BINGAM AM RHEIN, Germany—Remote production specialists DMC Broadcast Solutions has taken delivery of two software-defined outside broadcast (OB) trucks from Broadcast Solutions.

The entire signal processing and delivery workflow of the trucks is powered by Grass Valley AMPP software.

“We have been at the forefront of remote production, seizing the operational, environmental and commercial benefits of keeping our talented staff and technicians at our production bases rather than travel to site,” said Jens Envall, chief innovation officer at DMC Production. “But we also recognize the fundamental challenge with the conventional view of remote production: bringing all the signals back to a control room calls for a lot of bandwidth, for very high levels of stability on that bandwidth and for very tight controls of latency.

“So, we came up with a concept we call ‘reverse remote production’ where all the switching and processing happens on site, in an outside broadcast truck, but the control of that equipment happens in the central production suite,” said Envall. “When we spoke to the team at Broadcast Solutions, they got the idea immediately, and together we moved rapidly from sketches to two trucks on the road, covering premium events like 3.Liga soccer in Germany and ATP tennis in Sweden.”

The compact trucks offer operational space if there is any need for on-site production control. There is also a data center running the AMPP processing and GRID network. Alongside these capabilities, there is room in the fixed-axle truck to carry all cameras, lenses, grips and other equipment to sites.

This means that what once required two articulated trailers for a conventional outside broadcast—an OB truck and a tender truck—can now be replaced with a single fixed axle truck, slashing the carbon footprint of the operation, BI said. At the same time, the whole reverse remote production system requires only 100 Mbps of internet connectivity, a tiny fraction of what’s needed for conventional remote production.

Each truck supports up to 16 cameras, with Grass Valley LDX98 cameras supplied by Broadcast Solutions as part of this contract. They connect via a traditional tailboard and stage boxes. Currently, the trucks support 1080p native signals in SDR and HDR and are 4k Ultra HD-ready.

Internally redundant Cisco Systems routers manage the signals with the majority of processing carried out by the pair of Grass Valley AMPP servers with NVIDIA Blackwell GPUs and 11 TB of local storage per server, providing full replay and super slo-mo capability. Audio is mixed with a Calrec Argo M36 console.

External connectivity uses around 25 Mb/s for low-latency control and data between the site and the production center, and another 25 Mbps for monitoring using WebRTC multiviewer streams. Program outputs are delivered from the truck, typically by a 25 Mbps SRT stream, leaving comfortable headroom in a typical 100 Mb/s public internet connection.

“This has been a great project, driven by close collaboration with DMC,” said Zlatan Gavran, chief operating officer at Broadcast Solutions. “They came to us with their outline concept for reverse remote production, and together we spent a long time working out how to realize the ideas using AMPP software.

“The result is something that has never been done before,” Gavran said. “A true software-defined outside broadcast unit, delivering the highest quality output while controlled from anywhere in the world. It uses cutting-edge technology like the GRID (MXL) network and software tools, but presents them in familiar form so that EICs, technicians, experienced operators and directors feel immediately at home.

One of the new OB trucks will be on display at IBC 2026 in the outside exhibit area, stand 0.A03.

More information is available on the Broadcast Solutions website.

EMG/Gravity Media, a Netherlands-based provider of production and content, media services and facilities, has appointed Nathan Spencer its new Managing Director of its American operations.

Spencer brings more than 30 years of industry experience and has a strategic vision to lead EMG / Gravity Media’s continued growth and expansion in the U.S. market, the company said.

Jamie Hindhaugh, Regional CEO – UK, USA, Australia & Middle East at EMG/Gravity Media said, “I want to take this opportunity to express my sincere thanks to Ted Griggs for his leadership, I appreciate his hard work and dedication in ensuring a smooth transition whilst maintaining stability and momentum over the last few months. Ted will continue to oversee existing projects and advise Nathan in the coming months.

“Our commitment to growing our presence in the US remains stronger than ever, and I recognise the incredible talent we have within our teams there. As we embark on this exciting chapter, I am confident that Nathan will harness the potential within our organisation, helping us to drive innovation, foster collaboration, and deliver results.”

As Managing Director, Spencer will be responsible for overseeing all aspects of EMG/Gravity Media’s business in America, including strategic planning, business development, and operational management. He will work closely with the global leadership team to drive innovation, optimise performance, and deliver exceptional value to clients and will work alongside Jamie Hindhaugh to deliver on the combined business’ US objectives, according to the company.

“I am excited to take on this new role at EMG/Gravity Media and lead the talented team in America,” Spencer said. “EMG/Gravity Media has a strong reputation for delivering high-quality broadcast and production solutions, and I look forward to building on this success and exploring new opportunities for growth in the U.S. market.”

Mobile production company Gravity Media has signed a long-term contract with ATP Media, the media arm of the ATP Tour, to deliver global coverage of over 60 of the ATP Tour’s world-renowned tennis tournaments including the ATP Masters 1000s, ATP 500s, ATP 250s and the season-ending Nitto ATP Finals.  

The companies term the new deal as “the beginning of a new and exciting next chapter” to “deliver a new approach to the production of tennis across the world.” As part of this new approach, ATP Media has worked closely with Gravity Media on the specification of the  galleries and working areas for ATP Media Studios, which will be based at Gravity Media’s brand-new  Production Centre in London, White City which opened earlier this year.  

The 50,000 square foot ATP Media Studios is part of the newly commissioned Gravity Media facility housed  in The Westworks precinct, and features production, post-production and live studio capabilities coupled with best-in-class technology  to support both on-premise and distributed remote production workflows. 

Gravity Media’s state-of-the-art facility is based around a fully-fledged 2110 IP media fabric. ATP Media Studios will comprise two large production and sound control rooms for the ATP Masters 1000 tournaments,  two medium production and sound control rooms for the ATP 500s and a dedicated area to produce the 38 ATP 250 events as well as seven flexible control rooms, six craft edit suites, six voiceover booths, a vision  control room, EVS room as well as a dedicated office space, broadcast operations centre and media management facilities. 

To deliver new production outcomes for ATP Media, the partnership with Gravity Media also involves building  an innovative and bespoke outside broadcast truck solution which is integrated natively with ATP Media  Studios. This solution allows ATP Media to ensure the migration of broadcast feeds from onsite to ATP  Media Studios at Gravity Media’s Production Centre in London (White City)—beginning initially with remote  world feed management through to remoting replay operators, vision control and media management, and  then scaling to fully remote court production.  

At each ATP Masters 1000 tournament, ATP Media is also introducing new camera positions and increasing  the number of both on-court and off-court cameras, and will access specialist, robotic and on-court camera  technologies designed and developed by Gravity Media’s specialist camera team to enhance the overall  viewer experience.  

As part of the new agreement, Gravity Media and ATP Media will deploy Sony HDC series camera channels, EVS XT Via servers and Calrec audio core and consoles worldwide and at ATP Media Studios at the Gravity Media Production Centre in London. Further technology upgrades will also be rolled out as part of this new partnership with ATP Media and  Gravity Media committed to further enhancing television production values.  

ATP Media and Gravity Media said the new production solutions are designed to promote a greener and environmentally sustainable approach to coverage of the ATP Tour—an approach  that significantly the companies said increases efficiencies and reduces production freight and logistics undertakings.

The first tournament under the new agreement goes live from ATP Media Studios at the Gravity Media  Production Centre in London in June. 

“It is an extremely proud moment for me and the wider team, as we announce our long term production  partnership, delivering ATP Media’s global broadcast and creative technology innovation solutions—building  on an already long-standing relationship, said John Newton, Gravity Media’s CEO and Founder. “Ensuring we will deliver the most advanced remote broadcast solutions across the ATP Media assets as  well as from our brand-new media hub, Production Centre London means we are poised to lead the way in  the future of tennis broadcasts. 

“This contract will ensure the most environmentally sustainable approaches are embraced, whilst ensuring  we can provide more roles to the broadcast industry welcoming and encouraging a new generation of talent  to come on board with both Gravity Media and ATP Media,” Newton added. 

“Gravity Media has been an important strategic partner for ATP Media over an extended period of time and so when Gravity Media stepped up to the plate with its bid under our very detailed and transparent tender  process, we were naturally delighted, said ATP Media CEO Mark Webster.  "ATP Media has been acutely aware that, to ensure it continues to be at the forefront of live and non-live  sports content production, it needs to continually re-invest in its production capabilities. 

"With the unfortunate  Covid-19 pandemic, such re-investment naturally had to be put on hold, but the tender process addressed  that and this innovative and wide ranging deal with Gravity Media, an organization ATP Media has implicity trusted for many years, will now turbo-charge our production and take ATP Tour tennis to the next level for  its fans,” Webster added. 

The live production industry constantly tests the boundaries of what is possible during a broadcast. The viewer experience and consumer demand act as a catalysts for new ideas and solutions. As more technology than ever goes into a live broadcast, the rate at which it is evolving is faster than ever.

Broadcasters and streamers are experimenting with new technologies often. Live shows are growing, with increasing production requirements, cameras, and formats like 1080P and HDR. In contrast, a shift to streaming apps and tighter budgets is encouraging technologists to simultaneously look for savings—sparking the discussion on where, how, and when to look to the cloud. 

However, moving to the cloud can mean many different things; it’s a complicated, "no one-size-fits-all" solution. Public clouds, private clouds, hybrid clouds, fog computing and edge computing all play a role, so the most popular cloud variation has yet to be determined. 

Public clouds are easily accessible, but come with a premium hourly price, are less secure, and can only currently serve lower-tier productions. Edge computing and fog computing solutions show some promise, but aren’t yet at the stage where they can be relied upon beyond small and mid-size events. 

Hybrid cloud is the combination that many are turning to in live production. The flexibility of both private cloud and on-prem mobile units and resources, like cameras, makes it the most capable solution. This cloud variant gives companies unrivaled access to centralized computing power and purpose-built hardware on-site. The hybrid cloud also provides the lowest latency and highest reliability with the most control for large-scale broadcasts. 

Why Hybrid Cloud Wins
Hybrid cloud provides the perk of not having to choose one solution and utilizing benefits from multiple options. Many businesses have adopted the cloud in one way or another, with 87% of businesses having a hybrid cloud strategy. 

The broadcasting industry is certainly not the first to turn to the cloud, so there are insights to be gained from other industries who started their cloud journey a decade ago. However, with the additional requirements of being live, and cameras that need to be on-site, there are caveats that make cloud adoption for this industry unique.

The live broadcast industry fits into the world of the cloud as it pertains to three main components—cameras, people, and computing (hardware and software). Unlike other tech industries, there is a tangible component with live broadcast cameras that will always need to be on-site at an event, and unable to move to the cloud. Conversely, production crews can now be anywhere. Whether producing, directing or running replay, operators can remotely access the systems they need. 

This leaves technologists with the option to explore innovation in hardware and software components. With the anchor of cameras needing to be on-site, a customized combination of private cloud and on-prem is likely to be the cloud variant for the largest broadcasters. Offering the lowest cost (with some level of volume), lowest latency, highest reliability and the most control, it is the best choice for this industry.

The hybrid cloud harnesses the benefits of the private cloud, while still allowing for on-prem production resources at an event. For this reason, the move to the cloud will represent the move to the hybrid cloud for live broadcasters. 

With companies recognizing the value that the private cloud brings to their workflows—and ultimately, their viewers—broadcasters are using the cloud to simplify multifeed productions, while also using distributed hardware and distributed control to place an emphasis on scalability and quality.

The hybrid cloud has benefits that go beyond technology, as well. In a post-pandemic world, the modern workplace has grown more accustomed to remote work and hyper-flexible schedules; there is intense competition to hire skilled workers that is affecting seemingly every industry. Live broadcast production needs to be able to satisfy the modern workforce’s needs in order to attract and retain talent.

Cloud technologies are taking on more responsibilities to cater to both viewer and employee demands, helping to alleviate pain points; but on-prem production won’t go away. Effectively utilizing cloud technologies will be vital to the live production industry’s success in the current economic landscape, helping with cost savings and flexible schedules.

Increased Demand will Expedite the Move to Cloud
The demand for bringing live events into a viewer’s home will continue setting the bar for new developments. The results of that will look different in an ever-changing landscape—whether it be a new shift to streaming platforms or an enhanced experience from home that caters to personal preferences. Regardless, technology will continue to advance at an exponential rate to meet these needs. 

Alongside viewers, the brightest minds in the industry are always looking at ways to improve. Technology will continue to push the boundaries of what is possible and the hybrid cloud will be on the frontlines making a big impact.

NASHVILLE—Mobile production company TNDV has made its second largest investment in Sony 4K/HD cameras, adding 20 Sony HDC-4300L camera systems, bringing a total of 28 Sony cameras to its gear portfolio.

Four of the newly acquired HDC-4300Ls have been placed on Exclamation, TNDV’s flagship 4K/HD mobile unit, bringing that truck’s camera complement to 12. The other 16 cameras have been split between Collaboration—TNDV’s newest truck, which rolled out on February 22—and Aspiration, another popular mainstay of TNDV’s mobile production fleet.

“The Sony brand is highly respected for high-end 4K video acquisition, and especially revered for live, large-scale entertainment event productions,” said TNDV President Rob Devlin. “The 4K image quality these cameras capture is impressive, even when displayed on massive LED screens in large arenas. With 12 cameras on Exclamation, we can easily handle large, 12-camera shows, or multi-camera shows that require ample backup cameras.” 

While Exclamation typically focuses on the biggest shows and events, Collaboration and Aspiration can now offer this same Sony 4K image quality on smaller entertainment event shoots. Professional cameras previously housed on those trucks have rippled down to smaller trucks in the fleet, such as Inspiration, as well as custom-configured flypacks the company said.

The Sony HDC-4300L camera system features three 2/3-inch 4K imagers and supports wide color gamut for precise color reproduction when shooting live. It enables 4K capture for multiple 4K and HD outputs and super slow motion, among other capabilities, while integrating seamlessly within Sony 4K live production workflows.

According to Devlin, the new cameras have already been used for live 4K/UHD production of two CMT Television series: CMT Crossroads and CMT Storytellers. “Our goal is to satisfy customer demands for Sony 4K acquisition and workflows, especially for large entertainment shows, while attracting more high-end customers for events of all sizes that prefer Sony cameras for their productions.”

LONDON—Broadcast and production service provider EMG has chosen Leader multiscreen waveform monitors for integration into three new OB vehicles. 

A total of 16 LV7300 rasterizers, supplied by Leader channel partner Thameside.TV, will be used for master reference during live transmissions and related post-production, the companies said. 

"Leader test instruments have been our preferred choice for nearly 10 years," says Paul Francis, director of engineering. "They have proved consistently reliable, accurate and operator friendly. Many of the projects we work on are very large scale with feeds sometimes exceeding 100 cameras. Precise and repeatable monitoring of video signal flow is vital to ensure accurate matching of camera channels. The LV7300 rasterizers also ensure that we maintain the full available video and audio dynamic range from source right through to output.

"The rasterizers are connected to large-screen monitors which allow easy inspection of displayed detail,” he continued. “The LV7300 has a similar menu structure to Leader instruments in our other OB vehicles so operators can move freely between them. Multiple display tools can be combined in a single screen view to allow easy side-by-side comparison of related parameters or channels."

"Leader products like the LV7300 are providing production companies with simple and elegant test and measurement solutions that allow them to monitor and analyze multiple camera sources easily and efficiently," adds Kevin Salvidge, sales engineering & technical marketing manager at Leader Europe. "They also allow easy upgrade from HD to UHD and SDR to HDR if or when required."

Leader LV7300 rasterizers come in a compact 1U half-rack footprint. They provide signal generation plus a wide range of measurement tools and support SDI signals from SD through 12G. Waveform, vector, picture, audio, and SD-SDI to 12G-SDI eye-pattern displays enable comprehensive measurement and quality control of a wide range of audio and video formats. Measurement tools also include phase comparison, five-bar gamut display. A focus detection algorithm can be implemented to ensure precise camera adjustment when working with low-contrast source where traditional focus is difficult, the company said. 

Detected errors captured on the LV7300's status display can be registered using event logs and long-term charts. SDI-embedded audio can be viewed as Lissajous waveforms as well as bargraphs. Also included in the instrument are Leader's CINELITE and CINEZONE. CINELITE offers in-picture measurement of RGB, luminance and f-stop levels, allowing real-time inspection of brightness and exposure levels. F-stop-based evaluation enables an operator to respond quickly to variations in lighting level. CINEZONE overlays false colors on the image to determine exposure zones.

Controllable from the front panel, via mouse or touchscreen, the LV7300 can be powered from 10-18V DC, enabling it to be used in locations where mains electricity is not available, or via a power supply unit. Rear-panel ports include two SDI inputs (12G and 3G), two SDI outputs, SDI and HDMI monitor feeds, 75-ohm external reference loopthrough, Ethernet and multipin remote interfaces plus DC power input.

PITTSBURGH—Call it an outside broadcast, a remote, a field telecast, or live event coverage, the origination of programing from outside the confines of a television studio had been part of the medium since the commencement of regular TV broadcasting schedules in the 1930s. The viewing of such activities as boxing matches, ball games, beauty pageants, parades, political conventions, and the like as they happen and from where they are happening has always held a certain fascination for the public; an experience different from that in carefully planned and orchestrated studio productions, especially those that are recorded and heavily post-produced.

One of the largest of those entities making possible such outside broadcasts is the NEP Group (formerly NEP Broadcasting LLC), a Pittsburgh-based organization that has grown by leaps and bounds since its rather humble beginnings more than three decades ago, when it took to the road with a single remote truck, and operated as an adjunct to a TV station serving northeast Pennsylvania.

HOW IT ALL STARTED

Mike Werteen, global president of NEP Broadcast Services, recalled the live production giant’s rather inauspicious startup.

“Towards the end of 1978, Tom Shelburne built the first mobile production truck for WNEP, an ABC affiliate located in Wilkes-Barre, Penn.,” he said. “The truck’s first show was an NCAA women’s basketball game at Penn State University, covered for TCS [Total Communications Systems], WNEP’s first client.”

This first truck—later dubbed “Sharpshooter 1”—would become NEP’s entryway into the sports broadcasting arena, transitioning from pickups of Penn State games for TCS to coverage of a variety of other sporting events. In the 1980s, NEP acquired the holdings of TCS and relocated to Pittsburgh. (Present-day trucks are still “Supershooters,” but this is usually shortened to “SS—”SS18” or “SS21.”)

Fast forward 35 years, and NEP is now the definitive name in live production, not only in the United States, but globally, with offices in two dozen countries and nearly 4,000 employees. And while live event coverage is still its forte, the company also offers services in system integration, ENG, visual special effect creation, post production, playout, media management, and more. To get an idea of the overall scope and reach of NEP’s operations, the organization has produced television coverage of live events in more than 80 countries spread across all seven continents.

THE PATH TO THE TOP

Asked about the NEP’s meteoric growth, Werteen said that the event which really spawned the company’s pathway to the top came in 1995 when it negotiated the purchase of NBC’s mobile production fleet. This set the stage for a pattern of television production-related acquisitions that has continued well into the 21st century.

“It has been steady, focused growth since then,” said Werteen. “Our growth outside of the U.S. started in 2005 when we acquired Visions and Roll to Record in the U.K. [now NEP UK], adding Global Television in Australia [now NEP Australia] in 2014, and adding major players in Europe and Asia Pacific in 2015 and 2016.”

These included Mediatec Broadcast (now NEP Europe), Broadcast Solutions (now known as NEP Broadcast Solutions), Dutch View (now NEP the Netherlands), as well as Mediatec Solutions and Infostrada].

“We have a phenomenal team around the world,” Werteen said. “All of our acquisitions have been a tremendous fit for us both business-wise and culturally. I am really proud of the dedication, integrity and ingenuity of our teams around the world.”

NEP’s most recent acquisition occurred late last year when it acquired Baltimore-based Broadcast Sports International, a Baltimore-based designer and manufacturer of wireless networks and high-end wireless A/V systems. “We’ve worked alongside BSI’s team for years and share a great deal of respect for their high-quality work and technology,” said Werteen.

When asked to comment on just how large a presence in the live production market NEP has, Werteen provided the following statistics:

“NEP has roughly 3,900 employees worldwide. We have 160-plus OB trucks on the road, 45 broadcast production flypacks, and a total of 44 studios and control rooms around the world. We have around 95 offices with operations in 24 countries. We have supported events in 87 countries to-date. We are a truly global company.

“We really pride ourselves in being able to support our clients as a trusted partner offering truly local service, backed by the full depth and scale of NEP’s resources, virtually anywhere they need to go.”

NEP’s expansion has also led the company into developing products for related areas.

“We have teams that have developed really innovative media solutions, including Mediabank [NEP’s cloud-based media asset management service],” Werteen said. “Our live events teams [Screenworks, Sweetwater, CT, Mediatec, Faber and Big Picture], collectively have around 40,000 square meters of LED product and 45 mobile LED screen trucks, as well as other display, projection, audio, rigging and lighting solutions.”

LOOKING FORWARD

With such an enormous footprint, are there any “worlds left to conquer” for NEP, and with the now-universal low-cost video capture, production tools, available to virtually anyone, coupled with the global distribution channel that the internet provides, Werteen was asked if there were any new directions that NEP might be taking.

“NEP is distribution-agnostic, so no matter what the technological advance or any evolution of distribution methods, we feel good about our role in helping clients deliver live production,” he said. “Distribution offerings have evolved over the past 40 years. Technology has advanced over the past 40 years. NEP has stayed relevant because we focus on the technological fundamentals that are important to us. We focus on staying ahead of the technology discussion, making sure advances are relevant and reliable. We focus on making sure technology advances meet a valid business case. Once those criteria are met, we focus on innovating or acquiring solutions.”

Asked if there were any new goals or targets in mind for the company, Werteen responded in the negative stating, “The only goals we concentrate on are servicing our clients and supporting our employees.”

Stinehour: NEP’s Growth ‘Mind-Boggling’

NEP’s influence in the world’s live television production market is the result of strong management skills and its ability to quickly integrate its expanding roster of acquisitions, according to Josh Stinehour, principal analyst at Devoncroft Partners LLC, a media technology sector research firm.

“NEP is almost the closest thing we have in our industry to ‘too big to fail,’” said Stinehour. “They’ve gotten so large that I don’t know that we could replace them if they disappeared, at least not without some huge wrenching in the industry.”

Stinehour credits NEP’s phenomenal growth to “strong operational and financial management,” and referred to the company’s business acumen in acquiring and bringing together, through mergers and acquisitions, the numerous live event production entities it now owns and operates has as “mind boggling.”

“Since 2012, NEP has made almost 30 acquisitions.”

So, just how big is big? Stinehour doesn’t even want to speculate about what would happen if NEP were to suddenly disappear from the live production scene.

“If you [conducted] an academic experiment and you had NEP shut their doors and mothball their equipment, it’s not clear to me that there’s enough slack capacity in the rest of the industry to continue on, at least not without major disruption,” he said. “They are truly that big and all-encompassing when you consider all the live events that they touch.”

He also offers high marks to NEP’s managerial skills for achieving a great degree of balance and stability in a market sector that is constantly in flux.

“For the most part they tend to surge and contract-–and I use those words broadly—at least in revenue terms—around the major events and where they are happening in the world,” said Stinehour. “They were very busy in Korea earlier in 2018 and very busy with the World Cup. They are going to track the major events and they’re going to have very good years, but then they have to manage the resulting drawdown when the big events aren’t taking place.”

He noted that in connection with this, NEP has been diversifying its range of activities to include other live events such as concerts or corporate events along with the sports pickups that have the company’s “meat and potatoes” business for a long time.

“It will be interesting to see how they fare in these markets,” he said. “Those markets have different dynamics than large sporting events like the Olympics and the World Cup.”

Chelmsford, Mass. – Dec. 12, 2018 –Broadcast Pix is offering a special year-end introductory price for BPswitch™ RX, the new portable model in its popular line of integrated production switchers. Priced at $10,995 until Dec. 31, BPswitch RX is a self-contained unit with touchscreen display and integrated streaming for live multi-camera production of sports, concerts, and events on location.

“Nobody delivers production automation as well as Broadcast Pix, and BPswitch RX packs all the functionality you need into a compact, durable chassis that’s ready for the road,” said Tony Mastantuono, product manager. “This is our most powerful switcher, and it’s built on a reliable 64-bit Windows 10 platform. The BPswitch RX ‘Roadie’ promotion saves you $6,000, and will help you bring your mobile productions to the next level in the New Year.”

BPswitch RX features four multi-definition video inputs, plus two IP inputs that support RTSP and NDI protocol. It also includes eight channels of clips and graphics, three keyers with DVEs, and seven outputs. An integrated NewBlueNTX dual-channel 3D CG includes hundreds of title styles and templates for easy creation of lower-thirds, motion graphics, and more. Other workflow tools include built-in program recording, audio mixer, clip and graphic stores, file-based macros, and customizable multi-view.

Beyond the included keyboard and mouse, BPswitch RX control options include a traditional Broadcast Pix panel or optional Broadcast Pix Commander™ customizable touchscreen interface. Plus, recently updated iPixPanel and iPixPad apps allow a second operator to complete specific production tasks through an iPad or iPhone. Like other models, BPswitch RX also supports browser-based switching with full-motion video and complete access to all sources and workflow tools using its integrated BPNet™ IP ecosystem. Other BPswitch RX options include robotic camera control, BPfusion software for streamline data-intensive CG graphics, and soft and hard carrying cases for air travel and other transport.

The BPswitch RX “Roadie” promotion is only available for customers in the United States, and systems must be purchased from a Broadcast Pix Premier Reseller by Dec. 31, 2018. For more information, visit www.broadcastpix.com/roadie-promo-form.

About Broadcast Pix With a tightly coupled switcher and 3D motion graphics CG, Broadcast Pix provides the most fully integrated live video production systems with patented control and automation technology. From compact units to large-scale, multi-system solutions, every Broadcast Pix features an extensive toolset that makes it easy to optimize and customize your workflows locally and over IP. Plus, its BPNet ecosystem provides secure cloud services and asset management. Founded in 2002, Broadcast Pix has customers in more than 100 countries and is the leader in fully integrated production switchers for government, broadcast, streaming, live event, and visual radio applications. Learn more at www.broadcastpix.com.

Broadcast Pix, Broadcast Pix Commander, BPNet, and BPswitch are trademarks of Broadcast Pix, Inc. Patented. Switchers are made in USA.

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Fremont, CA - November 19, 2018 - Blackmagic Design today announced that Austin, Texas based full service production studio Zodiac Studios is using an ATEM Television Studio Pro 4K live production switcher and Video Assist 4K monitor/recorders for its ongoing Austin Music Live series. Cofounded by Robert Calder, owner and executive producer at Zodiac Studios, along with Producer and Creator David Christopher, the live streamed series celebrates the rich and diverse local talent that makes Austin the live music capital of the world. Austin Music Live supports and fosters the city’s $2 billion music tourism industry.

Now in its third season, Austin Music Live features a different local music act, including the likes of Texas legend Carolyn Wonderland, and a different venue in each episode. Each performance is captured live and broadcasted via digital platforms such as XUMO, an OTT VOD provider that reaches consumers directly through smart TVs, in addition to YouTube, Facebook Live, Twitter and the Austin Music Live official website. Each live broadcast receives 1,500 to 3,000 views, while VOD content for the series receives 1.5 million views annually on XUMO.

To capture each show, the team brings a mobile production trailer to the selected venue and runs cables to all camera positions within. Each of the five cameras is equipped with a Video Assist 4K, affording camera operators a clear view of what they are shooting while also allowing them to ISO record on each camera. Everything captured by the cameras is relayed back to the production trailer where the ATEM Television Studio Pro 4K is stationed. From the production trailer, Calder creates a compelling viewing experience using the ATEM Television Studio Pro 4K.

“With the ATEM Television Studio Pro 4K, there’s no delay in the stream when switching cameras, which is really critical for pulling off a polished live streaming event. In addition, its multi format input, with re sync and low latency conversion on each input, is incredibly convenient because it allows me to integrate any type of camera in the production with ease. Its media pool can also hold up to 20 small videos for mixed effects and overlays. You used to need a separate computer for that, so it’s a huge plus that cuts down on the amount of equipment we need to bring out with us,” said Calder.

Since Austin Music Live is a mobile production, the team needs a solution that’s both cost effective and portable. “We’re working with limited staff and limited budget, so I’m juggling five different jobs that we’d ordinarily have five different people for,” Calder added. “We need a switcher that has enough fire power to control all our cameras while still being small enough to fit into our mobile production trailer. The ATEM Television Studio Pro 4K lets me communicate with our camera operators via built in talkback and quickly switch from the five different cameras to get the angles we want. This lets us control how we want remote viewers to experience the performances; we want them to feel like they’re right there alongside the live audience.”

“Due to latency requirements, we currently broadcast live and record in 720/1080p, but the ATEM Television Studio Pro 4K’s 12G-SDI and 4K capabilities give us the option to make the switch when it makes sense for us in the future. Knowing that we won’t have to invest in additional equipment brings us peace of mind from a budget standpoint,” Calder said.

“Austin Music Live is our way of helping preserve the local music scene here in Austin. We want everyone, regardless of geographic location, to be able to experience its thriving and robust music scene. With the implementation of the ATEM Television Studio Pro 4K, we’ve achieved a world class, yet intuitive production workflow at a price point that works for us. For me, it’s just a very user friendly, easy to use product; we plan to purchase another unit in the near future,” Calder concluded.

Zodiac Studios plans on using the ATEM Television Studio Pro 4K along with two of Blackmagic Design’s URSA Broadcast cameras on live productions for the Austin Spurs’ 2018/2019 season as their official broadcast partner. The URSA Broadcast was selected for its superior image quality, B4 broadcast mount and small physical footprint.

Press Photography

Product photos of the ATEM Television Studio Pro 4K, Video Assist 4K, URSA Broadcast 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.

VAN NUYS, CA--PSSI Global Services has partnered with OB vehicle builder Frontline Communications to build 16 new, state-of-the-art Ku-band SNG vehicles for use by PSSI News Group in exclusive partnership with CNN. The trucks replace 16 vehicles previously owned by CNN, which — having been absorbed into the PSSI Global Services fleet — are in the process of being upgraded and will soon be available to all PSSI Global Services clients.

The new PSSI News Group trucks include nine full-size Freightliner trucks and seven Mercedes Sprinters. Each is fully equipped with top-shelf broadcast equipment, including Ericsson AVP encoders and IRDs, Evertz Microsystems terminal equipment, Xenon digital routers, Hitomi MatchBox lip-sync systems, Panasonic video production switchers, and Vislink wireless RF camera systems. The new trucks are now in use by PSSI News Group engineers for CNN coverage in regions across the country, including Washington D.C., Atlanta, Chicago, Denver, San Francisco, New York City, Dallas, Columbus and Miami.

The additional trucks PSSI Global Services acquired from CNN are already built for multipath news transmissions, with production switchers, extensive comms infrastructure, multichannel audio mixers, multipath encoding and decoding equipment, and more. 

Once PSSI Global Services’ upgrades are complete, the trucks will also have advanced compression, multiplexing and IP capabilities to support sports and entertainment projects, as well as news coverage. Each truck will be outfitted with high-throughput satellite modems with dedicated satellite capacity to enable a wide range of IP services, including internet access, Voice over Internet Protocol (VoIP), enterprise connectivity, and bandwidth for backhaul and multicasting.

Many of the upgraded trucks are already complete and in use, including a Sprinter based in Los Angeles and several full-sized trucks with extensive production capabilities in Atlanta, Boston, Denver and Las Vegas. As the upgrades continue, PSSI Global Services plans to deploy trucks in Phoenix, Portland, Kansas City, Nashville, Charlotte and several other cities across the country.

DALLAS—Imagine Communications tech is off to Switzerland following an agreement with Swiss broadcast provider tpc and production center Switzerland ag to provide the distribution core, processing and multiviewer technology for a new mobile production center. This new truck will be designed to support uncompressed HD and UHD signals over IP based on the SMPTE ST 2110 standard for the transport of video and audio over IP networks.

With the new mobile production center, tpc will be able to simultaneously support HD and UHD production requirements, as well as be future-proof for any technological updates that may occur over the next decade, according to Imagine’s press release. Also part of the unit will be Imagine’s EPIC MV multiviewer, which will monitor the signals of a large number of dedicated screens, with inputs and monitor outputs all in IP.

SMPTE ST 2110 is a standard for the transmission of video, audio and meta data over IP networks and is the current destination of the IP standards roadmap endorsed by AIMS.

Switzerland’s tpc is a producer of international events for the Swiss and global markets. Its new mobile truck is being designed and built by SonoVTS.

CROATIA—Solid State Logic’s System T broadcast audio production environment is experiencing Croatia first hand, as the system was recently installed into a mobile production vehicle for the country’s national television network, Nova TV. The HD OB Van 3 has already been used for a number of Nova TV productions, including music and sporting events.

The System T unit in the truck consists of a 48-fader main surface with full meter bridge, plus the Tempest engine and a redundant Dante network. SSL Network I/O Stageboxes provide inputs and outputs for deployment outside the truck, while more Network I/O provides SDI, AES, and analog I/O inside the truck. An SSL Network IO SDI embedder/de-embedder with Dante and MADI connectivity is also available for embedding audio tracks from the network to multiple video channels.

System T uses both physical identities and logical identities for the Dante network I/O, with a layered tagging and filtering system. Combined with Dante’s distributed routing and plug-and-play discoverability features, any input or output on the network can be found without proprietary crosspoint routing systems.

The HD OB Van 3 truck measures in at 14 meters long, has double width extensions and features 16 cameras and a large video production gallery.

INDIANAPOLIS—IMS Productions is heading off to college, or at least its Killer Frost mobile production truck is. IMS will provide its customized mobile production unit to the Pac-12 Network for the purpose of supporting multicam productions for as many as 100 Pac-12 live Olympic sport events.

The Killer Frost truck provided to the Pac-12 Network has been configured to meet the IP production model specifications and broadcast needs for Pac-12 Networks. The truck is expected to be used to cover baseball, softball, lacrosse, water polo, track and field, and more sports broadcasts.

IMS Productions is an Indianapolis-based multimedia production company.

MONTREAL—Mobile TV Group’s 39 Flex 4K production truck has been on the road serving mobile productions, including the Masters and PGA golf championships, with the help of Grass Valley’s Kayenne K-Frame Switcher. The 4K-capable switcher, which features 48 inputs/24 outputs in 4K and 192 inputs/96 outputs in full HD, has 7 M/Es, with six keyers in every full M/E.

The Kayenne switcher provides full multiformat support, including 1080p and 4K. It also is now available with IP I/O for SMPTE 2022-6 connectivity. The system is easily upgradable for future enhancements, according to Grass Valley.

Grass Valley is a provider of end-to-end television production and content distribution workflows and is based in Montreal.

MAYWOOD, N.J. & RIO DE JANEIRO—The 2016 Summer Olympics will be dipping into some 8K coverage for the ceremonies and events, and Ikegami will be among those helping to provide the hi-res coverage. The HD and UHD camera provider announced that its 8K OB production vehicle will be onsite throughout the Olympics Games.

SHK-810

Ikegami’s vehicle is designed as a complete mobile 8K broadcast production facility capable of producing picture quality with 22.2 channel surround sound. It will be outfitted with Ikegami’s SHK-810 UHDTV cameras, which employs a single 33 million pixel Super 35 CMOS sensor to achieve 4,000TVL horizontal and vertical resolution. A crew of Ikegami engineers will accompany the OB vehicle.

The 2016 Summer Olympics will take place in Rio de Janeiro from Aug. 5-21.

NASHVILLE, TENN.—Mobile production company TNDV recently organized two live worship events on both the east and west coast. TNDV provided turnkey HD production services to both events, which were held at the Los Angeles Memorial Coliseum and on the National Mall in Washington D.C., including mobile trucks, production crews operating multiple cameras, and associated video and audio infrastructures.

TNDV helped create a live link between the two, unrelated events. The live contribution was established with hardware from Teradek and Corporate Events Online helping to manage the live bi-directional link. The real-time HD feeds were encoded and decoded while communications were established over VoIP hardware interfaced with an RTS matrix intercom on each truck. That connectivity allowed for the transmission and reception of program content over a bandwidth-rich connection for optimum image quality.

The coverage of LA’s AzusaNow event featured TNDV’s 40-foot Aspiration truck, nine Hitachi SK-HD1000 cameras, SMPTE-HUT fiber transceivers and support for in-venue IMAG and live broadcasts. In D.C., the company used its Elevation HD truck to power cameras, video and graphics playback, and audio mixing and multitracking for the UnitedCry event.

PARK RIDGE, N.J.—Mobile TV Group’s latest 4K and HDR mobile production unit is revved up and ready to go and features Sony camera and monitor systems, Sony announced in a press release. The 39 Flex production truck comes with 12 Sony HDC-4300 live camera systems and uses Sony’s BVM-X300 4K/HDR master monitor.

Part of MTVG’s fleet of 30 mobile production trucks, the 39 Flex is a 53-foot double-expando that can operate 4K/HDR, high frame rate and HD.

MTVG has announced that it will use the 39 Flex for live sports production.

NASHVILLE, TENN.—ABC broadcasted the 49th annual Country Music Awards in November, but TNDV was also on fan to provide fans with live streaming coverage of the night’s events. TNDV has worked with Disney/ABC on the Country Music Awards for the last six years, but for this year’s broadcast its role expanded to produce video of the CMA Press Conference, live celebrity interviews, and pressroom and backstage happenings.

TNDV records a backstage interview

Part of these expanded duties included “CMA Awards Backstage,” a live, multi-camera streaming second-screen experience that offered a behind-the-scenes look from the red carpet to the ceremony. For the live stream, TNDV produced four live, uninterrupted HD streams that viewers could select to watch on mobile devices. 16 HD cameras were used for the production.

TNDV utilized a crew of 34 with dozens of cameras, live sound and lighting kits, monitors, fiber cabling, and its 40-foot expanding side HDTV truck Aspiration.

Calrec has sold its first Callisto audio console, a new console making its U.S. debut at AES, to outside broadcast (OB) company Token Creek Mobile Television. The Wisconsin-based OB company also purchased a Calrec Artemis Beam console. The Callisto will be installed in a new truck destined to cover high school and college sports and corporate and entertainment events, among others. The Artemis Beam has been installed in an existing HD unit that covers a wide variety of sports and entertainment events.

Token Creek Mobile Television has two other Calrec desks besides the Artemis Beam and the Callisto. Calrec consoles have become widely accepted in Token Creek’s market, so not only do its own operators like them, but freelancers get comfortable using them in a very short time. The consoles also provide the features and flexibility to meet whatever specs clients require. The Callisto, in particular, will allow Token Creek to serve clients who want high production value in a more cost-effective truck.

Token Creek ordered a Callisto console with 44 faders and a 64 x 64 mic/line, 72 AES and four MADI I/O configuration, as well as a GPIO control option. The Callisto's streamlined, efficient design makes it especially suited to the new truck, which Token Creek is building to accommodate clients with smaller budgets who want a high-quality product but don't need all the resources of Token Creek's other HD trucks.

Each of the console's channel strips has only the most essential mechanical controls, featuring a fader, two flexible control cells and a dedicated gain pot. Callisto uses Calrec's award-winning Bluefin2 networking technology at its core, and the same integral 8192 x 8192 Hydra2 router as Calrec's Apollo and Artemis consoles. It also has a highly intuitive GUI suitable for a broad range of operator skill levels.

The Artemis Beam console has been installed in Token Creek's Chippewa HD mobile unit. It is a 64-fader console configured for 256 x 256 MADI, 128 x 128 AES, and 64 x 64 analog I/O, giving Token Creek the flexibility to take in 16 channel sources, mix them efficiently, and distribute them easily in and out of the router. Token Creek uses the console's many main outputs to generate different program and transmission mixes, and the company finds the Bluefin2 networked I/O and flexibility of the control surface especially helpful.