files. I’m going to go ahead and open the file that we
just created and from here we can see exactly what this macro is made of. There's the macro,
index 0, (that’s the first macro in the list), there's the name we gave it, “CAM
1 +LT” for lower thirds, and then here's all the different commands; program input
was set to camera 1, the key fill was set to media player 1 and there's the key source
for it as well. We disabled the mask so you can see the mask is set to "False", we enabled
the Premultiply, so there's premultiply set to "True", and then we chose the Media Player
source which was that first graphic which is showing up as "Index 0". Now, this can
definitely get a little bit confusing because the index number is not the same as the number
in the software for that particular graphic. Let me show you what I mean; this is set to
index 0, however, if we look at the media player, it was actually graphic number 01.
This is position 0. This is position 1, position 2, position 3 and so on. This applies to the
macros as well. You'll notice that our macro is set as index 0 but it's actually in position
1. So again, it's confusing but whenever you're dealing with these you have to know that you
are loading up a different number than the one that you need. All right, let's go back
into BBEdit and here we can see the downstream key on air was actually disabled and then
enabled. Curiously, it actually recorded that turning it off, so I’m going to go ahead
and delete that line because we don't want it. We don't want it to turn it off and back
on; we just want to leave it on. All right, now I want to go ahead and duplicate this
three more times. So we'll go ahead and select all of this from the opening of the macro
to the closing of it. I’ll hit Command-C to copy that, put the cursor here and then
just go paste, paste, paste, to give us three more of them. Now I need to change each one
of these for each camera angle. There's a few things I have to do. So, it's index 0,
camera 1. Let's change this one to index 1 and we'll set that to camera 2, this one will
be index 2 and we're gonna set that for camera 3 and this one is index 3 and set that to
camera 4. Next let's look at the camera inputs; this one's set to camera 1, this one is going
to switch to camera 2, to camera 3 and to camera 4. Finally we need to change the graphic.
The graphic is index 0. Here's the graphic right here, that's index 0, this one's going
to be set to index 1, index 2 and index 3. And of course, if you're ever confused at
which one you're switching to, simply check out in your software, the Media Player, it
was number 4 that we wanted to load, in position 4, subtract one from that to get to the index
number and there we go, index 3. That's it! This should be everything we need to do to
save all four of these buttons as macros. I’m gonna go ahead and save this but I’m
gonna do a "Save As" and just a little tip on how I like to do this; under the "Save
As", there's always a date and time automatically added by the ATEM software; I’ll go ahead
and update that timestamp so that it reflects the current time. It is currently six minutes
after the hour, so I’m going to say 6-00. The -00 is for me replacing the seconds but
also an indicator to me that that is one that I created, it's just how I do things. We'll
go ahead and save that, go back over to the ATEM software and from the file menu, Restore,
and we'll choose the new one that I just created. Restore that; it asks what I want to restore,
in this case, macros is the only thing available, click "Restore", load up our macros and there
they are; camera 1, 2, 3 and 4 with the appropriate lower third. All that's left is to test it
out. Go to the Run, make sure "Recall and Run" is enabled and we'll switch to camera
2, camera 3, camera 4 and back to camera 1 again. This is a great way to take total control
over your macros. Yes, it's a little bit complicated and it does take some getting used to, but
once you get comfortable with manipulating the XML file, you'll find that you can go
in and start copying and pasting individual lines of code from one macro into another
making it easy to combine complicated macros into one. You can also save off multiple macro
files, open those up and copy and paste one macro command into another file just making
sure to always give each macro a unique index number. That's a common mistake. If you have
multiple macros with the same index number, you're going to be missing one inside of the
macro list. So, just open up that XML file and make sure that each one has a unique index
number. Other than that, have some fun figuring this out. It’s, again, complicated but it's
worth the effort. As always, don't forget to like and subscribe so I know that you want
to see more of these videos, and if you have any questions that you want answered; any
tips that you're trying to figure out, drop them into the comments below, I’ll try to
get to it. In today’s ATEM Mini tip, we’ll be looking at how to create proper graphics
with proper transparency for your ATEM. This could be for an ATEM Mini, ATEM Mini Pro,
ATEM Mini Pro ISO, ATEM Mini Extreme… you get the idea, any ATEM model, this applies.
Now, we’re going to build this through a series of progressions because when you start
off with a basic transparent file — a basic PNG with no drop shadow, no gradients; nothing
fancy — you don’t need to do anything special, just output a PNG and you’re fine,
and we’ll look at that. But as soon as you start adding drop shadows, things get a little
bit tricky. You might add a drop shadow and export as PNG and it looks okay. You probably
don’t even notice the difference until you look really closely. But then if you start
doing things a bit more fancy, like having gradient transparencies, then things can get
pretty ugly pretty quickly. So, we’re going to look at all of that; we’re going to look
at how to create the proper graphic using Photoshop because there’s actually a plugin
that comes with your ATEM that is installed by default when you install your ATEM software
into your Photoshop plugins, but if you don’t have Photoshop then you can’t use that.
So, at the end I’m going to show you how to do this without Photoshop as well. Let’s
get started! Today we’ll be using the ATEM Mini Pro ISO, but again this applies no matter
what ATEM you’re using. I’m going to start with Photoshop. We’ll create a new document;
I’m going to go to the Film and Video presets to choose HD TV 1920x1080 – that’s the
size of my output – and I’m going to set the background contents to Transparent.
Click Create… and I’m just going to do something really simple. I’ll grab the Text
tool, click it on here and type in "PhotoJoseph", I’m going to make this nice and big on here,
you can see I’ve already got a bright yellow color selected, and then I’ll add a Drop
Shadow. I’m just going to do this with the Photoshop tools; go to the Effects tab, add
a Drop Shadow, and I’m going to make it really big and bold like this. Click "OK"
and that’s it. Now to export this as a PNG, I’ll go "Export As", it’s set to PNG,
we have Transparency enabled and that’s all I have to do. Click Export; I’ll call
this “PhotoJoseph"… and save that. Now let’s switch over to the ATEM Software and
go to the Media tab. I’ve already saved this ATEM files folder as a Favorite, which
by the way if you don’t know how to do that, you can right-click on any folder and add
or remove from Favorites. There’s the file that I just created, I’ll go ahead and drag
that into the Still Store and that automatically loads it up into Media Player 1. Now let’s
go back to the Switcher, I’m gonna go to my Downstream key, it’s set to Media Player
1 with the key source; that’s the Alpha channel being set to Media Player 1 key which
is what I want and I’m going to leave premultiply key OFF for now and go ahead and bring this
on air. So there’s the graphic. Now you can see the transparency and you can see the
drop shadow and you can see that it’s not exactly right, there’s some weird edging
to it. Okay, well, let’s turn on premultiply. I’ll turn that on… and it’s better.
This is definitely better. And for the most part, this is perfectly fine. So, if all you’re
doing is adding a drop shadow, try it like this and if it works, it works and you’re
good to go. It kind of depends on the graphic. But now let me show you where this breaks.
Let’s go back over to Photoshop and I’m going to create a rectangle in here; just
a simple shape, and then I’m going to add a mask to that, grab the Gradient tool by
hitting the G key and I’m just going to drag the gradient across just to give it this
transparency. So, all we have now is a big box that goes from solid to transparent yellow
and you can see that it falls off somewhere around here, it goes to completely transparent.
So just remember, right around the E to PH in PhotoJoseph, that is really dropping off
to total transparency. Now, let’s export this out as a PNG and this one we’ll call
"PhotoJoseph + grad". Back over to the ATEM Software, back in the media tab, there it
is, we’ll drag it in and right now it looks just fine. Let’s go ahead and drag this
into place here and it’s going to immediately load up and we see a huge problem in here
- that is not okay! So, clearly we have broken things. All right, well let’s just go back
and see what’s happened here. We’ve enabled premultiplied key, so the software is looking
for a premultiplied key but this isn’t a premultiplied key. Now, what is a "premultiplied
key”? We’ll get into that a little bit but for now this isn’t it. So, let me just
turn that off. Oh well, that’s better, right? But hold on, look at the drop shadow — the
drop shadow is back to its kind of weirdness. Well, I do have some options down here. I
mean, I can play with the clipping and try and make that a little bit better and maybe
adjust the gain on that. Well, we can see where that falls apart pretty quickly. You
might, once again, find something that you’re happy-ish with, but this is definitely not
going to be correct. What’s correct is to export a premultiplied key. So, what does
that actually mean? Well, a premultiplied key has the alpha channel drawn against a
rendered-out black or white; in this case the ATEM software software’s looking for
black. And what that means is that your transparency needs not to fade to transparent but fade
to transparent with black blended in. Now, how do we know this? Well, we’ll come to
that. But let’s go ahead and look at how to do this using Photoshop the easy way. Back
into Photoshop; the exact same document. I’m going to go to the file menu and under Export,
you’ll find the ATEM Switcher Media Pool option. This is a plug-in that is automatically
installed when you install your ATEM software. The first thing we have to do is enter the
IP address of our switcher — if you don’t know what that is switch back over to the
ATEM setup software, jump into here and you’ll find the IP address right there; so, 10.0.1.105,
that’s the IP address for my switcher and there we have it. I can name "My Export",
I’m going to go ahead and call this one "Plugin", so I know this came from the plugin,
I can choose where I’m going to drop that. We’ll drop that into media pool location
3; it even tells me that it’s empty. We’re going to tell it that this is a premultiplied
alpha, this is an important step. To check that checkbox is what’s going to make this
work. And then you can also choose to have it, after export, do nothing, or actually
automatically set it to Media Player 1. What this means is that once I export it, it’s
going to drop it into this spot here and load it up into here at the same time. This is
actually really cool. This means that you can create graphics on the fly during a live
production and send those graphics live to air from Photoshop, neat. But let’s get
back to this - I’ll switch over to Photoshop, again we’ve named it "Plugin", it’s going
to media player 3. It’s going to send it live to air, click export and it loads it
into the ATEM and it loads it up on air, but it’s still not totally right. Let’s go
back over to the ATEM software, go to the Switcher, and premultiply key is not turned
on, let’s go ahead and turn that on and now we have the right transparency . Look
at the drop shadow and look at the gradient - the gradient is ending where we wanted it
to and the drop shadow looks really, really good and clean. So, this is the way it’s
supposed to look, this is what we want. Okay, but this required a plug-in in Photoshop.
So, what is it doing? Well, remember I explained the premultiplied key. Let’s take a look
at what the actual output file looks like. The way to do that is to save the output from
the ATEM into a new folder where we’ll be able to see the graphics that this plugin
actually created. And then where we wanted it to - and the drop shadow looks really,
really good and clean. So, this is the way it’s supposed to look, this is what we want.
Okay, but this required a plug-in in Photoshop. So, what is it doing? Well, remember I explained
the pre-multiplied key; let’s take a look at what the actual output file looks like.
The way to do that is to save the output from the ATEM into a new folder where we’ll be
able to see the graphics that this plugin actually created. So, let’s go back into
the ATEM software, I’ll go to File > Save As; I’m just going to call this “Export”
and click “Save” and on this menu, I’m going to turn off everything except for the
Media Pool. This is going to save out the graphics that are currently stored on the
ATEM. Click “Save”, it’ll export those out, let’s go ahead back over to the Finder,
there’s the ATEM Media Pool folder and here’s the three graphics. So, there’s the original
one that I created, the “PhotoJoseph” one without the gradient, then here’s one
with the gradient in place; you can see what that PNG looks like and then here’s the
one generated by the plug-in. Look at how the gradient fades out to black. It’s this
weird thing that normally would not look right but in a pre-multiplied environment, is what
we need. So, that’s what we have to create. We have to figure out how to create that PNG
with the black; with the pre-multiplied black without using the plugin. So, to do that we’re
going to switch to another app just to show that you don’t need to use Photoshop. I’m
going to use Affinity Photo. In Affinity Photo, I’m going to go ahead and open up that original
PNG that I made. So, "PhotoJoseph + gradient”, that’s the one that came out of Photoshop,
and here’s the steps; first thing you have to do is duplicate the layer, then we’ll
go ahead and hide that top layer, create a new layer I’ll move this to the very back
here and I want to fill this with black. So I’ll go to the Edit menu, Fill, and I’m
going to fill this with black. Now I need to take these two layers and merge them together.
Right click and choose Merge Visible. We can now get rid of these extra ones here. There’s
the one that we’ve just created and then here is that original background layer that
we created. Remember, if I hide this and turn this one back on that’s where we started.
We actually need to load a selection from this layer. So, I’m going to go to the Select
menu and choose Selection From Layer, now we’ll go ahead and hide this and go back
to this one here, which is merged with the black background and create a mask for that.
To do that simply click the Mask button. There is our mask - I’ll deselect that and here’s
the end result. You can see in here how it’s fading out to black just like what we had
before in that PNG that was generated by the plugin. So now I’ll export this as a PNG.
Go to the File menu and Export as a PNG file… export that and we’re going to call this
one “Affinity" version. Hit Save… back over to the ATEM software, into the media
pool, there’s the Affinity version, we’ll drag that into place, drag that on and with
pre multiply key enabled, we can see that the key looks correct. So, let’s just do
that one more time but without going through the whole process of exporting a PNG and bringing
it back in again. I’ll create a new file in Affinity photo and of course, this will
work in any graphic software. Once again, 1920x1080 and I also have transparent background
enabled here, click “Create" and let’s do something crazy... I’ll go ahead and
do the PhotoJoseph again in there because, why not? Let’s make that some other color...
I’ll put not just a drop shadow… let’s go ahead and enable that and make that nice
and big and soft on there, make that pretty dark as well… but I’m also going to add
a glow on here because that would definitely break things… so, let’s make this a bright
yellow glow and put that behind the text in there, maybe make that drop shadow a little
bit bigger. Then I’ll also do a shape. Let’s go ahead and draw what would be a lower third
in the end and let’s put on a gradient on this. We’re obviously getting crazy here
and doing something really ugly, but that’s okay, it’s just to make a point. I’ll
put a mask on here and grab the gradient tool and just make that really nice and soft; drag
that out like so, grab the Arrow tool — let’s take this text here and we’ll put that on
top. And again, we’re really doing something that’s ugly but no doubt, this is something
that would not work without the pre-multiplied channel. Okay, so we’ve created all of this
at this point but now we don’t want to have to export it out as a PNG and re-import it
etcetera, etcetera. So, here’s what we’ll do. Go ahead and select these two items here
and group them. I’ll duplicate this, hide the top one and create a new layer underneath
this that I’ll once again, fill with black. Now, I’ll go ahead and merge down, select
that top layer — you do have to enable it to load the transparency, so enable that temporarily
— go to the Select menu and choose Selection from Layer, then we can go ahead and hide
that, select that background layer and create the mask. There you can see the fading off
to black that we need, so let’s go ahead and export this out as that PNG file that
we need and we’re just going to call this one “Fancy". Hit Save, back over to the
ATEM software, take that Fancy one, load that into place and there we go. Verify that pre-multiplied
key is turned on, and of course it is and now you have the beautiful gradients, the
shadows, the glows and everything works right. So, that’s how you create these graphics;
they have to be pre-multiplied if you want to have your transparency and your opacity
look the way it was intended to. Again, you might be able to get away without doing that
with generating just a simple PNG if all you have is a simple drop shadow, but if you’re
seeing some anomalies in your drop shadow, this is why. Generate the graphic this way
either using the plugin from Photoshop or using the technique I just showed you and
that’s all you need. Hey, as always, don’t forget to subscribe, hit that Like button,
share this video with another ATEM user that you know and if you have any tips that you
want to see done, make sure you drop them in a comment below, I’ll do my best to get
to them, thanks. In this ATEM (mini) Tip, I'm gonna to show you how and where to download
the software to keep your ATEM hardare up to date. If you've just bought your ATEM hardware,
it didn't actually come with any software; you have to download it. And I gotta say,
the instructions that are in the box on where to find them; not that clear! So you might
be watching this having never have downloaded the software and are wondering where to get
it, or you might already have it, but aren't sure how to update it. So, we're going to
cover that right now. First thing you have to do, is go to the Blackmagic Design website;
blackmagicdesign.com, and then click on the support tab, and then under "Search by model",
type in "ATEM mini", or whatever model you have. The software is actually the same for
pretty much all, if not every single ATEM model, but just to be safe, you can type in
the full name, or find the model here. I'm going to be looking at the ATEM Mini Pro ISO,
so I'll select that one. Now, just to add a little bit of confusion to the interface
here, once you do that, nothing change here, except that a box highlights. And if you scroll
down, then you'll finally see the software that you need to download. The latest update
as of this recording was from the 18th of February, 2021; it's version 8.6. Click on
the button to download either macOS or Windows. If you haven't registered your hardware, I
definitely recommend you do that, or if you have, then just click on "Download now". Once
the software is downloaded, locate it in your downloads folder, and double click the disk
image. And if you're on Windows, I guess it's an .exe… I'm sorry, I don't know, but I'm
sure you can figure that part out! And from the DMG that mounts, double click on the installer.
That's going to install a Blackmagic ATEM folder that has all the software you need.
The two main pieces are the "ATEM Setup" and the "ATEM Software Control". Launch the ATEM
Setup, and navigate to your switcher. If you only have one switcher connected, then that
will come right up. From here, you have two options. You can either click this button,
which will launch the ATEM Software, or this one, which will launch the setup. If there
is an update available for your hardware, as soon as you click this button, it's going
to prompt you to update. Now the nice thing is, it will not force you to update. It will
actually allow you to "Continue", so if you need to get to work right now, and you don't
have time to update, you can bypass that. But as soon as you can, come back in here,
open this interface again, and it'll prompt you to update. The update procedure is pretty
quick; it will just run through its process, reboot your ATEM, and you'll have the latest
software in there. And that's all there is to it! I definitely recommend checking for
updates pretty regularly; Blackmagic releases updates to their ATEM hardware lineup pretty
often, and quite often they have really cool new features in them. So definitely check
this out every once in a while, or just watch for videos on this channel, where of course
I'll tell you if there's anything new that you want to install on your ATEM. As always,
don't forget to like, subscribe, and share this video with another ATEM user, and if
you have any specific questions that you want answered, drop them into the comments below.
Today’s ATEM (mini) Tip is all about controlling the Picture in Picture or the PiP in your
ATEM hardware and software. This tip applies to any ATEM - however, it’s primarily focused
at the ATEM Mini, ATEM Mini Pro, ATEM Pro ISO, ATEM Mini Extreme and ATEM Mini Extreme
ISO because those are the ones that have the hardware buttons on them to control the Picture
in Picture which you want to watch out for. However, as far as controlling this and software
goes, everything I show you here will apply to any model. So, first let’s take a look
at what we have on the hardware; you have on here a series of buttons to enable Picture
in Picture. There’s the Off and the On button that just turns that on and off and then you
have a series of buttons to load up preset Picture in Picture positions; the bottom left,
top left, top right and bottom right. These buttons here are a little bit dangerous because
if you push one of those buttons after you’ve spent time configuring your Picture in Picture
the way that you want it, it might actually reset everything, so, you’ve got to be careful
of that. So, I’m going to show you first how to set up the Picture in Picture however
you want it. I’m going to give you a little bit of a nod towards something else that you
can do in here, although there’s a lot of options that we’re not going to cover today
and then I’m going to show you most importantly how to save the work that you’ve done so
you don’t lose it. Let’s get started. The first thing I want to look at is what’s
actually happening when you push this button. As I turn this on and off, you’ll see a
couple things happening - first of all you see the Picture in Picture showing up in the
video stream so there’s a Picture in Picture of myself there, not terribly exciting yet,
but look at the software interface - notice up here, this is the Upstream Key and as I
turn this on or off, that is what is being brought on air and off air. This On Air right
here indicates that the Upstream Key is on air, and this is your Upstream Key. What’s
inside of that Upstream Key is determined by the Fill Source. It’s currently set to
this camera, the main camera here which I could change in here to any other source,
for example here I have a little running loop of a stock video but what would actually make
more sense is to leave this as me and then to change the background, the primary stream
as that background video. So now we’ve got a more traditional Picture in Picture type
setting, and again, if I change the position of these, all it’s doing is moving me into
one of those other corners. But let’s look at how to take control over this. Again, this
is an Upstream Key and it’s a DVE Upstream Key. DVE stands for Digital Video Effects,
and it’s just the basic type of Upstream Key that we have on the ATEM hardware. We
already saw the Fill Source - underneath this you have Position, Size, Masking, Shadow and
Border controls. There’s more as we go down here as far as animations go but we’re not
going to get into that today. By the way, at any point you can go up to this menu and
reset any of these characters or go ahead and choose Reset All to reset everything back
to its default position, and this is the hardware’s default position. Now we’ve got the Picture
in Picture, the Upstream Key of me centered, scaled and not cropped. Once again, if I hit
the hardware in here though, it’s going to immediately push that back into those other
positions. So, if let’s just say that this position happened to be what we really wanted,
hitting one of those buttons on the ATEM itself is going to reset that. But now let’s look
at the controls that we have in here. First you have your position controls. I can control
these by clicking on the arrows here to move them, I can click in this field and then use
the arrows on my keyboard to move them as well, or I can just punch in a number. So
if I wanted to say 3.0, I can do that. There’s also a Size in here, I can change the size
of this, make it a little bit bigger, a little bit smaller - you’ll notice that the X and
Y axis are locked, however, I can actually unlock this. So if you wanted to scale and
stretch something for some reason, you could do that as well. I’ll go ahead and re-link
these and then I’m going to set the size to 1 which is 100% and makes it full screen.
However, you can actually make this bigger - you can zoom in pretty far. This was a feature
that was added at some point in the software and you can go - anyway let’s not do that.
Next is the mask - it’s by default set to zero, not masking anything, but if we go in
here and start typing in numbers or moving this with the cursor, you’ll see that we
can start to mask the image. You can crop the top, bottom, left or right on this and
what’s probably most common would be to crop off part of the edges on here to give
yourself a smaller Picture in Picture if you just wanted to crop a square out of a video
feed, for example, this is how you would do that. You can add a drop shadow to this but
make no mistake, this is not a fancy drop shadow, it doesn’t even have blur to it,
you can change the position of that, you can change the altitude of that just as how far
it goes, but that’s about it. You can also drag in this little guy here to reposition
that. But as you can see there, it’s - this is not a fancy drop shadow, so don’t get
too excited. You can add a border to this - the border allows you to change the color
so you can set any color that you want in here which you can do with the Color Picker
or you can do with the Hue Saturation and Luminance controls, which is extremely important
because if you are going to build the color choice into a Macro, you’re going to want
to define the Hue, Saturation, and Luminance inside of the Macro. You can change the outer
width, the inner width of that border, you can soften it which kind of like the shadow
is not really all that exciting but it’s there if you want it. I’m going to go ahead
and set all these back to their basics, we’ll leave a simple outer width on here and you
also have a Border Opacity, so you can make that solid or a bit transparent. Again, none
of this is terribly exciting but you do have the ability to do it if you need it. Most
likely if you’re going to use this, you’d keep it pretty simple - you’d probably leave
the border opacity at 100%, set a nice simple outer width, let’s just say 1 or even 0.5
on there and then set a simple color like a basic white just to ensure that you have
a nice clean border and let’s get rid of that silly shadow on there as well. So those
are the basic controls that you have over the DVE Upstream Key. Now, I said that I’d
give you a nod of some of the other things that are in here. If we scroll back up to
the top of this list, you’ll see that you have four different types of Upstream Keys;
there’s Luma keys, Chroma keys, Pattern keys and the DVE keys. The Luma and Chroma
keys are quite complex and quite powerful, we’ll cover those in other videos. If you’re
interested, let me know in the comments below. But for now I do want to take a quick look
at the Pattern keys because these can be kind of fun. Under the Pattern key right now, you’ll
see that this diamond shape is selected. I’m going to go ahead and set it to the circle
shape and then under here you’ll see that I can change the size of that circle, the
symmetry of it - so if I want to squish that out a little bit, make it a bit more oval,
I can put some softness on the edge of that if I want to and then change the position
of the circle itself. Now this is the position of that crop, so if I wanted to have a circular
Picture in Picture type of a thing and I wanted to let the person sit wherever they wanted
to on frame, I can go ahead and move that circle over their face and then from here,
go down to the Flying Key position and position where they are. There’s the Size, currently
set at 50% and then the position in here which I can now move to wherever I’d like. Let’s
put that up in the top - let’s go ahead and fix that symmetry as well to make it more
like a real circle and now let’s go ahead and save this. This is the Upstream Key position
that I want to save, that I want to be able to recall at any time. As you might have guessed,
we’re going to need to use a Macro to do this. So, let’s go to the Macros menu, open
the Macro page, select a new blank one here under the Create tab, click on PLUS and I’ll
call this “Circle PiP”, for Picture in Picture, and hit Record. Now as always, when
recording a Macro, you do have to explicitly record everything that you want the Macro
to do; it assumes nothing. So, in this case, let’s start by building out this Picture
in Picture. We’ll go up here to the type of Upstream Key, we don’t want a DVE key,
we want a Pattern key. So I’m going to switch away from Pattern and back to Pattern so that
now a Pattern key is enabled. The Fill Source needs to be defined, it’s going to be the
picture of me, so I’ll go ahead and switch it to something else and then back to me again.
We need the right shape, so we’ll select away and back to that. Invert Pattern; you’d
probably would never use this but we want to make sure that it doesn’t accidentally
end up inverted, so let’s go ahead and toggle that as well. Next let’s go to the size
- now, as we go through each one of these fields, I could move the slider on here to
get it dialed in or since I’ve already meticulously put it into place, I’m going to go ahead
and just click on here and then tap up on my keyboard and down again, just hitting the
up and down arrows just to change the number and then change it back to where it just was.
That will write that into the code. So, we’ve just done that one, I’ll go here, up, down,
up, down, position up, down, up, down - we want the mask off in this case, so we’ll
turn it on and back off, we want the Flying Key on, so we’ll turn it off and back on.
The position again, up, down, up, down, size, up, down, that’s written that into place
and now we’re ready to go except of course we need to make sure that it’s turned on.
So I’ll turn it off and back on again and there’s our Upstream Key. Now I seem to
have reposition myself in here but we’ll leave it there, we’ll go ahead and stop
recording, you can see that’s saved, go back to the run position and it’s ready
to go. Let’s just switch it away from this. Let’s go ahead and switch it back to the
default DVE key that’s built into the hardware. I’m going to go ahead and hit the button
down here to do that. Oh, wait a second - notice that the on button is flashing here. In fact,
at this point, if I push these buttons, they’re all going to flash and nothing actually changes.
This is because we have moved away from the DVE Upstream Key. So, as long as we’re off
of that tab, those buttons aren’t going to hurt us but again, if we’re on that tab,
it will overwrite whatever we’ve done. So, since those buttons are no longer doing anything,
I’m going to go ahead back over here and switch it in software back to DVE. As soon
as I go to that tab though, now these work again. So now I can turn that on or off and
I can change the position back to those defaults. But of course what we want, is to bring up
the circle Picture in Picture. Recall and Run is enabled, one click of that and there
we are back to the position of where I left it. So that is how you build a Picture in
Picture in the ATEM software taking complete control over its crop, position, scale and
everything else and then of course, how you write that into memory by saving it as a Macro
that you can recall at any time. Of course, as always don’t forget to Like, Subscribe
and Share this tip with another ATEM user and if you have any burning questions that
you want answered about your ATEM hardware or software, drop them into the comments below
and I’ll be sure to get to it. In this ATEM (mini) Tip, we’ll look at how to connect
a variety of devices other than a camera to your ATEM Mini. We’ll start with a computer
- one of the most common devices to want to integrate but we’ll also look at connecting
an iPad, an iPhone, a wireless Chromecast, an Airplay receiver, an HDMI receiver, so
you could wirelessly connect a camera from across the room, an ATEM streaming bridge,
which would allow you to connect to a camera from across the world and a dedicated video
player. I’ve got all this already connected to an ATEM Mini Extreme ISO, but it’s a
bit too much to fit on my desk here, so let’s step into the main studio. All right, as you
can see, I’ve got a lot of stuff hooked up to this ATEM Mini Extreme ISO. In fact,
I have something on every single one of the eight inputs right now which is kind of impressive.
I’m going to run through everything that’s in here right now and then we’ll go back
through and talk about how each one is connected and while we’re doing that, I’ll talk
about various things you might want to know as far as hooking these up, little tips and
tricks and so on. So let’s just start with input one which is the camera. I’ve got
just a BGH1 here plugged in, so I’m just straight HDMI into this - nothing fancy here,
it’s just my camera input. Now we go to camera two. Camera two is my laptop, so I’ve
got my MacBook Air here connected in on camera two, on camera three I’ve got the iPad,
on four I’ve got an iPhone, on five I’ve got something called the “Mirror screen”,
which is a wireless Chromecast/Airplay receiver - really inexpensive and really useful. So,
definitely highly recommend you check one of these out. The next input number six is
a Hollyland wireless HDMI receiver that’s hooked up to a camera over there - hello!
- and it’s just a way to get another camera into the device without having to run a log
cable to it. Number seven is the ATEM Streaming Bridge. Now, this can be streaming from anywhere
in the world but it is just now streaming from my office over there that I just walked
out of. And then finally on number eight, I have a very basic HDMI video player that’s
just looping some video. So, we’ll talk about all of these and how they’re connected
starting with the laptop. Now, the laptop here is connected over USB-C but let me back
up and talk about some other ways you might want to connect. You might have a computer
that has an HDMI port on it - go figure. Some of them still have those. If you’ve got
HDMI out of your computer, all you need is an HDMI cable from the computer into the ATEM
and that’s it. Now, we will talk about some of the setup things in a moment but that’s
all you’re going to need to physically connect it. If your computer has Display Port or Mini
Display Port, then just get a Mini display port or display port to HDMI cable or to HDMI
adapter and then a straight HDMI cable, that’ll work too. In my case here on this M1 MacBook
Air, I only have USB-C. So, I have here a USB-C to HDMI cable which actually works great.
I found a brand that has been really reliable for me, I’m going to put the link to these
down below. They come in some pretty long lengths and I’ve been digging these cables.
They work great and it’s just one cable to connect them. But that’s not the only
option - you can also get a USB-C to HDMI adapter. This is one from Belkin, and over
here on the iPad I have the one made by Apple. These both will work here and these actually
provide some other advantages if you’re doing things like HDR editing work and you
want to be able to view some of these devices on an HDR monitor, but as far as connecting
into the ATEM itself, these are definitely overkill - this simple cable will work but
if you’ve got one of these, that’ll work as well. All right, once you’ve got it connected,
your computer can operate in one of two modes - either in a screen mirroring mode, where
the same thing you see on your computer display will show up in the ATEM or in a dual screen
display, where you have this screen and then a separate display coming into the ATEM. And
what you choose to use will just depend on how you’re using it. But I also want to
talk about some problems that you might have when you connect a computer to the ATEM. If
you connect them and you’re just not seeing an image on the ATEM itself, here’s what
to look for - I’m going to start by going to the System Preferences and opening up the
displays. Now, I am of course doing this on a Mac, if you’re on a PC, I can’t walk
you through those steps but you will find these basic same settings there. First thing
I’m going to do is click on this button down here that says “Gather Windows”.
This actually brings over the display settings for the Blackmagic connected device so that
I can control both devices from this screen. So, if I don’t see the window with that
BDM HDMI monitor control panel on my Blackmagic device, then hit that button to bring both
windows over to this screen so you can see what’s wrong. By default, the resolution
will be set to “Default for Display” and this absolutely should work. But if it doesn’t,
you can click on Scaled and see a variety of alternate resolutions. Now again, you should
be seeing 1920x1080 here, but what if you’re not? I have seen situations where - not with
this Blackmagic device but with others - where instead of showing 1920x1080, the Mac is trying
to connect at 1920x1200 and therefore the receiving device can’t see it. It just doesn’t
understand what to do with that resolution. If you don’t see 1920x1080 here under the
Scaled, I’ll show you a little trick. If you hold down the Option key and then click
on Scaled, it shows you a bunch of alternate resolutions and in there you should find that
1920x1080. Again, it should just work straight out of the box, nothing special to do but
if it doesn’t, this is where you go. Now, if you select 1920x1080 and it still isn’t
working, there’s one more thing you can check. See under here there’s a Refresh
Rate option. By default mine is set to 60 Hertz but you might want to play with different
refresh rate settings to find one that syncs up. If your ATEM Mini is set to 1080p 29.97,
then the 60 Hertz or 30 Hertz should be synced up automatically and that should work. If
you’re doing it at 1080p 25 in a pal region, then the 25 Hertz or 50 Hertz should work
and it should find those automatically. And if you’ve set your ATEM to 24p, then the
24 Hertz should work. But again, if it’s not finding it automatically, you can change
these manually. And once you’ve set that you should never have to set it again because
the Mac will remember the last device it was connected to. Next let’s look at the arrangement.
I currently have this set up as a dual display arrangement, but if I click on Mirror Displays,
then I’ll be able to see the same thing on this screen as I do on the ATEM. This might
be useful if you wanted to use this for video playback - you want to be able to open a video,
go full screen and hit Play and have your audience see what you’re seeing here. On
the other hand, if you’re doing something like a slideshow from Keynote or PowerPoint,
then being able to have those two separate displays is awesome. This will let you have
your current and next slide and even your notes on this screen while your audience is
seeing the full screen slideshow. Let’s take a look at how that works. I’ll go ahead
and switch over to Keynote where I’ve got a presentation ready to go and click on Play
and as soon as I do that, on my Mac screen I see my current slide and my next slide while
the ATEM, the audience, is only seeing the current slide. I can also change the display
on the Mac here, for example if I wanted to show my presenter notes, I can bring those
up and then I see my notes in here like here it’s telling me not to forget to tell you
guys to subscribe. If you haven’t subscribed, please do. That was a great chance to do that.
Hit that thumbs up too, share the video - you know the drill. Anyway, back over to this.
If I want to advance through my next slides, I can do that, always see the next slide up
on screen here and again, the audience is seeing just what I want them to see. Now,
I can also integrate myself into this and this is one of the advantages of using the
ATEM to show your slides. Instead of just having the slides up, I can do a Picture-in-Picture
with my face sitting in the corner. Now, I can do this as a standard default Picture-in-Picture
on the ATEM but we can completely customize this. That’s something that I covered in
the previous video. ATEM Mini tip number seven showed you exactly how to build a custom preset
Picture-in-Picture. I’ve already done that and I’ve got them saved as macros and because
this is the ATEM Mini Extreme, there’s actually macro buttons on here, so I’m going to go
ahead and call one of these up by pushing the macro one button and there I am up in
the corner. So, this is the power of a device like this combined with your slides and your
Picture-in-Picture, the customizable Picture-in-Picture really being able to bring this up however
you want. So, this is a really cool way to do things. All right, let me turn that off
and go back to this screen and now we’ll move on to the next device which is going
to be the iPad. There’s iPad on number three. Now, the iPad again is connected this time
over an HDMI adapter, the same USB-C to HDMI cable that I’m using on the Mac would also
work on the iPad, I’m just using this for now. And when you connect this, if there’s
any issues at all, there’s really only one place to look and that is the Display Settings.
So let’s take a look in the Settings, scroll down to Display and Brightness, scroll down
from there and you’ll see connected displays at the very bottom. In this case, there really
aren’t many options in here. If you’re connected to an HDR display, you’ll see
an HDR option in there or if you are playing back video that has some alternate resolutions,
you might want to tap on “Allow Display Mode Changes”. This is not something I’ve
ever actually needed but it’s there if you’re playing back various frame rates and they’re
not looking quite right on the output, you can try that out. Otherwise there’s not
really much to do - you plug it in and it should just work. Now let’s go to the desktop
on the iPad and I want to show you something a little bit odd about this. You’ll notice
that the iPad image is not filling the screen of the program out. Now, that makes some sense
- after all, the display screen is 16x9 whereas the iPad is not, so we would expect to see
some pillar boxing - black bars on the left and right hand side. But if you look closely,
you’ll see that there’s black bars on the top and bottom as well. I can’t exactly
explain why, it’s just how the output resolution of the iPad is synced up with the ATEM and
depending on your iPad, you might see a slightly different aspect ratio in there. But we can
crop that out. So, I’ve set up a couple of macros that are cropping this and doing
specific things with the iPad image. The first one that I’ll do has cropped the image and
scaled it down a little bit and brought it off to the side. So now I’ve got a situation
where maybe I want to demo on the iPad but I still want to be on screen and it’s okay
to make the screen a little bit smaller. But what if I don’t want to do it that way?
What if I want to fill the screen and I don’t want those black bars at the top? Well, here’s
another preset that I built. This one has cropped and scaled up. So, I’m actually
scaling the image up just a little bit - I think it’s 110 - 111%, so it’s just a
slight upscale to fill the screen with that and then I’ve set the background to be gray.
So a couple different ways that you can handle that depending on what you’re doing in there.
Now, one of the neat things about working with the iPad in here is if I do want to run
a slideshow presentation, let’s say I go back over to Keynote, I’ll get the exact
same output that I would get from the computer - meaning that I can see my current and next
slides on the iPad while the audience can see the full screen image. So, let me go back
to the iPad full screen and then I’ll start this slideshow from the beginning here and
here we are once again seeing the current and next slides on the iPad while the Program
Out is just the current slide. Pretty cool! All right, now let’s move on to the iPhone.
I’ve got my iPhone connected here and this of course is showing with big huge black bars
down the left and right side on the ATEM. So if I want to crop these up, it’s the
same thing as I did with the iPad and I’ve already built a macro to do this. So, now
I’ll pull up the image of me and bring up the cropped and moved view of the iPhone.
So now, once again, here I am on screen with my iPhone and you can see what’s happening
on the screen next to me - pretty cool. All right, now let’s move on to input number
five, which is the MiraScreen. The MiraScreen is this very inexpensive little device I’ve
got plugged in back here which is just a wireless receiver that can receive both a Chromecast
and an Airplay signal, which is pretty neat. With a Chromecast, I could do something like
share an Android screen. So, let’s bring that up next. Under the Settings when I go
to the Cast page, there’s my ATEM Mini. I have named the MiraScreen ATEM Mini so I
know what I’m looking at whenever I see it on one of my devices and in just a moment
here we’ll now see that Android phone being cast onto the screen. I’ll go ahead and
disconnect that and let’s jump over here to my Mac where if I bring up Chrome, I can
do the same thing. From Chrome, I can go to the three dots menu here, go to Cast, choose
the ATEM Mini and then that browser tab shows up on the ATEM as a cast screen. Pretty cool
and easy way to do this and in fact, this device doesn’t just do Chromecast, it also
does Airplay. So let me go ahead and turn this off from Chrome and then I’ll go to
my display settings, Screen Mirroring and there’s the ATEM Mini allowing me to, once
again, select the entire display of my Mac and over Apple Airplay, send that to the ATEM.
Next up is the Hollyland Mars 300 which is a wireless HDMI receiver. I’ve got this
connected to a camera up there mounted up by the ceiling, it’s just kind of a wide
view of the scene here and this is great for any kind of a far away shot where you don’t
want to run a really long cable. Now, keep in mind that there is some latency with wireless
HDMI, so it’s not going to be a good approach if you want to have a tight close-up of someone
where you’ll be able to see that their dialogue might be out of sync with their mouth, however
for a far shot, a wide shot, a rear shot, something over the shoulder, this is a great
option to use. So that’s hooked up here - just straight HDMI into the ATEM, nothing
to configure; it just works. The next display, number seven, is my ATEM streaming bridge.
Now right now I’m just streaming from my office right over here. It’s just streaming
from the ATEM Mini pro ISO that’s on my desk straight to this device. But as you may
have seen if you’ve seen some of my live shows, you can actually bring in people from
anywhere in the world - a camera anywhere in the world with a decent internet connection
can stream directly to your ATEM Streaming Bridge. All they need, to send (video) to
you, is either an ATEM Mini Pro or better, or one of the new Blackmagic Web Presenter
HD boxes, those will also stream directly to the ATEM Streaming Bridge. So this again
allows you to bring in a camera from literally anywhere in the world with an internet connection
- pretty awesome. And the last thing I have hooked up here is this tiny little really
inexpensive video box - believe me, it’s not great but it gets the job done. It just
allows you to pop in a USB stick or an SD card, copy over some 1080p videos to it and
then using the remote control here you can just navigate through and find a video and
hit Play. You can actually shuffle videos and randomize them or loop them like I’m
doing here. The cut between videos as it stops when it starts the other isn’t particularly
smooth but it gets the job done. So, if you just need some video playing in the background
on a constant loop, this is a great way to do that - maybe an interstitial or something
like that. Anyway, as you can see, there is a ton of ways to get a bunch of different
devices into your ATEM Mini - from the laptop to the iPad to the iPhone to the Android phone
to the video player to the Streaming Bridge to the wireless HDMI, the casting device - I
mean, it’s pretty slick what you can do. Eight inputs on this one or four on any other
smaller ATEM will get the job done. Now, there’s one other thing I want to throw out there
- everything that I’ve talked about today will work on any of the ATEM Minis - the ATEM
Mini, ATEM Mini Pro, ATEM Mini Pro ISO, ATEM Mini Extreme or ATEM Mini Extreme ISO. However,
ironically, if you have one of the older but bigger and more expensive ATEMs, then some
of this might not work without something else in between. You see, these ATEM Minis all
have scalers on every single input - which means that whenever you feed it - and here’s
a chart of what the device can accept and convert to from the Blackmagic website - will
be scaled to the proper resolution for the ATEM. All the other bigger older ATEMs don’t
actually have scalers on. So, if you don’t feed it the exact resolution and frame rate
or frequency that the device is looking for, then it’s just not going to show up so you
will need to insert some type of a scaler in between. Other than that on any of the
ATEM Minis, this is super easy to do. For the most part is just plug and play. I hope
you enjoyed this and found this tip useful and if there’s any tips that you want, be
sure to leave them in a comment below, tell me what you’re looking for next and I’ll
try to get to it. Take care and hey, don’t forget to subscribe, alright? See you next
time. Bye-bye. Today’s ATEM (mini) Tip is a mini tip indeed. This one is simply about
getting the right color to display on your ATEM when you’ve connected a Mac or possibly
a PC. This definitely applies to Mac and it might apply to PC as well. I’m sorry, I
don’t actually know. The problem is the color profile - the wrong color profile will
be selected by default when you first connect your Mac to your ATEM, and unless you go in
and manually choose the right one, the display image won’t look quite right. Now, to be
honest, most people will never notice, and if you’re simply doing things like playing
Keynote slide decks, you definitely won’t see it. However, if you’re using the ATEM
for things like software demonstrations, especially apps that have a very dark UI like Lightroom
or Final Cut Pro, then you’ll definitely see the dark grays go a bit too dark, a bit
too crunchy and you won’t actually be able to see all the details in the screen. Let’s
have a look. I’m currently in Screen Mirroring mode. Here’s my Mac and here’s the BMD
Display and you’ll see that it’s mirrored. When I look at the color options, there’s
only one option here: “BMD HDMI”. So you would think, “well, that should be right”,
right? But it’s not. If I go down here and deselect “Show Profiles for this display
only”, you’ll see a lot of other options, and the one that you want is right down here
- the very conveniently named “SMPTE RP 431-2-2007 DCI (P3)”. Just remember that
it starts with “SMPTE” and ends with “P3” and you’ll find it each time. As soon as
I select that, you’ll see the gamma on the screen change. Let’s go back and forth again.
There’s the default and there’s the right one. Now, let’s take a look at this with
an app in the background. I’ll switch over to Lightroom first and bring my color displays
back up, let’s hide this guy and here we go - this is correct, this is not. That’s
correct, that is not. Let’s take a look at Final Cut as well. Same idea… this is
not correct but this is. Incorrect; correct. It’s a subtle change but it makes a difference.
And again, if you’re doing a software demo with an app that has a dark UI, you’ll really
appreciate the change here. So, that is the correct color profile to choose when you’re
running your Mac into your ATEM. Now again, this same color profile or something similar
might be on PC - I would say, if it doesn’t look right, simply look for a color profiles
option and if you don’t find the exact same SMPTE one, just try some other ones and see
if there’s one that looks better for your PC. As always, thanks for watching… don’t
forget to subscribe and I’ll see you in the next tip. In this ATEM Mini tip, we’ll
be looking at a feature that is unique to the ATEM Mini Extreme and the ATEM Mini Extreme
ISO. That feature would be the six Macro buttons that are built into the hardware. Those six
Macro buttons trigger the first six Macros in your collection - but what happens when
you have more than six or you want to simply rearrange them? Unfortunately there’s no
UI to do that, so to do it, we have to modify the XML. To show you, that let’s step into
Studio B. Here I have the ATEM Mini Extreme ISO. And as you can see on here, there are
one, two, three, four, five, six Macro buttons. These buttons will trigger the first six Macros
that you’ve created in your ATEM software. But again, if you want to rearrange them there’s
no interface to do that. Let me show you. In the ATEM software control, if I go to the
Macros menu and open this up, you’ll see here that I have seven Macros that I’ve
created; Macro A, B, C, D, E, F and G, and I’ve labeled them as such just so it’s
easy to track as I move them around; normally obviously you’d give them a proper name.
If I want to move one of these, I can’t. There’s no way to simply drag and drop these
around which, admittedly would be nice, but it’s just not how it works. So, for this
example, I want to take Macro G and move it into the ‘A’ position so that it will
be triggered by the Macro button 1. Of course, if I don’t want to do that, I can simply
go to the Run menu, here hit recall and Run and just trigger whichever Macro I would like.
But in this case, if I want to actually sign them to the hardware buttons, I’m going
to have to move them. So here’s how we do it. To do that, I’ll go to the Save As…
menu and I’ll give it a name - I’m just going to call this Macros and I’ll put it
on the desktop. This is going to save out the XML file which we will need to edit. From
the Save menu all I really care about right now are the Macros, so to make things easier,
I’ll select None and then turn on Macros and then click Save. I’ll hide the ATEM
software control and here’s the file that I want to edit. I like to work on these using
BBEdit, but you can use any text editor that you like. The nice thing about BBEdit is how
it color codes and automatically spaces the code. I’m going to collapse all of these
by option-clicking on this collapse triangle here and then clicking on it again, without
the Option key held down to expand it. By holding down the Option key when I first clicked
it to collapse it, it collapsed all the subcategories as well, making it easier now to see what
I’m looking at. I’ll open up the Macro Pool and here we can see the Macros that I’ve
created: there’s Macros A through G with index numbers zero through six. Now yes, the
index numbers are confusing. The index numbers start at zero, whereas the Macro position
buttons start at one. It’s just the way it is, it’s this way throughout the system
- everything starts at “0” in the code; not at “1”. You just have to keep this
in mind when you’re modifying things. Okay, so remember, I wanted to move Macro G into
position one. Right now, Macro G is in index six, which would be position seven but there
isn’t one, so I’m going to take index six and change that to zero; again, zero being
position one. Now I can’t have two Macros occupying the same space, so I’ll go up
here and change this index from “0” to “6”. Now, I’ve got indexes 6 and then
1 through 5 and then 0. The order of these does not matter; don’t worry about rearranging
them in here. Once you load it back into the ATEM, if you save it back out again, it will
actually put them out in the right order, but the order does not matter. All that matters
is that you do not have overlapping index numbers. So this is ready to go - I’ll save
this - I’m actually going to do a “Save As” so that I have a backup copy, which
I always advise doing, and then the way that I like to name my documents is by simply putting
a time on there. So, I’ll just put -31, and then if you really want to, you could
add another name at the end - a note like “Reordered Macros”. Save that and then
we’ll switch back over to the ATEM software. From the file menu, choose Restore. There’s
the one I just did. And once I click Restore, watch the Macros themselves; you’ll see
A and G trade places. Restore and there we go - G and A have swapped places. So now,
when I push button “1” on the hardware, it is going to trigger Macro G, and that is
how you rearrange the Macros in your ATEM Mini Extreme or ATEM Mini Extreme ISO. If
you’re enjoying these tips, be sure to hit Subscribe and let me know in the comments
below if there’s a new tip that you’d like to see in a future video. In this ATEM
Mini tip, we’re going to look at how you can control a Black Magic Pocket Cinema Camera
(BPMCC) connected to an ATEM Mini. We’ll start with the software control – because
you can actually control the Pocket Cinema Camera from any ATEM Mini model – then we’ll
look at how you can control the camera by the hardware buttons on the ATEM Mini Extreme
and the ATEM Mini Extreme ISO. This is all set up in studio B, so, let’s go have a
look. This is a Black Magic Pocket Cinema Camera 6K, and it’s currently connected
to an ATEM Mini Extreme ISO. We’re going to start with the software to show how you
can control the camera from the software because this works, once again, on all the ATEM Mini
models. From the ATEM software control, go to the camera tab where you’ll see access
to all the cameras connected. Now, while it may appear that you can actually control any
camera from here, you can’t. Even though you see all these controls no matter what
you’ve connected to the switcher, these controls only do anything if you have the
Blackmagic Pocket Cinema Camera connected. Let’s start with a tour of the interface
– first of all, you’ll see that camera one is currently listed as On Air – that’s
camera 1 and that’s the camera that’s currently on air. If I switch to camera 2,
you’ll see that change in the interface here as well. We’re also seeing this change
on the camera itself. There’s a red tally light on the front of the camera that indicates
whether it’s on air or not, and there’s also an indicator on the back of the camera
telling me whether it’s on air or not, which is really, really convenient in a live situation.
Under that, you have three tabs; Lift, Gamma and Gain. If you’re not familiar with those
terms, you can think of them like black point, mid and white point or shadows, mid-tones
and highlights – basically the same idea. Each one of these three tabs are individually
controlled with the Color Wheel here. So, if I make a change to this under Gain and
I switch to Lift, this will be reset back to where it is. But if I want individual control
over all these, I can click this button to expand this out and give me, not only three
separate wheels, but much larger ones, which makes it all easier to control. Before I start
moving these around, let’s take a look at the rest of the settings. Here’s a Reset
button, and if you click on that, you can individually reset the Lift camera Gain or
you can choose to reset all. Also if you’ve made some changes and you want to copy these
over to other cameras, you can select Copy from here and then going to one of the other
camera controls, you can click on this and choose to paste or paste to all of the existing
cameras. Underneath this, you see a variety of sliders for your Filter, Gain, Shutter
and Balance. The Filter setting honestly doesn’t seem to do anything right now, and I couldn’t
find any reference to it in the manual – this might be a setting that is there for future
use or maybe it only works with the bigger switchers and different types of cameras – I
honestly don’t know, sorry. And actually if you do, let me know in the comments below.
I’d love to figure this one out. Next to that you have the Gain, which as I adjust,
you can see that the exposure is getting brighter or darker. The Gain is kind of like the ISO.
Base Gain is zero – that is your native ISO, if you will, for the camera. That’s
where you’re going to get the least noise and the best possible picture. Anytime you
gain up or gain down, you are increasing or decreasing the exposure but you’re not using
the sensor at its prime position, and you’re best off leaving it at a Gain of zero, and
I find that to be especially true with the Blackmagic cameras – they definitely perform
best at their native Gain. Then you have your Shutter Speed control and White Balance control.
With this control pad here, you can drag this knob to the left and right or up and down.
Dragging it left and right is affecting the Lift, and it’s a neutral Lift. You can see
here that the Lift overall is changing as I move this, but the RGB values are staying
intact – so, we’re not affecting the color. By dragging it up and down, I’m opening
and closing the aperture of the lens. The Coarse slider here is an interesting one and
then it allows you to limit how far the aperture can be opened. So, if you want to make sure
that you can’t accidentally overexpose during a shot, here’s how this works — you start
by opening the aperture all the way up, and then you take the Coarse slider and you slide
it down until the exposure is correct, closing the aperture until you get it to the point
where you want it to be. Now that that’s been lowered, you’ll notice that the aperture
indicator here has dropped down, even though the aperture control is all the way up. What
this means now is as I drag this down, I can close the aperture, but even bringing it up
all the way to the top will not open it any farther than it was set here as defined by
the Coarse Slider. Next up have Focus Control. This ring down here allows me to manually
focus the camera so I can drag this back and forth to focus one way or the other, and then
the “A” button here will auto focus it. Now, I’m going to tell you it’s not the
fastest autofocus in the world, but it’ll get the job done. Next, let’s take a look
at the Color Adjustments for the Lift, Gamma and Gain. If I go to the Lift tool, I can
take the Color Wheel and push that, for example, towards blue, adding blue into the shadows.
I could then go to Gain, push it the other way and add some warmth into the highlights
– allowing you to have quite a lot of color control over your scene. Now, what’s really
cool about this is you can actually save this into macros. So, for example, here I’ve
already created a couple of macros where if I run these, I can choose to reset it back
to neutral or add a cool blue look or add a greenish look in there as well. It’s pretty
neat that you can dial in the controls exactly the way you want them, make your colors match
across multiple cameras and then recall those at any time using macros. Another thing you
can do in here is trigger Autofocus from the macros. You’ll see I have that set up there
– so, if I move the focus out-of-focus and then push the Auto button, it’ll trigger
auto-focus in there. Now, you can technically record the macro of changing the focus manually,
but all it records is the change – a little bit up or a little bit down. It doesn’t
actually record a position. So, you can’t really use it to, for example, focus from
point A to point B, it just doesn’t really work that way. You might be able to eke it
out if you’re really, really careful with your starting and ending points, but it’s
not really what it’s designed for and it doesn’t really work that well that way.
But the autofocus does work just fine. All right, next up let’s take a look at the
hardware buttons on the ATEM Mini Extreme ISO. Here you’ll see that I have two up
and down arrows, underneath four other buttons that are listed as Gain, Black, Focus and
Shutter. Without any of these four buttons to press, the Up and Down arrows here will
open and close the aperture, making the image brighter or darker. If I press the Gain button
while that’s lit up, these arrows now adjust the Gain, and you can see the adjustment happening
over in the software control as well. You also have your Black Level that you can adjust,
the Shutter and even Focus. If I press the Focus button and then tap the arrows, it will
refocus the camera a little bit at a time, or if I press and hold the Focus button for
three seconds, that will trigger autofocus – and there we go. Now the camera’s in
focus. Pairing the Blackmagic Pocket Cinema Camera with the ATEM Mini is a pretty great
combination. Being able to have this level of control from the software or even the hardware
is pretty great. Keep in mind as well that if you’re using one of the ISO models, not
only can you record the ISO streams as an MP4 file on an attached hard drive, but you
can also trigger recording in cameras to record bRAW in the camera natively which you can
then sync up with the xml file inside of DaVinci Resolve. It’s all pretty advanced, so we’ll
look at that in another video, but for now, just know that connecting one of these cameras
to the ATEM is going to give you a pretty sweet level of control. Hey, that’s everything
I wanted to show you today. As always, if you have a tip that you want to see, something
that’s troubling you with your ATEM, let me know in the comments below and I can try
and do a video on it. And of course, as always, please like subscribe and share the video
and I’ll see you in the next Mini tip. Today’s ATEM (mini) Tip isn’t really a tip actually,
it’s more like a demo with kind of half of a tip thrown in. Basically, I have a piece
of gear in the studio right now that’s not normally here and I wanted to show you what
it can do with the ATEM that’s a bit unique – it’s pretty cool. Let’s go check it
out. In the previous tip, I showed you how you can control a Blackmagic Pocket Cinema
Camera with the ATEM Software Control, and in the case of the ATEM Mini Extreme or ATEM
Mini Extreme ISO, also with the hardware. There was one facet of that that I did not
show you though, and that was zoom. You see, to control a camera’s zoom, you actually
have to have a powered zoom lens – otherwise, there’s no mechanics or engines to actually
move the zoom. Well, today I’ve got one of those zoom lenses here in the studio. This
is a Canon cinema… uh, big huge honkin’ motorized lens! It’s pretty cool, actually.
And this lens has a powered zoom function on it – meaning that you can control it
with a LANC Controller or any other number of devices but you can also control it from
the ATEM Software Control. Now, there’s no hardware buttons on the ATEM Mini Extreme
ISO to control the zoom. This is all in software, so let me just show you how this works. You’ll
notice over here on the Camera Control, there is a zoom rocker, and we’re looking through
that lens right here and it’s at the widest position. So, if I just slowly rotate this
up towards the “T” for telephoto, you’ll see that it zooms in. Now, this particular
lens is actually parfocal, which means if we zoom in all the way… and then let’s
auto focus that… let it focus right on my eye there… now, it should hold that focus
point. I’ll try not to move my head as I zoom it out. And as I hold the rocker down
all the way, it zooms quickly, or up all the way, it zooms quickly. If I rotate it just
a little bit below the line there, you’ll see that I can make it zoom quite a bit more
slowly and even ramp it up as I move my finger down to make it go a little bit faster or
a little bit slower. So you have this level of zoom control – again, only with very
specific lenses. Now, of course, this Canon lens isn’t the only lens in the world that
does this – any powered zoom lens that is, in this case, an EF mount or in the case of
one of the Micro Four Thirds size Pocket Cinema cameras, a Micro Four Thirds mount, which
would include a couple of Panasonic and a couple of Olympus lenses – not many, but
there’s a few, you can do the same thing. Now, I used to use a Blackmagic studio camera
which is basically the SDI pro version of this little pocket cinema camera here that
is meant for a broadcast situations along with a Olympus Power zoom lens, and with that,
I really didn’t have any way to control that over macros – which I always found
a little bit disappointing. In getting ready to record this video, I actually was doing
a little bit of research and I came across a question that I had posted on the Blackmagic
forums years ago and in there, somebody was talking about how some lenses do actually
have certain levels of zoom control and it really is going to vary from lens to lens.
And while I don’t know if I’ve figured out everything that you can do with this lens,
I did figure out something – it’s a little weird but it’s kind of cool. So, I just
want to show that to you. I’m going to go ahead and open up the macros palette and I’ll
create a new macro here – we’re just going to pop it in that first place and I’ll just
call this “zoom”, hit record and then I’m going to take the zoom button and I’m
going to move it. That’s it. It’ll stop recording. Now let’s go ahead and save this.
I’ll just call this “zoom test”, put it on the desktop and I’m only going to
save the macros. Now, let’s go to the desktop and check this out. There’s the file that
I just created and you’ll see in here, if we expand this out that the macro control
did recognize something – camera control fixed point, 16 bit, address 1, category 0,
parameter 9, action set, values 0. So, it recorded something. Let’s go back over here
and see if it actually did anything. We’ll open the macros and I’ll reposition the
zoom where it was before. Right on my ear – perfect. Hit Run, Recall and Run and hit
zoom and nothing happens. I’ll go ahead and do this manually. Let’s go back out
to wide, hit the zoom button again – nothing’s happening. So, triggering the macro as it
is now – even though we know that something was there isn’t actually doing anything.
But I was looking at the code and I saw that the value is set to zero and that kind of
surprised me. The value shouldn’t be zero, it should be something. So, I tried a bunch
of different numbers and here’s what I came up with – between zero and one, at least
on this lens, and again, I can’t speak to other lenses here, but at least on this lens,
a value of zero to one controls the zoom speed. Now, it doesn’t control how far it will
zoom to. If that’s possible, I have not figured that one out. But it will control
the speed. So, the smaller the number, the slower it zooms, the higher the number up
to one, the faster it will zoom. And if you go with a negative number, it will zoom out,
a positive number will zoom in. So, I’ve already saved a bunch of these, I’m just
going to go ahead and open up my extra macros here. This is just a bunch of macro code that
I saved. I’m going to copy that and I’m going to go ahead and paste that into here.
I’m just going to drop it in over the one that we just made – index zero. So now you
see I have them index zero through nine and you’ll see that I’ve named them the same
as their number values. So, this one’s name 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 then negative going the other direction, all
the way down to -1. So, let’s try this out. I’ll go ahead and save this. I’ll just
do a Save As and we’ll call this “zoom test 2”, switch back over to the ATEM Software
Control. Let’s go to the Restore menu and select that file, test number two, restore
that – macros are all that are in there, and I’m going to go ahead and bring up the
macro list so you can see it populating there – there it is, and we’ve got all those
new macros in place. Okay we’re on the Run mode, so let’s start with Zoom 1. So, that’s
going to be a positive zoom. That’s going to zoom all the way in, as fast as it goes
and there it is. Let’s get my eye back into position here and let’s do zoom –1 as
fast as it goes all the way out. Now, let’s do zoom 0.1 and you’ll see that it is now
zooming in a bit more slowly. Zoom –0.1 will zoom out a bit more slowly, and then
I can do 0.01 – a bit more slowly still. Now, I will point out that you can’t actually
stop these because it’s issued a single command. I don’t see a way to stop it so,
if you’re doing this, it’s just going to zoom until it runs out of room to zoom,
but it does work. Let’s try minus –0.001, and this seems to be the slowest that we can
get. If we go to the point 0.0001, it doesn’t appear to make any difference on here. If
I hit that point 0.0001… it does nothing at all. The –0.001 is the slowest that we
can do. And of course, you can pick any number in-between presumably and make it work. So,
there you go. Again, more a demo – most of us aren’t going to run out and buy lenses
like this, but if you do have a lens like this and you want to control the zoom, you
kind of sort of can. Again, not a huge amount of control, but it’s there. In most cases,
you’re probably just going to use the Rocker in the software to do the zoom, but if you
want to build a macro around it, you can. That’s it for this mini tip/demo/half-tip.
I hope you enjoyed this one. It was kind of fun to figure out once I got my hands on this
lens. I got to send this thing back tomorrow, so this is the last I’ll have of this one.
Thanks again as always for watching. If you haven’t yet subscribed, please be sure you
do and of course, as always, if there’s a tip that you want to see, make sure you
let me know in the comments below, I’ll do my best to get to it. To connect the camera
to your ATEM Mini, you of course are going to use an HDMI cable. And HDMI cables come
in all shapes and sizes. You can get little itty bitty ones like this, kinda normal size
and shaped ones like this, or you can get longer ones like this one here. This is a
ten-meter or about 33 foot cable and you can see how big and heavy duty this is. It’s
thick, it’s inflexible, and it is expensive. This one at ten meters is about half the maximum
length. You can go up to about 20 meters which is the maximum length that you really are
supposed to run HDMI and that’s pretty much the longest you’re gonna find on the market
today, unless you step into the world of HDMI over fiber optics. Now, HDMI over fiber optics
used to be really expensive. You had to buy a converter box on one end to convert from
HDMI to fiber, and then a long fiber run, and then another box for the other end to
convert it from fiber back to HDMI — and this would add up to a lot of money very quickly.
Well, within the last year or so, something new has come to the market, and that is dedicated
fiber HDMI cables. They’re a lot more affordable, there’s a bunch of brands on Amazon, you
can buy them today for cheap — and I’ve got a couple of them here to show you. Now,
while this here is a thirty-foot cable, this one right here is 100 feet. This one, 300
feet. This is 300 feet of fiber optic HDMI. I’m kind of afraid to uncoil it but um,
but there we go. Now, there’s a couple of really important things to know about HDMI
and there’s a reason that I have two separate cables here to explain the differences. The
thing about HDMI is that it is a two-way protocol. Data can transfer both ways down the HDMI
cable. Now, that may not seem like a big deal, but what does it matter? You’re hooking
up a camera to a TV, or to an ATEM, you don’t need to talk both ways. But having two-way
communication gives you two things. For one, it’s the convenience of not mattering which
end of the cable goes in where. You can take either end of the cable, plug them into the
camera or the ATEM, and it doesn’t matter. That’s standard HDMI. However, fiber optics
is one-way communication. With a fiber optic cable, there is an input and an output. In
fact, if we look at this one here, you’ll see that it has a “source” and a “TV”
indicator on it. So, the source being the camera and the TV in this case being the ATEM.
If you connect them the wrong way, then you just don’t get a signal. Now, that’s fine
and well for most uses. If you’re just using pretty much any digital camera on the with
your ATEM, that is perfectly fine. However, if you’re using a Blackmagic camera, specifically
a Blackmagic Pocket Cinema Camera and you want to be able to control the camera from
the ATEM, then you need two-way communication. But all is not lost because there is a branch
of the fiber optic cables that are ARC compatible - A-R-C. And ARC is something that you’ll
find on modern televisions that is used to communicate with your set-top box. It turns
out that that ARC communication — that data path back — is enough to control the camera.
So, let’s have a look some of these cables on Amazon and we’ll plug it in and see how
it works. This is the 300 foot cable that I have in front of me. It’s not available
anymore for some reason but I paid about $115 for it but you can get a 200 foot one for
just $90. So, there’s an option but again, that one does not have ARC compatibility so
that one is not going to work with the Blackmagic camera. That said, if you just need a long
cable run and you’re not using the Blackmagic camera, that cable is perfectly fine. Then
let’s look at this one. This is a 100-foot cable that is ARC compatible and this in fact
is the cable that I have in front of me here and this cable comes in at just $80. So, about
the same price as the 200 foot one without the ARC. So again, it depends on what you
need. Now, I did actually find a 200 foot fiber optic cable with ARC compatibility and
this one comes in at just $90. I have not tested this cable, so I don’t know if it
works but it’s good to know that the options are out there. Alright, with that said, let’s
go ahead and plug this thing into the camera and see what happens. So, here’s the camera
end of this. You see it says “source” on it. I’ll go ahead and plug this in. And
looking at the Multi View on the ATEM, you’ll see of course we have picture and if I switch
away from that camera — let’s say I put it into the Preview Mode — you’ll see
it switches over to Preview and the light on the front of the camera goes green, telling
me that it’s in Preview Mode. If I switch back, it switches over and the camera is now
on air, the light goes red and it says “on air” on the back. But it’s not just that
communication, I do have full camera control. So, if I jump over to the ATEM software, I
can control the exposure by changing the aperture there… I can tint the scene… I have full
camera control of the Blackmagic Pocket Cinema camera from the ATEM over this fiber optic
HDMI cable. That’s all I wanted to show you. It’s a new thing that’s on the market
today and it’s exciting that we have this ability now for so inexpensively compared
to what it used to cost; that’s absolutely remarkable. Now, this isn’t the only way
to go along, you can of course go wireless as well but wireless, while it means you don’t
have to have a cable running across the floor does have other issues — it’s more susceptible
to drop out and there’s added latency. With this, you get no additional latency. It’s
just like a regular HDMI cable. So, depending on what you’re looking for, you’re gonna
find the right product for you. I’ve got links to these down below and I guess that’s
about it. Thanks a bunch for watching. As always, like and subscribe, share, tell a
friend, and I’ll see you in the next video. The Blackmagic ATEM Mini is a great way to
take a real camera and feed that into your computer to use as a webcam for Skype, Zoom,
whatever you like. But what if you want to take that Zoom call and use that in a live
broadcast? Basically, what if you want to take LIVE callers on your LIVE show? Well,
that’s what we’re going to look at how to set up today. And the good news is you
probably already have all the hardware needed to do this. So let’s start with a tour of
all the different hardware that you will need and then we’ll talk about configuring it
and getting it all set up. We’re gonna start with the ATEM itself. Now, today I’m using
the ATEM Mini Extreme ISO and by using the Extreme, I am getting some additional advantages
to this. There’s a few things that we can do in here that of course we can’t do with
the smaller ATEM that are going to make this easier. One of those things I’ll show you
later on how to do a work-around if you are using the smaller one… one of them is a
feature that you just aren’t gonna have but that’s okay, you can live without it…
and the third one is a really nice to have feature, but again, it’s not critical. Alright,
let’s get into it. So first the ATEM Mini Extreme; that’s the ATEM that we’re using.
Next let’s talk about the camera; today I’m using a LUMIX G7 and I’m using this
camera because this is, to my knowledge, the least expensive camera that you can use in
a setup like this. The LUMIX G7 is a mirrorless camera that has the two things that you need
to use one as a webcam. You need to have clean HDMI out; that means that your HDMI output
has just a picture and no camera information on it, and you need to have a camera with
an audio input or a microphone input. That allows you to hook up an external microphone
so that you have something better than just the built-in mics on the camera. So today,
I’ve got the G7 along with this little mic, this RØDE mic - RØDE video - Today, I’ve
got this RØDE VideoMicro hooked up to it and I like this microphone for this because
it doesn’t require any external power or battery. It gets its power from the camera
itself. That means that I don’t have to worry about the battery dying in the microphone.
And speaking of power and batteries, I also have this G7 hooked up to a simple little
AC adapter. This allows me to never have to worry about the battery dying in the camera.
In fact, with this on there, I can turn the camera on and literally never turn it off.
It’s pretty convenient to have that. It’s actually very affordable and I put links to
all of this down below as well. So, there’s the camera. Then, I have a monitor hooked
up here as well that’s plugged into the ATEM. This is allowing me to monitor whatever’s
happening on the ATEM, and while I’m using a Shogun from Atomos, you can use literally
any HDMI monitor. Whether it’s an old computer display, an old television, anything that
you want will work for this. It just needs to have an HDMI input. Now, you’ll see that
I’ve got this configured where the monitor and the camera are very, very close to each
other and I definitely recommend setting it up this way for any kind of Zoom conversation.
You’re gonna be using this monitor to see your guest, to talk to your guest, and by
having it right by the camera, when you’re looking at your guest, it’s going to feel
more like you’re looking at them as opposed to having a conversation where you’re looking
off to the distance here. So, I definitely recommend setting it up that way if you can.
Next up, we’ve got a computer here. This is a laptop. You could use a desktop. It doesn’t
really matter. We’ll come into the configuration for this in a moment and then I have headphones
here. Now, today, I’m gonna be using these big headphones but if you’re gonna be doing
this often, I definitely recommend that you invest in some in-ear monitors like these
guys here. I’ll put links to a couple different options down below but having that just looks
better. It’s more discreet sitting in your ear and it’s easy to have one in your ear
and one out so you can hear the outside world as well. It’s just a nice convenient way
to go. Okay, so let’s talk about configuration. First up, the camera into the ATEM; simple
HDMI out, of course, so it’s HDMI from the G7 into the ATEM. And then the ATEM is connected
to the computer over USB. So, nothing unusual here. USB from the ATEM into the computer
allows the software like Zoom, Skype, whatever to see this camera and the switcher as a simple
webcam. Then, I’ve got my headphones plugged into the ATEM itself and this is one of the
situations where the Mini Extreme is going to give us some advantages because it does
have a dedicated headphone port. If you don’t have that, you can do the monitoring from
your computer. It’s a little bit trickier there but we’ll get to that when we come
to it. You’ll also see up here that I have a ClonerAlliance Flint D4P. This is an HDMI
to USB converter. We’re using this for the latter part of the configuration. This is
kinda one of the bonus features. You definitely don’t need to have this for the main setup
but if you can, it’s kind of cool thing to do. Alright, so again, the camera is into
the ATEM, the ATEM is into the computer. But now, the additional setup — I need to take
the computer and loop that back into the ATEM. To do that, I want to have HDMI out of the
computer into the ATEM itself and in this case, I’ve got it into input number two.
This way, the computer sees the ATEM as a second monitor. How you do the physical connection
will depend on your hardware and I actually recently did a video about how to connect
just about anything to the ATEM including your computer. If your computer has an HDMI
output, then just plug that straight in. If you’re using a laptop like I am here, the
MacBook Air which just has USB-C outputs, then you need to go from USB-C to HDMI. There
are dedicated cables to do this but today, I’m using the Apple AV adapter to go from
USB-C to HDMI because that also gives me a USB-C power input, meaning that I can use
one port to both power the computer and get the HDMI out which is going to be important
because I’m gonna need that second port when it comes to the bonus part of hooking
up the Flint D4P here. Alright, let’s get into the computer. Here in my system settings,
we can see how the two displays are configured. There’s the built-in display and then this
is the Blackmagic ATEM. You can see here that they are not set to mirroring. Now, you can
set them to mirroring but it’s actually better if you don’t. There’s two advantages
to not having them mirrored; to having them as two separate displays. The first advantage
is that you can still use your computer for other things while you’re on a call with
somebody else. This display will not be what your audience sees whereas the second display
— the ATEM itself — which is where we’re gonna put our Zoom caller; that is what your
live audience will see. So, having those two separate means that you can still use the
computer for other things. You can be on there browsing the internet, looking up facts, whatever,
while you’re talking to your guest. The second reason is that when you go full screen
in Zoom, the entire interface disappears except for one little window that shows you who is
actively talking. That little window can be minimized, but it can’t be gotten rid of
completely unless you have a second screen to drag it off to. So by having these dual
display setups, then you can drag that off to a second screen. And again, we’re not
talking about another complete display, it’s simply the computer treating the ATEM as a
separate display, giving us that appearance of a second monitor there. Now, if I can bring
your attention up to this display, it’s currently set to the Multi View Out from the
ATEM and so I’m seeing all of my images here. We’ve got me on the G7 on input one
and then my computer coming in which I’ve labeled “Zoom” on input two. So, this
allows me to see everything that’s happening. But one of the cool things about using the
ATEM for this is I can actually switch what I’m seeing on this display from the hardware
buttons here and you have this on the smaller Minis as well. So, I can be looking at the
Multi View as I am now or I can switch this over to show just my camera input, or just
my computer screen. And by looking at just the screen here, that allows me to treat this
as a true second display from the computer. It’s pretty good. Okay, so now let’s get
Zoom configured. I’ll launch Zoom here and let’s go into the preferences and we’re
going to go through general, the video, and the audio tab. The first thing at the top
of the general tab is this option to use dual monitors and honestly, this just depends on
your preferred setup for calls. I’m gonna leave this off for now ‘cause it just makes
it a little bit easier to run things the way that I want to run them but if it works out
better for you, you can turn that on and effectively, when you have dual displays like we have here,
then, Zoom gives you a second display or a second window that you can manipulate, move
around, and put different things on. I’m gonna leave it off though I think it’s a
little bit easier to do this with it set off. Then, let’s go to the video tab. Under the
Video Tab, you’ll set your camera, and we’ve got this set right now to Blackmagic Design.
That’s the ATEM and how this actually shows up in your software might be different but
it’s showing up as Blackmagic design here. That’s the input, the USB input, from the
ATEM feeding into the computer, so that’s what we want there. You’ll also wanna make
sure that you have HD enabled on here to ensure that you get the highest quality signal. Next,
let’s go to audio. For both the speaker and the microphone, you’re going to want
them set to the Blackmagic hardware. The names actually show up differently depending on
which one they are. I don’t know why, just how it is but under speaker, it shows up as
BMD HDMI and under microphone, it shows up as Blackmagic design. What this means is that
your Zoom caller’s audio is going to be fed out of the laptop into the ATEM which
then means you can send this out to your live audience. By having the microphone set to
the ATEM as well, this means that you, as the host, YOUR audio coming through this microphone
will go through the ATEM and be fed back into Zoom. Now, you might be thinking at this point,
“Hold on a second, something’s not right here. Because if I’m feeding all of the
audio from the ATEM back into Zoom, doesn’t that mean that the caller is going to hear
themselves?” And you’re right! They would hear themselves. But Zoom is so good at removing
its echo and removing its own input that they won’t be able to tell at all. It’s actually
kind of remarkable. It’s one of those things that you go, “This really shouldn’t work
but it does”. Zoom is really, really good at this. So, you don’t have to worry about
it. Just set that to the input and even though they will technically, be getting their own
audio, your caller will not be able to hear it. Underneath the microphone setting, there’s
an option to automatically adjust the microphone volume. Definitely turn this off, however,
I have to say, I don’t think it actually matters. You’ll notice here if I try to
change the input levels, I can’t. It automatically pops back to zero. I think this just has to
do with the HDMI audio input. Maybe it’s overriding that control but the UI is still
there but just turn it off to be safe. Next, you want to enable this option to show in-meeting
option to enable original sound. Now, to be honest, it probably doesn’t really matter
but what this is doing is giving you a little button in your call that allows you to bypass
all of Zoom’s audio processing when sending audio your caller. Whether they get audio
that’s additionally processed by Zoom or not, doesn’t really matter but you as the
host, do want to do any treatment to your audio that needs to be done for background
noise removal or just EQing in the ATEM itself because what gets done in the ATEM is what
your live audience will hear. It’s also what your caller is going to hear. If there’s
an additional processing on top of that, it’s okay, but by having that check box enabled,
you get that button to bypass all Zoom processing and ensure that your caller hears exactly
the same thing that your live audience is hearing. And that’s about it. Let’s go
ahead and close that and I’ll start a call. Now, I have a computer setup in the other
room with my assistant, Betty, standing by ready to join the call. So, let’s get her
in and then I’ll show you how this all comes together. Okay, there we go. Betty has joined.
You see, I have that original sound option. I’ll go ahead and turn that on and Betty
is now connected to this call. So, now what I want to do is take this call with Betty
in it and move it over to the second display. You’ll notice that I have my second display
showing up here full screen because I’ve set the ATEM to display input 2. I’ll go
ahead and take this window, drag it over to here, and then double click on it to make
it go full screen. At this point, let your finger off the mouse for a moment and the
whole UI disappears and you now have a clean feed of just your caller in there. Now, if
I move my mouse around here, that interface is going to pop back up. But you’ll also
notice that over here, I have the window that shows who’s on the call. When you first
set this up, that window might show up in the middle there which is what you don’t
want. So, you take that and just drag that off. This way, you have a view of who’s
calling and you have that full clean picture on the screen. Now, let’s go back to the
Multi View and looking on the screen here, we can see that we’ve got my input, the
G7 on input one and there’s the Zoom caller, Betty coming in on input two. So that’s
all set up and working great. Now, we’re ready to start mixing them together to build
a show. Now, I’m using, again, the ATEM Mini Extreme which means I have something
called SuperSource and SuperSource gives me a lot of options and how I want to configure
things. I’m gonna show you just the basics of setting it up and then I’m going to run
a few macros that I built to load up different layouts and then I’m gonna bring in a real
caller, a live caller so that we can find out what it sounds like on their end as well
but first let’s get this all set up. I’m going to switch the program to SuperSource
and then open up the SuperSource options where I have a couple of default layouts. You can
see what this first layout looks like but it’s a four-up so it doesn’t really make
sense here. I have a two-up display that works pretty good but of course I can completely
customize this. I can change the background, the positioning, and everything. So again,
I’ve already got a bunch of these built as macros, and because I’m on the Extreme,
I’ve got macro buttons on here. So, I’m going to just switch first over to macro one.
So, here’s a simple side by side full screen, split screen conversation. Go to macro 2,
same idea inset a little bit with a custom background. Macro 3, I’m actually gonna
be using this in a moment when I’m bringing my friend Aaron as an actual live caller and
then I’ve got a simple DVE picture-in-picture effect which is actually the type of effect
that you can do even with the smaller ATEM. But we’ll come back to that a little bit
more later and I’ll show you some better options than this one for doing something
like that. Alright, the last thing that we need to configure is audio. I’m gonna put
my headphones on and at this point, if we look the audio configuration, you’ll see
that I have audio coming in from both me, — that’s me talking — and the Zoom caller.
It’s actually just music that I have playing in that room; that’s what we’re seeing
here. But here’s the really cool thing that we can do with the Mini Extreme. Notice on
here this headphone icon; that means Solo. I am now only listening to the audio coming
from Zoom, not listening to my own audio. See if I don’t have this option, then I’m
going to be hearing my own audio on an echo. And this - This isn’t okay. Here’s what’s
going on. The audio that’s coming through the camera is going out the HDMI out into
the ATEM. The thing is that all cameras with an HDMI output have a latency. There is a
delay. Some cameras are better than others but there is always a delay and this delay
off this camera is probably about five to seven frames. So, it’s enough where if you’re
hearing your own voice on delay, it’s gonna drive you crazy. You really can’t have a
conversation where you’re hearing your own voice on an echo. Now, there’s a couple
of work-arounds here. One of the work-arounds is to use a camera like this one. This is
the Blackmagic Pocket Cinema Camera and even though it too is HDMI out, it has what is
probably the lowest latency in the industry. It’s still not real-time and I’ve heard
a lot of people say that it is real time — but it’s not. If you hook up your microphone
to this and you route your HDMI into here and you listen, you will still hear the delay
— but it is very slight. It’s slight enough that you can probably get away with it; hold
on a medium-length conversation and you’ll be okay. I wouldn’t wanna do it all day
long but it’s okay for a short call. However, if you want true real-time audio, then, the
only way to do that is to feed your audio directly into the ATEM. There are of course
two microphone inputs on the ATEM so you can feed your audio directly into there but you
can’t feed your audio into there and have your video coming from here because then they
won’t be in sync. If you are using this camera, then run your audio into the ATEM
itself and even though there will still be a slight out-of-sync, it’ll be very, very
slight and I think you’ll be able to get away with it but that is the only way to have
truly real-time audio, is to feed it into the ATEM and then you don’t need to have
the solo option. If you don’t have the ATEM Extreme and you don’t have a camera like
this, then you need another solution. I can’t plug my headphones into the smaller ATEM Mini
Pro ISO, so that means I have to monitor my audio from the computer. But the audio is
already being sent from the computer into the ATEM so I can’t monitor it on the headphones
as well. There’s actually a trick for this. There’s a piece of software from Rogue Amoeba
called Loopback. Loopback will actually allow you to build virtual interfaces letting you
send the audio from Zoom to both the ATEM and the headphone output simultaneously. It’s
a $99 app, so that is an additional purchase you have to make but again, you only need
that if you’re using the smaller ATEM, which is still a more affordable upgrade than jumping
up to the Mini Extreme but it is an option that you have. Okay, so we’ve got our audio
sorted out and our video sorted out. Let’s get Aaron in here for a real live call and
see how that works. How’s it going, Aaron? Welcome to my live / not live show. What I’ve
been showing the audience here is how to bring a live call like a Zoom call and use that
as part of a live show. You should be seeing the monitor out or the program out from the
ATEM which means if I switch over to the Multi View setup, the split screen, you’re now
seeing me in-split screen, right? [Aaron] Yup. That’s exactly what I see. So, as I
said, I’ve got a couple of different macros built already for this and I have one set
up just for our call here where I’ve got the two of us in an inset with our names underneath
and so that’s all set up and ready to go. How do I sound to you, Aaron? [Aaron] I hear
you loud and clear. And then how is your audio sounding to you? Are you hearing yourself
on this call? [Aaron] I’m not hearing myself through Zoom, nope. So, that’s the amazing
thing that I was talking about, where Zoom will take the audio that’s being fed back
to itself even though it does include Aaron’s own voice and it is removing that for him
so he doesn’t hear himself. So, at this point, we’ve got this simple two-up layout.
But what if we want to bring in a third caller? Well, remember, if we go back to my main screen
here, I actually already have a third caller, Betty here. So, what I’m gonna do now is
I’m going to pin her to the call as well. So, I’ll pin Betty and I’m also gonna
pin Aaron in there. So now I’ve got a side by side on there. I have built a layout that
is using super source that is allowing me to take the split screen from here — these
two different pieces — cut them up into two separate inputs and put them all side
by side. This has given me the ability to have a dual call. Having multiple callers
on Zoom and then rearranging that layout and putting that into a live show to send out
to the live audience. Now, here’s the one other thing I wanted to show you. Kind of
a bonus move. Aaron, what are you seeing on your screen of me? [Aaron] I am seeing the
full layout here. I can see the three-up view. So, Aaron is seeing the three-up because I’m
sending him the output from the ATEM; the USB-C output. So, Aaron’s gonna see whatever
the live audience is seeing, which can be great because then he’s got the confidence
of knowing when he’s on air. However, it also means that he’s seeing himself with
a bit of a delay and that can be a bit disconcerting. If you’re using the ATEM Mini Extreme, because
it has that second HDMI output, I can actually set this up so that he’s getting a clean
feed of just me and then he’ll be experiencing what would feel like a normal Zoom call. So,
the way that I have this configured is the HDMI 2 output from the ATEM is feeding into
this Flint D4P. That is then feeding into my computer over USB-C. So, now if we look
at the Zoom preferences, you can see here what Aaron is seeing. This is the on-air camera.
If I switch this over to the Flint… now, Aaron is just seeing me. So now, Aaron has
got a clean feed of me and he doesn’t have the whole kinda jumbled “seeing himself
side by side with me, on delay” experience. So, this is a much cleaner way to do it. Again,
to do this, you really do have to have the Extreme ‘cause you need that second HDMI
out but it’s a way to go. Hey Aaron, we’re going to say goodbye but before we go, when
is your next live show? [Aaron] I go live every Sunday at 10 AM Pacific. Thanks a bunch.
Make sure you subscribe to Aaron. We’ll put a link to his channel down below. We’ll
see you later, buddy. Bye-bye. So, there you have it. Everything you need to know to bring
a live caller into your next live show. It is made better by using the ATEM Mini Extreme
‘cause you do have more options but again, you can do all of this with the regular ATEM
Mini. You’re gonna have to route your audio using software through the computer… you’re
not gonna be able to have that clean second HDMI output… and the third thing you’re
not going to have is the super source — the ability to really reposition things wherever
you want but I did tell you that I would show you a better way to do a split screen using
the regular ATEM. So, let me show you how to do that now. I’m gonna turn off SuperSource,
so it’s just me in the Program now and then I’m going to enable picture-in-picture on
the ATEM. You have the same picture-in-picture options on the big ATEM as you do on the little
one here. And by default, you have the picture-in-picture showing up in one of these four corners in
there. Just a really simple small little picture-in-picture, but you can change that. You can position
it wherever you like. So, to do this, we go over to the upstream key which is already
turned on. That’s the picture-in-picture that we’ve got here. And then you can change
the settings of this. The position and the size of it. I can take the size up to 50%
or I can take it up to 100% to full one-to-one and then I can reposition that wherever I’d
like. So, I’ve already get this set up as a macro, so let me just activate that and
there’s my layout. Now, it’s not as good as a super source but it totally works. I’ve
got my guest where I’ve cut off the edges and moved her off to the side and now, I’m
in the background and so all that really means is I just need to step over to the side to
make sure that I’m in the picture. Sure, it means that I have to stand in just the
right spot but my guest doesn’t. They can just be center screened and then I can crop
them and push them over to the side and so this is a very useful way to do this. So that’s
everything you need to know. I hope you enjoy this and if you end up setting up a live show
where you’re bringing in callers over your ATEM, I want to hear about it. Let me know
down in the comments below. Thanks as always. Don’t forget to subscribe and we’ll see
you in the next ATEM Mini tip. In today’s ATEM Mini Tip, we’ll be talking about why
and how you might want to connect your ATEM Mini to your network. I’m trying something
new on this channel where for the next couple of months, every new video will have ads disabled.
No more ads. I know that I don’t like watching them and I’m sure you don’t either. What
that means is that I’m asking you instead to consider becoming a channel member. If
you’re benefiting from the videos that I’ve produced here on YouTube, consider signing
up. It cost just 99 cents a month or more if you want to but that allows you to support
me without having to watch ads. So, let’s get into this tip. We’re talking about putting
your ATEM Mini onto your network. First, “why”, and then “how”. So, let’s talk about
why to begin with and let’s actually start by talking about what happens if you don’t
connect it to your network. To start off, the ATEM Mini by default connects to your
computer over USB. A simple USB-C cable from the ATEM Mini hardware into your Mac or PC.
This allows you a couple of things — it gives you complete control over the hardware
(switching, adding graphics, changing audio settings, and so on), plus it allows you to
see your ATEM Mini as a webcam in software like Skype or Zoom. And if that’s all you
need out of your ATEM, then that’s great, you probably don’t need to watch this video.
Hope to see you in the next one. But for those of you who do want to take it to the next
level, here’s why you might want to add your ATEM to the network. First of all, if
you want to stream from the ATEM hardware itself, meaning, streaming to YouTube, Facebook,
whatever, then you need to have your ATEM on your network. It needs internet access
and the way that it gets that is by connecting to your local network. So, that’s the first
one. But even if you’re not live streaming from it, you can still benefit by putting
it on your network. For example, you could access the same hardware from multiple computers
on the network even at the same time. Meaning, you could have one computer doing the live
switching while another one is controlling audio and yet another one is controlling graphics.
So, that’s something you can do when you have the hardware on the network. Or you might
want to be controlling it from third-party solutions like Companion on your desktop or
even apps like MixEffect on your iPad. There’s lots of third-party solutions for controlling
your hardware remotely but all the require a network connection. So, let’s first start
with the connection over USB. I currently have this connected over USB but not to my
network and if we look over here at my computer, you’ll see that I have the ATEM Mini Pro
ISO connected and if you look at this little icon right here; that USB symbol tells me
that it is connected to the computer over USB. At this point again, I have complete
control over it, but if I want to add it to the network, then all I have to do is plug
the Ethernet cable into the ATEM and the other end into my network. Okay well, what does
that actually mean? Well, let’s back up a minute and talk about that. This is going
to depend on the type of network you have and the type of environment that you’re
in. Let’s start with the most basic — you’re just using this at home. At home, you have
some type of internet coming into your house, over cable, fiber, whatever it might be — but
it’s coming into a modem. Somewhere in your house, you have a modem that’s got a cable
running in from the outside. From that modem, it might be connected to a Wi-Fi router. That
Wi-Fi router is what gives you Wi-Fi connection throughout your house and that might be all
you have. In fact, you might even have a single box that is both the modem and the Wi-Fi router
all in one. Either way, there’s going to be an Ethernet connection somewhere on that
router or on the modem and router combo. That LAN connection means that you can connect
an Ethernet cable like this one into there and then the other end into a computer or
some other device to give it direct network access. Why would you want to do that? Why
not just connect everything over Wi-Fi? While Wi-Fi is great for things like watching video
or browsing the web, it’s not so good for live streaming. So, the ATEMs don’t even
have Wi-Fi built into them for this exact reason. Alright, so that’s why we’re not
going to use Wi-Fi. So, let’s get back to connecting this. Where are we going to plug
this in? Again, into that LAN port on your router or your modem. But what if that port
is already taken? Maybe you already have a computer or other device on your network that’s
plugged into that taking up that one port. Well, that’s an easy solution. There’s
something called a network switch or network hub that you can add to your network giving
you additional ports and that’ll allow you to connect multiple devices over the hardwire
directly into your system. Beyond that, there’s a lot of ways that you can get even bigger
and more extensive on this but if you are into a system like that, then you’re not
going to gain anything from this part of that video. So, let’s just move on. Alright.
So, you’re going to plug one end of this cable into your network and the other end
into the ATEM. Before I do this though, let’s take another look at the software. From the
ATEM setup app, if I go into the settings, we’ll see in here on the first page, Network
settings and you’ll see that it currently has an IP address of zero, basically meaning
it doesn’t have an address. This tells me that it’s not on the network. So, I’m
going to go ahead and connect this Ethernet cable to the ATEM and in just a few moment
over in the software will see that it gets an IP address. In my case, 10.0.1.57. This
tells me that the hardware is now on the network. So now let’s back out of this and you’ll
see here that the logo next to the ATEM Mini Pro ISO name has updated. We’re seeing both
USB and an Ethernet connection icon. That tells me once again that it’s connected
both over USB and over Ethernet. Now I can actually unplug the USB connection. As soon
as I do that, you’ll see the USB symbol goes away. This tells me now that I’m connected
only over the network. To control this, if I launch the ATEM software, in just a moment,
it’ll update and we now see that we’re controlling the hardware. I can click on camera
1, camera 2 in here and we’ll see that those settings are changing both in software and
on the hardware. So now, I’ve connected the ATEM to the network and I’ve disconnected
the USB. What have I lost, what have I gained? We’ve already talked about what I’ve gained
by connecting it to the network but I’ve lost something by disconnecting the USB. I
no longer have the ability to treat the ATEM Mini as a webcam in software like Skype or
Zoom, but I’ve actually gain something on USB as well. I’ve gained the ability now
to connect an external hard drive to the ATEM to record the program, or if you’re using
one of the ISO models, the program and the ISOs directly to that hard drive. Unfortunately,
with the ATEM Mini, ATEM Mini Pro or ATEM Mini Pro ISO, you can’t do both at once.
You can’t record the show and use it as a webcam because there’s only one USB port.
If you need to do that, then there, you’re going to want to buy the ATEM Mini Extreme.
The Extreme model has dual USB ports meaning that you connect both the ATEM as a webcam
and connect it to a hard drive at the same time. But now that I’ve got my hardware
on the network, once again, I can connect to it from multiple computers or even from
an iPad. So here, I’m running an app called MixEffect, you can see my network address
there of 10.0.1.57 and if I tap Connect, it’s going to go ahead and connect to my ATEM Mini.
From here, I can now do the switching in software just as I could on the computer but now using
the iOS app. But now if we look at all three of these at the same time, you can see that
they’re all talking to the same hardware. Both apps are communicating with the same
device at the same time. So, that’s the how and why you might want to connect your
ATEM Mini to the network. If you have any questions about this, drop them in the comments
below and if there’s a specific tip that you’d like to see, let me know in the comments
below as well. I’ll add it to my list and be sure to get that done for you. Take care.
We’ll see you in the next video. In this ATEM Mini tip, we're going to talk about how
you can use your cellular connection as either a backup or a primary network connection for
your live streams. Now, setting either of those up is actually really easy. The tricky
part though is setting it up so that your computer and your ATEM can talk to each other
even when you're off of your local network and the USB port is being used by your phone.
This video picks up where we left off in video number 15 where I showed you how to get your
ATEM onto your local network. Once the ATEM is on the network, you can use the ATEM to
stream directly to YouTube, Facebook, or wherever directly from the hardware using its built-in
encoder. If you want to have a backup connection using your cellphone, this is actually really
easy to configure. First of all, you're going to need to have a cellular plan that allows
tethering. Assuming that you do, then all you have to do is connect the phone to the
ATEM and it will just see it as an optional streaming device. It's actually really easy
to do. Let's just do that first. I'll take a Lightning to USB-C cable and I'll plug this
into the back of the ATEM and then let's take a look over at the ATEM software. If I go
into the settings, you'll see that I have a connection priority option as Ethernet or
Mobile. By setting the priority you're telling the ATEM which connection you want it to use
first and for most cases, you're going to want it to be the Ethernet connection that's
using your local network for your primary stream, and then only relying on your phone
as a backup. Now let's verify that the phone is actually being seen by the ATEM. I'll launch
the ATEM software and under the live streaming connection, you'll see there's a new symbol
here, a little phone icon that's currently grayed out. This tells me that the hardware
sees the phone as an optional connection. Now, let's go ahead and start live streaming.
You can see that we're now on air and the cellular icon is still gray telling me that
it's in standby mode. Now, let's go ahead and just yank the Ethernet connection out
of the ATEM as if it lost connection to the network. First of all, as soon as I did that,
I lost connection to the ATEM from the computer but if we look at the multi-view out, you'll
see that that icon in the corner has gone red, telling me that it is now streaming using
my cellular connection. Now, let's say we get our network access back. I'll go ahead
and plug that back in. And it'll take a few moments but eventually, the ATEM software
shows up on the network again and after a few moments, the live stream switches back
to the Ethernet connection. Okay, so that's everything you need to do to set it up as
a backup; really straightforward. If you're in a studio environment like this but you
can't use your local internet connection for whatever reason, maybe your ISP is down but
you still want to go live, then you can go ahead and leave everything set up as it is
but set the priority to be the cellphone. To do that, I'll go back to the ATEM setup
app, open the settings, and switch the connection from Ethernet to Mobile. As soon as I do that,
you'll see that that icon turns blue telling me that it's the primary connection and ready
to go live. Okay, so that's what we need to do to set it up so that it can stream either
as a backup or using your mobile as a primary connection but what if we're out in the field?
Let's say that we're going to go out somewhere remote. We're going to take the ATEM and my
computer and my cameras and everything else and do a live stream from the mountain top.
I've got power sorted out for the ATEM but of course, I'm going to rely on the internet
connection from my cellular phone to do the live stream. That's all well and good, but
how am I going to control the ATEM from my computer? How am I going to load graphics
and do all the other things that I would normally do from a computer? Well, normally, I'd use
the USB connection but I can't because that's being taken up by this. Okay, then that's
what the network connection is for, right? Well, the thing is that I don't have a network
to connect to anymore. If I plug my ATEM directly into the computer via Ethernet, that's not
going to, by default at least, just work. So, we need to set it up so that it does work.
It's a pretty simple network configuration but you do need to set this up. So, let's
get into that. I'll go back over to the ATEM setup, jump into the settings again, and you'll
notice up here that it says, "Connect using USB to adjust the network settings". To change
the network settings, I have to make a USB connection. Now, this is a really important
point. It's obvious right now because it's telling me and so I'm going to do that, but
it's important to remember this because once you set everything up and you go out in the
field and you do your event, and then you come back, and a week later, you go to put
your ATEM back on your network, and you plug it into the Ethernet connection, it won't
show up on your network because it is still set to be looking for your computer directly
— which we're about to configure. You won't know what's wrong because you'll have no interface
telling you what's wrong, it simply won't be there the reason being that you'll need
to reconnect over USB to reset the network back to the way it was. So again, just reminding
you that once you set this up over USB, you'll have to put it back the way it was using USB
as well. Alright, let's do this. I'll go ahead and disconnect the cellphone for now… take
the USB cable that is plugged into the computer… I'll exit out of the settings and jump right
back into them again and now I have setup control for my network. So, by default, it's
set to DHCP, which means that the ATEM is going to get an address assigned to it by
the router on your network but we're removing that router from the equation, so now we need
to set this up manually. To do that, I'll switch over to static IP and at this point,
some of these numbers might change, some of them may stay the same from the way you had
it before, but now we need to set it up with the right numbers so the two pieces of hardware
can talk to each other. Effectively, what we're going to do is build a tiny little network.
The numbers that we enter in here don't actually matter that much as long as they're in the
right form and we have some of the same numbers between the two devices. I'll show you. You
can use these same numbers for your setup if you want to or different ones. It really
doesn't matter. I'm going to use an IP address of 192.0.0.3. Subnet mask of 255.255.0.0 and
then a gateway of 192.0.0.1. Now, this gateway is very important. The gateway address and
the IP address have to have the same numbers in the first three positions. So again here
192.0.0. Then we have the fourth number. The gateway IP typically ends in 1. This is also
called the router field. Now, we don't have a router so the computer is going to become
the router effectively for this but again, we're setting that IP address to 1 at the
end. So 192.0.0.1. I've set this IP address to 0.3 and on the computer, I'm going to set
it to 0.2. Again, for the IP address, it doesn't matter as long as those two numbers at the
very end are different from each other and the first three numbers are the same across
the devices. I'll move this over to the side and open up my computer's network settings
next. Here you'll see that I'm currently connected to my Wi-Fi network but to ensure that I set
this up properly and that I'm not accidentally seeing the devices across the network, I'm
actually going to turn off Wi-Fi to ensure that there's no way that I'm possibly connected
to my actual local network here. I'll turn that off and then, I'm going to set a new
location here. Now, this is not necessary. This just makes it easier to switch back and
forth between your home or studio or work location and some other location where all
your network settings change at once. It's totally up to you if you set this up or not.
Now, I'm obviously on a Mac here. If you're doing this on a Windows PC, I know that there
are very similar network configurations on Windows. I don't know exactly what they are
but following the same guideline, you should be able to sort this out. I'm going to create
a new location and call this "ATEM in the wild". And now, I'm ready to configure an
IP address just like I did on the ATEM. Because my Mac doesn't have a built-in Ethernet port.
I need to use an adapter. So I've got that right here. This is a simple Belkin USB-C
to Ethernet adapter connected to an Ethernet cable, and the other end of that is right
here. Let's go ahead and take the ATEM off of my local network and plug it into this
cable here. I'll take the other end of this and plug it into my Mac. As soon as I do,
you'll see that a new network interface has become available, the Belkin USB-C to LAN
adapter. Now I'll go ahead and configure the IP address manually just as I did for the
ATEM and here's where I need to enter the same numbers. I'll start with the IP address
here. Copy and paste that in but of course I need to make it different, so I'll set that
to .2 then I'll take my subnet mask and paste that in and the gateway which has to be the
same, set in there. Click Apply, and that's it. So again, the router or gateway are the
same, the subnet mask is the same and the IP addresses are different. Now, we're ready
to test this out but make sure that you save the settings in the ATEM setup first. I'll
go ahead and click Save here and then to test this, I'm going to just yank out that USB
connection and they should find each other over the local network that we just set up.
The ATEM Mini still shows up on the network here. If I click on the setup, we'll see that
it must be talking to it because it has an IP address and I'm able to get into it, and
if I launch the ATEM software, we'll see it connects and there we go, the ATEM and the
computer are talking to each other. Next, we need to set the cellular connection to
be the primary connection; not the backup. Otherwise, as soon as I try to go live, the
ATEM seeing this network is going to try to use this computer to live stream but of course,
this computer doesn't actually have an internet connection. So, let's make sure we change
that. We'll go back over to the ATEM setup, jump into the settings and ensure that the
connection priority is set to Mobile. It is, so that means we're ready to go. Finally,
I'll just go ahead and reconnect my phone to the ATEM. Back over to the ATEM software,
we see that blue icon which means we're ready to go. Click On Air and there we have it.
I'm now live streaming using the cellular connection from my iPhone. If you have any
questions about setting up this network configuration, please drop them in the comments below. This
can get a little bit tricky but as long as you get the right numbers in there, everything
should just work. Thanks as always for watching. If you haven't subscribed, please be sure
you do that. Don't forget to share this video. Hit that like button and also, remember that
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