You are here

This ATEM (mini) Tips” series of short video tutorials for your Blackmagic ATEM hardware includes tips for all users, from beginner to advanced. Scroll down to see more in the series!

This is a collection of all PhotoJoseph LIVE shows, from the PhotoJoseph YouTube channel. Additional episodes are listed below!

How to: Live Event Coverage for 9:16 Social Media & 16:9 UHD Post

Photo Moment - July 26, 2024

This video and blog post is a complete blueprint for how to cover a live event with professional cameras, have immediate social presence, and have top quality media to edit from later.

Sponsored by: Atomos, Kondor Blue / CRATERR, and frame.io / Adobe

Project Summary

The “Atomos News at NAB” (NAB 2024) project is the second time we've done this, which we scaled up from 2023. The goal of the project (other than being a fantastic technology demo for our sponsors) was to provide short-form news stories (interviews with exhibitors) on popular social media platforms in the popular vertical video format, in as close-to realtime as possible. While you could simply shoot these stories on an iPhone and publish directly, this workflow allowed us to use professional cameras, publish a top quality video that was remotely edited (while the interview crew moved on to the next story), and be able to make a full resolution UHD traditional 16:9 edit later. We shot vertical open gate 6K files internally (for post-show editing), captured full HD proxy files which were pushed to the cloud in realtime for immediate remote editing, reviewed edits on the go through frame.io, and published usually within an hour of conducting the interview. 

Project Blueprint

This is a written version of the workflow. You should absolutely watch the video to understand the reasoning behind these decisions, so you can appreciate what, if anything, to modify for your own project. But here's the list:

Camera / Hardware

The objective is to shoot Open Gate (for a larger-than 16:9 ratio), to shoot vertically, and to record both in-camera and to a proxy generator that can push the proxy media to the cloud. 

The Panasonic LUMIX S5II or S5IIx full frame provides 3:2 ratio, while the LUMIX GH7 micro four thirds provides a more convenient 4:3 ratio. (At the time I did this project, only the LUMIX S5II series had PDAF autofocus, which was very beneficial. Next year I'll do this on the GH7 to get the more-square frame, but only if I can push out a 4K proxy. If you put a 3:4 file into a 9:16 proxy, you have less vertical pixels, so you need a 4K proxy source).

The camera is mounted vertically, using a variety of Kondor Blue accessories (listed below). The camera should be on a monopod that can be height adjusted easily, and has a mini tripod base so you can let go of the camera.

The camera-to-cloud (C2C) solution is Atomos based, using either an Atomos Ninja / Ninja Ultra (5-inch monitors) with an Atomos Connect, or using an Atomos Shogun Ultra.

The internet connection is provided by a Sclera bonded cellular backpack. Hardwire the modem into the Shogun; do not rely on wifi for this connection.

Cloud / Proxy Workflow

The Atomos hardware generates the proxy files and pushes those to Atomos Cloud. Within Atomos Cloud you can choose a destination; Adobe frame.io is what we use. From Atomos Cloud, you can determine the resolution and bitrate of the proxy files. You'll want to maximize this as much as your internet connection can handle; we did 10 Mbps full HD, but next year I want to go to 16 Mbps 4K if we can pull it off. 

Editing / Review / Posting

We edited in DaVinci Resolve using a Blackmagic Cloud hosted project. While this wasn't technically necessary for the workflow, it meant that if I ever needed to I could open the same project on my own computer and view the edits while at the event. It also made it easy to access to project later. Proxy media is uploaded to frame.io which has direct integration into all popular NLEs. Once the edit is complete, a review copy can be uploaded to frame.io so the decision makers can review the edit, comment on the video (which shows up directly on the editor's timeline), and once approved, download the maximum quality edit for posting to the socials. We used Instagram primarily because of its collaboration feature. We didn't use Youtube only because of their 60 second shorts time limit. 

Products Mentioned

Camera & Lens

Kondor Blue (use code “PhotoJoseph” for 15% off!)

Atomos Recorder

Everything else…

🎧 Music in this Video

The music is from MusicBed! Get your first month free when you purchase an annual subscription by using my coupon code PHOTOJOSEPH at checkout! https://geni.us/MusicBed

🔗 More links you seek

🔴 Don't miss the LIVE shows!

📄 Full Video Transcript

Share
What do you think? Want some help replicating this workflow? Book some time with me! https://photojoseph.com/1to1
Sony is one of the few lenses that you can NOT convert. There are many inexpensive L-Mount lenses on the market today; there's very little reason to adapt unless you already own the other lenses. Watch this older video https://youtu.be/DFpgJ-_U3Ro?si=FAiccLGZLTm8K6mF but also just look for third party L-Mount lenses.
hi sir i am najam shahzad i am bring one camera lumix s1r but lumix lens very expense my mind i think use third party lens same like sony please tell me the converter name i am put the lumax body and use the lens sony

No results containing all your search terms were found.
This is a VERY nice breakdown. I do a lot of conferences and events, so this was great. I am a one-man band, so I really don't need auto-uploading for a remote editor, but maybe in the future, that'll be a great way to go! Thank you!
Glad you enjoyed it!
The auto version stacking on upload is actually a Resolve issue as they need to include that option in Resolve when rendering/uploading (premiere has it when you select a timeline to upload to Frame).
Is it a Resolve issue, or the Resolve plugin (which I assume is written by Adobe)?
Outstanding workflow breakdown Joseph, kudos.
Thank you kindly!
Amazing process!
Thank you! Cheers!
Subbed! This was very educational. Lots of food for thought here
Hope you’re hungry! 😅
wow, that's a little too much for me
haha no worries, this definitely isn't a workflow for every job! Thanks for watching though 😊
Thanks man.
You bet!
Cool video but i learned posting more than full hd is a complete waste for social media
Right. I never said to post more than full HD on social. Vertical HD for Instagram and wide UHD for YouTube.
An absolute gem of a breakdown here Joseph. Loads to take away. I do a fair amount of conference coverage and clients are slowly (but surely) pivoting to vertical content with the need for horizontal later - and this is a great solution to this.

Thanks again for posting 🙂
Fantastic; love hearing that!
Sharing all these details about your experience is priceless 🙏🏼
Do have a project in Munich where I do have to share proxies from S5IIX quickly. This is so helpful thanks a lot
So glad it’s helpful! You know how to reach me if you have questions. Good luck at your event!
Awesome.Thank You
My pleasure!
So glad to have been part of this project! What fun!
It was awesome!! Thanks as always for your help… looking forward to doing it again next year!
You may login with either your assigned username or your e-mail address.
Passwords are case-sensitive - Forgot your password?