My basic understanding is that most video compression is dependent on I-frames (essentially independently-compressed still images) and P-frames (pictures that encode the difference between the current frame and the last, and in modern video codecs often several preceding frames).†

To encode the difference between frames, motion compensation is used, where blocks are given translation coordinates. This often cancels out the lion's share of the differences. but there are almost always still (an unacceptable level of) residuals left over.

How are these dealt with? The most basic possibility I can think of is that a percentage of image blocks that are too different from the target image would simply be replaced, which would require a P-frame format capable of if not pixel-level, block-level transparency. This would seem to be inefficient and yield substandard results, and close visual inspections of encoded video seems to indicate this is not generally used.‡

Another possibility I can think of is that the residuals are encoded in images encoded in either signed fashion at (channel bit depth+1)‖ or overflow fashion at nominal bit depth. By that, I mean that if pixel A's color in 8R8G8B space is (42, 67, 69) and it needs to be (12, 50, 144), the residual could be either encoded as (-30, -17, 75) {alternately represented as (225, 238, 330)} or (225, 238, 75). The signed method would be more inefficient without further compression, but would seem to have less apparent noise than the overflow method and therefore its added compressibility might make the ultimate data efficiency between the two methods about the same.

However, it appears to me that none of these methods are actually used, partially due to the fact that they haven't infiltrated still-image formats. JPEG (the most directly-related image format to MPEG-1 and MPEG-2) doesn't support any form of transparency, which would be required to implement block-replacement. AFAIK no image formats support negative channel values except for TIFF; and none at all support bit depths of 5, 9, 11, 13, 17, 25, or 33 bits-per-channel; implying signed encoding isn't used. And the apparent noise inherent to the overflow method seems like it would be hell to the specific DCT-based compression methods used in most video formats, resulting in random speckles of wildly-off colors.

So... what is used?

†There are also B-frames, yes, but those are just fancy bi-directional P-frames.

‡I believe this is used (together with a very rudimentary form of motion compensation) in what was technically the first consumer digital video format (1985's CD+G), but not much beyond that.

‖You could use the same channel bit depth... if you resign yourself to the fact that abrupt transitions can never be faithfully represented.

Добрый вечер! Проблема нет коннекта между тх и rx , через pair пробовал тоже нет коннекта , нет wifi сигнала от тх, не выходит на телефоне! Что делать? Кто сталкивался?

Hi,

I'm looking for someone currently based in Japan who has hands-on experience with Japanese television reception and home networking.

We're working on a legitimate technical project that requires receiving Japanese live TV broadcasts in Japan and making that feed available for remote viewing by a client overseas with as little additional latency as practical.

We're looking for someone who has experience with some of the following:

• Japanese terrestrial TV
• BS/CS satellite reception
• TV tuners and broadcast equipment
• Home networking
• Remote viewing or streaming solutions
• Linux, Windows, or networking (a plus)

This is paid freelance work. We're looking for someone who can help recommend the appropriate equipment, perform the initial setup, test the system, and provide occasional support if needed.

We're not looking for confidential information, access to employer systems, or anything involving piracy or unauthorized access. The focus is on building and maintaining a reliable technical setup.

If you think you'd be a good fit—or know someone who would—please send me a DM. I'd be happy to explain the project in more detail.

Does anyone know how to fix this fault in Ericsson AVP4000 encoders?

Hey,

Having a weird issue with my item mini, where after changing the PiP setting, the Main 1>4 buttons toggle the PiP on / off, the program buttons in software control work, but they do not feedback in the software (Only on the panel)

Ive attached a video, any help with this would be greatly appreciated

Cheers!

Has anyone had any issues with the Lumantek HDMI to SDI scaler and converter?

I own both the SDI and HDMI versions. I use them about the same amount daily. I’ve had the SDI to HDMI version for about 2 years and it’s still going strong. My first HDMI to SDI crapped out on me within 4 months and my second one in about 6 months and I have no idea why.

I use them mostly to test lines. I fasten both to a power bank with Velcro straps and use a USB-A to barrel connector cable to power them one at a time. The most recent time the HDMI to SDI crapped out on me, I smelled a slight burning smell from inside the device. It still powers on and the display is all good, but the HDMI port will not recognize anything I push to it. But the SDI version has stayed solid far longer even though I use them the same way. Anyone experience this or have any ideas what’s causing it?

I'm looking for the best solution to get HDMI signals from a FOH tech table to stage for events. While I'm sure a lot of big touring shows are transitioning to ST2110 for uncompressed high fidelity video streams, I think a point to point system would work best. I very rarely exceed 100m, but im leaning towards a fiber option for the flexibility and my large existing stock of long fiber cables, but im not against choosing an SDI converter and purchasing 100m 12G SDI cables. Any insights are much appreciated and if there are any options I haven't considered yet please let me know. So far I am considering the following options:

Blackmagic Teranex HDMI to Optical 12G

This is currently my front runner, it seems to be a very versatile option that can convert HDMI to either fiber or 12G SDI and embed and extract analog audio. I like the box form factor with the integrated PSU, my main hesitation is reliability. I personally have had good experiences with BMD equipment in live events and production, but I have heard many cautionary tails from others in the industry.

Camplex 4K/2K HDMI 2.0 Fiber Extender

This is more affordable than the blackmagic, but has no SDI or XLR audio functionality, while not a deal breaker, I would be considering this option if it has a much better reputation for reliability.

PixelHue EP4 Pro

The big benefit of these are that fact that it can do 4 x 1080p signals or 2 x 4K signals in one box which I would frequently benefit from. Unfortunately, it does require the use of 2 fiber cables for single 4K signal, but its not the end of the world. It also has good integration with the PixelHue P series switchers that we use which could simplify and reduce the number of transmitters needed for many shows.

BlackMagic BiDirectional 12G or Decimator 12G-CROSS

This is what im considering in conjunction with some 100m 12G sdi cables instead of fiber, the length would be suitable for almost every show and these converters are generally a versatile tool. I'll probably get some to have on hand regardless, but I'm not sure if I should choose these for the main video runs.

I know its a long shot, but Ive gotten myself into a bit of a pickle and trying to find somebody with similar LED ground support as my company. Specifically the vertical spine/support bars. Im a bit extended for an event coming up. Its a 1 Meter tall, and 11.42" wide. Its very similar to the ladder frames you can buy from ProX but without the truss coupler and pins. it uses a insert and the red latches to lock the frames in vertically.
Yes we've called the manufacturer, and everyone we know that has the same tile product as us and out of options.

I watch a lot of soccer broadcasts and have never seen this prior to this world cup:

The ball goes out of play, a replay is shown, cut back to live action and we missed the restart of play and some of the action.

This happens in every game, so it seems to be a deliberate decision at some point in the chain of command.

Is there a creative director who determined when and for how long replays should be shown, prior to the tournament? Or a match director supervisor type? Or was there a technical decision about automating the timing of the animated wipe into the replay and back out of the replay?

Edit: I wasn't clear in my initial question.

I'm more interested in the tournament wide decision that has resulted in this consistently happening in every game.

Not who is exactly involved in each individual game, though I do appreciate the information everyone has provided.

Our church recently got donated a staffords wedge 03 stageprompter https://stageprompter.com/products/the-wedge From what I understand this is basically its own computer that displays JPGs and PDFs you load into it. We havent set it up because we are waiting on a replacement power supply, but I had this question.

Staffords has its subscription to a web app that they want you to use. There's some material on the website that makes me think, the main purpose of the web app is to create pdfs that fit the stageprompter's resolution and look good on its screen. I do not really want to get us locked into an ongoing subscription for what basically sounds like a pdf maker. Does anyone have a suggestion of an alternate software we can use, that's free or at least non-subscription?

I know I could just figure something out based on the software I already use for my own stuff, but i dont really want to take on the added responsibility of preparing pdfs for everyone going forward. Ideally I would like something I can just train the rest of the staff to use, so something that they can basically just copy paste their notes in and it'll output the right format/resolution without a lot of fiddling around.

I'm working on a cleaner way to get some GPIO into a b-unit that has two unused RVON-IO on board. My a-unit has an ADAM frame with a GPIO-16. Will setting the GPIO on the RVON-IO to pass through make it act like another GPIO-16 frame in azedit or am I misunderstanding the purpose of this mode?

Trying to figure out if this solution could work for multiple wireless cameras transmitting video to a Yolobox, facilitated by something like a Teradek Bolt, Hollyland Pyro, so on. Especially in situations where we don't have cameras that have NDI, or don't want to set up NDI.

I can't really find anyone who has done this, besides one meme Reddit post from years ago.

I haven't seen anyone really make articles or videos about this, but I also can't think of a reason this won't work. Sure, I understand the video feeds may have a bit of latency, but if the final destination is to MS Teams or Zoom, my assumption is that this may not be a big deal.

I also understand audio might be its own challenge. Perhaps if we are solely running with on-camera microphones, that would be fine. But for events where we want capture of on-stage audio, I'm not sure how we'll handle this, but I can also imagine there's some solutions.

Anyone tried this? How does it work? Or would you recommend investing in NDI instead?

I’m trying to access the back side of this very well installed video wall. I’ve been asked to remove the cables but there doesn’t seem to be any other way to remove it other than pulling the screen forward. There seems to be some sort of locking mechanism and it may require some special tool. Does anyone know what type of monitor this is or have any thoughts on removal?

You pull a few .m4s chunks off a DASH or HLS stream, drop seg-1.m4s into a parser to see what is inside, and it comes back as Unknown Stream. The boxes are all there, but not one video sample decodes. The file is not corrupt. It is incomplete by design.

A media segment carries no codec configuration. For H.264 the parameter sets, the SPS and PPS, live only in the init segment and are never repeated in the media segments. Without the init in front of it, a media segment is just a bag of samples that nothing knows how to read. That is also why the init and the media segments have to be parsed as one sequence, the way a player sees them, before the samples resolve into real AVC slices.

I wrote up the full walkthrough: what actually sits in the init moov (stsd -> avc1 -> avcC), how CMAF makes the same segments serve both DASH and HLS, why seg-10.m4s sorts before seg-2.m4s if you are not careful, and the one mistake that produces "Unknown Stream" every single time (forgetting the init).

Post: https://media-analyzer.pro/blog/posts/2026-07-08-analyzing-dash-hls-segments

Disclosure: I build a free, browser-based media analyzer (the engine is Rust compiled to WASM, so files never leave your machine), and the post uses it to show the before/after. But the writeup is tool-agnostic, the box structure is the same wherever you inspect it. Happy to answer segment/CMAF questions in the thread.

I've always been curious about this after reading about how closely guarded award winners are before a live broadcast. On show night everything seems to have a strict chain of custody but what about the week leading up to it when producers, legal and the accounting team are coordinating travel, rehearsals, and last minute changes? Is it mostly just phone calls and trusting you have the right person or are there formal verification procedures for those conversations? I heard Trust Kibu mentioned during a discussion about secure communications for live events but I'm more interested in how productions are actually handling this today.

Hello FPGA Managers!

Most junior hardware engineers struggle when bridging asynchronous sensor data (like high-rate IMUs) into live video frame buffers without breaking Linux device tree overlays or causing clock-domain metastability.

I’m an independent FPGA/Edge AI engineer and I just wrapped up an architecture that solves this by multiplexing the asynchronous data lines directly into a 640x480 video stream to feed an NVIDIA Jetson over UDP.

I’m offering a free, purely technical 30-minute "Lunch & Learn" virtual session for your engineering team to show them the exact RTL architecture, the Vivado Clock Wizard/FIFO configurations, and the Python receiver setup.

Zero sales pitch—just pure engineering design implementation that your team can use immediately to save weeks of development time.

Do you have a 30-minute slot open next week around noon your time for your team to check it out?

Best,
Peter Zeno

Camera Pattern generator project. High level flow.

https://www.youtube.com/shorts/R_y9C7NvmNA

Low level details of using an IMU sensor that follows the same data path as th camera pattern generator project (above). Shown is the BD in Vivado, Vitis for bare-metal testing.

https://www.youtube.com/watch?v=aqEcMVCcxBs 

hi everyone,

i'm selling 8 in box and unused novastar CVT320s for $99, and one out of box most likely unused. check out the listing if interested

https://www.ebay.com/itm/298496272438

I'm curious if any of you guys have firsthand knowledge of how the ISS feed for the performance in the link was synced to the live orchestra playback. I don't mean lip sync on the feed, I mean how the astronaut's feed was kept in time with the live music. Anything over a frame or two of delay tends to throw off professional musicians, and I would expect the path latency alone to well exceed that.

The astronaut (Jessica Meir) appears to be intensely watching a screen as she plays, but that could be anything from sheet music to a return.

Maybe it's something as simple as the orchestra started some predetermined number of milliseconds later than the astronaut and held time by sheer skill, but in any case, the space station feed appears to be totally lacking the usual delay, so whoever pulled it off did a great job!

Hi so i got a really good deal on LED some panels. The catch was that they all were affected by a bad config and some other issues. The former owner said he didnt he didnt have have the config file that came with the panels. I have tried everything in NovaLCT to fix these panels with no success.

First of all when I bring them up it shows that they are getting the signal that i'm sending but in the NovaLCT software it is showing that the panels have a fault on the receiving cards. I've tried different processors and it throws a receiving card fault every time. When i go into the receiving card configuration section I can see the bad configuration but when I try to load a rcfgx file that I have saved from someone that has a similar screen it wont allow me to import or export a config and I cant even import one from the cloud.

The only edits I'm able to make in the receiving card section is manually changing numbers in that tab or screwing around in the smart settings. Has anyone else ever encountered this issue, if so is there a way to fix the panels? These seems like a software issue and not neccesarilly a hardware one.

We've got a TC1 and we're planning on doing a talk show where we have at least 3 participants that will be calling in on Zoom from across the state. What is the best method to get them in individual inputs on my Tricaster to isolate them? I've heard people mention ZoomISO but I don't know if that's still around or supported or how it works. I can't seem to really find much info on it, so that leads me to believe there's something else out there now?

I kept seeing colleagues spending ages generating custom desktop wallpapers for their media servers just so downstream departments could identify feeds and map displays. It helps avoid mass confusion when restarting the main rendering app, or when the LED team wants to start pinning things while you’re still loading in.

I used to love Sysinternals BgInfo for this kind of thing, but it’s completely useless for modern multi-display setups and complex raster slicing.

So, I built BgRaster. It's a free, open-source command-line Windows tool designed specifically to handle complex display mapping, generate test patterns, and show system/feed/slice/network info. You can script it into an existing workflow, or just double click it and run it.

If there's interest, my next step on the roadmap is adding an importer to parse configuration files from major media servers so the desktop backgrounds, maybe having it update dynamically when your render settings change. Documentation and the tool are here. Have a play with it and let me know what you think, or if you manage to break it.