Question 1

What Blackmagic gear is used in this high school studio build?

Accepted Answer

I built this around a full Blackmagic ecosystem: Studio Camera 6K Pros in the studio, an ATEM 4 M/E Constellation (40 inputs / 24 outputs), and a 120x120 Blackmagic Videohub router so we can route anything to anything. For keying we’re using Ultimatte units so the switcher receives clean keyed feeds. For recording, we’re running seven HyperDecks so we can capture five camera ISOs plus program and a backup.

Question 2

How are the cameras connected with a single cable (2110 over Ethernet)?

Accepted Answer

We’re using 2110 converters to move SDI in both directions over the network, which is how we’re getting cameras in and out of the studio via Ethernet runs. The goal is simple: one cable to the camera position and you’re not dragging a bunch of lines across doors. It also keeps the system modular, because we can repatch in the rack room without re-cabling the studio.

Question 3

Why did you use patch panels all around the studio?

Accepted Answer

I spread patch panels across the room (A/B/C) so we never need cables running across the door—students should be able to walk onto set without stepping over anything. Each panel gives us Ethernet, SDI, XLR, and even DMX via an ArtNet node, and everything is labeled. I also mounted the panels so the ports come out the sides, not the front, because it stays clean and reduces the chance someone bumps and rips out a cable.

Question 4

How do you control monitors, routing, and lights from iPads and Stream Decks?

Accepted Answer

Companion is the heart and soul of how we control anything we want—routing feeds to displays, triggering system actions, and keeping workflows simple. I can literally route a monitor feed or change a room function from an iPad like it’s a full Stream Deck. For lighting specifically, I also use Luminair because it’s just better when you need to really dial in intensity and color by fixture or group.

Question 5

What audio system is in the control room and why?

Accepted Answer

The core is a Yamaha DM7 because it’s got 72 inputs, tons of outputs, and integrates with Dante—exactly what you want for a future-proof facility. In the rack room we’ve got Rio stage boxes handling I/O, and we keep analog patching available so we’re not forced to live in Dante routing for every change. I also like wiring comms into the console via four-wire so we can route talkback to in-ears, studio monitors, or wherever we need.

Question 6

How do you handle NDI sources in a mostly SDI/Blackmagic workflow?

Accepted Answer

That’s where the BirdDog units come in—each one can do four NDI feeds bidirectionally, so we can convert NDI to SDI (and back) as needed. That means a phone, a computer, or any NDI device can become a real input in the switcher world. It’s a flexibility play, and it’s part of what makes the system feel “ready for anything.”

Question 7

Why choose green screen with Ultimatte instead of a video wall?

Accepted Answer

We talked about going video wall, but green screen ended up being the right move for this space because it makes the studio feel bigger and stays flexible for post. With Ultimatte, we get some of the best keys on the market and can send a clean keyed feed straight into the switcher. It keeps the live workflow simple and still leaves room to add camera tracking later if we want.

This High School Studio Is Better Than Some TV Stations

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