SHENZHEN, China—Telycam today revealed its Mix One, an all-in-one video production switcher designed to expand its PTZ ecosystem, and that it will show the new production solution at ISE 2026 in Barcelona, Spain, Feb. 3-6.

Built for PTZ-centric workflows, Mix One combines an encoder, decoder, monitor, video switcher and PTZ controller within a single compact unit, giving creators a powerful, intuitive tool for live streaming, podcasting and professional content production, Telycam said.

Built on industry standards and modern AV-over-IP architecture, Mix One offers an elegant, scalable alternative to traditional hardware-heavy production setups, Telycam said. With native support for NDI HX, SRT, RTMP and RTSP, users can work with low-latency IP video directly over the network without external converters or capture cards.

IP video routing, remote camera control and automatic device discovery make scaling simple. Expanding or redeploying a system is as easy as connecting new devices to the same network.

Mix One supports up to six video sources in virtually any combination of IP and physical inputs. Users can operate fully in IP or seamlessly mix IP streams with two HDMI inputs (up to 4K at 60 frames per second) and one USB-C input (up to 1080p60). Mix One also supports NDI HX, SRT, RTMP and RTSP for video output as well as input, Telycam said.

Mix One features one stereo line in and one XLR analog audio input with flexible gain, level and routing controls.

An 8.8-inch LCD touch screen provides real-time input preview, audio control, graphics creation and system configuration. For remote operation, the built-in, browser-based web user interface enables fast setup and control from anywhere on the network.

For live production, users can seamlessly switch between program (PGM) and preview (PVW), set up picture-in-picture layouts and apply a variety of transition effects in real time. The built-in graphics library offers ready-to-use templates. All graphic layers are configurable and can be saved as presets or grouped together.

Mix One supports local recording up to UHD resolution to external USB flash drives, HDDs and SD cards. A dual-NIC design separates the local, dedicated production network from the user's general network.

Designed specifically for PTZ users, Mix One communicates directly with PTZ cameras via VISCA, VISCA over IP, NDI and serial protocols for smooth, responsive control. A hall-effect joystick delivers precise, smooth camera movement for live operation. Image parameters such as exposure, color, white balance and detail can be adjusted directly from the switcher interface.

Mix One is expected to ship in April. Telycam cameras are distributed in the U.S and Canada by Mobile Video Devices (MVD).

See Telycam at ISE 2026 in booth 4K860.

More information is available on the company’s website.

OTTAWA–Ross has introduced a new version of its Carbonite Ultra production switcher with added support for frame rates, as well as WCG and HDR conversion for HD and UHD.

The forthcoming V4 update includes support for all different frame rates and sees the addition of adjustable delays on all frame-synched inputs in HD and UHD. Ross has also added its RAVE audio engine (first seen in the Graphite integrated solution), giving customers access to 13x48 stereo channel mixers and 384 external audio channels (24 SDI inputsx16 audio signals) as well as 10 internal inputs (media stores and Carbonite Ultra’s internal clip player) and all of the compression limiting and EQ functionality within the engine. Up to three RAVE ABU breakout boxes will be supported, and the engine will offer Sample Rate Conversion for all frame syncs. The RAVE engine will be made available as a license ($2,000 list price) or will be included without charge with every purchase of a RAVE ABU breakout box.

Also new is the addition of configurable 3D borders within DVEs, offering customers a range of border styles and shapes, as well as powerful lighting and shadow effects, all with Z axis perspective.

For more information, visit www.rossvideo.com/live. 

Chelmsford, Mass. – Oct. 8, 2019 – Broadcast Pix will be showing the BPswitch broadcast and streaming software toolset at NAB Show New York (Booth N923) on Oct. 16-17, 2019, at the Javits Center.

Founded on the principals of reliability and ease of use, Broadcast Pix integrated production solutions are the choice of more than 5,000 professionals who are creating productions both simply and cost effectively.

The advanced BPswitch software features unrivaled functionality:

* Media Aware Macros assign both functionality and media content to a single button.

* Broadcast Pix Commander offers user configurable control interfaces from remote browsers.

* NewBlueNTX titling and effects engine delivers multi-layer 3D motion graphics and simple integration with live data feeds.

* True hybrid I/O provides support for SDI, HDMI, IP, and NDI sources.

* Video and streaming outputs allow production flexibility.

BPSwitch software is also available as a dedicated appliance, such as the recently released RadioPix. An integrated production system for visual radio applications, RadioPix offers fully automated audio-video-follow productions, with a dedicated user interface designed for streamlined setup and operation. Ideal for radio studios equipped with fixed and/or PTZ cameras, RadioPix detects which microphones are active and uses sophisticated software to create compelling video productions without the need for a live operator.

About Broadcast Pix
Founded in 2002, Broadcast Pix offers the complete toolset required to make great programs, elegantly integrated and easy to use. Our integrated production solutions feature patented control and automation technologies, plus the BPNet ecosystem that provides cost effective, secure cloud services for backup, control, and collaboration. Broadcast Pix is proud to have more than 5,000 government, broadcast, live event, and visual radio customers in more than 100 countries. Learn more at broadcastpix.com. 

Chelmsford, Mass. – Sept. 18, 2019 – Broadcast Pix™ will showcase its integrated production solutions and lead free educational sessions on cloud-based live production next week during Media Technology Expo. A free event produced by Advanced Broadcast Solutions, a division of Key Code Media, MTE2019 begins at Fremont Studios in Seattle on Sept. 24, and moves to the Leftbank Annex in Portland, Ore., on Sept. 26.

On both days of the show, Chuck Williamson from Broadcast Pix will explore the recent advances in control-over-IP that have made remote-based productions possible using the public internet. Broadcast Pix Commander™ runs within common web browsers, enabling touchscreen control of all aspects of a live production, from camera control and switching to graphics and streaming. Coupled with Broadcast Pix’s unique media aware macros, multiple functions and media elements can be nested together and controlled from one button, dramatically simplifying the UI.

About Broadcast Pix
Founded in 2002, Broadcast Pix offers the complete toolset required to make great programs, elegantly integrated and easy to use. Our integrated production solutions feature patented control and automation technologies, plus the BPNet ecosystem that provides cost effective, secure cloud services for backup, control, and collaboration. Broadcast Pix is proud to have more than 5,000 government, broadcast, live event, and visual radio customers in more than 100 countries. Learn more at broadcastpix.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.

Chelmsford, Mass. – May 16, 2019 – Broadcast Pix™ will emphasize its IP-based solutions next month at InfoComm 2019 (Booth 2091) in Orlando, Fla., by demonstrating its newest integrated production switcher, BPswitch IX, as well as its new Version 7.5 software with expanded IP control capabilities and its new RCC IP camera control panel.

“IP has quickly become a cornerstone of the professional AV marketplace, and Broadcast Pix has introduced the best solutions for IP-based multi-camera productions,” explained Tony Mastantuono, product manager for Broadcast Pix. “BPswitch IX offers the flexibility to control and switch IP, wireless, and legacy SDI sources spread around large venues, while our latest software upgrade lets Broadcast Pix users switch live productions from across the room or across the country on a mobile device. Plus, our new RCC controller provides the flexibility of a separate camera control unit with a very intuitive user interface.”

BPswitch IX is designed for auditoriums, stadiums, conference rooms, and other facilities equipped with remote cameras that are switched from a central control room. It features six network inputs that support NDI and RTSP cameras and other sources, plus two SDI/HDMI inputs (including one analog input for legacy sources). The native 1080p/60 system seamlessly integrates MPEG-2, H.264, and other streaming formats in the same production, and provides SDI, HDMI, analog, and streaming outputs.

Like other BPswitch models, BPswitch IX includes the NewBlueNTX multi-layer 3D motion graphics CG, which includes hundreds of templates to simplify lower-thirds, bugs, animations, rolls, crawls, and effects. Other built-in workflow tools include eight channels of clips and graphics, three keyers with DVEs, program recording, file-based macros, ClearKey™ chromakey and Virtual Studios virtual sets, and customizable BPview™ multi-view.

With the new Version 7.5 software and optional Broadcast Pix Commander™ touchscreen control platform, all BPswitch models can provide browser-based switching on mobile devices. The upgrade allows remote control of servers and robotic cameras, access to all workflow tools, and full-motion viewing of production elements through a standard internet connection. Broadcast Pix’s BPNet™ IP ecosystem delivers the system’s control-over-IP capabilities securely and with low latency.

Version 7.5 also offers enhanced control for routers, cameras, and streaming CDNs – as well as exciting improvements for its BPfusion CG automation software. The software is included with any new BPswitch system, available as a free upgrade for any system under warranty, or available for $995 for systems no longer under warranty.

Ideal for remote productions, RCC can be used as a dedicated camera controller with any BPswitch integrated production switcher, Broadcast Pix Commander touchscreen control platform, or production switcher from another manufacturer. With its software-defined open architecture, RCC can control a variety of PTZ and broadcast cameras, as well as robotic heads, and mix IP protocols within the same production.

RCC’s seven-inch touchscreen provides intuitive menu navigation and allows customized camera presets, shot name, and more. Plus, its three-axis joystick with adjustable zoom speed and one-touch auto focus allows smooth, precise shot control. RCC includes native IP support for Panasonic and Sony PTZ cameras, with optional support for other cameras and robotic heads.

For a video preview of Broadcast Pix’s IP-based solutions at InfoComm, please visit http://bit.ly/2YuJYRo.

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, BPswitch, BPview, and ClearKey are trademarks of Broadcast Pix, Inc. Patented. Switchers are made in USA.

WAYNE, NJ (April 2, 2019) – JVC Professional Video, a division of JVCKENWOOD USA Corporation, will introduce its CONNECTED CAM Studio 6000S compact live production and streaming studio next week at the 2019 NAB Show (Booth C4415) in Las Vegas, Nev. Designed for sports and other live events, the self-contained control room features a production switcher with six IP inputs that support NDI as well as the SRT (Secure Reliable Transport) streaming protocols.

“The Studio 6000S is another important step toward a complete IP production workflow for news, sports, worship, and other markets,” said Joe D’Amico, vice president, JVC Professional Video. “It’s an economical solution for live production that really allows our customers to deliver more dynamic multi-camera coverage with smaller crews.”

While designed to maximize IP workflows, the Studio 6000S inputs also support HD-SDI and HDMI sources. Other integrated features include an audio mixer, internal CG with templates, four layers of DSK, and clip store with playback. Features specific for live sports production include automated multi-channel instant replay and slo-mo, as well as an integrated sports CG for scores and timers.

With a built-in H.264 encoder, the Studio 6000S supports up to 1080p streaming at up to 10 Mbps, with RTMP and MPEG-TS simultaneous output and direct streaming integration to Facebook Live and other CDNs. Output choices include dedicated HD-SDI and HDMI ports, plus an HDMI display port for multi-view or program monitoring. The system also includes simultaneous ISO recording of all cameras, plus users can record the program output and streaming output.

JVC’s exclusive Zero Config features provides automatic, one-click configuration of any IP-enabled JVC camera that joins the same LAN as other JVC cameras. The Studio 6000S also offers integrated remote control for JVC cameras, including full PTZ control for the KY-PZ100 robotic PTZ production camera.

The CONNECTED CAM Studio 6000S (KM-IP600) has an MSRP of $13,000 and will be available in June. JVC also offers two four-input production systems, the ProHD Studio 4000 and ProHD Studio 4000S with sports-specific features, which were introduced last year.

ABOUT JVC PROFESSIONAL VIDEO
Headquartered in Wayne, New Jersey, JVC Professional Video is a division of JVCKENWOOD USA Corporation, a wholly-owned subsidiary of JVCKENWOOD Corporation. The company is a leading manufacturer and distributor of broadcast and professional video equipment, as well as D-ILA front projection systems. For more information, visit JVC’s website at http://pro.jvc.com or call (800) 582‑5825.

Chelmsford, Mass. – March 28, 2019 – Broadcast Pix™ today announced Wilmington Community Television, a PEG station serving Wilmington, Mass., has upgraded its control room with a BPswitch™ GX integrated production switcher. The system was installed earlier this month in an effort to simplify productions for WCTV personnel and volunteer crews.

Adam Dusenberry, operations manager for WCTV, said the new install allowed a general “decluttering” of extra gear from the control room, including playback decks and an external CG. “Having one console to do graphics and video roll-ins makes it a whole lot more streamlined and easier to do in our environment,” he said.

All roll-ins and opens are stored in the BPswitch using its Watch-Folders media management system. Dusenberry said all shows have a dedicated folder; producers upload their assets from an NLE using the integrated BPNet™ cloud-based video workflow service. “The goal is to make it as easy and streamlined for our producers as possible,” he added.

Graphics are produced with the built-in NewBlueNTX multi-layer 3D motion graphics CG, which has improved the on-air look and saves at least one producer from adding specialized closing credits in post. WCTV also uses the integrated BPview™ customizable multi-view, which feeds four monitors in the control room, including two main monitors on the wall and two smaller monitors in the production console dedicated to graphics and the technical director.

The new BPswitch replaced a Blackmagic Design ATEM switcher. “We’d been pushing the envelope on production quality and outgrowing the capabilities of the ATEM,” Dusenberry explained. “We wanted to add more, but we also wanted it to be user friendly. The BPswitch fit what we were looking for – there’s an improvement both in usability and how our programs look to our viewers.”

WCTV offers hyperlocal coverage of events, government meetings, and education programs. The station operates three cable channels that are distributed through Comcast and Verizon, well as a website with live streaming and video-on-demand. WCTV maintains an active production schedule in its three-camera HD studio, with a handful of series as well instructional workshops for its active youth program, promotional videos for local organizations, and other shows.

“I will push a piece of gear to its limits,” Dusenberry said. “I always want to try and push for the production values that will make our programs look similar to the major networks. The BPswitch really makes that easy to do.”

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

WAYNE, NJ (March 19, 2019) – JVC Professional Video, a division of JVCKENWOOD USA Corporation, today announced World TeamTennis will provide multi-camera live coverage of its matches this season for the second consecutive year using flypack production systems, each anchored by a ProHD Studio 4000S sports production and streaming studio and three GY-HM620 ProHD camcorders. The league’s 2019 season will run July 14 - August 3, with matches in eight locations across the United States.

In previous seasons, the league would hire an OB production truck with a large crew, an expensive process that limited its ability to provide extensive coverage of the tournament. Last year, WTT decided to establish an in-house media production and distribution capability that would allow every match of the season to be broadcast live on digital and linear TV platforms.

Once the project was approved, the league hired Pittsburgh-based TDS Media, which had only 50 days before the first match to design, order, build, and deliver the systems – plus provide training for the production crews.

Doug Sicchitano, principal of TDS Media, chose the 4000S because it was an economical tool that allowed one operator to switch as well as handle replays and commercial video playback. “This was the best solution out there for what we wanted to achieve,” he said. “The user interface feels like a smart phone app. It’s a highly intuitive layout that I can teach anybody in of a couple of hours to use and use well.”

WTT features co-ed teams in New York, Philadelphia, San Diego, Washington, D.C., Orange County, Calif., Springfield, Mo., Orlando, Fla., and Las Vegas, Nev. For the 2018 season, WTT produced 32 of its 43 matches using the flypack systems, with only the Springfield venue and four matches for national cable TV relying on outside production services.

All matches were streamed on WTT.tv and syndicated to YouTube, Facebook, Twitter, and Twitch. Plus, select matches were provided to regional sports networks on tape delay. With the addition of new teams in Orlando and Las Vegas, the number of matches to be produced using the flypacks will increase to close to 40 of the 59 in the 2019 season.

“We are excited to continue working with JVC Professional Video in 2019 to deliver WTT action to our fans around the world,” said Carlos Silva, CEO of World TeamTennis. “The flypack system enables us to produce a high-quality live match broadcast at a very attractive price point.”

With the WTT’s new flypacks, a three-camera production is handled by a six-person crew plus two commentators. In the control room, the director switches the show and handles replays, while the producer handles audio and graphics. There are also three camera operators and a utility crew member.

Directors generally use the 4000S color-coded illuminated keyboard to switch and create replays, as well as the touchscreen for playback and replays. Although the 4000S includes a built-in audio mixer and CG, Sicchitano included a Behringer mixer that feeds analog directly into the 4000S via USB and a separate graphics laptop with NewBlueFX Titler Live 3 for the producer. Programs are recorded to a Blackmagic Design HyperDeck Studio Mini and streamed using a Teradek VidiU Pro, with the 4000S serving as a backup for both.

A typical three-camera setup includes one high game camera and two low cameras positioned on each side of the net for player ISO and bench shots. The fourth input of the 4000S is used for Hawk-Eye SMART Replay technology, which the WTT uses to help officials with close line calls and provide graphics and data to the live production. WTT includes limited commercial breaks during its coverage, which are stored, organized into separate playlists, and played through the 4000S.

Sicchitano praised the GY-HM620 because of its integrated Fujinon 23x zoom lens with manual zoom, focus, and iris control rings. “There are not a lot of camcorders out there with a 23x zoom lens, so that checks a huge box for us,” Sicchitano said. “JVC’s color profiles have always been very rich with bright colors. Then you factor in the price point, and it was a no-brainer to choose it.”

ABOUT JVC PROFESSIONAL VIDEO
Headquartered in Wayne, New Jersey, JVC Professional Video is a division of JVCKENWOOD USA Corporation, a wholly-owned subsidiary of JVCKENWOOD Corporation. The company is a leading manufacturer and distributor of broadcast and professional video equipment, as well as D-ILA front projection systems. For more information, visit JVC’s website at http://pro.jvc.com or call (800) 582‑5825.

# # #

Chelmsford, Mass. – March 13, 2019 – Broadcast Pix™ will introduce the newest model in the BPswitch integrated production switcher product family, BPswitch™ IX, at the 2019 NAB Show (Booth SL4210), which runs April 8-11 in Las Vegas, Nev. Designed for productions that rely on IP-based workflows and remote cameras, BPswitch IX features six network inputs that support NDI and RTSP sources.

To promote the new system, Broadcast Pix will give away a free BPswitch IX with camera control at the 2019 NAB Show. NAB attendees are encouraged to pre-register online for a demo at the Broadcast Pix booth. Once their demo is complete, attendees can enter the contest. One winner will be chosen from eligible entries on April 10 at 4:30 p.m. The winner must be present or have a proxy at the Broadcast Pix booth to win.

BPswitch IX is designed for auditoriums, stadiums, conference rooms, and other facilities equipped with remote cameras that are switched from a central control room. Along with two SDI/HDMI inputs (including one analog input for legacy sources), it can receive up to six IP camera feeds. The native 1080p/60 system seamlessly integrates MPEG-2, H.264, and other streaming formats in the same production, and provides SDI, HDMI, analog, and streaming outputs.

“IP-based PTZ cameras continue to gain popularity in the professional video workspace. They aren’t just for government meetings anymore,” said Tony Mastantuono, product manager for Broadcast Pix. “BPswitch IX is the best switching solution for IP-based multi-camera productions. It gives broadcasters and other video professionals the flexibility to control and switch IP, wireless, and SDI sources across stadiums and other large venues.”

When used with the optional Broadcast Pix Commander™ touchscreen control interface, BPswitch IX allows browser-based control with full-motion video and complete access to all sources and workflow tools using a mobile device and a standard internet connection. Commander’s simplified controls help non-technical personnel easily switch live productions, add titles, insert clips, and control robotic cameras. Broadcast Pix’s BPNet™ IP ecosystem delivers the system’s control-over-IP capabilities securely and with low latency.

Like other BPswitch models, BPswitch IX offers eight channels of clips and graphics, as well as three keyers with DVEs. Plus, the integrated NewBlueNTX multi-layer 3D motion graphics CG includes hundreds of templates to simplify lower-thirds, bugs, animations, rolls, crawls, and effects. Other built-in workflow tools include program recording, clip and graphic stores, file-based macros, ClearKey™ chromakey and Virtual Studios virtual sets, and customizable BPview™ multi-view.

Priced at $9,995, BPswitch is expected to ship in Q3 2019, and will be upgradeable to 4K in the future. For complete details on the BPswitch IX NAB 2019 giveaway, please visit www.broadcastpix.com.

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, BPview, BPswitch, and ClearKey are trademarks of Broadcast Pix, Inc. Patented. Switchers are made in USA.

# # #

Chelmsford, Mass. – Dec. 6, 2018 – Broadcast Pix today announced the School of Communication at Loyola University Chicago has upgraded its Convergence Studio with a new Broadcast Pix BPswitch MX integrated production switcher. Built in downtown Chicago in 2009, the facility houses television, radio, and graphics areas designed to provide students with access to the latest technologies and workflows used by communication professionals.

Jamason Chen, manager of technology, installed the new BPswitch in May, upgrading the technology from the previous Broadcast Pix Mica™ system. He was able to use the existing control panel and cabling, so it was a cost effective way to update the control room. “It was very convenient to upgrade rather than rebuild,” he said. “I love it, it’s technically very stable.”

Chen said the Broadcast Pix upgrade was part of the school’s commitment to keep pace with the ever-changing technology in the industry. He was particularly impressed with the NewBlueNTX multi-layer 3D motion graphics included with the BPswitch, because it provides more dynamic CG options. “It was a big jump in quality from features, function, design, quality, everything,” he said. “We love the multiple layer graphics control.”

The switcher upgrade also included BPfusion, which streamlines the creation of customized, data-intensive graphics. Designed for enhanced sports, election, and news coverage, BPfusion software seamlessly integrates with NewBlueNTX, automatically updating graphics with data from scoreboards, RSS feeds, and other IP sources without re-keying the data. “When you see current TV news, more and more information comes with the video,” Chen explained. “We can give more detailed information like a professional TV show.”

The Convergence Studio features three cameras with prompters, and can take a live signal from outside the building via fiber for stand-ups and on-the-street interviews. The control room features a 60-inch LCD monitor for the TD customized with the BPview multi-view, plus one 29-inch monitor to view sources and clips and a second 29-inch monitor dedicated to graphics. Programming is recorded to an external hard drive, but the BPswitch is used for local clip storage and playback.

Instead of a local cable channel, the School of Communication posts its programming to its YouTube channel. Loyola students produce a weekly sports show, as well as Rambler Round-Up, a one-minute daily news update that features extensive graphics. “A lot of people watch TV through the internet,” Chan explained. “This is a trend we need to move on. We want our students to experience cutting-edge technology.”

Like other accredited educational institutions, Loyola received BPfusion, the Broadcast Pix Commander touchscreen control interface, and a BPNet account for access to Broadcast Pix’s cloud-based video workflow and asset management service, as components of Broadcast Pix’s education incentives. Chen sees the potential for using BPNet to share content between campuses in the future. “The more important role is to show students what will be possible and inspire them to produce,” he added.

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

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.

LOS ANGELES—Appearing at the NAB Show New York, the Roland V-60HD plug-n-play production switcher simplifies setups and includes SDI inputs for camera sources and scaled HDMI inputs for data, computer, tablet and other video sources. The combination of audio features that include multichannel embedded audio, XLR and RCA analog inputs, de-embedded audio from digital SDI or HDMI sources plus a variety of video connections with a program and aux bus makes the V-60HD suitable for a variety of live event and production applications.

The V-60HD is portable and small enough to be used in multiple locations in an office or outside meeting location. The four SDI inputs and two HDMI inputs enable switching cameras and computers at the same time for dynamic presentations. The de-interlacer on the SDI inputs allows users to mix and match 1080i and 1080p SDI video sources without external converters.

The company says audio is easier to mix using the V-60HD’s auto mixing function that will automatically balance audio levels from multiple microphones and video sources freeing up the operator to focus on switching the video for the event.

Roland will be on the show floor in booth N350.

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CHELMSFORD, MASS.—Canadore College’s broadcasting and video production program is using Granite on the ice. That is, Broadcast Pix’s Granite 2000 production switcher. The BP system is one of the tools used during game coverage of the North Bay Battalion hockey team in North Bay, Ontario, by Canadore College students.

Installed as part of an arena renovation in 2015, the BP Granite 2000 unit is designed to handle scoreboard video coverage. The production switcher offers integrated multi-view that populates four different monitors in the HD control room, including preview/program monitors, and separate monitors for clips and graphics. BP’s Watch-Folders file management system is also used to import graphics and clips directly into the Granite.

Canadore students are responsible for running the scoreboard coverage of each North Bay game. The Granite handles footage from three cameras that provide game coverage and features a dedicated input to include replays from the broadcast feed.

NEWBURY, ENGLAND—Combining SD, HD and 4K capabilities, the new Kula production switcher is the latest announcement from Snell Advanced Media. This new switcher is based-off of SAM’s Kahuna switcher, but includes FormatFusion3 technology to mix formats up to and including 4K.

Kula

The Kula is capable of handling 4K/1080p/HD and SD in 1M/E and 2M/E versions. The 2M/E HD/SD version can be switched to the 1M/E 4K mode. The production switcher also provides three control panels that can be expanded with additional modules in the Kahuna range. Additional features include up to five key layers per M/E, 20 channels of DVE and floating/auxiliary key resources, up to 36 inputs and 18 assignable outputs, and an internal clip and still store.

The Kula is designed to work for live events, broadcast production, sports, house of worship, entertainment and conference/events.

SAM will begin shipping the Kula in May 2016 for $17,000.

MONTREAL—New Orleans PBS affiliate YES Productions recently added the Kayenne K-Frame video production center switcher from Grass Valley to use in its mobile unit. The switcher will serve as the center of YES’ production truck that handles live sports and entertainment.

The Kayenne switcher offers responsive control surface and menu preferred by TDs; high I/O density; up to 9 M/Es, or 18 using Double Take split M/E technology; 3G capability with full 1080p 50/60 support; and a suites mode that enables a single frame to support multiple panels.

Grass Valley is a provider of end-to-end TV production and content distribution workflows.

MONTREAL—The Tufte Performance and Production Center at Emerson College in Boston recently upgraded its television production studio with the acquisition of Grass Valley’s LDX cameras and Karrera K-Frame S-series switchers. The equipment will be used to support student production of educational, sports and long-form programs.

LDX 86

The LDX cameras, which include four LDX 86 WorldCam and four LDX 80 Flex cameras, are currently being used in the Di Bona Family Television Studio at 1080p60 and in Teaching Studio B at 720p60. The Karrera K-Frame S-series switchers, featuring both a 3 M/E and 2 M/E switcher, offer students mid-range switcher performance. All equipment can be upgraded to UHD/4K, HDR, WCG and HFR capabilities.

This is the latest Grass Valley equipment installation at Emerson; its Journalism Production Center previously installed GV products, including the Kaledio-X mulitviewer.

MONTREAL – RIC TV, an affiliate of TV Record in Brazil, has added HD production equipment from Grass Valley, including the company’s LDX 80 series cameras and Karrera K-Frame S-Series switcher. RIC TV previously used Grass Valley products when outfitting one of its studios with HD equipment. This time around, RIC TV purchased three LDX 80 Flex cameras with XCU base stations and one 2 M/E Karerra K-Frame S-Series switcher.

The LDX series offers high quality imaging, processing and performance. With the GV-eLicense program, users can upgrade the LDX Flex to any other camera in the LDX 80 series based on needs.

The Karerra switchers combine mid-range switcher performance with workflows and simplified control of complex productions for multi-format support, including 1080p and 4K. The compact 6 RU video frame delivers functional integration for space efficiency, featuring a built-in Image Store still/movie storage, and dual multiviewers for up to 28 windows with tally.

Grass Valley is a provider of end-to-end TV production and content distribution workflows for broadcasters. The company is headquartered in Montreal.

Ross Video Acuity A3 production switcher control surface

ALEXANDRIA, VA.—Video production switchers have always been large and complicated, but they are now more capable and complicated than ever. Manufacturers have done wonderful things to make the human-switcher interface usable in today’s products, as that one device can create titles, roll in video, control cameras, provide studio automation and, yes… switch between sources.

One company building production switchers is Ross Video, which has grown in recent years to include related technology such as studio automation. To learn about the state-of-the-art in production switchers and how they fit into the modern studio, BE Extra spoke to Les O’Reilly.

Les is Ross Video’s technical marketing product manager for switchers and the company’s openTruck product. He has been in the broadcast industry for 13 years, and stays active in the production side of the business as a technical director for many sports productions.

BE Extra: With HDR, 4K, IP video and other technologies making industry headlines, what do you concentrate on as a manufacturer? What technology do you build into a switcher today and what do you leave for the future?

O’Reilly: With all technology, you need to make sure that you’re moving forward but at the pace that the industry is able to move with. We can’t get too far ahead of what the industry wants. 4K or UHD is being used in very limited applications and does not seem to be high on the list of the majority of our customers. However we do have some interest and requirements, and that is why we developed Quad-Link 1080p3G over SDI. As the manufacturers of cameras and replay machines (for live sports) begin to develop a single-cable solution, we should also be moving into that 12G single cable solution and continuing to offer as many processing resources as possible.

IP Video is another item that is a little stretched at this time as well. There are no actual cost savings in the IP domain, but rather a cost increase with the required infrastructure to go around it. If we just look at using SMPTE 2022-6 standard, which is essentially SDI-over-IP uncompressed, then you’re trading in one cable type for another but having to implement new interfaces. To process video like a production switcher does, you can’t do this in the packet domain. You need to bring all the video together so that you can process it. You’re also not going to see a switcher that is all IP-in and all IP-out, as too many devices are still in the SDI domain. Hybrid systems will be what we see developed over time, with some inputs in the IP domain and other in the SDI domain. The other issue is standards, as not all IP is the same. Some vendors have proprietary standards that require licenses and proprietary chips; this moves the industry away from a standard interconnect protocol that we have had with SDI and will cause increased cost.

Les O’Reilly

BE Extra: Speaking of IP video, what’s something desirable that you can do with an IP switcher that you can’t do (or is much harder to do) with SDI? How about the other way around: Is there something easily done with SDI that’s hard to do with IP?

O’Reilly: From a production switcher application, there really is nothing that an IP input can offer that is superior to an SDI input. An IP video input needs to be processed, so an SDI input is actually less expensive. With SDI, we avoid decoding the input stream and avoid having to re-encode the video into packets for an IP output. SMPTE 2022-6 is just SDI-over-IP, which does not gain us much.

One advantage about SDI is that you can plug it into a DA and get copies of it out, then put those into a router and production switcher at the same time. I am always going to want my cameras to be in the router and the switcher. One comment that a customer made to me was, “When did you hear about a hacker getting into your SDI infrastructure?” Funny comment but it is something to think about. SDI is secure and a cost-effective medium currently that is not able to be displaced as easily as some thought.

BE Extra: Switchers used to simply switch. Now, they can do graphics, titles, motion video feeds and even have camera controls. Obviously someone has to operate the switcher, so what is done to make such a product usable by a single operator? Can the user interface be made simpler still?

O’Reilly: These additional features allow the use of macros or custom controls to integrate all this together in repeatable events. They allow the operator to create complex scenes that can be recalled at the press of a single button. The user interface is actually already being advanced for some of these things. Products like OverDrive lead the Automated Production Control environment and give an APC overview and control. This allows a single operator to control this from a single UI that is run-down based.

We also introduced the ViewControl user interface that puts the video and controls onto a touchscreen and makes things more visual and easier to process for many users. However there will always be a need for the hard control surfaces. More than ever we hear the phrase, “I want more buttons,” and that is just because users want more dedicated functions on buttons to make fast-paced operation easier.

BE Extra: Everything connects to the Internet today. What is Ross Video doing to prevent unauthorized access to its components? Is that enough?

O’Reilly: Network security is handled well by the IT professionals that that our customers have. With the push for inter-connectivity and control, it is hard to make these systems communicate and be 100-percent secure. We focus on the devices that need access to the outside world to have multiple network ports. This way it is easy for the control network to be left on an island that is not connected to the Internet, while the second side of the device can have access to the outside world on a different network. This makes it very easy to get the internet data needed, while keeping that potentially exposed network separate from your control and systems network.

Ross Video Carbonite Black switcher

BE Extra: For the most part, switcher control panels have lots of buttons that do certain things. The buttons can be reprogrammed, but there are still lots of physical buttons. Is there any interest in a switcher that uses a large touchscreen controller that can be completely reconfigured for different operators and different operations? Is anyone using anything like this?

O’Reilly: We do offer a product called ViewControl with our Carbonite series—it is a giant configurable touchscreen. It allows operators to control the production and watch the video at the same time. With an easy-to-use interface and the ability to load a new show, this works really well. However this is not as powerful as using a physical control surface and does not lend well to “on-the-fly” changes to the production or the effects, and that is where the panel will always be needed.

A touchscreen panel replacement is also hard since you do not have physical buttons to have your fingers on while you’re looking up at the video screen. This is where TDs have the most control, as they can feel their way around the panel and know what they are pressing and the result.

BE Extra: What else should we know about switchers and their future?

O’Reilly: Switchers are used to process live video in real time with less than a line of delay. This is a demand that is required for live events and real-time productions. As the data rates scale up, so do the switchers and the processing. Features and workflow improvements however are software implementations. We are constantly working on new features and improvements, and usually off these to existing customers, thus allowing us to improve the product in the field. In many cases, the feature set and functionality can be “upgraded” with next release just by downloading the software.

Advancements in production switchers are driven heavily by users who send in requests for new features and workflows. These are the ones who push the product to its limit, then tell us, “If it could do X, then that would make it easier for me to do Y, which would make the production that much better.” So the future really is what the users of the products are able to come up with and ask for. We are able to take those requests and make features for future releases, enabling the switcher to have this workflow.