When you’ve spent enough time around broadcast systems, you start to notice a pattern: every facility grows in layers.

A new requirement comes along, so another piece of gear gets added. Then another. Over time, what started as a clean design becomes harder to follow, harder to maintain, and harder to change. Nobody plans it that way. It just happens. You solve the problem in front of you, then move on to the next one.

For a long time, that was simply how infrastructure evolved. And to be fair, it worked. Broadcasters built serious, dependable operations that way. But the downside always showed up eventually.

More hardware meant more cabling, power, cooling, and space which means more things to manage when something went wrong not to mention trying to sort your way through the additional cables that have accumulated on top of your neatly dressed cable bundles. A modest change could potentially have a large impact. That’s why the conversation around infrastructure has changed over the last few years.

The Consequences of Changing Focus
Reliability and speed are still the primary drivers in live production. However, there is a lot more attention on flexibility and efficiency, and for good reasons. Production teams are being asked to support more formats, take on more responsibility, all while dealing with more variation in how a show gets managed from one day to the next.

The production and audience changes, but the core need remains the same. Teams want systems that can handle change quickly without requiring significant downtime. That sounds simple, but it has real consequences for system design. It affects how much functionality can be tied to software and whether a system has room to grow without major changes to the tech stack.

And it affects costs in a very practical way. This is one reason software-defined infrastructure is getting so much attention. There is a steady interest in systems that can do more over time without demanding a new hardware investment every time the workflow shifts. That matters because most facilities are not static anymore.

A production may still be based on-site, but some of the people operating it may be somewhere else. A plant may still be centered on SDI, but some form of IP may already be part of the picture. A system may be installed for one main use case, then quickly be asked to support something broader once people see what is possible.

Infrastructure is Becoming Part of the Solution
That last part is important. In my experience, users almost always find applications and ways to use equipment that they did not fully predict at the start. Once they get comfortable, they push. They ask for more I/O, processing and monitoring. More ways to adapt the system to the work at hand. That is usually a good sign. It means the infrastructure is becoming part of the solution instead of something they must work around.

It also explains why software defined hardware keeps coming up in these discussions. When teams can reduce the amount of separate gear needed to accomplish the same job, the benefits are immediate. The system takes up less space. It draws less power. It is easier to deploy and easier to support and typically provides significant cost savings. The net effect is that the efficiency adds up.

That is really where broadcast infrastructure is today. Not aiming at a complete reinvention or some theoretical universal model that fits every operation. The smarter path is usually more measured than that.

Build systems that leave room to move. That may be the most useful lesson right now. Because the facilities that will hold up best over time are the ones that can adapt without becoming more complicated. That’s where the industry is headed. Not through a dramatic reset, but through smarter decisions made one practical step at a time.

OTTAWA—Ross Video and HighField AI have announced a partnership that they say will streamline graphics creation for news and sports production teams by offering "intelligent graphics creation" in the Ross Video production ecosystem.

“Broadcasters don’t need AI that forces them to rebuild their operation,” said Tehseen Akhtar, Senior Director of Product Management at Ross Video. “They need intelligent tools that support the workflows they already rely on.”

The integration between Ross and HighField AI solutions enables broadcasters to move from story context to on-air graphics faster, while maintaining brand consistency and the workflows operators already rely on.

The two companies say that this will help broadcasters who are under increasing pressure to produce more content across more platforms, often with smaller teams. By introducing AI-assisted graphics generation inside existing workflows, Ross Video and HighField AI aim to reduce manual production steps while keeping operators firmly in control.

More specifically, HighField AI analyzes story context within Ross Inception, identifies the appropriate Ross XPression graphics templates, and assists in generating production-ready graphics by assembling relevant content, including text, quotes, visuals, and data, while applying editorial and branding rules. Content assets can be retrieved through Ross Streamline, with graphics rendered and deployed through XPression.

For news and sports production teams, the workflow accelerates the creation of graphics such as lower-thirds, matchup screens, player profiles, and full-frame visuals, helping production teams deliver more compelling storytelling at the speed of live production.

“HighField AI turns story context into production-ready graphics in seconds,” said Ofir Benovici, CEO and co-founder of HighField AI. “With Ross, we’re introducing a conversational workflow for live production, making graphics creation as simple as asking for what you need. A producer can request a matchup graphic or player comparison, and the system builds it instantly using the broadcaster’s own templates and assets. With HighField AI, production teams can create graphics faster, maintain consistency, and keep full brand control, without changing how they work.”

The initial integration focuses on Ross XPression, Inception, and Streamline, with Ross Video. In the future, HighField AI is planning to expand AI-assisted workflows across additional Ross production tools.

Ross Video and HighField AI will demonstrate the integration at 2026 NAB Show between April 18 and 22.

Visit Ross Video at Booth #N2005 or learn more at https://www.rossvideo.com/go/events/nab-2026/.

For all the progress we’ve made in moving video over IP, there’s a critical part of the puzzle we’ve neglected: how we control and monitor the infrastructure behind it. When SMPTE ST 2110 hit the scene, it offered us a clean, efficient way to handle separate essences across IP networks.

Suddenly, SDI routers gave way to switches, and our baseband world began shifting toward software-defined, cloud-aware topologies. But while we focused heavily on video transport (rightly so at the time), the tools needed to configure, manage, and monitor those systems didn’t evolve in parallel. Instead, they fractured.

That’s the heart of the issue.

The unseen complexity beneath every workflow. Today, the average live production doesn’t rely on one vendor’s gear or services. We mix best-of-breed — or “customer-curated”— solutions. You might have a switcher from Vendor A, graphics from Vendor B, ingest from Vendor C, and transport from D, E, and F.

Sounds great in theory. But it’s a nightmare to configure in practice. There are over 200 different control protocols in the broadcast world (that I know of). That’s 200 unique ways to tell a device how to behave, each with different conventions, schemas, levels of maturity, and documentation.

You would never design a system like that intentionally. But here we are. And now that our production environments span across on-prem, hybrid, and public cloud, the complexity is beyond frustrating; It’s unscalable.

Why the Cloud Makes this Worse
The cloud makes life simpler in many cases. But it’s done the opposite for control and monitoring. When systems lived in racks, you could spend a few days with a screwdriver, a config file, and a patch panel. Once it was set up, you locked the door and left it alone for 5 years.

Now? With ephemeral cloud workflows, you’re spinning up a system for an event, tearing it down the next day, and spinning it up again next week with different parameters. Doing that ac 10 or 15 vendors, each with different control APIs or CLI tools, is not sustainable.

Enter ST 2138: A New Standard for a New Era
That’s why we brought together a group of vendors and broadcasters to create Catena—know known as SMPTE ST 2138: a collaborative, open standard for cross-vendor control and monitoring of broadcast infrastructure. This project was created through the open standards process within Open Services Alliance (OSA) and is now formalized in the SMPTE standards community.

Catena isn’t about pushing yet another proprietary interface into the mix. Quite the opposite. It’s about providing a common control plane; a way for production teams to configure, control, and monitor multi-vendor systems consistently, regardless of where they run.

It is open-source, secure-by-design, and pragmatically engineered to work with what already exists. It builds on lessons from other control ecosystems, but with an emphasis on ease of adoption, cloud compatibility, and developer-friendliness.

Real-World Impact
A unified control protocol might not sound sexy, but the downstream impact is massive:

• Faster system deployment: from weeks to hours.
• Operational consistency: fewer errors, faster troubleshooting.
• Lower total cost of ownership: less engineering overhead, less custom glue code.
• Security built in: with zero trust principles, not bolted on afterward.

For broadcasters under relentless cost pressure, and cloud-native producers who spin up 100+ live workflows a month, that’s transformative.

Time to Step Up
We’re not asking the industry to rip out and replace what it has already built. We’re inviting everyone to collaborate on something better: A control plane we can all rely on, regardless of platform, vendor, or format.

ST 2138 is headed into SMPTE’s Public CD process soon, making it openly available for review, feedback, and adoption.

Click here to review the draft and join the conversation.

This is the time to get involved. If this resonates, come help shape it. Don’t wait for others to define it for you. Because the future of live production isn’t just about moving video, it’s about controlling it simply, securely, and smartly.

There’s little doubt IP-based production and contribution continue on a rapid upward trajectory in the Media & Entertainment Industry.

Offering clear advantages like flexibility, cost-efficiency and scalability, IP transport of media essences and metadata throughout studios and in other production settings has become the go-to technology for many media organizations looking for an effective alternative to SDI or a way to augment their existing baseband infrastructure.

However, choosing which IP transport makes the most sense as well as the IP contribution link solution best suited to a given application can be complicated. From a technology point of view alone, literally hundreds of data points must be compared to arrive at a solid decision. And that’s only part of the story.

The other part –and some might say an even more fundamental aspect—is consideration of the non-technical factors that go into selecting the right IP transport and contribution link technology. Things as seemingly unrelated as the revenue potential of a given production or ideal deployment of production personnel can play significant roles in making the right decision about what IP alternatives are best.

Non-Technical Factors While anticipated revenue establishes financial guardrails for all other considerations that factor into decision making, the financial equation actually starts with the size of the event in the case of remote mobile production or live studio shows to be produced in a brick-and-mortar facility.

The bigger the event and corresponding audience size, the greater the budget ad agencies and brands will spend on commercial placement. For example, the average price of a 30-second spot during the most recent Super Bowl—watched by a global audience—averaged $8 million. In contrast, a 30-second commercial during a local University football game could cost around a thousand dollars.

While a rather extreme example, the difference clearly illustrates how size and audience dictate revenue potential, which determines production budget and ultimately the technology—including IP transport and contribution technology—from which to choose.

Many other non-technical considerations factor into selecting the appropriate IP transport and contribution technology for a given project or facility. For instance, how personnel are deployed to support a preferred workflow plays a role as well.

Will everyone be on site for a remote live production, or will only select personnel, such as camera operators and an engineer in charge, be remote while others work from a brick-and-mortar production control room (PCR)? Or will even those PCR personnel work remotely from their homes or offices via their laptops, an internet connection and a cloud instance with virtual production tools?

Ross Video has recently published a new white paper, “How to Select the Right IP Transport,” which examines these and other important considerations that go into selecting the right IP transport and contribution alternative.

A perfect companion for “The Future of Signal Transport in Media" white paper that Ross Video published last year, the latest work offers guidance on what to consider in addition to the technical characteristics of various alternatives when selecting the IP transport and contribution solution that makes the most sense for any given media organization.

To read the new white paper, click here.

With so many alternatives available when it comes to leveraging IP production transport and contribution, deciding on which path to take can feel a bit overwhelming.

Not only are there numerous technical and video quality issues to keep in mind but non-technical factors that in most situations will play an even greater role in which way a media organization ultimately chooses to go.

Money, Money, Money

If money were no object, making decisions about the best IP transport around which to build a video production network would be rather simple. With unlimited funds, bandwidth isn’t really an issue, so why even compress video? Ditto for network management. If money were not an issue, organizations could simply throw more IT personnel at network hiccups, Precision Time Protocol (PTP) clock setup and synchronization maintenance, orchestration and the like.

But for most media organizations most of the time, money is a major factor—whether it’s the revenue-generating potential of the event covered or the production budget associated with those potential earnings.

That’s why those producing the few events at the pinnacle of live television production with massive advertising revenue to support the biggest production budgets, like the Olympics or World Cup, may choose to move uncompressed 1080p HD or even 4K UHD across their SMPTE ST 2110-based production network while a small- to medium-sized TV station with limited financial resources may decide on an NDI network moving an AVC or HEVC compressed video.

As the term implies, “uncompressed” in effect means “untouched.” No effort has been made to reduce the amount of data required. AVC or HEVC on the other hand apply a good deal of compression to reduce the amount of data that must move across the network. So, how much data?

By way of comparison, an uncompressed 1080p 60 HD signal translates into 3000 Megabits per second (or 3Gigabits per second). The same signal compressed using the HEVC codec ranges from 3.5 to 15Mbps, but a nice midpoint is about 10Mbps. Clearly, the bandwidth needed for the latter is far less.

Between these two extremes there are a number of other alternatives, such as IPMX and Dante AV when it comes to IP transport protocols, and JPEG XS and JPEG 2000 when it comes to codecs. Each changes the equation, not simply in terms of how much network bandwidth is necessary but also when it comes to many other technical and non-technical factors, such as latency, workflow, network management and where production personnel will be located.

On top of these decisions, it’s necessary to take on a similar balancing act to select the IP contribution link that best meets a media organization’s needs.

Ross Video has published a new white paper, “How to Select the Right IP Transport,” which examines these and other considerations Media & Entertainment Industry organizations should think about before making a decision about which alternatives best suit their individual needs.

This examination does not seek to recommend one alternative over another but rather to equip readers with the knowledge and background they will need to assess their organization’s requirements and evaluate various options.

Click here to read this new white paper.

Simply sending an OB vehicle to a remote venue to produce coverage of live sports or entertainment is no longer the only game in town.

Developments over the past several years have helped to drive a rethink about of how best to implement technologies and supporting workflows to maintain production excellence, adopt advancements in resolution and High Dynamic Range and work more efficiently—all while controlling costs.

In this November 2024 Webcast, TV Tech Contributing Editor Phil Kurz is joined by panelists Stephen Repass, vice president at Ross Production Services; Deon LeCointe, director of networked solutions at Sony Electronics; and Laurent Masia, director of product line management, managed switches at Netgear, for an insightful look at the latest developments.

You'll learn:

• Where REMI, virtualized production and other workflow advances stand.
• How more-efficient compression schemes are opening up new contribution possibilities
• Whether or not private and public 5G networks will prove to be real production game changers.
• How cloud-based alternatives to on-prem OB trucks are transforming workflows.
• The latest workflow developments, including distributed production.

Simply sending an OB vehicle to a remote venue to produce coverage of live sports or entertainment is no longer the only game in town.

Developments over the past several years have helped to drive a rethink about how best to implement technologies and supporting workflows to maintain production excellence, adopt advancements in resolution and High Dynamic Range and work more efficiently--all while controlling costs.

On Thursday, Nov. 7, at 12 noon ET, join our panel of remote production experts, Stephen Repass, vice president at Ross Production Services; Deon LeCointe, director of networked solutions at Sony Electronics; and Laurent Masia, director of product line management, managed switches at NETGEAR.

You’ll learn:

• Where REMI, virtualized production and other workflow advances stand.
• How more efficient compression schemes are opening up new contribution possibilities
• Whether or not private and public 5G networks will prove to be real production game changers.
• How cloud-based alternatives to on-prem OB trucks are transforming workflows.
• The latest workflow developments including distributed production.

Register for this free webinar here.

Traditional news media is under increasing scrutiny, critique, and often attack from administrations on both sides of the aisle and an ever-more distrusting and distracted populace.  

Even small mistakes are highly visible, but news directors don’t have the luxury of slowing down. Not unlike riding a motorbike across a tightrope, broadcast news production requires speed, efficiency, and accuracy — and now more creativity than ever. 

Ross Video works with some of the top news producers around the world to produce engaging, immersive, highly efficient news productions.  

These are the top three strategies we use to help top-tier media studios like NBC and Fox balance creativity, speed, accuracy, and efficiency in their newsrooms. 

Strategy 1: Empower Reporters to Wear Many Hats 

As the media landscape evolves, the role of reporters is evolving as well. 

The desire for more regional, on the ground content from audiences and the growing number of distribution platforms is putting increasing strain on reporters and newsroom teams. Reporters must wear a variety of new hats, which often requires them to spend hours fighting unintuitive and inefficient workflow and creative software. That’s time they could be finding great stories or simply recovering from fieldwork.  

Many reporters now shoot their own interviews and add graphics to their stories from the field. This creates a new challenge for newsrooms: finding video production, media asset management and broadcast graphics software that’s easy to use, so reporters can spend their time reporting, not learning how to use new tools and wrangling with graphics software. 

The right production tools can make high-quality, dynamic visuals and storytelling accessible to even the smallest local newsrooms.  

Strategy 2: Enable Consistency and Creativity 

Consistent branding conveys credibility and professionalism, which can help increase retention and boost ratings. Templates and automated workflows go a long way to ensuring consistency.  

For example: are the titles of over-the-shoulder graphics always in the same font? Are lower-third graphics consistent with your brand’s visual identity? Templates help live video producers avoid idiosyncrasies that can distract viewers. 

Workflow automation tools and graphics templates boost creativity by freeing up creative professionals’ time. By using deeply integrated tools (like XPression, Streamline Pro, and Inception), news broadcasters can develop polished, reuseable graphics that allow reporters to make last-second updates with the confidence that they are ready-for-air and error-free. 

Local news network Graham Media Group uses ‘super-templates’ to create and distribute high-fidelity, on-brand graphics for their network of stations from a single creative hub. 

This video shows how Graham Media uses XPression to enable more creativity and better storytelling with fewer resources.

Strategy 3: Virtually Expand Studios 

In a traditional newsroom studio, most on-camera elements are also present in real life, on a physical set. Virtual studios use chroma keying to blend real-life elements (such as reporters and news desks) with interactive and digital multimedia visuals, and augmented reality elements. 

This strategy is already popular in sports broadcasting and weather reporting, where meteorologists frequently present the weather in front of a greenscreen, with visual elements like graphical representations of weather, maps, and real-time data being added digitally. However, this technology isn’t limited to the weather — it can enhance election coverage, sports stories, and other segments with sophisticated graphics that would be impossible to replicate on a real-life set. 

News stations like Servus TV/Red Bull Media have achieved incredible results using virtual studios powered by Ross Video’s technology, including XPression, Voyager and Lucid.  

Learn more about how virtual studios can be a strategic advantage for modern newsrooms in this article.

Balancing an Adaptive, Creative, Competitive Newsroom 

One thing is constant in news production: change. 

There is no playbook for succeeding in news because success is not static; the bar for quality is always rising. To rise above the competition, your station must be able to adapt to and embrace change. Consumer behavior and audience patterns are short-lived, so appealing to viewers has less to do with a one-time change and more to do with having the agility to change constantly. 

Ross Video’s newsroom solutions are designed to work together seamlessly (together or as part of a multi-vendor stack) to help stations create the accurate, compelling news broadcasts audiences expect, without crushing their teams. 

You do more than just deliver news. The ‘fourth estate’ is responsible for educating and engaging a population that is swamped with misinformation and propaganda, from often very questionable resources with far less integrity or concern for accuracy.   

The only way to keep up with that media tidal wave, newsrooms must invest in technology that allows them to be flexible, efficient, and creative, without crushing their teams.  

To learn more about how Ross Video solutions help news broadcasters big and small find the right technology to bring their stories to life, reach out to one of our production experts here.

Keeping Pace in the Election Race

2024 is a big year for newsrooms with a record number of elections taking place around the globe. For advanced insights on how newsrooms can get ahead in addressing their elections needs with cutting-edge graphics, download our guide.  

OTTAWA, Canada—Ross Video, celebrating its 50th anniversary, will show its latest product innovations with a focus on their value and impact on customer and partner collaboration during the 2024 NAB Show, April 13-17, in Las Vegas.

The company will feature how it is enabling organizations from diverse industries to deliver video experiences and create live productions in the cloud, the virtual studio, the newsroom or anywhere else, it said.

"We are thrilled to be returning to NAB Show as part of our milestone 50th-year celebrations," said Jeff Moore, executive vice president and chief marketing officer at Ross Video.  “The event gives us the perfect stage to demonstrate our enduring passion for developing cutting-edge, reliable solutions that solve real-world challenges for our customers. We’re looking forward to welcoming attendees to our booth to see how Ross continues to shape the technology landscape across live production."

See Ross Video in NAB Show booth SL2005.

NAB Show attendees can schedule a meeting with Ross Video at the event online. 

More information is available on the company’s website.

The “television experience” has morphed into the more broadly defined “viewing experience,” extending to mobile and connected devices, new streaming services, and multiple screens. Accelerating these trends are a changing business landscape, IP and cloud workflows, and AI and data-driven analytics that will re-shape content creation. But whichever way it’s defined, created, or consumed, quality content will always be a social influencer, attracting an audience craving unique, customized, and engaging viewing experiences.

“High-profile live TV events still have the capacity to attract large audiences,” said Mike Ward, head of marketing at Singular.live. “At the same time, what we now know as television has changed drastically in terms of the platforms on which content is distributed and watched, giving audiences more options.”

“The shift from a linear, scheduled format to an on-demand, streaming model has allowed viewers to access content whenever they desire,” said Dan Brooks, head of marketing and pr at Mark Roberts Motion Control (MRMC). “Viewers can now enjoy content on their smartphones or social media platforms, broadening the scope of content consumption beyond traditional screens.”

“As the industry tries to figure out the appropriate models for streaming, viewers still want to be entertained,” said John Wastcoat, senior vice president, brand development, and marketing at Zixi. “Live events and live linear programming are now found on a diverse and confusing choice of OTT platforms, and the platforms themselves, which never relied on satellite delivery, are deploying IP workflows in the cloud.”

Wastcoat added that legacy broadcasters are moving to IP and the cloud to reduce operations costs, which allows them to create and acquire more content and monetize it in different ways.

As the industry continues to accept IP distribution and cloud alternatives while realizing savings of 50% to 90%, audiences will begin to see fewer glitches and better broadcast quality, according to Paul Calleja, CEO and CTO at GlobalM.

“The cloud is reshaping how TV is both produced and distributed, facilitating remote production, giving broadcasters and streamers the flexibility to navigate peaks in viewership, and enabling content providers to go direct-to-consumer,” said Sassan Pejhan, vice president of business development at Ateme.

GlobalM’s Calleja added that “companies will see more flexibility, from multiple different clouds to open protocols, to close deals with rights holders at the last possible minute. The future of television lies in the hands of organizations that understand that content distribution needs to change to software-defined video networks to meet the requirements of high-quality, low-latency, or file-based video delivery over the internet.”

Advancements in TV production technology have also helped level the content creation playing field.

“Behind the enabling technology, the biggest transformation has been who can originate content,” said Neil Maycock, chief commercial officer at Pebble. “What was exclusively the domain of large companies is now democratized for individuals.”

Technological advancements have democratized production by enabling smaller independent producers to create high-end 4K material, according to Brooks at MMRC. He added that the company’s range of broadcast and motion control solutions drives the advancement of content capture, from creating movement for PTZ camera enablement to automated camera positions for live sports and news broadcasts, full-scale motion control to achieve in-camera special effects, and virtual set integration.

Virtual studio technology has opened exciting new possibilities for driving higher-quality viewing experiences across all TV genres, according to Richard Wormwell, head of production Innovation at dock10. “Sports television has been revolutionized by virtual studios,” he said, “elevating commentary and stats to a new level of immersive engagement and enabling jaw-droppingly realistic scenes previously impossible for TV.”

New technologies are transforming viewers from passive spectators to active participants with endless possibilities for customization and personalization, according to Ateme’s Pejhan. “The convergence of video with social media, gaming, shoppable TV, betting, and immersive viewing experiences will see audiences engage with content in completely new ways,” Pejhan said.

Vinayak Shrivastav, CEO and co-founder at VideoVerse, said, “The emergence of OTT streaming apps has transformed media consumption, offering efficient content delivery and diverse pricing models. Seamless integration of internet-connected TVs and streaming devices grants users unparalleled control over their viewing choices. While live TV still remains relevant in some cases, viewers now demand uninterrupted streaming, rapid speeds, and a tailored viewing experience.”

Shifting the focus to business trends, Andy Shenkler, CEO and co-founder of TMT Insights, said, “We’ve seen a re-focus on cost controls, efficiencies, and stabilization to reduce footprints while still being able to provide scale and adoption of new consumer offerings to differentiate services amongst a crowded marketplace. We’ll see many companies shifting greater investment from outsourced vendors to insourcing all but the most commoditized sets of services to ensure service continuity.”

Shenkler forecasted an investment focus on technologies that further enable cost-efficiencies for high-touch services, such as AI and ML applications.

Manufacturers have an opportunity and responsibility to ensure television positively impacts future generations, according to Alun Fryer, technical marketing lead, hyperconverged solutions at Ross Video. “We are acutely aware of our responsibility to lead by example in using technology to steer us toward a more sustainable future. Our commitment involves developing environmentally conscious technologies and promoting sustainable practices in manufacturing, broadcasting, and video production.”

Television is increasingly being driven by data-enabled technologies, according to Kenny Miller, national director of sales at SuiteLife Systems.

“From a monitoring and control perspective, aggregating and managing data is critical to business integrity,” Miller said. “Monitoring and control technologies protect revenue streams by improving operational efficiency and reducing operational costs, while identifying performance trends and preempting technical problems by alerting engineers to potential problems that could lead to broadcast failures.”

He added that monitoring and controlling ecosystems can help broadcasters gain valuable insights into their operations.

Wormwell at dock10 believes “Technological advances in production are reinvigorating television content in ways that make people still want to watch. Made-for-TV content is still a focus in most households and remains as relevant today as it was 50 years ago."

Pebble’s Maycock continued, “In our race to enable more content on more devices, it’s important that we ensure television remains a force for good: informing, educating, and entertaining."

 Singular.live’s Ward summarized, “There is more that can be done to modernize the viewer experience, especially as more live production gets digitized using cloud-native or web tools that enable localization, personalization, and interactivity combined with data. We can’t wait to see what comes next."

OTTAWA, Canada—Ross Video will feature a range of next-generation video production solutions, including the new Ultrix FR12 hyperconverged platform, a new LED display for sports and live production as well as digital signage and AI-powered newsroom workflow solutions during NAB New York, Oct. 19-20, at the Javits Convention Center.

The company will show:

• The Ultrix FR12, which combines 288x288 12G routing, audio processing, audio mixing, multiviewers, frame syncs and production switchers.
• ULTRIX-MODX-IO, a modular I/O card for Ultrix, increasing I/O support, granularity and maximizing port use.  
• ULTRIX-IPX-IO, an IP card for Ultrix that enhances ST 2110 IP workflows.
• The Perform Series 1.56 advanced LED display as well as processing engines and remote power solutions.
• The Carbonite Ultra 60, a new class of production switchers with the I/O capacity and layering of a large switcher to a unit that’s medium-sized, simple to use and priced accordingly.
• Demos of how ChatGPT integrates with Ross Inception software in the newsroom as well as the company’s new Streamline Pro MAM platform.
• The Ross X350 Pan & Tilt head, offering a touchscreen interface.
• Ross Video’s Vision[Ai]ry FT facial tracking technology.

“At our booth, we will present comprehensive workflow solutions that seamlessly blend remarkable production quality with operational efficiency,” said Mark Cooke, director of sales for the eastern United States. “Attendees will have the opportunity for hands-on experiences with our cutting-edge products, including our Perform Series LED display, Hyperconverged infrastructure solutions, and the Carbonite Ultra 60." 

AMSTERDAM—Ross Video has announced that it will be exhibiting in a new location at IBC2023 (booth 9.A05 in Hall 9) and that it will offer show attendees immersive product showcases for solutions providing extended reality (XR), intelligent integrations of AI, robotic camera systems, enhanced cloud production, and hyperconverged infrastructure. 

Other highlights include the award-winning Carbonite Ultra 60 production switcher, and the next generations of spidercam, automated camera tech, and LED displays.

“We are thrilled to be back at IBC and have significantly increased the size of our stand to allow clients to see what they can achieve with our technology and solutions,” said Jeff Moore, executive vice president & chief marketing officer at Ross Video. “It’s not just about technology but about “Making it Real” by showing full workflow solutions that combine amazing production values and operational efficiency. We will showcase XR, LED, hygerconverged infrastructure, and much more. Attendees can get hands-on with the Carbonite Ultra 60, learn more about Ross Production Cloud, and get better acquainted with spidercam, one of our most talked about products.”

Key areas of focus include: 

XR & Integrated LED Experience

Attendees can explore Ross Video’s comprehensive XR solution featuring LED displays, robotic cameras, camera tracking, and the latest rendering software. Live demos will highlight XR advantages such as versatile studio setups, real-time data integration, cost savings, quick pre-production workflows, and superior quality. Additionally, they can get a sneak peek of Voyager 5.2, powered by Unreal Game Engine, which includes Nanite dynamic polygons and Lumen dynamic lighting for breathtaking virtual environments.

XPression is also unveiling version 11.5 and launching XPression Maps 3.4, offering enhanced data integration and improved user control.

AI-Powered Newsroom Workflow Solutions

Ross Video will explore how AI can be used to better plan and fulfill newsroom content and solve the complexities of automated content playout, with demos of how ChatGPT integrates with their newsroom ideation software, Inception, and Ross’ new Media Asset Management platform, Streamline Pro.

Streamline Pro provides a shared space for both the newsroom and creative departments to understand what content is required, so it’s faster and simpler for teams to stay on the same page. When the content is finalized, Streamline Pro automates the entire process of preparing it for air, making those challenges a thing of the past.

Carbonite Ultra 60 UHD with new TouchDrive Controls

IBC attendees can get their hands on the celebrated Carbonite Ultra 60, a new class of production switcher from Ross that delivers big performance in a single cost-effective hardware platform.

Designed to tackle the most demanding productions, Ultra 60 supports an impressive I/O of up to 60x25 in HD or UHD. Its 3RU modular design offers the flexibility to start with fewer inputs and outputs, allowing facilities to prepare for present and future needs. As production requirements grow, easy upgrades become a seamless option.

Accompanying Carbonite Ultra 60 are the latest TouchDrive control surfaces – the TD3 and TD4 panels. These remarkable panels are the largest in the TouchDrive series, boasting extended control capabilities that empower production facilities to deliver larger and more intricate live productions at a fraction of the cost.

Hyperconverged Infrastructure

As sustainability and operational efficiency become paramount in the industry, the transformative benefits of hyperconverged technology are set to be a big talking point at IBC2023.

The Ultrix Hyperconverged platform dramatically shrinks the production infrastructure footprint with massive savings in space, cabling, and power consumption.

New additions include: ULTRIX-MODX-IO - a modular I/O card for Ultrix, increasing I/O support, granularity and maximizing port utilization; ULTRIX-IPX-IO - an IP card for Ultrix that enhances ST 2110 IP workflows with greater bandwidth capabilities and new efficiencies in distributed architectures; the Ultristream license, which facilitates streaming multiviewer outputs directly from Ultrix via NDI, provides unparalleled multiviewer accessibility, including on the Ultrix FR12’s Smart Door; the Ultriproc license, bringing procamp, color correction, and SDR/HDR processing capabilities into Ultrix; SmartCORE functionality, which cohesively merges control over Ultrix internal processing and connected openGear resources on a unified interface for superior control system efficiency and seamless workflows; a highlight in the openGear range, the SFC-6901 is a multifunctional, high-density, and fiber-conserving quad-channel 12G SDI fiber converter configurable to handle fiber transmission and regeneration.

UltraHD Forum Collaboration

Ross Video is collaborating with UltraHD Forum to focus on efficient HDR and SDR delivery for live events. An immersive demo at UltraHD Forum’s stand (10.C09) showcases an innovative HDR/SDR workflow that preserves intent across HDR, SDR, UHD, or HD delivery.

Camera Robotics Systems

IBC attendees will have the chance to see the latest evolution from our Robotics portfolio in booth 9.A04 with developments including:

Spidercam – a new X Dolly supporting higher payloads with an increased top speed and more battery options. The next generation of cable lifetime tracking technology: the “cable heatmap,” which logs the usage and strain on every centimeter of a catenary cable, allowing cable changes to be scheduled cost-effectively while improving our already high safety standards.

Furio+ StableTrac – unique StableTrac technology provides the stability of a four-wheeled dolly but with the consistent traction of a three-wheeled system. This ensures the drive wheel never loses traction, providing smoother, more accurate movement, especially on uneven track surfaces.

Vision[Ai]ry Ft v1.3 – this new release is designed to provide users with improved workflows, high-quality tracking, and better framing. Key features include a unique multi-channel interface, enhanced tracking capabilities, multi-engine support, and an auto-reselect feature.

Quorum

Quorum is Ross’ new meeting control solution, designed to provide governments, legislators, and corporations with the ability to produce broadcast-quality content from meetings. This powerful system requires little to no training and can be up and running in hours, making it a must-see for live video producers working in government and the corporate world.

Ross Production Cloud  

Ross Production Cloud features a full suite of Ross software-based live production technologies deployed on Amazon Web Services Cloud. The latest version will be shown at IBC, which adds a range of new capabilities and user-driven feedback. Attendees can see how to operate a full production control room in the cloud, taking advantage of the flexibility and scalability of cloud technology.  

For more information or to book a meeting with Ross Video at IBC2023, visit https://www.rossvideo.com/ibc-2023/.

OTTAWA—Ross Video has announced that its theme for IBC2023 will be “From idea to audience, let’s make it real.” 

The new theme is designed to highlight the creative possibilities unlocked by the end-to-end production solutions that Ross Video will be bringing to the show at its new, solutions-centric booth (Hall 9, Stand A04 and A05). 

“We’ll have a large stand with a lot to see. We look forward to customers bringing their production challenges and ideas to Ross at IBC this year,” said Jeff Moore, executive vice president & chief marketing officer of Ross Video. “Our production experts and solution architects will be available to sit down over a coffee, help assess your production goals and provide options toward making them a reality. As we say: `From idea to audience, let’s make it real.'”

The solutions being demoed cover such areas as: 

• Extended Reality (XR)
• News Workflows
• LED Production
• Production Graphics
• Camera Motion Systems
• Automated Production

Ross production experts will also be available to share advice and experience to help attendees bring their next project to life. Attendees will see demos showing how they can achieve: 

• The dramatically reduced space offered by Hyperconverged production systems
• The efficiencies delivered by intelligently integrating AI
• The flexibility of Cloud and software-based production
• The scale benefits of IP
• The plug-and-play simplicity of SDI

In addition, Ross noted that visitors to its booth will be able to learn about industry trends in cybersecurity and the new Catena standards effort as well as the benefits of Hyperconverged solutions in building a smaller, more sustainable, yet higher-performance production environment.

The full slate of new product introductions from Ross will be announced closer to IBC2023.

For more information or to book a meeting with Ross Video at IBC2023, visit https://www.rossvideo.com/ibc-2023/.

OTTAWA, Canada—Ross Video and Verance have announced that Verance Aspect watermarking is now available in the Ross Video software media processing platform (softGear). 

Ross Video’s softGear provides broadcasters with the flexibility to adapt to changing  programming needs through media processing microservices. The integration of the Verance  Aspect watermark into the Broadcast Audio Processor based on the softGear platform will  provide Aspect watermarking to a variety of television outlets, the companies reported. 

The Aspect watermark works in both today’s 1.0 and tomorrow’s 3.0 broadcast environments  and was selected to be part of the NextGen TV standard as a way to extend and maximize the  reach of interactive television services in broadcast television. 

Without the Aspect watermark, NextGen applications can only reach the 20% of households that receive signals over the air. With the Aspect watermark, NextGen applications can reach 100% of households, the companies said. 

For the same reason, the Hybrid Broadcast Broadband Television Association (HbbTV) adopted watermarking into its Phase 2 Application Discovery over Broadband specification published in September  2019. 

By deploying Aspect within the softGear platform, programmers are able to activate interactive  services through all distribution paths (including ATSC 1.0 and 3.0 over-the-air, cable/satellite,  and over-the-top services) to reach 100% of smart televisions. Without the watermark, 80% of  households are unable to receive these capabilities. 

“We are thrilled to announce that our Broadcast Audio Processor and softGear platform will  support the Verance Aspect Watermark,” says Wojtek Tryc, director, TPM softGear, Ross Video.  “Our partnership with Verance unlocks new opportunities for broadcasters to deliver new  compelling features to NextGen TV customers.” 

“Today’s announcement reinforces our commitment to delivering innovative solutions that  drive revenue and viewer engagement in today’s and tomorrow’s broadcast environments,”  explained Nil Shah, CEO, Verance. “We are excited to partner with Ross Video and are pleased  to expand our product suite and support our partners as they transition to NextGen TV.”

OTTAWA, Canada—Ross Video has announced that Media Networks has recently overhauled its capabilities with the purchase of several Ross solutions to improve workflow efficiency.

With its headquarters in the Peruvian capital of Lima, Media Networks South America is a producer and distributor of audiovisual content that has been a Ross customer since it purchased a Synergy production switcher in 2000, 

“We have always enjoyed working with Ross and Ross solutions have been playing an increasingly important role in our workflows,” notes Miguel Orihuela, technical chief at Media Networks Latin America S.A.C. “We decided to refresh and update our graphics platform and we purchased six XPression engines from Ross to increase our overall graphics horsepower and to improve on ease of use.” 

Media Networks Latin America has also invested in Inception Social – the social media management solution from Ross – and the latest Hyperconverged Ultrix Acuity platform.

“We were one of the first Ultrix Acuity customers in Latin America, but it wasn’t a complicated decision because the business case for the solution made so much sense,” Orihuela said. “The integration and the versatility we get from Ross are both extremely powerful, simplifying our workflows and saving us time, effort and money. Many brands talk about interoperability, but as we increase our Ross footprint we are really beginning to see how much easier life can be when you’re dealing with one single ecosystem and topology. There is a great benefit to this, and although other companies claim to offer it, it’s not always guaranteed and the price point is often much higher.”

Orihuela also reflected on the changes he has seen in the world of broadcast technology in the last twenty years. “Back in the early 2000s, products were not nearly so modular, and so if something stopped working you had to replace the whole product as opposed to just replacing a blade or a board,” he said. “We’ve come a long way since then and there’s no doubt that products are more robust and easier to live with than before. One constant, however, has been the quality and responsiveness of the Ross sales team in the region – we’ve relied on their experience and expertise on many different occasions, and I think it’s important to say that they’ve always delivered.”   

OTTAWA, Canada—Ross has rolled out major improvements to XPression, with the 10.5 release adding a host of new features that range from improved collaborative workflows and simplified software updates to a backwards-compatible codec enabling users to work with HDR content and in Wide Color Gamut.  

“I’m extremely pleased to announce one of our most significant XPression updates for some time,” commented Patrick Twomey, director of graphics product management at Ross. “We consistently work with our worldwide customer base to improve the features of the platform and keep it at the front edge. With many of our team having worked in broadcast themselves, customers can rest assured that we understand your challenges and we’re committed to meeting them with you.”

Key improvements include: 

• A Single Scene import and export function enables users to export a single scene which can then be shared to another user on another XPression system. This creates a file-based workflow similar to legacy graphics systems that operators and designers used to work on. Version 10.5 also adds additional font management tools, including the ability to lock fonts from changes or deletion, enabling fonts to be cloned (for a specific scene, rather than changed globally in the project), and adds notes on fonts to help other users identify how or where the font is used.
• With version 10.5, XPression designers can now color-code template data fields to guide operators and MOS newsroom users on which fields need to be used for specific situations. XPression version 10.5 also introduces several new Visual Logic Blocks including one which enables artists to show or hide template fields based on conditional use of other fields. This means that unused fields do not have to be shown, improving accuracy and saving decision making time by hiding unnecessary fields from the user.
• To help with the deployment of XPression updates, version 10.5 introduces the new XPression Status Client. The Status Client dramatically simplifies the life of the tech or IT team responsible for software updates. With Status Client, a single user can see the status of all the XPression systems on a network from one machine and can push new XPression software and install it on each XPression system in a matter of seconds.
• Version 10.5 introduces the new XPression Video Codec 2, a backwards-compatible codec enabling users to work with HDR content and in Wide Color Gamut. Ross recognizes that not everyone can retool their stations to UHD hardware, but we know customers may want the benefit of the improved High Dynamic Range and Wide Color Gamut, and so this new codec addresses that requirement directly. Most importantly, this new codec is compatible with legacy content and does not require customers to re-encode it or throw it away – it remains fully functional.

HEBDEN BRIDGE, U.K.—Ross Production Services (RPS) has purchased its fifth 96-channel Calrec Brio audio console, standardizing on Calrec technology.

RPS has installed the console in one of its six-camera OB Sprinter vans. In all, RPS has eight production vehicles, and with the addition of the latest console, three have Calrec Brio boards, including its 40-foot, 12-camera units.

“Our preference is of course to use Ross equipment first, and about 95 percent of the gear in our trucks is Ross, but audio is the exception,” said Matthew Webster, RPS technology manager. “We will be fully standardizing on Calrec desks moving forward. There’s no question that Calrec is the industry standard for quality audio, and that’s something our team has been lacking for a long time.”

In fall 2020, RPS completed a new studio facility in Connecticut featuring a 72-fader Calrec Apollo console and two Brio boards. The facility is the main RPS production hub. It handles a variety of high-profile projects from the esports, sports and live entertainment arenas. Completed during the pandemic, the facility has four control rooms.

In the mobile units, the small form factor of the Calrec Brio consoles was ideal for the compact space allocated to audio, he added

The Calrec Apollo and Brio consoles served RPS well during the production of EA’s Madden NFL 21 Championship Series because of their connectivity and the ease with which resources can be shared, said Webster. 

“We’re using Calrec’s Hydra2 network and the MADI interface for all of our connections. With Hydra2, our consoles can be connected to any studio at any time and any feed can be controlled by any desk. Each of our control rooms has its own dedicated router and each router sends its MADI to a single I/O box,” he said. “The only reason we’re not doing AoIP right now is because we’re in a growth phase with Ross Production Services, and our MADI/Hydra2 setup is a great ecosystem for us to be in at the moment. Our operators love it and it cuts down on busy work for them.”

RPS is Ross Video’s in-house production service division. It produces between 150 and 200 events per year.

More information is available on the Calrec website.

DALLAS—NBCLX is on a mission to attract Gen Z viewers by delivering news that provides content and context with in-depth storytelling and even a bit of “fun” thanks to its green-screen stage.

“I knew that we wanted to have virtual sets as part of our studio,” said NBCLX news director Meagan Harris. “A big part of our brand is authenticity. We wanted the network to have a very normal and authentic voice, and we wanted to do some truly fun stuff with the virtual area.”

To achieve its green-screen goals, NBCLX worked with Rocket Surgery, Ross Video’s in-house creative and professional services division, to create various virtual set packages to enhance storytelling.

The studio leverages several Ross solutions, including its Acuity production switcher, XPression graphics platform, Furio camera motion system and AcidCam cameras. For the virtual studio, the news channel is using Lucid Studio and Voyager, Ross Video’s photorealistic graphics rendering solution based on Unreal Engine from Epic Games.

“We want to do things that absolutely grab people’s attention and look different so that people walk past a screen and say ‘Whoa, what’s that?’,” said Tim Carista. “The visuals go along with great storytelling, and that’s what really captures our audience’s imagination.”

Bernt Johannessen, broadcast industry manager at Epic Games, noted that Ross has used Unreal Engine for several years. 

“People worldwide are already familiar with the exceptional games created using Unreal Engine, and we’re excited to see Ross using the tech to help realize NBCLX’s mission to inspire and inform a next-generation audience,” said Johannessen.

More information is available on the company’s website.

HAIALIAH, Fla.—UnivistaTV, an internet TV channel launched about one year ago, is entertaining audiences with shows like "El Show de Carlucho" from its newly installed all-digital and IP-based studios.

The setup includes a For-A Hanabi production switcher, Ross Carbonite Black Live production switcher, Allen & Heath Dante-enabled SQ7 audio mixer with AoIP connectivity and Yamaha audio monitors.

UnivistaTV also is using a 72-port AEQ CrossNet intercom with TP8116 rack panels for consoles in production master control, vision and audio control and graphics. Separate TP84116 desktop panels are available to directors and spotters, the company said.

Technicians and other personnel on the set and other areas rely on AEQ Xplorer wireless beltpacks. Xplorer uses Wi-Fi technology and can run for up to 20 hours at full capacity, something that is important when cascading live recoding sessions and there’s not time for battery changes, it said.

Integrated into the channels’ AoIP flow, the entire system makes it possible to share signals between different contribution, intercom production and coordination systems. 

Audio present in the AEQ Crossnet intercom matrix is available on the Dante AoIP network as well as other equipment, such as the Allen & Heath SQ7 audio console, it said.

Callers are handled with an AEQ Systel IP16 talk-show. Multiple conference systems were installed with connectivity for multi-channel AoIP networks, it said.

Three SystelSet + Handset offer caller control from a single device. Connected to the Univista TV corporate switchboard, the system allows interconnection with all areas of the channel.

Audio signals distributed between the Crossnet matrix, the audio console and Systel IP 16 talk show system and the wired intercom user panels rely on an AoIP network using Dante and the AES67 protocol, it said.

The Xplorer wireless intercom beltpacks and user panels rely on VoIP connectivity using the AEQ/KROMA protocol. 

UnivistaTV’s voice lines and the Systel IP 16 talk show and multi-conference system, including the Systelset+ terminals, operate with SIP-based protocol VoIP in HD Voice quality, the company said.

Installation, configuration, commissioning and training were led by OM Solutions, Juan Carlos Ortolan.

More information is available on the company’s website. 

OTTAWA—After announcing Utrix Acuity, the single chassis production switcher and routing platform in February, Ross has launched the next evolution of its Software-Defined Production Engine’ with the debut of Ultrix Carbonite.

The new integrated solution combines the routing and AV processing capabilities of Ultrix with the sophisticated creative capabilities of Carbonite, the world’s most popular mid-size production switcher, the company reports. 

Ross is billing Ultrix Carbonite as an ideal solution for midsized facilities faced with the challenges of mixed or changing signal formats or connectivity schemes.  

This compact, single-chassis solution consumes less power, takes up less space, and requires less cooling. This vastly simplifies system design, cabling and equipment installation, reduces maintenance requirements and can produce significant CapEx and OpEx savings, the company said. 

Each Software-Defined Production Engine (SDPE) can be installed in either an Ultrix FR2 or FR5 frame and provides up to two powerful Carbonite M/E banks and versatile MiniMEs. 

“I’m delighted that we are now able to add Carbonite to the new SDPE blade installed in an Ultrix platform,” notes Nigel Spratling, vice president of switchers at Ross. “The combination of Ultrix and Carbonite brings together the best of Ross innovation with an incredibly powerful feature set, directly addressing customer requirements for greater efficiency and improved value. This really is a powerhouse solution and I know our customers are going to get enormous benefit from it.”

OTTAWA, ONTARIO, CANADA—China Central Television began their Chinese New Year broadcasting the “2017 Spring Festival Gala” live on Jan. 27 using Ross Video’s Furio RC, the vendor said. The CCTV Spring Festival Gala is an integral part of Chinese New Year celebrations, carrying a special meaning for many in China. The broadcast has a yearly viewership of over 700 million viewers, making it one of the premier television events of China. CCTV placed high regards on the remote capability of Ross’ Furio RC during the Gala. Furio enabled them to create shots that were previously impossible, combining responsiveness and flexibility with unrivaled smoothness and stability.It also allowed them to maximize their efficiency by eliminating the cost of having multiple operators, while keeping the filming space to a premium.

Due to space constraints during the Spring Festival Gala for the Rooster year, CCTV had only 12 meters of straight and curved tracks to be placed throughout the audience. Under the remote control of the operators, Furio RC quickly panned from one end of the audience to the other with superior smoothness and stability, while simultaneously capturing panoramic views of the stage, long-range views of the audience, and close-up shots with the political leaders sitting among them.

The Spring Festival Gala has utilized a large number of alternating LED screens in recent years to coordinate the content and visual effects of its programs, which in turn has brought out important elements of the gala. The Furio RC, whether moving at a constant velocity or accelerating along the straight and curved rails, can allow the focusing, orientation and positioning of the camera to collaborate with the swiveling and changing displays on the LED video curtains, bringing an immersive experience of visual richness to the audiences at home.

AMSTERDAM, NETHERLANDS–Ross Video will showcase an extensive array of new production solutions at the IBC Show in Amsterdam. Ross’ systems and workflows target a variety of environments and uses including virtual sets, galleries, automated production control, graphics creation & playout, news editorial, stadium displays, studio robotics and assembly productions.

Acid Camera

Ross’s Acid Camera will make its IBC debut. The compact box camera is designed for studio robotics and touts a SMPTE 4:2:2 video signal output standard as well as a special 0:4:4 full bandwidth color signal.

New Carbonite products include the Carbonite Black Solo production switcher with nine inputs and six outputs as well as Carbonite UltrachromeHR, a standalone chroma-key system targeting Acid camera and other virtual environments. Ross’s mid-size Carbonite Production Switcher series and Acuity large-scale production switchers will also be shown.

For virtual set chroma-key environments, Ross’ line of XPression graphics systems will also be on display, including the XPression Tessera, a multi-display real-time graphics designer and controller for sport venues and studio video walls, XPression Quad for 4K production systems, and XPression Tick-it workflow server designed for informational channels.

For newsrooms, Ross will show the latest version of its Inception News system and Horizon Enterprise Connector. Inception News system is a browser-based newsroom content and editorial system that allows users to plan and develop content and deliver it to social media and to the web. For local news stations, the Horizon Enterprise Connector allows users to search and share content from other Inception systems throughout their network.

For production studios, Ross’ will show its robotic remote control dolly system now available as a pan/tilt head-only system, without the dolly. For legislative bodies, Ross will show the latest software for its Legislative Production System.

To see all of Ross Video’s systems and workflows visit booth 11.C10. The IBC Show takes place at the RAI in Amsterdam, Sept. 8-13.

SEATTLE—Last summer, KOMO, a Sinclair Broadcast Group-owned station and ABC affiliate in Seattle, was under construction for a new studio and additional control room. Since we already had success with Ross Video, we tapped Ross’ OverDrive, DashBoard, XPression and Acuity production switcher for KOMO’s upgrade.

Ross Acuity production switchers were installed into two KOMO control rooms.ADDED CAPABILITIES
All of KOMO’s news and productions are done via OverDrive and Acuity. OverDrive has a Quick Recall touchscreen to control Acuity, which makes on-the-fly breaking news easy, offering quick recovery from anything coded incorrectly or added last minute (such as graphics or camera shots). It also provides Direct Control Audio, which—like Quick Recall of sources—can add any audio for any source with the touchscreen, coded or not. Both of these touchscreen options are available in preset, or can be taken to air instantly.

Acuity builds effects and stores with the user-friendly touchscreen workstation, as well as run two menus simultaneously. In conjunction with the switcher surface, we can quickly build or modify complex commands and switcher effects in a logical way. Acuity makes it easy to identify created memories, as well as notes or explanations operators may leave with a built effect or memory.

The strength of Acuity is the dedicated Custom Control row. It’s a separate row with colored LED buttons to group or organize our custom controls as desired. Any Custom Control can be easily available in the Quick Recall Custom Control section for instant routing of monitors, or any one-touch command needed for operation. The success of complicated automation is in the Custom Controls—you can even have up to 10 Custom Controls fire at the same time.

We also use Ross’ Custom Control Shot Box as an extension of our Acuity switcher to control automation. Shot Box has the same color options as the Acuity and enables us to build multiple pages for more accessibility at the SuperUser position.

THE RESULTS
The ROI is watching a SuperUser execute a complex show with multiple devices and graphics while running audio simultaneously, and making it look easy.

Acuity with OverDrive is smooth and fast. We added a DashBoard touchscreen to our OverDrive control room to control our IP devices. We have a monitor’s page for instant manual routing of all studio monitors via P-BUS protocol routing, audio control for instant playback of audio cuts outside of coding, and clip playout commands if needed outside of OverDrive. Soon, Dash-Board will control our LED lighting.

Ross “nailed it” with the Acuity. It’s proven to be the most powerful and user-friendly automation switcher on the market.

Joseph Campbell is director TV-News at KOMO News and KUNS News. He may be contacted at 206-404-4000.

For more information, please visitwww.rossvideo.comor call 613-652-4886.

SAN FRANCISCO—It’s a theme that has swept through the content creation marketplace and into the broadcast newsroom again and again: change begets more change. After all, a broadcast newsroom no longer solely defines itself by its three newscasts a day; today’s broadcasters must reach a fickle set of eyeballs that jump from TV to mobile device to Web—often simultaneously while multitasking in the same room—and they must continue to do it faster and smarter than the competition.

Newsroom automation technology has taken note of this new reality. And the benchmark of today’s smart newsroom facility is one that meets these new requirements head-on. Today, two key features top the must-have list: a sophisticated means of wrangling multiplatform delivery and mastering social media; and technology that better links the quick-paced news process with traditional production tools.

SECONDARY NOW A PRIORITY
The newcomer and rising star in this story is, of course, distributing to those secondary channels.

At its simplest, the goal is to link together each aspect of the story creation process and deliver it succinctly to multiple platforms. The iNEWS newsroom management system from Avid is one of those news content creation and distribution systems that—in addition to allowing broadcasters to create and deliver breaking news—has made distribution to secondary channels a key priority. Content within iNEWS can be accessed via the Avid MediaCentral | UX system, a cloud-based Web front-end that can be accessed in the field; MediaCentral then gives journalists access to production assets, metadata and iNEWS stories so they can manage rundowns and collaborate simultaneously (see sidebar).

This unification is key, the company said, so that finalized content can be delivered as an integrated package across the broad spectrum of TV, Web, mobile and social media channels. Using the Media | Distribute feature, stations can directly link production with distribution to secondary channels.

Others have placed social media integration front and center in the news production process. The Ross Inception News NRCS has placed a priority on this idea-centric setup, by allowing several members of a broadcast team to collaborate on content as a story evolves, allowing journalists to pull metadata, research materials and contacts into the system.

One of the key features of the system is the ability to create and publish content to a website or social media platform directly from the news environment. Inception allows production teams to collaborate with digital media and Web groups to simultaneously work on content that can then be distributed to these multiple platforms. Data sourced from the Inception platform allow users to drive social media playlists and on-air polling.

Bitcentral’s CORE:news provides a single interface for stations to handle video capture/encoding, editing, playout management, digital publishing and archiving of assets. The system is designed to simplify the process of bringing social media content into a production with the use of tickers, crawls and user-generated content during a broadcast. Using OverDrive QuickTurn, users can record, encode and automatically deliver content for social media and the Web directly from a broadcast.

“We [take] a story-centric approach, so at the same time the reporter is creating content for their linear broadcast, they can also be creating for Facebook, Twitter, etc., at the same time,” said Shawn Snider, director of Inception and Streamline products for Ross. “These social media stories can actually be added right into the production lineup and triggered for publication based on specific items in the show.”

The system also integrates with overarching automation, and production systems like the Ross OverDrive.

AUTOMATE AND MANAGE
But as valuable as it has been as a means of engaging viewers, social media is not what’s driving broadcast news. The other key feature stations must consider is how to automate and thoroughly manage the moving parts of the newsroom production process.

For most broadcasters, that means reevaluating the equipment in their backroom, and making slight changes. For others, a wholesale revamp might be in order.

That often starts with piecing together the control process. Solutions like the ASTRA Studio 3 from Aveco are designed to control all equipment in the production control room and studio, including graphics, camera robotics, video and audio mixer, video servers, lights and backdrop screens. The system touts itself as a multistudio production automation system that can control individual parts of the production process—much like a traditional automation system—but one that has is designed specifically with the newsroom in mind.

In addition to allowing broadcasters to create and deliver breaking news, Avid’s iNEWS newsroom management system has also made distribution to secondary channels a key priority. “Astra was designed with multistudio operations in mind, including local and remote production operations,” said Jim O’Brien, global senior vice president of sales for Aveco. “There is a full management component to the system that allows users in one push to move a rundown from one studio to another if shows run long or if special events require multiple studio coordination.”

Some of the biggest benefits of the system, according to O’Brien, are the ability to make last-minute changes, the ability to manage individual equipment within the newsroom workflow, and the flexibility to work with existing infrastructures and equipment.

For example, the system gives journalists the option to edit stories—even those that have already gone to air—by retooling content, graphics, video clips and texts in a newsroom computer system, and then sending those changes to Studio 3 and on to air.

Through templates and optional parameters within the ASTRA Studio 3, stories are transformed into control events that manage the broadcast equipment. Events are then grouped into shots and presented to the operator on a shotbox control panel, in a timeline view. This feature allows the director to let devices in the studio be controlled by automation, if he chooses.

Tightening that link between the control room and the newsroom is also a priority, one that was addressed by Grass Valley via solutions like the Ignite automated production system and the Stratus video production and content management system.

Sinclair to Standardize News On Avid MediaCentral

BURLINGTON, MASS. —Sinclair is taking cross-station workflow into the cloud by standardizing on Avid MediaCentral, the centerpiece of the Avid Everywhere cloud platform. The deployment will include all 64 of Sinclair’s local news stations and marks Avid’s largest contract in the company’s history.

Del ParksUnder the comprehensive 10-year agreement, Avid will deliver its newsroom production and content management solutions to Sinclair’s stations and replace legacy technology from other vendors in the process. Technology under the MediaCentral Platform includes Avid’s Artist Suite, Storage Suite and Media Suite solutions.

In announcing the deal, Sinclair pointed to one major pressure point for today’s media companies: operating efficiency. By standardizing its newsroom equipment on the Avid platform, Sinclair will keep its newsroom technology consistent, on the leading edge of the industry, and provide greater flexibility in responding to industry changes and new business opportunities, the company said.

“Having defined and more frequent technology upgrade cycles will enable us to keep our newsrooms current across the enterprise and allow us to respond to rapid changes like new digital distribution models in a more cost-effective way,” said Scott Livingston, vice president of News for the Sinclair Broadcast Group.

Avid shares rose more than 17 percent when the deal was announced. John W. Frederick, executive vice president and chief financial and administrative officer for Avid, said the company expects the contract to have “a material positive impact on our bookings for the fourth quarter, and may lead to updated 2015 bookings guidance or pre-release in early January 2016.”

Susan Ashworth

That single point of control philosophy was also behind the recent collaboration between Grass Valley and Dejero, which announced an integration last month between Dejero’s LIVE+ Control monitoring and management tool with Grass Valley’s video production and content management system, Stratus. With the goal of breaking down the barriers between news field operations and the central newsroom, the collaboration will allow stations to use the embedded Dejero tool to access, manage and assign content from Dejero video-over-IP transmitters within a window of the Stratus system. This collaboration came after recognizing the increasing demand for timely on-site reporting and the shift in the way news is gathered today, said Mike Cronk, senior vice president of strategic marketing for Grass Valley. “The pressure to get relevant content to air faster is intense,” he said.

The integrated package gives users a centralized system with a simplified workflow for handling live and recorded content ingest. The result, the company said, is greater efficiency and time savings for breaking news coverage. Via the Dejero integration, users can record and stream content, record timelines, move and edit files, and control channel output recordings from within the Grass Valley video production and content management system. The resulting integration, the companies say, cuts a clearer path for broadcast-quality video to be transmitted from the field to the newsroom.

MULTIPLE PLATFORMS
Producing and distributing stories across multiple platforms is also a key feature of the Precis news production playout system and CORE:news interface from Bitcentral. CORE:news provides a single interface for stations to handle video capture/encoding, editing, playout management, digital publishing and archiving of assets. The system allows multiple users to work on developing stories and pull down finished assets from a Web-based browser.

Likewise, the Precis system can serve as a center hub for working with other newsroom computer systems, NLEs and control room automation systems to move content to and from a MOS-enabled production system or content delivery platform. Both systems are designed to facilitate the publication of SD- or HD-formatted content to Web, mobile and broadcast outlets.

“Precis allows field contributors to edit stories on location and move their stories seamlessly from the field through editing to the newsroom computer system and finally to air,” said Fred Fourcher, CEO of Bitcentral.

For those situations where advanced newsroom data management isn’t required, RUSHWORKS has stepped into the space with its VDESK Integrated PTZ Production System.

In a typical three-camera newsroom configuration, a single operator can manage both camera control and the show rundown. The system’s PRODUCER touchscreen interface includes a 3D representation of the news desk, with picture icons of the anchors; by using a preset, users can select a preset shot of an anchor.

Users can build a playlist with graphics and clips as well as sequentially select live graphics and clips for the rundown. Likewise, anchors can self-prompt using simple software outputting to monitors above or below each PTZ camera.

IROQUOIS, ONTARIO, CANADA—Ross Video and Video Design Software partnered up to provide SportsNet New York with their game day tickers. SNY designed a new look for their ticker as part of a new graphics package to be rolled out at the start of the 2015 Mets baseball season. Due to the complexity of the graphics, SNY required a new graphics system with greater rendering horsepower than their current system, the vendors said, and went with the Ross XPression.

Xpression is compatible with SNY’s current GameTrak ticker systems from VDS. GameTrak is a turnkey system for advanced sports ticker operations. Components provided with GameTrak include back-end STATS Inc. data parsing and SQL databases; user interfaces for ticker data entry, playlist creation and scheduling; and master control applications for on-air ticker playout under station automation control. For the GameTrak Ticker installed by VDS at SNY, on-air graphics are implemented in XPression Studio, while all the on-air graphics are generated by XPression BlueBox.

“XPression generates our lower third ticker graphics, and tickers are a critical part of the overall branding of SNY, and generally used over 12 hours a day, seven days a week,” says Richard Amsinger, creative Director for SNY. “In addition, the ticker systems are used to display scheduled sponsor logos – which generate revenue for SNY.”

“XPression is ideal for data-intensive applications like tickers,” says Brian Olson, Director of Marketing Product Management for XPression at Ross Video. “We are really excited to be involved with VDS and SNY on this project. Keeping fans up-to-date with the latest scores and statistics is critical to the viewing experience and GameTrak with XPression delivers, while creating new revenue possibilities for SNY.”