Production switchers are a fine balance between the technical—handling multiple incoming video sources—and the creative, mixing between various sources to create seamless, exciting or engaging and comprehensive coverage of a live event or studio production. High-end broadcasters have always put high demands on this key piece of equipment, but now other users have equally exacting requirements.

Keith Vidger, principal technical consultant for media and entertainment at Panasonic Connect, sums this situation up in four words: “More, fewer, higher, lower. These relate to more content being created by people who use fewer traditional outlets to distribute at higher production values with a lower cost.”

As Vidger observes, switchers are generally thought of as the province of those involved in live broadcasting, such as broadcasters and call-letter stations.

“Those that derive their revenue from selling advertising [and] create cool content, including news and sports, are still there, but in addition there are corporate customers who used to produce fairly straightforward content to a group of people within their own domain, in other words employees, which are now producing shows with enormously high production values at a lower cost,” he says.

Vidger explains that new technologies—”cutting-edge software and reliable hardware” —have been applied to switchers and reduced costs while achieving “if not the same results as we had before, maybe even better ones.” This, he adds, has allowed users to achieve their high production goals for less money.

Surface-Level Advances
Another sector likely to benefit from the evolution of production switchers is the second-tier sports market. Satoshi Kanemura, president of FOR-A Americas, says another factor is the budget and staff cuts being made by some of the large U.S. broadcasters.

“Broadcasters are facing up to how they can do productions more cost-effectively [but without] gigantic 4 M/E [mix/effect] 100 input switchers, which were very useful for live events but are difficult to afford now,” he says.

This, Kanemura explains, has led to companies like FOR-A producing smaller-scale switchers featuring only 2 M/E and 40 inputs. In addition to this, he adds, the younger generation of operators and technical directors now coming into the business are familiar with touch panels, iPads and iPhones, but unfamiliar with big traditional switcher panels.

“The trend is that the production-switcher surface stays the same but has more of a web GUI [graphical user interface] setup and control,” he says. “In the near future, with the number of younger people in broadcasting increasing, maybe web GUIs or touch panels will be the main interface. This may be seen especially in coverage of minor-league sports that prefer to go to cloud operations. It could be the next trend and although it’s not coming soon to the broadcast market, we are in a transition period.”

‘Wow Factor’
A key function of switchers is to help set the visual style for a TV station, observes Greg Huttie, vice president of production switchers at Grass Valley. “In general, broadcasters are interested in developing the look and feel [of their output],” he says. “People might tune in to a football match or a baseball game or auto racing from a particular network that has only eight cameras, or it could have 32 or, as with the Super Bowl, 96 to 100 cameras,” Huttie says. “But the broadcasters don’t want the viewer to realize how many cameras there are. They want something that looks the same [regardless of the number of cameras] and has an impact.

“The ‘wow factor’ is an important element in how manufacturers and their R&D departments develop switchers because there needs to be a consistency across the board, whether you’re on site or doing something as a remote or what kind of processing engine you’re using,” he adds.

While IP is now moving steadily into the broadcast market, Scott McQuaid, product manager for switchers at Sony Electronics Professional Solutions Americas, comments that SDI “still has a significant role to play” but points out that large broadcasters and networks are moving towards IP.

“Most anyone building a brand-new facility would probably tend towards IP, but in the smaller [station] market, they’re still going to go SDI because IP is very expensive to implement,” he says. “But whenever we speak to customers about a new switcher, whether they’re still SDI or not, they’re looking for an upgrade path to IP.”

Big Impact, Small Size
McQuaid says more customers are looking for smaller switchers with hybrid processing and a mix of hardware and software.

“The frames are more compact, but we’re still able to handle multiple inputs,” he explains. “One IP connection at 100G can handle up to 32 ins and 32 outs, so your smaller panel/switcher hardware can deal with 64 ins and
64 outs in IP.

“The infrastructure will include extensive 100, 200, 400G switches and be connected to a broadcast controller, which is basically the old SDI router, handling the 2110 video, audio and metadata all at once,” McQuaid adds. “You can choose where you send those individual signals or send all three to the switcher or the audio board.”

IP and the idea of a small, software-based control surface has led to discussion of “virtual switchers,” although, as McQuaid observes, everyone has their own name for the concept.

“I call them hybrid cloud software switchers, which is a virtual switcher that lives up in, say, an AWS or Google cloud,” he says. “The software lives in the cloud and you access it from anywhere you want. You can also go with that software running on a COTS server that’s on-prem, it just depends on how you want to move signals and where you want to go with them.”

Virtually Anywhere
Nigel Spratling, vice president of switchers and servers at Ross Video, comments that to support remote production workflows, switchers now offer various operating modes to enable remote control and operation.

“Control panels, which were once tethered to local processing frames, can now be located remotely and connected via VPN [virtual private network] technology,” he says. “Additionally, comprehensive software-based control panels allow operators to manage productions from virtually anywhere.”

In these scenarios, FOR-A’s Kanemura says, the processing engine will be virtual but people can continue to use a hardware panel connected to a software-based switcher. “Eventually all operations will be on a touch-panel basis, but I don’t know how long that’s going to take,” he says.

Grass Valley demonstrated switching control in conjunction with the Apple Vision Pro mixed-reality headset at IBC 2024. Huttie confirms that some end-user testing is now taking place “in the realm of virtual monitoring” combined with a physical panel, such as the company’s Maverik MAV GUI modules.

“Broadcasters are open to anything that achieves their goal,” he says. “But for major events, it’s all about the content and what it looks like. Whether they can achieve that with a software-based switcher or a traditional engine, they flip the coin. People are trying a lot more things today if it’s what their production needs and it’s reliable.”

CYPRESS, Calif.—FOR-A Corporation has announced that the live video production company Custom Media Solutions (CMS) has launched a new 40-foot broadcast production truck with a FOR-A HVS-2000 video switcher. The truck has been in use since mid-January, including on location for live coverage of Camping World’s Ultimate RV Expo.

Marc Shroyer, president of CMS, said the company took delivery of the truck in early November. “We got it to replace our 24-foot production trailer,” he explained. “It was great, but you could only put eight people in it, and there was not a great space for audio. When everything started going virtual, we really needed to create some space for broadcast audio.”

Originally, the truck had been designed to use CRT monitors, so CMS modernized the interior with an eye on flexibility. The infrastructure was designed to support 12G with all I/O via fiber, so the truck can be upgraded by swapping only a few components. Plus, audio is handled through Dante digital audio networking.

Shroyer reported that CMS recently added five new 4K broadcast cameras that produce footage in a variety of frame rates, including 24p, which is a feature that clients had been requesting. The FOR-A switcher supports 24p, as well as a number of HD and SD formats.

CMS currently owns 10 FOR-A switchers, including four HVS-2000s. “The HVS-2000 can do everything we need, and its price point is significantly less than the switchers many companies would expect to find in a truck of this size," Shroyer said. “If you want to talk about bang for the buck, we were doing things on this switcher that you normally need a much more expensive switcher to do. I can do anything the client wants to do. It’s our secret sauce.”

For example, CMS will use the truck in April to produce live coverage of a large corporate conference in Atlanta. Shroyer said the HVS-2000 will be used to switch both the live broadcast and the I-MAG (image magnification) for the live event. Instead of running feeds between trucks to accommodate the simultaneous productions, a second control panel will simply be added to the switcher, and the directors will sit next to each other during production.

“It’s easy to add a panel. You just plug in a network cable and you’re ready to go,” Shroyer added. “We have plenty of I/O, plus plenty of multi-view and keyers and DVEs – and that creates a lot of flexibility.”

Compatible with four different control panels, the HVS-2000 2 M/E video switcher offers 24 inputs and 18 outputs as standard, and can be expanded up to 48/18 or 40/22 with optional I/O cards. The switcher also includes MELite technology that previews output from an AUX bus when applying transitions or keying for expanded M/E performance, as well as FLEXaKEY architecture for flexible reassignment of keyers separate from the standard keyers of full M/E buses, FOR-A said.

Custom Media Solutions will hold an open house on February 15 from 10 a.m. to 5 p.m. at its headquarters in Alpharetta. The open house will provide an opportunity to get hands-on with equipment and see demonstrations of the latest offerings at CMS. Registration is available here.

Cypress, CA, June 10, 2019 – Honolulu-based Mid-Pacific Audio Visual is known as Hawaii’s premier firm for live corporate event and entertainment production with high-end clients in search of the best technical staff and equipment. Last month, the company added a FOR-A HANABI HVS-490 video production switcher to its roster, largely based on the success enjoyed with the compact HVS-300HS HD/SD 1 M/E switcher.

“Purchasing the FOR-A HVS-490 was an easy decision,” said Chuck Baughn, Senior Video Engineer, Mid-Pacific Audio Visual. “In addition to FOR-A’s excellent reputation for quality products, we already had an HVS-300HS-based flypack in heavy rotation. Many of our Japanese clients producing events in Hawaii are quite familiar with the capability and dependability of the FOR-A HANABI line of switchers and request them for live event work.”

Event memory and macro functions as well as integrated frame synchronizers and multi-viewers make it easier to prepare for live performances with the HANABI HVS-490 video switcher. MELite™ technology extends the switcher’s 2 M/Es to 6 M/E, which eliminates the need to have several switchers ready for multi-monitor staging. It also opens the door to more affordable 4K production. HDMI 2.0b specification support provides 4K output to a multi-viewer. Offering exclusive features, including the HVS-490 is designed for use in any live environment, including mobile shoots, events, and in-house corporate productions.

“The incredible features of the HVS-490 help to further set us apart from its competition,” added Baughn. “With the optional HVS-49IO card, we’ve got 32 inputs and 18 outputs (including two HDMI outputs), which we need for 4K production. We also have two additional MELites, which allow us to preview transitions prior to execution. We use them to send out delay screens and other destinations. And we appreciate the three built-in multi-viewers with so many display options.”

Baughn said while the HVS-490 sets Mid-Pacific Audio Visual apart from the crowd, it’s FOR-A’s technical support that distinguish it from other manufacturers: “Any issues or questions we have had, FOR-A’s engineering staff have always been there for us with timely information and follow up. We’re very happy with our purchase of the HVS-490, and it’s nice to know that FOR-A will always be there for us in the future.”

About Mid-Pacific Audio Visual

Mid-Pacific Audio Visual is a locally owned and operated, full-service Audio Visual, Rental and Staging company based in Hawaii. Whether it’s a service convention, business meeting, sports event, concert, or any other group gathering, Mid-Pacific Audio Visual offers the best customer service, combined with the latest technology. Company specialties include broadcast video, high-resolution imagery, HD & 4K screen switching and much more.

About FOR-A

FOR-A, a worldwide, industry-leading manufacturer, offers a wide range of broadcast and production products with a focus on cutting-edge technologies, including: HD, 4K and IP products. FOR-A continues to offer future-ready, cost effective, advanced technology solutions. Products include: video switchers, routing switchers, multi-viewers, full 4K high-speed cameras, IP encoders/decoders, multi-channel signal processors, 8K/4K/HD test signal generators, color correctors, frame synchronizers, file-based products, character generators, video servers and much more.

For a full range of HD and 4K production and processing solutions, as well as IP-based products, visit our web site at www.for-a.com.

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FOR-A CORPORATION OF AMERICA, 11155 Knott Ave., Suite G&H, Cypress, C.A. 90630 Phone: 714-894-3311, Fax 714-894-5399 Web site: www.for-a.com 

SYDNEY—With the rise of HDR and 4K content, Sony is rolling out a new live production switcher designed specifically to handle those demands, the XVS-9000. The new unit can offer up to 80 inputs and 40 outputs in 4K and up to 160 inputs and 80 outputs in HD. It adopts the latest interfaces for both IP and 12G-SDI in 4K as well as hybrid system of both.

In the XVS-9000, Sony has included flexible workflows through its IP live production system and has reinforced IP Live interoperability to support SMPTE ST 2110 media transport over IP and AMWA NMOS Device Discovery.

To handle live 4K video sources, the XVS-9000 features a larger capacity processor with evolved signal processing technology. It also inherits the functionality and operability of the current XVS series, including operation through the ICP-X7000 Panel of a modular style design, with OLED displays. It will also have resource sharing functionality with other XVS series products to create a virtual environment with several switchers.

Additional features include the ability to install up to four 4K/HD DME boards to configure a maximum of four channels of 4K 3D DME for 4K live production. The new 4K/HD DME boards are compatible with the XVS series, allowing two channels of 4K DME to be configured in the current XVS-8000.

Sony plans to officially release the XVS-9000 in October.