LOS ANGELES—Apex-RF will showcase its newly launched RAINIER next-generation wireless live camera transmission system designed for the evolving demands of broadcast, live production and studio environments during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

RAINIER delivers ultra-low latency (<50ms) 4K HDR video using a fully IP-based architecture, enabling seamless integration into modern broadcast workflows. With support for Wi-Fi 7 transmission across 5–7.3 GHz frequencies and a mesh antenna network, the system ensures reliable, high-performance connectivity in even the most challenging production environments.

“At Apex-RF, we set out to redefine what wireless camera systems can do,” said Apex-RF chief technology officer Sean Munaco. “RAINIER combines video, control, intercom and IP infrastructure into one unified solution, giving broadcast production teams unprecedented flexibility and performance.”

Key features include:

• 4K 12G SDR/HDR 10-bit 4:2:2 video quality.
• Ultra-low delay of less than 50 milliseconds.
• HEVC encoding with selectable bitrates up to 60 Mbps.
• Wi-Fi 7 RF transmission with 16 channels.
• Full duplex IP camera control for Sony, Grass Valley, Ikegami and Panasonic.
• Native intercom integration with RTS, Clear-Com and Riedel systems.
• Dante IP intercom support.
• SMPTE ST 2110 output with NMOS control.
• Mesh antenna architecture for scalable multi-receiver setups.

Designed as a complete ecosystem rather than a standalone transmitter, RAINIER integrates camera control, tally, intercom and data into a single platform. The system is well-suited to live sports, concerts, film and television production and remote broadcast workflows.

RAINIER is available now.

See Apex-RF at 2026 NAB Show booth C5613.

More information is available on the company’s website.

Fremont, CA - July 2, 2019 - Blackmagic Design today announced that Apex Broadcast has built a custom OB truck packed with the ATEM Constellation 8K switcher, ATEM 2 M/E Broadcast Panel, three ATEM Camera Control Panels, 13 URSA Broadcast cameras, Broadcast Videohub router, four HyperDeck Studio recorders and approximately 30 Mini Converter Optical Fiber 12G converters to broadcast the 2019 Blancpain GT World Challenge America. The professional auto racing series airs monthly on CBS Sports Network on Sundays from April to October 2019.

Apex Broadcast has also built a smaller, custom OB truck that is used for motorsports shows and carries two ATEM 4 M/E Broadcast Studio 4Ks, ATEM 1 M/E Broadcast Panel, six additional URSA Broadcasts and Smart Videohub 40x40.

Founded in 2007 by Clark Cambern, Michigan based Apex Broadcast specializes in live broadcast coverage of professional auto racing. Apex Broadcast offers live multi cam video production, field production and post production.

“I started Apex Broadcast when I noticed smaller racing car series being priced out of TV air time due to rising advertising costs. To work with these smaller series and get them on the air, I identified broadcast products that were of excellent quality but also reasonably priced. That’s when Blackmagic Design came into my workflow,” said Cambern.

Apex Broadcast recently installed the ATEM Constellation 8K in the large truck to help with the Blancpain GT World Challenge America. “Right off the bat, we are taking advantage of the 16 multiview capabilities which let us monitor multiple sources simultaneously in a single monitor,” noted Cambern.

One of the ATEM Constellation 8K’s main features that has proven to be beneficial for Apex Broadcast has been the 4 M/Es. “The 4 M/Es have given us tons of flexibility in terms of what we feed to different broadcast destinations during the races. In a given show, we’ll have our primary cut which is going to the television network. Then, often times, there is a screen cut that is sent to jumbos or to a TV nearby. When you’re in the middle of a show, the broadcast displayed on these various screens at the track and for viewers at home doesn’t change, but in between shows, the client might have a video loop or a still stored that they want up on the screen for a streamlined viewing experience,” Cambern explained.

“In between shows, we’re also testing graphics and checking focus on cameras. We feed these tests from a separate M/E, which allows us to simultaneously project the still or video loop on the screens while focusing on the M/E being used for testing. We also often have a US only stream which has to do with the networks and licensing agreements. What we feed to web has to be a little bit different than what we feed to the network, so we use a separate M/E to do that. Essentially, we’re doing a couple of sub cuts with these different M/Es.”

On the audio side, Apex Broadcast is relying on the switcher’s built in Fairlight audio mixer for complex live sound mixing. “With the ATEM Constellation 8K, we can EQ individual camera mics which is really handy,” added Cambern.

Each race for the Blancpain GT World Challenge America takes place at a different track, and in total Apex Broadcast will travel to seven different tracks with the large OB truck this season. From Tuesday to Thursday during a typical race week, Apex Broadcast sets up 30,000 feet of tactical fiber cables to position the gear around the track. On Friday, it sets up the URSA Broadcasts along with the rest of the gear.

“The bigger the track, the more cameras we use to omit any blind spots for a more refined viewing experience. The shortest track we’ve worked on is just under two miles, which required eight cameras, and the longest is just over four miles, which required 12 cameras,” noted Cambern.

Camera shading is done from the engineering desk with three ATEM Camera Control Panels. The video technician manages iris, white balance and color balance for 12 URSA Broadcasts from these panels. In addition to the camera’s SDI output, shading controls, audio communications, program return and tally are carried over fiber.

“Since auto racing is very dynamic, our technical director works from the ATEM 2 M/E Broadcast Panel, which integrates very nicely with the ATEM Constellation 8K. Its tactile control surface facilitates faster switching than the software control, and he’s able to manage DVE effects, transitions and macros from the surface, which is important in a complex show,” said Cambern.

"The SDI router is the heart of a production truck, and our 72x144 Broadcast Videohub has given us many years of reliable service. Just like the ATEM, the router can be controlled over IP, which makes it easy to control from anywhere in the truck. In addition, four HyperDeck Studios allow us to capture two copies each of the clean broadcast cut with no graphics as well as the dirty cut with graphics,” Cambern concluded.

Apex Broadcast will continue using Blackmagic Design on its upcoming 2019 Blancpain GT World Challenge America races and future live sporting events to deliver a premium experience for both clients and viewers at home.

Press Photography

Product photos of ATEM Constellation 8K, ATEM 4 M/E Broadcast Studio 4K, ATEM 2 M/E Broadcast Panel, ATEM 1 M/E Broadcast Panel, ATEM Camera Control Panel, URSA Broadcast, HyperDeck Studio, Mini Converter Optical Fiber 12G, Smart Videohub 40x40, Broadcast Videohub and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

LANSING, Mich.—Since 2007, Apex Broadcast has specialized in live coverage of professional auto racing. We’ve built two custom OB trucks that travel to different tracks in North America with a mobile workflow that allows us to shoot about 20 races annually. Right now, we’re capturing the 2019 Blancpain GT World Challenge America, which airs monthly on CBS Sports Network on Sundays from April to October.

STOCKING THE TRUCKS

Our OB trucks are fully equipped with Blackmagic Design gear. Our larger unit is equipped for a 20-source show with an ATEM 4 M/E Broadcast Studio 4K live production switcher, ATEM 2 M/E Broadcast Panel control panel, three ATEM Camera Control Panels, 13 URSA Broadcast professional broadcast cameras, Broadcast Videohub SDI router, four HyperDeck Studios and approximately 30 Mini Converter Optical Fiber 12G converters. Our second, smaller unit carries an ATEM 4 M/E Broadcast Studio 4K live production switcher, ATEM 1 M/E Broadcast Panel, 40x40 Smart Videohub SDI router and six URSA Broadcast cameras.

This season we are travelling to seven different tracks to cover the Blancpain GT World Challenge. From Tuesday to Thursday during a typical race week, we set up 30,000 feet of tactical fiber cables to position our gear around the track. On Friday, we set up the URSA Broadcasts along with the rest of the gear. The bigger the track, the more cameras we use to omit any blind spots for a more refined viewing experience. The shortest track we’ve worked on is just under two miles, which required eight cameras, and the longest is just over four miles, which required 12 cameras.

AWAY WE GO

On race day, our workflow is very straightforward with the ATEM 4 M/E Broadcast Studio 4K compact enough to live in rack—a huge plus for us. Additionally, the networking protocol gives a lot of flexibility in terms of crewing.

In our larger truck, camera shading is done from the engineering desk with three ATEM Camera Control Panels. Our video technician can manage iris, white balance and color balance of 12 cameras from these panels.

In addition to the camera’s SDI output, shading controls, audio communications, program return and tally are carried over fiber. We use the ATEM’s audio follow feature to build an effects audio sub mix of engine sounds, and our audio technician control camera levels via the ATEM’s software control.

Since auto racing is very dynamic, our technical director works from the ATEM 2 M/E Broadcast Panel. Its tactile control surface facilitates faster switching than the software control, and he’s able to manage DVE effects, transitions and macros from the surface, which is important in a complex show.

The SDI router is the heart of a production truck, and our 72x144 Broadcast Videohub has given us many years of reliable service. Just like the ATEM, the router can be controlled over IP, which makes it easy to control the router from anywhere in the truck. In addition, four HyperDeck Studios allow us to capture two copies each of the clean broadcast cut (no graphics) and dirty cut (with graphics).

As we look ahead to our next race, it’s a relief to know that we can count on Blackmagic Design to deliver a premium experience for both our clients and viewers at home.

Apex Broadcast was founded by Clark Cambern in 2007 and since then has grown to include multicam video production, field production and post production. He can be contacted viawww.facebook.com/apexbroadcast.

For additional information, visitblackmagicdesign.comor call 408-954-0500.