MONTREAL—Game Creek Video, one of North America’s largest mobile production providers, has reached an agreement with Grass Valley to purchase 10 fully configured K-Frame production switchers as part of a two-year fleet expansion program.

Two K-Frame systems have already been delivered, with the remaining eight scheduled over the next two years.

Game Creek serves major professional sports leagues and premium live event productions across the United States. , and the agreement continues a long-standing relationship between the two companies.

“We have always invested in technology that gives our clients the flexibility and performance they need for the most demanding productions,” said Pat Sullivan, president and founder, Game Creek Video, which produces major professional sports leagues and premium live event productions across the United States. “The K-Frame platform and its fully IP-native configuration reflects our commitment to serve our demanding customers by building customers by building a fleet of trucks ready for modern live production workflows.”

Each K-Frame system will be deployed with a Kayenne 4ME control surface and configured identically, featuring nine MEs and a fully loaded 192×96 IP-architecture. The common specification provides Game Creek with a consistent operational framework across its fleet to support high-end sports and entertainment productions.

“The combination of scale, reliability and IP capabilities made K-Frame the right fit for our next generation of trucks,” said Jason Taubman, senior vice president of technology, Game Creek Video. “Standardizing on a common architecture gives our engineering and production teams the same unique capabilities, regardless of which truck is on-site.”

Grass Valley will showcase its latest live production solutions, including the K-Frame production switcher family, at Booth 219 at the 44th Annual IDEA Conference, taking place 12–15 July at the Northern Kentucky Convention Center, Cincinnati, Ohio.

If you’ve bought a new car in the past eight years, you probably have noticed a trend: Many controls are now on a large touch panel. If you bought a larger video production switcher in the past 10 years, you may have noticed the same thing.

Now that touch panels are part of the control interface for production switchers, users and manufacturers alike are gaining strong experience in ergonomics and convenience. Talking to users, there is no question that touch panels bring important and worthwhile new features to switchers—but they also say that there is no substitute for a button-and-lever control panel.

“For quick actions like switching cameras, tactile hardware panels are best—your hands instinctively know where to go,” said André Dantzler, president of SociallyU, which operates a well-equipped studio in Chattanooga, Tenn. “But for complex setups like customizing multiviewers, [a computer or touch-panel interface] gives you much more intricate control.”

In SociallyU’s studio, a Blackmagic Design ATEM Constellation 8K switcher and several Ultimatte 4K keyers (also by Blackmagic Design) are used to create virtual backgrounds. Dantzler relies on Blackmagic’s ATEM Software Control to provide a touch-panel interface for the switcher.

“The ATEM Software Control lets you get detailed in ways hardware switchers can’t,” Dantzler said. “You can easily rename inputs, adjust advanced camera settings, and build up media assets. [It gives us] the best of both worlds: the ATEM Software Control for detailed setup since it’s free and doesn’t require additional hardware, and the Constellation 8K switcher’s physical panel for quick live actions.”

From My Cold Dead Hands…
Michael Lange, a freelance technical director in Madison, Wisc., agrees that touch panels definitely have a place in the world of production switchers.

“A touch panel allows you to create a custom interface or menu for a specific show,” he said. “For example, if you needed to create a custom screen for recalling a set of macros or effects, you could do that. On some systems, you can completely customize the look and feel of that menu, so there’s a lot of power there to augment traditional control surfaces.”

However, don’t think even about taking away his traditional pushbutton-and-lever control panel.

“On any live broadcast, I prefer physical buttons and levers—you need an interface you can feel, without looking down,” Lange said. “You need an interface where you can build muscle memory. Touchscreens typically don’t allow for that, and they’re too error prone. Touchscreens do have their place in switcher interfaces, but they excel at configuring settings and displaying menus.”

“For fast-paced shows, you need an interface you can feel,” he said. “The learning curve is definitely greater for a traditional interface, but that’s by design. With greater flexibility and power, comes a greater learning curve, much like learning to play the piano.”

Lange typically does his live switching work using Vizrt production switchers, and Jon Raidel, global CoE lead for cloud and live production at Vizrt, concurs with Lange’s observation.

“On any live broadcast, I prefer physical buttons and levers,” Raidel said. “This is critical for speed. You need an interface you can feel, without looking down. You need an interface where you can build muscle memory. Touch screens do have their place in switcher interfaces, but they excel at configuring settings and displaying menus. For fast-paced shows, you need an interface you can feel.”

Manufacturers listen carefully to the requests they get from working technical directors, and what manufacturers hear is that TDs overwhelmingly prefer a pushbutton-and-lever control panel for a fast-paced program.

However, they also hear that the ability to reconfigure settings as needed is a feature of value.

“The touchpanels that we find on video control surfaces such as the FOR-A HVS492WOU are not only capable of displaying a much greater amount of information at once, they’re exponentially faster in terms of data entry,” said Ken Sorrell, CTO for Production Technology Partners as well as the touring video director for Christian/crossover artist Lauren Daigle. “They also make on-the-fly adjustments or changes quite easy, which is important when directing anything live.”

User Requirements
“Overall the design of the control surface has remained consistent associated with user’s comfort and use requirements,” said Greg Huttie, vice president for switchers at Grass Valley. “There has been some incorporation of touchscreens with certain areas of the surface, along with heavy usage in the display screen tied to the menu. All changes we’ve incorporated have been vetted by the TD community in keeping with their fervent belief in maintaining tactile feel when it comes to punching a live show or sporting event.”

Huttie does notice that there are some situations where touch-panel interfaces get used.

“Productions are now tasked with creating revenue related to more than a single production output,” He said. These secondary or ‘plus programs’ are utilizing touchscreen control surfaces more frequently than the standard primary production.”

Technical directors—the people who sit at production switchers and make split-second decisions about which button or control to use—all have one voice when it comes to switcher control panels: “Don’t take away our buttons!” Still, touch panels and related computer control capability clearly have a place in modern production switchers. And their role will probably get bigger.

“While the design of the production switcher control panel has remained fundamentally unchanged, the development of control technology, such as touch displays, has allowed users to access configuration parameters quickly and easily,” said Nigel Spratling, vice president for production switchers & servers at Ross Video. “There is still a place for switches and levers, however, the latest control technology is now very much part of the modern production switcher.”

However, with the accessibility of new technology and with the shifting landscape of the live production industry, video production switchers are now being used in a wider array of live production spaces and are being operated by users of all age groups and experiences, Spratling adds.

“In response to this changing landscape, contemporary video production switchers must offer users the flexibility to choose their preferred mode of operation,” Spratling said. “Experienced users are likely to prefer the positivity and precision of physical controls, while beginners might find a touchscreen interface less intimidating with unnecessary controls stripped away. The future of video production switcher controls is likely to be a hybrid, accommodating various user preferences.”

The Crux of it
And that might be the crux of it. I’m old enough to remember when film editors described the “tactile” feel of working with film, and how it was part of the art form. There is very little of that particular tactile feel going on today, as virtually all editing is done electronically on computers.

“With more financially accessible hardware and software introduced to the market over the last several years, and more people entering the industry because of that accessibility, there certainly has been a shift, though I would say a traditional panel and lever style switcher is probably still the most common among industry veterans,” said Bob Caniglia, director of sales operations for the Americas at Blackmagic Design. “As the next generation of creatives comes up, it has been interesting to see how industry demands have been shifting.”

“For example, our ATEM Software Control, which comes free with our ATEM live production switchers, provides even more controls,” Caniglia said. “It can be run on Mac or Windows, and can even be duplicated so more than one person can work on the same workflow simultaneously. Having software like this running on an iPad [for example] allows for great flexibility and level of detail. However, a more traditional interface may make more sense for a straightforward workflow. Having a combination allows users to find the ideal balance for any given setup.”

Hot Topic du Jour
Also, the hot topic du jour is artificial intelligence. Will there be a day in the coming years when Alexa or Siri is the technical director for the Super Bowl or the Olympics? Or even for the six o’clock news?

I know, you’re thinking, “That’s impossible.” Perhaps you are right. However, the big benefit of touch panels used to control production switchers is flexibility.

“A key benefit of touchscreen interfaces is configurability,” Spratling said. “If a manufacturer adds new functionality to its video production switcher, it is a relatively quick design of the software interface to support it. However, to support the same functionality with physical buttons, a redesign of the switcher panel may be required and the user to purchase the newly designed panel. Some manufacturers even allow users to customize their own touchscreen interface!”

In the coming years, might we see a switcher that can understand spoken commands like, “Take camera 2,” or “Key in Marsha’s lower-third?” Once the AI learns the rhythms of a news broadcast, could it do as good a job as an alert, well-trained human?

That is the logical extension of the flexibility provided by touch panels and computer interfaces now appearing on production switchers.

Production switchers are the heart of any live production system. It used to be that they were all about mix/effect busses and chromakeyers, but today’s switchers really are where the action happens in the live production process. 

Editor's note: This article was updated on Jan. 24. 

BANGKOK—Ross Video has announced that Thai PBS, a public broadcasting service located in Thailand, has selected Ross’ production switches for a major upgrade to its two main studios. 

Thai PBS was established in 2008 and it recently decided to upgrade its two main studios so it could create content in 4K and make major improvements to its existing HD studio.

For the project, Thai PBS selected two new production sweaters from Ross. 

The new Ross Video switchers are used for the primary production of Thai PBS’ live content at their broadcast facility headquarters in central Bangkok. The main objective of these upgrades was to enable Thai PBS’ studios to create better quality content and ensure that they would be able to increase capacity in the future, the broadcaster reported. 

As part of the tender Thai PBS engineers also specified a requirement for production workflow flexibility that would allow for different types of technology such as SDI or IP. They also wanted a well-known and trusted switcher brand that provides high-quality manufacturing and design and is backed by solid service and support.

For their main studio upgrade Thai PBS chose the flagship Acuity production switcher with a 4 M/E row and the Acuity control surface. 

They also selected Ross’ Hyperconverged Production Platform, the 4ME Ultrix Acuity 4K / UHD Switcher, with a 4ME row Acuity panel configuration.

Acuity is top-of-the-line production switcher, combining significant production power with a very attractive aesthetic and excellent connectivity, Ross reported. 

The Ultrix Acuity, on the other hand, combines the power of the Acuity with the feature set of the Ultrix flexible hybrid routing platform in a single package. The Ultrix Acuity provides Thai PBS with very powerful functionality, including built-in routing, control, multiviewing and signal processing capabilities, Ross Video said. 

The Acuity switcher offers 4 Mix and Effect buses, together with visually stunning 2D and 3D effects. This combination of switchers has allowed Thai PBS to build its live production backbone around the Ross ecosystem of live production solutions, providing significant value and future potential upgrades such as moving to IP and beyond.

For the installation process, Ross delivered the switchers to Thai PBS in March 2023 and the installation process was completed in April. Commissioning and training were done shortly after installation, with the switchers going live on the air in May in time for the 2023 Thailand General Election.

The Acuity and Ultrix Acuity production switchers have already allowed the Thai PBS production team to greatly improve their creativity and storytelling capabilities, Ross reported. 

With state-of-the-art connectivity, the new Ross Video Hyperconverged switchers have also enabled seamless integration with Thai PBS’ existing automation system for a smoother and more efficient workflow, the companies reported. 

ALEXANDRIA, Va.—Covid has forced lots of changes in how live shows are produced, and it’s unlikely that we will completely go back to the way things were done in 2019. In this new era, it is common for live feeds over conferencing systems like Zoom to be fed into production switchers and mixed into programs on the fly.

A video feed from a computer running Zoom or even a computer running OBS, vMix or other videocentric conferencing software is just a video feed as far as a switcher is concerned. Still, there has been a lot of this going on lately, and there are some best-practices to be followed to get optimum results.

Grass Valley’s Agile Media Processing Platform (AMPP), the company’s production and distribution technology, can be run either on premise or in the cloud.

“AMPP is format agnostic, so it is easy to combine traditional SDI or IP sources with the streaming formats that can be generated from teleconferencing software like SRT, RIST and NDI,” said Peter Abecassis, senior product marketing manager at Grass Valley. “Just because it’s software doesn’t mean it’s not a professional broadcast tool. The K-Frame CS-X chassis has three M/Es and six keyers with 2D DPM per M/E, and can be controlled by any GV panel, such as the Kayenne.”

Zoom Rooms
Integrating Zoom Rooms (Zoom’s video conferencing app) or other conferencing feeds into a K-Frame CS-X chassis is straightforward, Abecassis said.

“Using Zoom Rooms, the app can be configured to output an NDI stream,” he said. “AMPP’s NDI Discovery Service allows operators to automatically find and list all NDI sources running on the available network. This includes ‘external’ sources that may not be currently loaded on any AMPP fabric. Any NDI source on the network can then be quickly added to an AMPP router panel or dashboard and routed, mixed, or processed like any other source.”

Tedd Tramaloni, business development manager for production switchers and video servers at Ross Video, said that almost any switcher will accept a range of signal types, so it’s better to consider other aspects of a switcher.

“Choosing the right switcher involves much more than simple I/O or transport stream compatibility,” he said. “Reliability, user experience, ease of operation, useful feature set, adaptability and manufacturing experience are all key factors to consider when choosing a production switcher.”

Depending on the specific model, Ross production switchers can accept SDI, NDI, HDMI, or IP transport streams.

“Connecting a Zoom computer to a Ross switcher can be a simple process depending on the specific Ross production switcher being used,” Tramaloni said. “Some models, such as Graphite or Carbonite Black Solo, have HDMI inputs that allow direct connection between a computer and the switcher, while other models, such as Carbonite Ultra, Carbonite Black or Acuity, can accommodate SDI signals that have been converted through external devices. If IP is required, either the Ultrix Carbonite or Ultrix Acuity switchers can be used.”

Frame Sync Capability
Tramaloni pointed out that signals from a mix of studio devices and conference computers will not be synchronized, so the switcher should have frame sync capability on every input. He added that most Ross Video switchers have frame sync capability built-in, but it’s good to check to be sure that the switcher can handle non-synchronous inputs.

Blackmagic Design’s ATEM switchers have an interesting twist if your goal is to “broadcast” your switcher output via a Zoom or other conference feed.

“All ATEM Mini and ATEM SDI live production switchers, ranging from the Pro to the Extreme ISO models, allow our customers to combine Zoom with local studio feeds,” said Bob Caniglia, director of Americas sales operations for Blackmagic Design. “All models feature a USB feed that operates as a simple webcam source. That means customers can plug into a computer and get working with any video software, like Zoom. The software is tricked into thinking the ATEM is a common webcam, but it’s really a live production switcher.”

CJ Kramer, president of Kolrom Multimedia Inc., a production company in Baltimore, uses Blackmagic ATEM switchers for its Zoom conferencing applications.

“When Covid forced our production into an all-virtual workflow, we used the ATEM switchers to also capture the feed of a Zoom/video calls to serve as additional inputs,” Kramer said. “Additionally, we would line-in animated or video backgrounds that we created to serve as the backgrounds for the respective key(s). The ATEM Minis completely changed and improved the service we were providing for our customers, who were just looking for simple, uncomplicated and inexpensive solutions.”

Conference-Friendly
Other manufacturers are also integrating conference-friendly features into their production switchers. One such company is NewTek, which has a long history of conference-friendly products.

“Our NewTek TriCaster 1 Pro, TriCaster 2 Elite (turnkey systems), and Viz Vectar Plus (cloud-based system), all support our Live Call Connect feature which automatically extracts callers from a range of video conferencing applications, not just Zoom,” said Liam Hayter, senior solutions architect at NewTek. “Currently, we support Zoom, Teams, Discord, Tencent, WhatsApp, Facetime and Messenger.”

Bringing feeds into the switcher is just part of what these switchers can do.

“Now, with every TriCaster and Viz Vectar Plus system supporting Neural Voice Isolation on all audio inputs, we can also clean up audio with air conditioning and general background noise,” Hayter said. “Our video inputs support procamp color correction, keying and cropping, which enables even remote guests with a green screen to join in on a virtual set.”

USB Webcam
If you already have a switcher or camera that you need to feed into a conferencing system, an easy way to accomplish that is to get a device that will convert the switcher’s output into a USB signal that resembles a webcam. (This is the feature that some Blackmagic switchers have, as described above.)  

I needed to do exactly this for one project, so I got a $20 HDMI-to-USB adapter that let me feed the camera’s HDMI output into a USB port on a computer. The computer accepted the signal as though it was a webcam, and using it with Zoom and other conferencing software was a breeze. 

At the receiving end, the picture and sound quality was excellent (by Zoom standards).

Suddenly, the remote participants went from peering at poorly focused and framed video from a laptop’s 79-cent camera to getting the output of an $8,000 studio camera. Everyone thought the $20 adapter was a fine addition to the studio’s equipment.

So many things are rapidly changing in the broadcast industry, including the products and techniques required to acquire and broadcast signals. Some old-timers might turn up their noses at the quality of a conferencing feed, but the fact remains that integrating conferencing feeds was impossible as recently as five or six years ago. In a couple more years, image and sound quality will only improve—then there will be no question about integrating such feeds as well as using conferencing systems like Zoom to broadcast out as an ad hoc network.

They will then have become an important and necessary part of the broadcast signal chain.  

WASHINGTON—Even in this COVID-crazy year, there is still lots of video creation that involves the use of production switchers. It’s easy to think of production switchers as being in the domain of studios, production trucks and other enclosed facilities that have shut down for the duration of the pandemic, but the ability to stream the output of switchers makes them key for delivering quality programming in a range of situations.

So not only are production switchers an active product category in this seemingly written-off year, they have thrived and continue to see innovation. One of the pioneers in combining switching with streaming is NewTek, which recently added the TriCaster 2 Elite to its family of software-dened live-production systems.

The TriCaster 2 Elite is capable of dual 4Kp60 mix outputs, a single 4Kp60 output with 4x 1080p60 outputs, or 8x 1080p60 outputs—all simultaneously delivered over SDI and NewTek’s popular NDI IP protocol.

“What sets the TriCaster 2 Elite apart is our groundbreaking ‘Live Call Connect’ feature that offers support for up to nine guests via Zoom, Teams, Tencent, Discord, Skype and more,” said Liam Hayter, senior solutions architect for the San Antonio-based company. “All run natively on the system with a dedicated multiviewer mode. Live Call Connect will also analyze the call and automatically separate out the nine callers into individual video inputs for use on the system, and this also includes talkback.”

Switcher manufacturers have embraced IP connectivity in addition to more traditional television standards such as SDI. One example is the Grass Valley Kahuna 9600 4K production switcher, which can be tied to other production resources using the company’s GV Orbit networking management.

At For-A, the company has seen good response to its HVS-490 3G/4K video production switcher. An ace at streaming applications, the HVS-490 packs a lot of popular streaming features into a small package.

“[The HVS-490] provides the most ‘bang for your buck,’” said Adam Daniul, director of sales for the southeast, south central and Midwest regions at For-A America. “It’s built for reliable 3G-SDI or 4K live production, and is ideal for image magnification [I-MAG] and live streaming applications. It’s easy to afford, easy to learn, and easy to use.”

LIVE & POST PRODUCTION

Blackmagic Design recently announced the ATEM Mini Pro ISO, a low-cost switcher that integrates live production into a post-production workflow. The ATEM Mini Pro ISO has a new livestream recording engine that allows all video inputs to be recorded, allowing a live production to be easily edited after the conclusion of the event.

“2020 has been an unprecedented year that has caused all of us to adapt to a ‘new normal,’ which for many of our customers meant pivoting from what once was a live event to now remote live streams or a hybrid model,” said Bob Caniglia, director of sales operations for the Americas at Blackmagic Design. “In that vein, we introduced the ATEM Mini Pro and ATEM Mini Pro ISO as affordable live-production switchers that facilitate remote workows and make it easy for our customers to create professional multicamera productions for live streaming to Zoom, YouTube, Twitch and more.”

Panasonic recently introduced KAIROS, an IT/IP-centric platform that offers an open architecture system for live video switching with input/output flexibility, resolution and format independence, and unlimited ME scalability.

“Unlike conventional switchers, KAIROS isn’t restricted by the number of MEs or keys,” said Michael Bergeron, senior product manager for live production systems at Panasonic. “The platform achieves higher performance by using the power and flexibility of its CPU and GPU, balancing total processing loads without the configuration constraints of traditional hardware-based systems. It also incorporates software that processes SDI, ST 2110 and NDI streams of independent resolutions such as HD and UHD to support the transition to live IP workflows.”

12G SINGLE-LINK CABLING

Ross Video has a range of production switchers that meet the needs of virtually any television facility. One example from the company is the Acuity, which can handle signals from SD to 4K, and will accept up to 12G single-link cabling for uncompressed 4K.

Datavideo has found a niche among smaller users that need maximum features packed into minimum space. The company’s latest model is the KMU-200, a streaming-friendly switcher that can be fed 4K signals and provides an HD output that displays “regions of interest” from the 4K image. In other words, you can make two 4K cameras look as though you’re using several HD cameras.

The KMU-200 supports an additional HDMI input for a computer with a PowerPoint presentation to add to a user’s live production, according to Rob Read, director of business development for Datavideo US, adding that the KMU-200 also supports vertical video as well.

“This switcher also has built-in dual streaming to two platforms, and provides 9:16 and 16:9 formats directly to content distribution networks that support vertical streaming, such as Facebook or Instagram,” Read said.

8K CAPABILITY

Although most companies have products that can handle 4K, at least a couple are pushing into 8K capability.

“Blackmagic Design introduced the ATEM Constellation 8K in April 2019 as a solution for customers who are currently working in HD or Ultra HD but want to future proof their investments,” Caniglia said. “The ATEM Constellation 8K is designed as an 8K, Ultra HD and HD live production switcher with so many features that customers can combine them all to make an incredibly powerful 8K switcher. In 8K, it features 10 Quad Link 12G-SDI 8K inputs, 8K DVE, standards-converted 8K inputs, 8K SuperSource, 8K chromakey and 8K multiview.”

Other companies have 8K on their radar, but are focusing on providing more features at 4K than making the next resolution leap.

“Panasonic currently offers the AV-UHS500 video switcher which is a successor to the AV-HS410 that operates almost identically in 12G as it does in HD,” Bergeron said. “All the inputs and outputs are 4K capable... for use in a variety of live production applications. KAIROS is not limited to any format, as it can work with 720p, 3G, 12G or computer monitor resolutions simultaneously. KAIROS does not currently support 8K; however, given expected increases to bandwidth and GPU processing power, 8K support for KAIROS is inevitable.”

USER PERSPECTIVE

Perhaps the bottom line on the subject of 8K switching comes from a user, Brett Casadonte, president and co-founder at GlobeStream Media LLC in Dallas, which was founded eight years ago to support live production projects.

“We chose to build our business around Blackmagic Design’s ATEM production switchers because we felt they offered the best price/performance of the various offerings we considered,” Casadonte said. “About a year ago, we began engineering work on a small remote integration production facility. When we were considering what switching hardware we would use, it quickly became obvious the ATEM Constellation 8K was going to be the best choice.”

But that doesn’t mean that there is high demand just yet for 8K production.

“While we are not currently doing any 8K productions, it’s great to know that as the industry grows into 8K, we will already be positioned to provide this service to our clients,” Casadonte said. “In general, 8K production is still in the very early stages, and there is a lot that needs to be considered, not the least of which is transmission and distribution.” 

SIMPLE NO MORE

There once was a time when video production switchers selected on-air sources, keyed in titles and performed modest transition effects. Not anymore. Switchers today do all those things, plus act as storage for still images, graphics and video clips, as well as provide control for video playbacks from servers and dedicated players. How much more capability can be built into switchers without overloading the operators?

“With the NewTek VMC1 system—think of it as a super-powered TriCaster—we added the ability to route NDI signals downstream of system, and we’ve brought this to the TriCaster 2 Elite, too,” Hayter said. “The NDI output matrix enables operators to drive screens and video walls on set, on stage, even to distribute NDI video and audio around venues. Like every other aspect of TriCaster, this is macro-controllable. The integrated macro engine on all our production systems can create shortcuts and sequences of operation with a single keypress.”

Hayter says NewTek has delivered visual radio studios where PTZ cameras, robotic dollies and tracks, and real-time tracked virtual sets work in tandem from a single keystroke.

“In the corporate space, we have projects where lighting, in-room audio systems and video wall solutions are similarly controlled from simple webpage buttons through our LivePanel controls,” he added.

It has been a strange year, and we’re all still figuring out how to do the things we want to do in this new environment. However, one thing that’s clear is that well-designed products continue to be useful and in demand and meet the needs of real users.

Broadcast equipment manufacturers started building IP capabilities into switchers more than a decade ago, and that has given this product category a leg up in the bid to stay relevant during the COVID-19 lockdown. That said, I don’t think there’s anyone who wants this new status quo to go on indefinitely—just that we should be glad that production switcher manufacturers were among the best prepared for our current streaming reality.

ALEXANDRIA, Va.—Production switchers continue the industry trend of absorbing more functions in the quest to make operations easier, faster and more accurate. What used to be the province of selecting among cameras, recorders and remote feeds (with an occasional keyed title), is now a single-operator control station that can roll in pre-recorded material, interface with IP video, control cameras and program a broadcast.

And more functionality is on the way.

One of the biggest trends today is toward greater IP video capability according to Matt Allard, product marketing manager for NewTek.

“Migration to IP-based media production is now inevitable,” he said. “The timeline for various use cases will vary, but eventually will evolve in this direction just as the majority of media distribution already has. Just as with many other IT processes, there may be more than one standard to accomplish IP-based production, and users will choose which path best suits their price and performance needs.”

PROPER NETWORK BACKBONE

Speaking of standards, you need to be careful about how you plan to use IP in a new facility.

“For more compressed IP protocols like NDI, it almost as easy as plug and play,” said Tony Mastantuono, product manager at Broadcast Pix. “That said, any facility needs a proper network backbone—and if you’re considering uncompressed IP for broadcasters, that’s a whole different conversation. For the foreseeable future, SDI is not going away, but IP is becoming an attractive choice for long distances and remote production.”

As is often the case when new technologies enter the realm of an existing product category, it leads to features and applications that could not have been done with the original form of the product.

“IP connectivity… translates very well into one of the leading trends that we are seeing with switcher technology, which is production resource sharing,” said Deon LeCointe, senior manager for IP production and sports solutions at Sony Electronics. “Years ago, remote production burst onto the scene giving content creators the ability to deploy a reduced number of resources to cover events that demanded a lower budget. The advent of IP technology helped to drive that trend and it has now grown from just covering sporting events to also covering major events in entertainment and news.”

Now, content creators are looking at different ways to design or re-design their facilities using IP technology, Le-Cointe added.

“Instead of a specific resource, like a camera or switcher, assigned per studio or control room, they are looking at ways that the same resource could be shared across multiple studios, or even facilities,” he said. “More and more facilities are being integrated into enterprise-wide networks, which begs the question: ‘Can a switcher located in a broadcast center in New York be used to run an HD production located in Boise?’ We know the answer to that question is a resounding ‘Yes,’ but then you could also ask, ‘Can that same switcher be used to run a 4K show in New York simultaneously?’ With production resource sharing, the answer to that question is also ‘Yes.’”

IT’S NOT ALL IP… YET

Despite the general acceptance of IP connectivity, SDI is still widely used in the broadcast industry.

“We’re responding to the increased market demand for flexible systems that are capable of SDI and IP, which is certainly true when it comes to video switchers,” said Takaaki Imoto, director and senior general manager for the overseas sales and marketing division of FOR-A. “And while IP demand grows, we’re still in a transitional phase—we offer products that meet the needs of both IP and SDI.”

Greg Huttie, vice president for switchers at Grass Valley, agreed.

“While IP is undoubtedly gaining serious momentum across the industry, a lot of customers are still looking for solutions that are both SDI and IP friendly,” Huttie said. “What we’ve learned from talking to customers is that there isn’t a one-size-fits-all switcher.”

Other manufacturers also acknowledge that IP video is out there, but have their sights on different targets.

Although IP connectivity does have its place for certain workflows, it’s not a foregone conclusion, according to Bob Caniglia, director of sales operations for North America at Blackmagic Design, which launched its own 8K production switcher at the 2019 NAB Show.

“What’s more certain is 8K—even with its select use at present, such as with large Times Square and stadium-sized screens, NHK has been broadcasting in 8K for a year now,” he said. “Add to that the fact that NHK and others have announced 8K plans for the upcoming 2020 Olympics, and 8K will remain in the spotlight.

“The thought of 8K might sound reserved for a select few national broadcasters, but there are affordable and feature-rich switchers currently available that deliver HD, Ultra HD and 8K capability in a single unit,” Caniglia continued. “It’s not too early to plan for the future.”

Like Blackmagic Design, FOR-A has a variety of 8K products that include routing switchers, up/down converters, HDR/SDR converters and signal generators.

“We’ve successfully installed these in major TV stations in Japan,” Imoto said.

HIGH DYNAMIC RANGE

8K might be the wow that comes with major sporting events, but there is also good work being done at 4K and even HD resolution. In particular, some production manufacturers are working to include high dynamic range (HDR) technology into their switchers and other components in the video chain.

“Today’s consumers want stunning images that create a captivating viewing experience that is the next best thing to being there, and sometimes even better,” Grass Valley’s Huttie said. “HDR delivers perceivable improvements in image quality—even with HD—that deliver the wow factor viewers demand. Our customers tell us they want solutions that are format flexible and can be scaled, so we’ve built this functionality into our switchers from the beginning, allowing production teams to handle content in any mix of HD, 4K UHD, SDI, IP, SDR or HDR.”

Blackmagic Design is also building in a path to 8K without ignoring the current HD and 4K production environment.

“8K is on the horizon,” Caniglia said. “Many broadcasters are still working toward the transition to Ultra HD and have the eventual transition to 8K in the backs of their minds. They may not realize that they should start thinking about 8K now based on their current workflows and nearer-term investments. To help our customers, earlier this year we introduced a range of 8K broadcast workflow products, all of which are compatible with existing SD, HD and 4K workflows in addition to tomorrow’s 8K broadcast production.”

EXTRA FEATURES

Several switcher manufacturers also have cameras in their portfolios, which brings up the possibility that the switchers and cameras could talk to each other and provide extra features to streamline production tasks. “Across Grass Valley’s switcher portfolio we now have the ability to trigger from the switcher’s control surface scene files loaded from the camera,” Huttie said. “This is a truly handy capability when lighting changes occur, such as on news studio sets, for in-game interviews or when concert lighting changes. This capability allows normal field cameras to quickly adapt from covering the live action without the need to cut to a different camera.”

Sony is also working on solutions that build synergy when a customer uses both switchers and cameras from the company.

“Production environments that contain both Sony cameras and switchers really benefit when [our] control layers are applied,” LeCointe said. “For example, our ELC automation system enhances operational efficiency and newsroom productivity. It can control all elements of a live news production workflow including cameras, production switchers, layout and the newsroom computer system. Another control layer includes Sony’s new Live Element Orchestrator, or LEO. LEO enables smart IP workflows and optimizes use of resources through the remote setup, management and monitoring of all IP networked devices, including cameras, switchers, servers and monitors.”

However, don’t rule out the offerings from switcher-only manufacturers.

“Each market has its own unique requirements,” Broadcast Pix’s Mastantuono said. “For example, PTZ camera control is practically indispensable for government meeting coverage, while small-market broadcasters appreciate our built-in clip and graphic stores and Watch-Folders. Because Broadcast Pix is a more software-based system, we’re more flexible than hardware-based solutions on the market.”

ARTIFICIAL INTELLIGENCE

Making its way from science fiction to reality is the use of artificial intelligence in production switchers. At least a couple of companies are addressing AI in their switchers—FOR-A has developed an Automatic Objectives Tracking system with AI capability, which is used at horse racing and cycling tracks. The company plans to extend this AI technology to other products, including production switchers.

Sony does not have AI technology in its switchers today, LeCointe advises that the company will have announcements regarding AI in the future.

Higher resolution, more features, greater IP compatibility, integration benefits… all these are possible with the latest generation of production switchers. And although you may have thought that consolidation of networks and program outlets might reduce the need for production switchers, it appears the opposite is true—there is more content being created than ever, and more switchers are needed to create that content.

That is the finding of the Broadcast Switchers Market report by Transparency Market Research, which estimates that the market for switchers will grow at a 5% rate over the next couple of years. In particular, Transparency Market Research attributes this robust growth to the adoption of 4K production by content creators, studios and broadcasters across the world.

Production switchers are a thriving product category, despite the increased production being done by one-person producers with a camera and editing software. The global appetite for fresh programming is raising all production boats, including the sort of facilities that use production switchers.

That’s great news for people who enjoy watching television… and for switcher manufacturers.

Cypress, CA, October 21, 2019 – With its live WALLCAST® simulcasts and concert auditorium surrounded by an immersive projection system, the Miami-based New World Symphony (NWS) features unprecedented integration of technology into its educational, rehearsal, and performance spaces. The New World Symphony prepares graduates of top music schools for leadership roles in orchestras and ensembles around the world. It combines teaching and technical innovation in a way that brings classical music into the 21 century and makes the music accessible to everyone.

When the leaders of NWS were looking to upgrade the already top-of-the-line audio and video infrastructure within the New World Center, their Frank Gehry-designed campus three years ago, they were set on a single-link 12G infrastructure as the backbone for the overall upgrade. They met with representatives from the Miami office of FOR-A to discuss FOR-A’s range of 12G 4K/UHD products.

“We determined early on that our specific needs would be best served by designing our new 4K/UHD upgrade project around a single-cable 12G infrastructure,” explained Clyde Scott, Director of Video Production, New World Symphony. “Most options were quad-link and 4K IP, but FOR-A was the only manufacturer to make a single-link 12G switcher large enough for our purposes. We demoed the switcher and were impressed with its capabilities and ease of use.”

After that, FOR-A’s Director of Latin Region Sales, Mario Rodriguez and Product Specialist Bob Peterson worked closely with NWS to identify several other key pieces of equipment in the company’s suite of 12G products that would work well in the new installation, including: a large 12G router, production servers, and terminal gear.

After a highly competitive review, NWS went all in with FOR-A, purchasing: a 4K/UHD production switcher, two routing switchers, 19 signal processors, integrated control software, a multi-viewer, four 12G/SDI servers, two 12G graphics systems, and nine modular universal system frames.

Among the FOR-A products selected is the recently introduced 3 M/E HANABI HVS-6000 12G-SDI production switcherOffering 12G-SDI capability on all inputs and outputs, the 3 M/E HANABI HVS-6000 uses a single cable link. Video signals are processed throughout as a single image. The HVS-6000 is a 12 RU switcher, with a maximum of 80 inputs/32 outputs or 64 inputs/48 outputs. It also offers frame synchronization, frame buffer, 3D DVE, and 4 keyers per M/E with DVE function + 4 DSKs. The switcher has an optional board-mounting SFP connector that supports an IP interface.

In addition to the HANABI main switcher panel, NWS is integrating a smaller 12-button HVS-2120ROU switcher panel into a remote control room for use with the main electronics for simultaneous use of the HANABI resources in multiple locations.

“We’re thrilled to support the New World Symphony in its incredible mission to enrich the Miami community with its classical music offerings and the organization’s progressive approach to the use of technology for education and performance,” said Rodriguez of FOR-A. “Everything at the New World Center is first class. We’re proud to be included with such high-end company. We’re confident that our equipment will more than meet their expectations, and we look forward to providing New World Symphony with our latest technology for many years to come.”

NWS presents approximately 70 performances each year, many of which include immersive projections and 12 of which are presented as live simulcasts on the 7,000 square foot exterior projection façade of its New World Center building (WALLCAST® Concerts). Inside, the concert auditorium also features a large complement of theatrical lighting, ten robotic 4K cameras and a full broadcast-style control booth, top-of-the-line audio recording and sound reinforcement equipment. The NWS system employs 1.8 petabytes (raw)/1.2 petabytes (useable) of R&S SpycerNode high performance media storage.

Every practice space in the New World Center is wired with connections for video and audio, as well as connected by miles of fiber to support the school’s robust distance learning program.

The following comprises the full FOR-A equipment rundown for NWS:

HVS-6000 video switcher with HVS-3355OUA and HVS-2120ROU
GearLink integrated control software

Insight 212 (12G-SDI) video server x 4
ClassX Pro 12G character generator x 2

MFR-6000 (144 x 144) routing switcher
MFR-3000 routing switcher
MV-4310 multi-viewer
FA-9600 signal processor x 18
USF-212AS universal system frame x 6
Modules:
USF-106UDC-12G 12G-SDI 4K/HD up/down converter x 2
USF-106DC-12G 12G-SDI 4K to HD down converter x6
USF-1100VEA 10-output analog video distributor x 2
USF-105DDA-12G 12G-SDI 5-output digital video distributor x 5
USF-111DDA-12G 12G-SDI 11-output digital video distributor
USF-101MDX4-12G 12G-SDI 4K audio multiplexer/demultiplexer with 8 channels of AES I/O x 2
USF-101MDX8-12G 12G-SDI 4K audio multiplexer/demultiplexer with 16 channels of AES I/O x 2
USF-105DADA 5-output unbalanced digital audio distributor

About FOR-A

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

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

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

CYPRESS, Calif.—The New World Symphony school in Miami incorporates high-end technology to help with its educational, performance and rehearsal spaces, and recently sought to update its audio and video infrastructure, with a goal of creating a single-link 12G infrastructure.

To do this, the school collaborated with For-A and implemented a number of the company’s 12G 4K/UHD products. Among the products selected were a 4K/UHD production switcher, two routing switchers, 19 signal processors, integrated control software, a multiviewer, four 12G/SDI servers, two 12G graphics systems and nine modular universal system frames.

One of the specific products installed at NWS is the 3 M/E Hanabi HVS-6000 12G-SDI production switcher. The unit uses a single cable link and offers 12G-SDI capability on all inputs and outputs. Video signal are processed throughout as a single image. The HVS-6000 is a12RU switcher with up to 80 inputs/32 outputs or 64 inputs/48 outputs. Additional features include frame synchronization, frame buffer, 3D DVE, four keyers per M/E and an optional board-mounting SFP connector that supports an IP interface.

Another product from For-A now being used by NWS is a 12-button HVS-2120ROU switcher panel, which is integrated into a remote control room with the main electronics for simultaneous use of the Hanabi resources in multiple locations.

The other For-A products in use are the GearLink integrated control software, four Insight 212 video servers, two ClassX Pro 12G character generators, MFR-6000 and MFR-3000 routing switchers, a MV-4310 multiviewer, 18 FA-9600 signal processors and six USF-212AS universal system frames.

Chelmsford, Mass. – Sept. 5, 2019 – Broadcast Pix™ is launching RadioPix™, an integrated production system for visual radio applications, at IBC2019 (Stand 7.C53) in Amsterdam. Ideal for radio studios using fixed or PTZ cameras, RadioPix features a dedicated user interface designed for easy setup and operation of dynamic yet automated video-follow-audio productions.

‘With more than 200 radio stations in Europe already using Broadcast Pix Integrated production systems, we felt it was time to produce a dedicated product for visual radio featuring a complete toolset and a streamlined user experience,” said Tony Mastantuono, product manager, Broadcast Pix.

Using Broadcast Pix’s advanced macros, RadioPix can roll clips and animations, add or remove titles, select camera presets, and even execute picture-in-picture compositions based on the active microphone. In addition, users can set conditions to avoid camera changes for one-word comments (or coughs) and create dynamic camera moves within long discussions. The host can also override the automated system using a smartphone, tablet, or laptop.

IBC2019 attendees will be able to control a Broadcast Pix visual radio system at Hogeschool van Amsterdam remotely from the show floor.

Broadcast Pix will showcase RadioPix during IBC by remotely controlling a recently installed system at Hogeschool van Amsterdam. “The reason why we picked Broadcast Pix is because we are working with students and we need systems that are easy to understand,” explained Mike van der Meulen, HvA Campus Creators. “Without a lot of training, our students can create professional looking visual radio shows.”

About Broadcast Pix
Founded in 2002, Broadcast Pix offers the complete toolset required to make great programs, elegantly integrated and easy to use. Our systems 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.

Broadcast Pix and RadioPix are trademarks of Broadcast Pix, Inc.

Cypress, CA, May 28, 2019 – A range of flexible video production switchers, video servers, and graphics systems that consistently support both 12G-SDI/4K and 3G-SDI/HD resolution will be a focal point of the FOR-A® booth at the upcoming InfoComm Show in Orlando. Demonstrating video production solutions for corporate video, worship, sports and live event applications, FOR-A will exhibit in Exhibit Hall, West Level 2, Booth 1861 during the show which runs from June 8-14 in the Orlando Convention Center.

FOR-A’s booth lineup includes the HVS-490 and HVS-1200 HANABI switchers, Variant Systems Group’s Envivo Studio production suite and Envivo Replay sports and live event replay solution, ClassX content creation and graphics playout solution, and the ODYSSEY Insight video server.

The compact HANABI HVS-490 opens the door to more affordable 4K production. HDMI 2.0b specification support provides 4K output to a multi-viewer. Offering exclusive features, including MELite™ technology, which extends the switcher’s 2 M/Es to offer 6 M/E performance, the HVS-490 is designed for use in any live environment, including mobile shoots, events, and in-house corporate productions. The switcher provides users with event memory and macro functions, as well as integrated frame synchronizers and multi viewers - making it easy to set up quickly for live performances.

The HANABI HVS-1200, a compact 4K/HD compatible switcher, builds on the features of the HANABI HVS-490 video switcher and adds 12G-SDI support as standard. The switcher also utilizes a single cable for image processing and is configurable as both a 12G-SDI/4K and as a 3G-SDI/HD switcher. In HD mode, the switcher accepts up to 40 inputs, and in 4K mode it accepts up to 10. In 4K mode, the switcher provides 2 M/E performance (1 M/E + 1 MELite™), and in HD mode it’s a 6 M/E (2 M/E + 4 MELite) switcher virtually.

Just introduced at NAB 2019, Variant Systems will showcase the new Envivo Studio to InfoComm attendees. Shown for the first time at InfoComm, Envivo Studio is an all-in-one live production system that includes a clip player, still store, shot box, and powerful capabilities, including:

- Live switcher (cut camera inputs)

- Internal keyer (multi-layer overlay)

- Switcher support (key/fill)

- Drive multiple venue screens (IMAG)

- VDCP control

- 24hr loop record inputs

- Built-in slow-motion replay

- Coaching review tool

- Time shift

FOR-A is the exclusive distributor of Variant Systems Group’s Envivo Studio and Envivo Replay sports and live event replay solution in the U.S. and Canada, along with Central and South Americas. Envivo Replay offers a complete replay solution packaged in an intuitive user interface with continuous multiple iso-channel recording capabilities, simultaneous clip storage of multiple angles to clip bins, playlists for highlights playback, built-in branding capabilities, direct publishing to social media platforms, and support for high speed super slow-motion cameras. At InfoComm, both Envivo systems will be shown with a Dante audio interface, enabling the systems to support uncompressed, multi-channel, low latency digital audio over a standard Ethernet network. Studio and Replay also support NDI (Network Device Interface), a free protocol for Video-Over-IP, developed by NewTek.

A demo of the latest ClassX solution of 2D/3D character generation and live motion graphics and playout software integrated with FOR-A video switchers will be on the FOR-A Infocomm stand. ClassX’s graphics suite of solutions is popular with universities, digital signage, live event, and sports production applications. FOR-A is the exclusive distributor of ClassX in North, Central and South America. The agreement provides broadcasters and live event producers with the ability to create and play out ClassX real-time broadcast graphics integrated with FOR-A video switchers.

ClassX offers a complete solution with pixel-perfect, real-time 2D and 3D motion graphics and titling, SportsGraphics, SocialServer, MOS newsroom interface, clip playing automation, picture-in-picture and a multi-functional scripting facility. ClassX is 12G-compatible and supports Dante digital audio for playout.

ODYSSEY’s Insight Production Server is a multi-channel playout system, available in a two- or four-channel configuration. Offering a Web interface for control from any device with a web browser (no installation required), the video server provides a wide range of supported wrappers and codecs for media contribution and video play out with time delay playback. Insight's flexible event processor allows users to connect multiple devices and interact with FOR-A production video switchers, routing switchers, CG generators, GPIO-connected devices and other studio equipment to orchestrate event triggering for a seamless production. 

Chelmsford, Mass. – April 4, 2019 – Broadcast Pix™ will introduce RCC, its new IP camera control panel, next month at the 2019 NAB Show (Booth SL4210) in Las Vegas, Nev. 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 be customized to control different types of cameras and support gear – including PTZ cameras, broadcast cameras, and robotic heads – and mix IP protocols within the same production. An integrated seven-inch touchscreen provides intuitive menu navigation to cameras, shot presets, camera settings, and system setup. Users can also customize the number of cameras and camera presets as needed, as well as camera and preset shot names for easy recall.

The compact RCC has a durable, machined aluminum chassis. Its three-axis joystick with adjustable zoom speed and one-touch auto focus allows smooth, precise control for shots. Beyond PTZ controls, RCC adjusts focus, iris, white balance, and more.

"As IP-based PTZ cameras continue to get more and more use in live productions and government meetings, some organizations want the flexibility of a separate camera control unit,” explained Tony Mastantuono, product manager. “The interface for our RCC is very intuitive, so even non-technical personnel can easily setup shots and access presets, and the joystick lets you perform smooth on-air moves and adjustments.”

RCC features a high quality precision encoder, and includes native IP support for Panasonic and Sony PTZ cameras. Support for other cameras and robotic heads is available as a separate software option. RCC will be available in Q3 2019.

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

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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Chelmsford, Mass. – Oct. 23, 2018 – Broadcast Pix™ today announced KTEN, a dual NBC/ABC affiliate with a CW substation serving the Sherman-Ada market (DMA #160), upgraded its control room in August with a Broadcast Pix BPswitch™ integrated production switcher. Mark Farrell, news director for KTEN Media, said the new BPswitch was part of an effort to ready the station for next month’s election coverage.

Owned by Lockwood Broadcast Group, KTEN’s studio is based in Denison, Texas, and produces more than seven hours of local news each weekday across its three channels. News broadcasts begin with morning news starting at 4:30 a.m. and conclude with a 10 p.m. newscast. The studio includes three robotic cameras and a stationary “grid cam,” which is used for bumps and other transitions.

Steven Martinez, assistant chief engineer, said one of the big benefits of the new switcher is its integrated NewBlueNTX multi-layer 3D graphics. Both he and Farrell are also excited about the new BPfusion software, which integrates seamlessly with NewBlueNTX to streamline the creation of data-intensive CG graphics. BPfusion automatically updates graphics using data from RSS feeds, Twitter, scoreboards, and other sources over IP. With simple drag-and-drop operation, BPfusion uses templates to integrate information into customized graphics like multi-layer election maps without re-keying the data.

BPfusion also allows KTEN to import Adobe After Effects projects directly into NewBlueNTX. Previously, the graphics department had to render some graphics as Targa sequences, which added a cumbersome step to the production process. Now, the graphics are simply dropped into the BPswitch Watch-Folders media management system without re-rendering, then transferred to the switcher’s integrated clip store. Martinez said BPfusion has also “really streamlined our scoreboard gathering” for KTEN’s Friday night high school football show.

The new BPswitch, which replaced KTEN’s older Broadcast Pix Granite™ system, has helped the station enjoy more efficient news production with minimal retraining. For example, the station continues to use the built-in BPview™ multi-view, as well as the same control panel from the previous system. However, the station now produces two-box effects directly through the switcher, which Martinez said is much easier than relying on an aging DekoCast during live productions. Plus, instead of using a separate playout server, KTEN now stores and plays its roll-ins directly from the BPswitch.

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

# # #

Chelmsford, Mass. – Oct. 15, 2018 – Broadcast Pix™ today announced Broadcast Pix Commander™ has been upgraded to allow remote switching on mobile devices using Chrome, Safari, Firefox, or other web browsers. The touchscreen control platform for BPswitch™ integrated production switchers now offers full-motion viewing of all cameras and production elements, as well as access to all workflow tools, through a standard internet connection. The company will demonstrate Commander at the 2018 NAB Show New York (Booth N354), which runs Oct. 17-18 at the Jacob K. Javits Center in New York City.

“Video production workflows are changing. The traditional control panel is still in use, but many organizations prefer a touchscreen approach,” explained Tony Mastantuono, product manager. “Commander has already revolutionized how people switch live shows. Now, your touchscreen isn’t limited to your control room – full-motion, cloud-based remote control video production has arrived.”

The Commander platform allows BPswitch customers to switch live productions from any location using a laptop, tablet, or smartphone. Ideal for corporate, government, religious, and educational facilities, Commander allows live productions to be switched from a seat in the audience, an office across town, or even a satellite facility across the country. The control-over-IP option offers low latency and is accessed through the BPNet™ IP ecosystem, which is powered through the ioGates cloud-based media management platform.

With its streamlined user interface, Commander makes it easy to execute sophisticated productions. An integrated PTZ camera control overlay, for example, is well suited for touch interfaces. Plus, file-based macros allow users to create scripted commands that produce complex combinations of on-screen elements, including motion graphics and DVE compositions with multiple sources.

The BPcommand Toolkit option allows users to create and modify custom interfaces for browser-based production, so users can create an elaborate interface for experienced TDs or a simple interface a novice can master in minutes. Broadcast Pix also offers a customization service.

In a closed network environment using a LAN, Commander is accessed through a browser securely using passwords. When connected to the internet outside of a LAN for remote access, no special router or firewall configuration is needed. Instead, a BPNet account routes control network traffic and live video through a secure “tunnel” to the remote browser.

Broadcast Pix also announced enhancements to its SoftPanel for BPswitch for local or remote use. With the same secure, browser-based access as Commander, the SoftPanel looks like a virtual 1000, 2000, or 5000 control panel.

The BPswitch family of integrated production switchers offers up to 22 SDI inputs and 12 outputs, with up to eight internal channels for clips and graphics. Other features include built-in NewBlueNTX multi-layer 3D motion graphics, dual-channel clip server, audio mixer, streaming to Facebook Live and other CDNs, recording, file-based macros, customizable multi-view, chromakey with virtual sets, and optional remote camera control. The updated Commander option will be available by the end of the year and priced at $800.

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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SAN FRANCISCO—Think of it as a vital game of give and take.

On the one hand, M&E companies are demanding more efficient ways of capturing, managing and manipulating video from within their facility. And on the other, the industry has narrowed its focus on a key distribution technology—all in the name of allowing media companies to get video more efficiently to air.

Jim Robinson, sets up the Newtek NDI webserver. Note the multiple camera sources on the rear monitor.

Where is this game of expansion and contraction taking place? Most notably, within today’s modern integrated production systems (IPS). These control technologies have been modernized and streamlined in recent years so they can be customized quickly, operate more efficiently and more deftly control a greater number of third-party systems.

At the same time, the behind-the-scenes workhorse processing these machines—here enters IP networking—continues to bound forward as a key piece of tomorrow’s networking future.

Customers talking about automated production control, whether it be for studio production or live news, have a few demands. They want flexibility. They want to know that switcher they’re buying today supports IP. And they want to be able to scale their operations in ways that weren’t possible even a half dozen years ago.

And let’s not forget moving around the furniture.

SAVING SPACE

With IP, “because everything is interconnected, we don’t have the physical [confines] of space,” said Will Walters, director of product marketing for NewTek.

With IP networks, a broadcaster has the capability to dismantle parts of the traditional physical layout of a facility. Traditionally, control rooms were built close to where content is produced since video traditionally arrives in a router or cross point switch housed in the same rack.

IPS technologies with IP-backbone solutions allow a facility to string together elements in a single chain, or break them up as needed for a smaller crew. “It basically gives a station the ability to scale your production as necessary,” he said, such as when an integrated production system is being set up with three cameras for a talk show or as a larger multicamera shoot for a live sporting event.

Putting its integrated production system on the IP path was a priority for companies like The Weather Company. The group built new digital studios as part of the company’s new offices in Brookhaven, Ga. With a huge bevy of protocols and formats, depending on where the source was coming from, the firm was looking for a flexible technology that could handle micro reporting from individual sites, such as from cell phones or small kits in the field using cellular production. Weather is a changeable thing, and the company needed its acquisition process to keep pace. That’s when they turned to Newtek’s NDI protocol.

The facility now brings in a signal—from origination to delivery—that is nearly completely IP. They only use of SDI within the plant is for redundancy recording, Waters said.

IP-based integrated production systems offer flexibility and agility not found in other networking protocols, he said. 

CONTROL ANYWHERE

That notion of improved flexibility is also being adopted by Broadcast Pix within its BPswitch integrated production switchers. Using the Broadcast Pix Commander interface, users can control the BPswitch switcher via a tablet, phone or laptop that’s operating as part of the BPNet IP ecosystem. This flexibility means users can create live productions from inside or out of a traditional facility.

“We’ve been behind IP since day one; now it’s moving us on to bigger things,” said Tony Mastantuono, product manager for the Chelmsford, Mass.-based company.

Broadcast Pix BPSwitch

“We’ve taken the idea of control anywhere in the world to the next level,” he said, as the technologies allow for command interfaces to be user-customizable for different types of workflows. For example, if an operator only needs a few cameras and a simple clip store for a live event, the system’s interface can be customized and controlled based on the type of production at hand.

“Traditionally you’d have cameras on a local system and the operator is local,” Mastantuono said. While that is still the norm, you now have these three parts—the engine, the cameras and the operator—that can be controlled in new ways. “The cameras can be in a government meeting location, while the actual engine can be in the studio, and through IP streaming, all those streams could be [distributed .]”

SIMPLIFYING PRODUCTION

For Grass Valley, one major focus is reducing complexities within IPS control. Another goal not far behind: ensuring that Grass Valley solutions are taking advantage of the efficiencies that IP connectivity has to offer.

“The hallmark for this year… is the notion of complexity,” said Chuck Garfield, director of news product management at Grass Valley.

While vendors have been known (once or twice) to say, “it’s so easy to use our system,” the reality can be different. It’s not always simple to effectively train and maintain staff knowledge of a system, particularly over the long term.

Reversing that notion is a priority for the company.

“Reducing complexity means we are creating a new set of tools for the Ignite [automated production control solution] and allow us to control our event library—to allow a nontechnical person to change the library, change cameras being used in each shot, etc.,” he said.

“That reduces the amount of training time [before] deploying a system; it reduces the amount of time it takes to handle last-minute changes that come in,” he said.

Improving complexity in the face of a fast-paced news environment is a key issue with customers, he said. “There is a big refresh happening in the industry with… automated production control room systems,” Garfield said. “And in most cases, it’s a complete forklift upgrade. They’re taking a fresh new upgrade [because] this notion of making an operator’s day-to-day life easier is one that’s really compelling.”

At the upcoming NAB show, the company plans to showcase a new IP workflow within the Ignite and K-Frame production systems, as “[customers] want to know that the switcher they’re buying today supports IP,” Garfield said. “Customers want flexibility where IP is concerned.”

Grass Valley also plans to announce third-party switcher support across some product lines. “More and more, we’ve got customers who like a [different] switcher workflow and they’ve asked us to integrate that.” 

THE PROFESSIONAL LOOK

The industry is at the point in its evolution that media firms want to create and push out more content in an easier, more streamlined fashion.

“They want to cover more meetings and create more local programming, no matter what the market is,” Broadcast Pix’s Mastantuono said. “And more importantly, they don’t want to sacrifice the production aspect. That production value has to be there within an integrated production system. It has to integrate clips, graphics, automation and repackage for different audiences.”

Customers are also looking for single-operator simplicity.

“In a rapidly evolving marketplace where there is a plethora of ‘technology for technology’s sake,’ integrated systems can quickly overwhelm people with little television production experience,” said Rush Beesley, founder of RUSHWORKS. 

ALEXANDRIA, VA.—Before inexpensive processors and memory revolutionized how video is shot, recorded and edited, production switchers had a rigidly limited scope: All they did was switch and key images. You could select among video sources, do simple effects (such as wipes and dissolves) between them, and you could key in a title or perform a chroma key—that was pretty much it.

Grass Valley Korona K-Frame V-series production switcher

In todayʼs digital era, production switchers are far more complex and capable. Not only does a modern switcher do everything the old ones did, current models store and recall graphics and video clips, control external devices such as cameras and recorders, as well as perform complex real-time 3D effects unimagined in the analog era.

Can this trend continue? For one thing, production switchers are operated in real time by real people under a lot of pressure to be accurate and error-free. Is there a danger that these operators will be overloaded by the switchersʼ growing capabilities?

“Every time we think we have maxed out our operators, we are proven wrong,ˮ said Greg Huttie, vice president for production switchers at Grass Valley. “We ask our users from all segments of TV production what they find hard and what they find easy so we can address those functions more effectively to either simplify processes or expand on the opportunities.ˮ

MAKING IT SIMPLE

Making the difficult simple for the user is apparently the credo of production switcher manufacturers.

“As long as the equipment used is intuitive and allows technical directors and operators to simplify their workflow, it is possible to add a number of features and capabilities into switchers,ˮ said John Carter, senior product manager for Snell Advanced Media (SAM). “This enhanced capability is in addition to features like pre-sets, such as effects or macros. Adding more functionality in the future doesn’t add problems for operators and broadcasters because there is always the option to program this into a switcher as required. We will see more features built into production switchers, and this is a positive step promoting constant development and fresh product improvements.ˮ

In addition to being at the heart of most live video production operations and the connectivity to video devices that requires, production switchers now all have IP connectivity, which brings yet additional network capability to switchers.

One example of this is Broadcast Pixʼs switchers and the companyʼs BPNet, an IP-based system that can be used to transfer visual material (stills and video clips) as well as control other devices.

“A lot of times the workflow doesn’t work because systems from different manufacturers don’t communicate well,ˮ said Tony Mastantuono, product manager for Broadcast Pix in Chelmsford, Mass. “BPNet is our IP-based ecosystem that lets you manage clips, graphics, data and other assets securely through the cloud using a Web browser. BPNet handles all the transcoding automatically, so it eliminates all the formatting and FTP issues that get in the way of your creativity.”

REACHED THE LIMIT?

So have we reached the limit of what we can expect an operator to handle when sitting at a switcher control panel for a demanding production?

NewTek TriCaster TC1 streaming switcher

“The more tools we can bundle into one of our systems benefits everyone and simplifies workflows,ˮ Mastantuono said. “I don’t think we’ve reached the limit to what we can integrate into our integrated production switchers—after all, customers keep asking us for more. For example, motion graphics have traditionally required a dedicated system. We’ve included NewBlueFX, a multi-layer 3D motion graphics CG, with our BPswitch integrated production switchers.ˮ

Many broadcasters have newsroom automation systems that include switchers that allow management of cameras, all controlled with a button push from the technical director sitting at the production switcher. One button press will move a camera into position for the chroma-keyed weather report, including movement of the camera pedestal as well as pan, tilt, zoom and focus. Ross Video is one of several switcher companies that specializes in complete news studio systems that include this sort of capability.

Of course, today a “broadcasterˮ can be an organization that streams video via the Web. NewTek has carved out a niche as a provider of production switchers that excel at Web streaming. Brian Olson, vice president of product management for the San Antonio-based company, said that webcasters and broadcasters want the same thing in their productions.

“Streaming is just a change in the way content is delivered, not necessarily a change to the way video is produced,ˮ Olson said. “That said, streaming has opened up video production to a broader range of users who sometimes have less sophisticated productions and use a smaller subset of functionality. Online game streamers have tapped into the APIs of the streaming platforms to pull data and display it on-screen. That is one specific instance where streaming uses different features. NewTekʼs NDI has also made it really easy to pull the desktops from gaming computers and game consoles to make them available as video sources for a streaming production.ˮ

4K, UHD & HDR

Switcher vendors are delivering systems for 4K production, and some even have models for UHD high dynamic range production. Carter noted that SAM’s Kahuna switcher has seen a dramatic uptake, with live deployments by remote/OB companies worldwide due to the way it switches and produces UHD, all while simultaneously producing HD.

“UHD sports productions, such as Formula 1and the English Premier League are produced weekly using Kahuna, with technical directors repeatedly telling us that it is just like switching HD,” Carter said. “The next stage beyond UHD is HDR, which delivers an even richer viewing experience. Kahuna now can ship with FormatFusion4, which has the added benefit of switching in HDR and wide color gamut in either UHD or 1080p.ˮ

Most product categories in this industry have evolved with new products doing things that could not have been imagined 30 years ago, and production switchers may be leading the pack in that regard. If the prospect of getting a new switcher that has an ever-growing list of capabilities is a little daunting, consider that switchers today generally cost less than they did a couple decades ago.

Getting more for your money has to be a good thing.

BILLERICA, MASS.—Producing more than 300 shows per year with only two employees and volunteers, Hernando County Government Broadcasting in Brooksville, Fla., has recently added two Broadcast Pix Mica integrated production switchers to aid in production.

Rick Foti working with Broadcast Pix's Mica production switcher

The Mica systems contain built-in Fluent Control workflow tools, including two 32-inch monitors populated by Fluent-View, Broadcast Pix’s customizable multiview. One screen shows preview, program and video inputs, while the other handles graphics and effects. The Mica systems also come with built-in clip stores, animations and file-based Fluent Macros.

Hernando’s Video Production Manager, Rick Foti, installed the first Mica system in late 2014 to replace an aging analog switcher. The second system is used with Hernando’s remote unit and installed this past June.

Broadcast Pix is a manufacturer of integrated production switchers located in Billerica, Mass.