Novi, MI—ENCO says it has acquired RUSHWORKS, a supplier of professional production, playback, streaming and robotics for the broadcast and professional AV markets. ENCO will retain the entire RUSHWORKS staff and has opened a new office in a brand-new facility in Highland Village, Texas. RUSHWORKS founder Rush Beesley will continue to lead sales and marketing for the RUSHWORKS product line and ENCO’s automated captioning and translation services into existing RUSHWORKS products.

"ENCO is the global leader in real-time captioning with its patented enCaption technology,” said Beesley. “The integration of its powerful, highly accurate captioning engine with our broadcast automation, integrated PTZ production, and courtroom production and streaming systems will ensure our mutual customers can comply with government regulations and provide critical captioning, transcription and translation services to audiences worldwide.”

Beesley says the merger of ENCO and RUSHWORKS will help the combined company respond to broadcasters’ needs for new production and delivery models, while adding that AV integrators and tech managers are seeking more “powerfully simple” integrated hardware and software solutions that simplify operations inside schools, courtrooms, municipalities and other AV environments.

"In broadcast, over-the-air and cable access TV systems are rapidly converging with OTT models, while radio stations are adding local production tools to support video podcasting and visual radio content,” said Beesley. “On the AV side, our customers now place greater emphasis on building complementary technologies into their workflows that edge closer to complete systems. Our integrated video production systems, specialty robotic production products, and streaming solutions perfectly complement ENCO’s proven live and automated captioning and production systems for these markets worldwide.”

Ken Frommert, President of ENCO, said that RUSHWORKS’s innovations bring a new capacity to ENCO’s product line that further distinguishes the company from competitors. Customers will also benefit from having a single source for technical support across all products and integrated ENCO and RUSHWORKS solutions moving forward.

“The acquisition of RUSHWORKS adds proven technology and talent that opens the door for us to innovate and develop cohesive, integrated broadcast and AV solutions for years to come,” said Frommert. “They also bring strong expertise in video applications, which diversifies our software portfolio to serve a much broader array of business verticals and applications.”

ENCO will formally introduce the RUSHWORKS product line as an ENCO brand at the upcoming ISE 2023 show (Jan. 31-Feb. 3, Fira Barcelona Gran Via, Stand CS544) and the 2023 NAB Show (April 16-19, Booth N5625). 

FLOWER MOUND, Texas—RUSHWORKS has introduced the PTX Model 3 PRO, the most recent, agile, and powerful unit in its line of robotic pan/tilt heads. The PTX Model 3 PRO provides whisper-quiet operation with enough payload capacity to support most cameras and lenses, according to the company. It features natural start/stop motion ramps for both presets and joystick manipulation and is controlled using VISCA over IP for compatibility with dozens of current hardware and software controllers.

At 43 lbs., (19.5kg), the unit has the mass required to easily manage large payloads, with the torque generated by two large stepper motors to do the heavy lifting. The PTX Model 3 PRO easily accommodates Blackmagic’s entire camera line: the Studio Camera, the Pocket Cinema Camera and the URSA family of production and cinema cameras, as well as other large form factor cameras like the Canon C models, Lumix Box Cinema, Red, Arri and Sony FX line.

“The PTX Model 3 PRO release will be followed closely by our nextgen BABYZOOMER, which also uses VISCA over IP commands to control zoom, iris or focus on a wide variety of manual zoom lenses. This combination will support naming, saving and recalling multiple presets for pan, tilt and zoom,” said RUSHWORKS Founder Rush Beesley.

FLOWER MOUND, Texas—RUSHWORKS is adding a new tool for at-home production, announcing the release of its Residential Prompter Kit.

The Residential Prompter Kit is a small desktop teleprompting kit that uses a computer webcam to capture home-based presentations. It is meant to serve as a complement to RUSHWORKS' RUSHPROMPTER software for Windows applications.

The kit includes a round base, an 18-inch flexible arm, a spring clamp with reflective mirror and a  light blocking hood. In addition, RUSHWORKS has also crafted a document that provides four ways to improve the look and sound for at-home teleprompter sessions, which is available for download via RUSHWORKS’ website.

The Residential Prompter Kit is available at a base price of $295. With a 12-inch 1920x1080 HDMI monitor it runs for $545. A second base, 18-inch extension arm and gimbal mounting head for a small camcorder is $175.

FLOWER MOUND, Texas—With social distancing causing increased need for remote production capabilities, RUSHWORKS has aimed to meet the needs of broadcasters and production groups for meeting the new realities brought on by the coronavirus pandemic with an integrated production system.

A number of RUSHWORKS products make up the company’s integrated production system, including VDESK and REMO Integrated PTZ Production Systems, A-LIST BROADCAST and A-LIST Streamster scheduling and playout systems. The system has been used to provide production and information management infrastructure. RUSHWORKS has also developed ways to handle “hybrid” meetings, featuring on-site and remote participants.

One example of RUSHWORKS' tech being put to use is by the City of South Miami, which utilized RUSHWORKS’s system design and installation team to launch fully remote meetings and mixed remote/on-site meetings. The city used RUSHWORKS’ VDESK to configure a new aux mix on a Dante mixer, enabling NDI to Zoom meeting software; phone calls from citizens were also integrated into the mix using SIP enabled Dante processors.

With this technology, since all the infrastructure already existed, the city used its normal signal path out to air, as well as to caption and record meetings for rebroadcast, feed to multiple cable systems and stream to the city’s website.

“RUSHWORKS Integrated Production Systems include not only streaming and NDI support, but also a simple path for conducting the interactive remote sessions so in-demand now, where no one needs be, or can be, present at these facilities,” said Rush Beesley, RUSHWORKS founder and president. “Using Zoom, Skype, Microsoft Teams and other ‘conferencing’ software packages, up to 100 participants can interact with video and voice, all displayed in ‘head and shoulders’ video panels in a Multiview screen presentation.”

For more information, visit www.rushworks.tv.  

WASHINGTON—It’s not the size that counts, but how you use it. PTZ cameras—named such for their “pan, tilt and zoom” capabilities—are growing in popularity among broadcasters not in spite of their diminutive size compared to traditional broadcast cameras, but rather because of it.

PTZ cameras first cut their teeth mainly for surveillance, but they have become more popular in a number of other industries, including broadcasters who use them for specialized roles in certain productions. Now, as new technological capabilities are being added to boost the functionality and quality of these cameras, there is a growing acknowledgement that the cameras can come close to matching those of traditional broadcast cameras—some even think that they could eventually surpass them.

FITTING IN

We carry computers in our pockets every day in the form of our smartphones. Technology has gotten smaller, and as a result more adaptable as to where and how they can be used.

Even still, a traditional broadcast camera setup in a production studio will often require things like a pedestal, dolly, jib and a camera operator for dynamic movements. PTZ cameras, on the other hand, have built-in capabilities that can mimic some of those movements without the size restrictions.

“Most [PTZ cameras] are compact, they’re small,” said Hamid James, a product manager at Panasonic. “You still need equipment to support a PTZ camera, but not the same level that you would the traditional camera. So it helps them save on space.”

That can be true in a traditional studio space, but PTZs are also proving beneficial in places that don’t have the space to begin with. Podcasts and radio stations looking to create videos or live simulcasts have often utilized that type of strategy.

“You certainly see them more and more in really small studios, where they don’t want manned cameras,” said Drew Buttress, senior product manager, Sony Electronics. “So they’ll put a number of PTZs on tripods to give them different angles and different shots.”

Buttress also can see PTZ cameras, which already are used on occasion in sports productions, expand their role on the baseball diamond, basketball court, hockey rink or football field.

“You would potentially see PTZs where there’s not a lot of space in the actual broadcast boost with that talent calling the play-by-play,” he added. “So they might put a PTZ in there just to be able to take a live shot of the talent while the game or event is going on.” He does, however, think that high-end cameras will always be needed for top-end sports productions and larger shows.

A CHANGING WORKFORCE

Broadcasters’ operating costs are in many cases not what they used to be—many have had to downsize their budgets, their staff and their workspace. All of which have a potential solution in the form of PTZ cameras.

“The evolution of broadcast as we know it is sort of in a ‘half-life’ right now, where traditional approaches to this are being replaced by much less expensive, more efficient ways to do things,” said Rush Beesley, president of RUSHWORKS, a Dallas-based provider of production automation technology. “That’s just the nature of the market.”

Beesley believes that for broadcasters facing those constraints, it is only practical that they look toward robotic, PTZ cameras, which in addition to being generally less expensive than traditional broadcast cameras, do not require individual camera operators. A particular example of this, he sees, is with news production.

“It’s a repetitive model that happens every day, multiple times a day, and it just makes perfect sense to have robots there because if you think about what’s going on, the studio may have one or up to four sets in a 360-degree circle,” Beesley said. “If the cameras are mounted properly and used properly you can block the shots.”

“PTZ cameras lend themselves to be a little more flexible than the traditional set,” James added.

The move to more unmanned studios is a change that doesn’t appear to be changing any time soon, according to Buttress.

THE FUTURE

These are the basic elements of PTZ cameras that have helped them grow in popularity among broadcasters, but new technology that could boost resolution and functionality will help determine just how far PTZs can grow within the industry.

The biggest argument for traditional cameras is that their resolution quality cannot really be matched. However, while PTZ cameras are not at the same level, the differences to viewers is miniscule, to the point where people at home can’t really tell the difference, says Beesley.

“The gap is definitely narrowing, but there is still a gap,” said Edgar Shane, general manager, Engineering, JVC Professional Video. He points to recent upgrades to better sensors and higher signal-to-noise ratio. “PTZ cameras are pretty good today and perhaps they will be better tomorrow.”

The main question with resolution in PTZ cameras is two-fold: getting the necessary equipment for 4K-quality images in their compact frames, and the ability to create appropriately-sized lenses.

The transmission of information is also a key part of these cameras’ development. There has been a big push for PoE technology being added to PTZs, with NewTek NDI IP technology a popular option. Broadcasters also have a keen eye on the development of the SMPTE ST 2110 video over IP transport standard. Buttress says that Sony has its bases covered with either, embracing 2110 in system cameras, while also having NDI-ready cameras.

It is pretty much unanimous that PTZs are a growing part of the broadcast industry, but their potential is still up for debate.

“The incline will be relatively shallow,” said Beesley. “It’s made a lot of increases recently because of things like the NDI/PoE, but past that I don’t see vertical ascension as there is in so many other areas of technology.”

Shane, meanwhile, thinks it’s just about someone connecting the dots: “I’m pretty sure a talented designist will try to bridge this gap between the high-end PTZ and broadcast cameras. And when they do that becomes an interesting product.”

“Honestly, I don’t see limitations in the PTZ camera market, I see an industry that is growing and will continue to grow,” James adds. “Those box cameras, if they don’t adjust or adapt, the PTZ cameras are going to overtake it.”

This story was taken from TVT's eBook "Guide to PTZ Cameras," which is available for download.

LAS VEGAS—RUSHWORKS focuses on creating new and helpful technology for production, playback and streaming, and will use its time at the 2020 NAB Show to spotlight all of its latest innovations in those areas.

First up is the company’s new PTX Model 1L PanTilt head, which boasts a more powerful tilt motor and a larger L-shaped tilt platform, per RUSHWORKS. This new model allows expanded compatibility with wider and heavier cameras/lens combinations. The pan/tilt head can be controlled using RS-422 Visca devices as well as DMX hardware and software.

RUSHWORKS also has its BABYZOOMER kit that allows operators to use a wide range of non-power zoom lenses from several manufacturers. The kit can work with PTX Model 1L and PTX Model 2, while also interfacing over IP with ATEM Production Studio for automatic input selection and preview/program transition from the touch-screen user interface.

There is also the RUSHDOLLY tool that now is fully integrated with RUSHWORKS VDESK, REMO and Ctrl+R production systems. RUSHDOLLY can create up to eight static or motion presets with ramping and preset delay parameters.

RUSHPROMPTER, meanwhile, will be on display showcasing its script creation and prompting abilities, which include RTF and TXT creation, export and import, find and replace, real-time font size adjustment, variable line spacing and individual character control of bold, italics, underline, colorize and highlighting. RUSHWORKS has also created a prompting stand that supports one or two 12-inch 16:9 monitors.

Another product set for display is the REMO NDI system for multicamera setup for remote production, recording and streaming. REMO NDI is powered by an All-in-One computer with 24-inch touchscreen and an i9 processor, as well as the RUSHWORKS custom shortcut keyboard, six-button Hall-effect joystick, an eight-port PoE GigE switch and two NDI PTZ cameras. The system’s software includes a video and audio mixer with transitions, PiP and double-box effects and Chroma-key.

Other RUSHWORKS technology on hand will include the VNEWS integrated production system, the VDEPO video deposition recording system, the VDESK integrated multicamera PTZ and PTX production system and the A-LIST Broadcast automation system.

RUSHWORKS will be located at booth SL7406 during the 2020 NAB Show, taking place from April 18-22 in Las Vegas.

For more information, visit www.rushworks.tv.  

FLOWER MOUND, Texas—RUSHWORKS has introduced its latest product, the REMO NDI integrated PTZ production system. Designed for remote and studio operation, the REMO NDI incorporates a touchscreen computer to work with RUSHWORK’s production and camera control technology.

REMO NDI is powered by an All-in-One computer with a 24-inch touchscreen and an i9 processor operating on Windows 10 Pro, featuring 1TB SSD storage. As part of the setup it has RUSHWORKS’ custom shortcut keyboard, a six-button Hall-effect joystick, an eight-port PoE GigE switch and two NDI PTZ cameras with 30x optical zoom lenses.

The system software—the same software that powers RUSHWORKS VDesk and Ctrl+R systems—includes a video and audio mixer with transitions, PiP and double-box effects and Chroma-key. It also has a fully searchable File Browser for all media and can create multiple playlists for different events. The software supports up to four NDI inputs and one NDI output, records the program and can output NDI and stream to sites like Facebook Live and YouTube Live.

The camera control software can also interface with ATEM Production studio over IP for automatic input selection and preview/program transition from the touchscreen user interface.

RUSHWORKS is selling the REMO NDI for $12,995.

FLOWER MOUND, Texas—RUSHWORKS is unwrapping a new platform for broadcasters to add to their production kits, the RUSHPROMPTER teleprompting software.

RUSHPROMPTER is a Windows-based software that can either be downloaded as a stand-alone service from www.RUSHWORKS.tv or integrated with the company’s VNEWS TV news production hardware/software system.

Among the features offered by RUSHPROMPTER are RTF and TXT creation, export and import, find and replace, real-time font-size adjustment, variable line spacing and individual character control of bold, Italics, underline, colorize and highlighting.

RUSHWORKS also created a lightweight prompting stand that supports up to two 12-inch 16:9 monitors for displaying the promoter text, as well as any video switcher Program output.

RUSHPROMPTER is available for $99, but RUSHWORKS is offering a free trial period with download.

WASHINGTON—RUSHWORKS will pull the curtain back on its PTX Model 1L pan tilt head for the first time at the 2019 Video Show, in addition to showing a number of other production-based products.

The PTX Model 1L is a new version of the PTX Model 1 camera head, now featuring a powerful tilt motor and a larger L-shaped tilt platform. With these new features, the unit is compatible with wider and heavier cameras/lenses, including DSLR, the Sony Alpha series and RX10 IV “bridge” camera. Model 1L is still able to be controlled using RS-422 VISCA devices, as well as DMW hardware and software. It also has connections for cameras that can be controlled using RS-422, RS-232, LANC and Panasonic REMOTE communications.

RUSHWORKS is also planning on showing its RUSHDOLLY robotic camera platform that supports many kinds of cameras, including PTX PanTilt heads and PTZ standalone models. It is fully integrated with RUSHWORKS, CTRL+R Camera, Dolly and Switcher Control software, as well as with RUSHWORKS’ VDESK/REMO integrated PTX/PTZ production systems.

Other platforms on display will include the VNEWS turnkey production system, VDEPO video deposition recording system, the VDESK integrated multicamera PTZ and PTX production system and A-LIST Broadcast automation system and A-LIST Streamster.

RUSHWORKS will be located at booth 609 during the Video Show, which takes place from Dec. 4-5 in Washington, D.C.

You can find out more or register for the Video Show on the website, www.videoshow.com.

LAS VEGAS—When RUSHWORKS sets up shop at its booth for the 2019 NAB Show in April, it will be featuring some brand new, and newly updated, products. Among them will be the debut of the company’s VNews news and entertainment production system.

VNews is designed as a turnkey system that aims to have content producers ready to roll in about an hour. The VNews box comes with up to four PTZ cameras, prompters, lights, microphones, computer and rundown software with Picture-in-Picture, double-box, Chroma-key, recording and streaming. The system can be operated by just one person.

RUSHWORKS will also showcase its A-List Streamster, an IP-only configuration of the A-List broadcast automation system. This system enables the creation of an internet TV channel. Streamster supports URL and NDI input and output. The A-List Streamster is now shipping.

Other products that will be on hand include updated versions of the PTZ PanTilt heads, which comes in two sizes and can use VISCA and DMX controllers and offers remote control operations with most cameras; the RushDolly, now with tach pulse motor algorithms for improved accuracy and fluidity of motion; and new features for the VDEPO , including cropping, highlighting and streaming.

RUSHWORKS will be at booth SL7406 throughout the NAB Show. To register for the NAB Show, visit www.nabshow.com.

OTTAWA—When the first NewTek TriCaster integrated video production system was introduced in 2005, its all-in-one functionality was limited to conventional SDI video signals, and whatever capability were “built into the box.”

In 2019, these walls have fallen down. Integrated production systems have embraced IP connectivity, and flexibility enhanced by network connections to exterior devices—whether physical or virtual. This can include remotely controlled PTZ (pan-tilt-zoom) cameras colocated with the integrated production switcher, or connected by IP anywhere in the world.

WHAT CUSTOMERS WANT

The vastly expanded capabilities of today’s integrated production systems are in sync with customer expectations, which have also grown exponentially since 2005. As a result, the “necessities” of current integrated production systems “include switching with a reasonable number of transition and effects options, clips and graphics search and playback, the ability to build playlists, record a primary mix along with multiple ISO input recording, Chroma-key support, lower thirds and logo keying, and streaming,” said Rush Beesley president of RUSHWORKS, a Dallas-based provider of live production gear.

At the same time, the expanding use of IP-delivered video by businesses, schools, churches, and other non-broadcast users means that “people coming to us these days are asking more about streaming than actual video production,” said Russell Whittaker, worldwide director of channel sales for Broadcast Pix in Boston. “That’s a bit of a seachange for us.”

Because these customers increasingly come from IT rather than TV backgrounds, they tend not to understand the benefit of SDI-based switching. “They live in a world of RJ-45 connectors,” said Whittaker. “For them, it must be good if it’s an IT technology.” This is why integrated production system manufacturers have moved so substantially to IP in their products, even though they retain SDI connections for broadcast users.

INDUSTRY TRENDS

The emphasis on IP connectivity, and the network-based possibilities it supports, is driving design in the development of integrated production systems.

“The biggest thing is flexibility,” said Will Waters, vice president of Customer Success for NewTek in Dallas. “You need to be able to have your production capability evolve in a way that is not locked into the original physical design of your switching equipment. Flexibility is the main thing we keep hearing about from customers.”

To support flexibility, Broadcast Pix, NewTek, and RUSHWORKS all support NewTek’s Network Device Interface (NDI) technology to allow their integrated systems to connect with NDI-enabled cameras, servers, and other video production equipment. By working in IP rather than baseband, “we’re moving forward into the world of virtualization, allowing us to access resources across the network through the integrated production system,” said Waters. “The limits are falling away.”

Beesley agrees. “I think the introduction of NDI has been very impactful, providing much more flexibility and freedom to introduce multiple sources with virtually no quality loss, and a significant reduction in expense and complexity,” he said. “NDI-capable cameras are certainly appropriate for integration into systems.”

The move into IP has also allowed integrated production systems to accept far more video sources than before; including those originating as data rather than signals. “The distinction between signals that had a BNC connection or a three-letter file extension is gone,” said Whittaker. “There is a lot more acceptance that a file is just as valid as a video signal.”

VENDOR ADVANCES

A number of new features have helped spur the market for integrated production systems in recent years.

For Broadcast Pix, the biggest development is data connectivity to the graphic creation systems within its BPSwitch line, according to Whittaker. “We’ve had that before, but we’ve extended the types of video signals,” he said. “Then there’s 3D motion graphics, which we launched in 2017 but started to deliver in force last year.” BPSwitch can now be run using a tablet or smartphone.

NewTek has developed a range of NDI-based tools for its TriCaster integrated production systems. They include NewTek Connect Pro (bridging conventional and IP-based workflows,), NewTek IsoCorder Pro (encoding video from up to 16 NDI sources in QuickTime format with 8-channel audio mixing), and NewTek Telestrator (adding live dynamic graphics to any NDI video source/still image).

Waters adds, “if you have a Windows PC and you can open up our application and connect to our integrated system, we can bring the user interface of our live production device anywhere that network can reach. Meanwhile, our NewTek Premium Access subscription service allows users to render real-time animation into live programming using Adobe After Effects and Photoshop— without using a conventional graphics pipeline.”

RUSHWORKS has added the ability to incorporate NDI and URL inputs and outputs into its products, and tweaked its PTZ cameras to provide a level of granularity and motion that removes the “robotic” look characteristic of the slow moves and zooms on most PTZ cameras, according to Beesley. RUSHWORKS’ VDESK integrated production system is the company’s flagship product in this area, with its portable version being branded as REMO.

COMING UP IN 2019

What can we expect from developers of integrated production system manufacturers in the year ahead?

At Broadcast Pix, “remote control is a big priority,” said Whittaker. “It appeals to people who have production facilities spread out between different locations. We also expect to increase the range of the number of IP inputs that our integrated systems can accept.”

Over at NewTek, “we’re heavily invested in the move to IT within our industry,” said Waters. “Without getting specific, we are looking to integrate into live production from control to advances in graphics and capturing live content for later re-use.”

Meanwhile, RUSHWORKS is completing a turnkey news production system designed to be operated by one person. “It’s an out-of-the-box solution that makes high-quality news production easily manageable and affordable for educational institutions, small TV stations, and the new world of internet TV Station entrepreneurs,” Beesley said.

Integrated production systems will push further into IP and enhanced flexibility in the years to come. In doing so, they will continue their march towards a level of sophistication and power that was once the sole preserve of traditional multiperson video production complexes.

DENTON, TEXAS—Denton is one of the top 25 fastest growing cities in the country and was ranked “No. 1 Best Small Town in America” by Rand McNally and USA Today in 2012. The population comprises 120,000 creative residents that value culture, knowledge and community, and our DTV government access channel strives to keep them informed with programming centered on available services and community activities.

When I came to DTV in 2008 we had a lot of work to bring the station up to par from a technical standpoint. We broadcast from City Hall with a staff that consists primarily of interns and part-timers. So, it was absolutely critical that we install easy-to-operate, reliable equipment that could support our current and future needs. I was also determined not to just purchase gear from a vendor, but rather find a partner that would work with us because I knew we were going to have other issues as we expanded our department and increased our reach.

My first experience with RUSHWORKS A-LIST Broadcast Automation was in 2009 when I met company President Rush Beesley and I knew I had found the perfect playout system, and the partner I was looking for. What first attracted me to A-LIST was how easy it is to use. The system is operator friendly and intuitive and has been from day one. The more you use it though, the more you realize it has all the features you need to simplify your life in a very affordable package that I think is unmatched.

We feed three cable channels: Charter, Frontier FiOS and Grande, and our signal is streamed 24/7 on our website. Our programming consists of public service announcements, council meetings, planning and zoning meetings, plus popular program series, including “DTV Newsbreak,” “Denton Developments” and “Preservation Denton.” A-LIST programs our channels 24/7, and Rush and his folks just make it easy.

A-LIST is an incredibly intuitive Windows-based system. You can sit down and be up to speed in a couple of minutes if you know anything at all about scheduling, as-run logs or a TV channel. It also features a graphics-oriented drag-and-drop interface that makes list creation and management a breeze. We’re able to insert a crawl to alert viewers of a program interruption, or if we need to add a public service announcement or some other video between programs, we just grab it and drag it over—left click, drop it and done.

We can also permanently and automatically insert bugs. For instance, with a couple of clicks, we’ve permanently inserted the Denton flag to appear in the lower right corner two seconds into a show and remain there until two seconds prior to the end of the show. It truly is a “fix and forget” feature.

Our original A-LIST was installed in 2009, but we upgraded three years ago when we converted to HD and have added enhancements and improvements over the years. Ours is a four-channel system, and though we only use it for our one channel now, it’s scalable in case we need to increase capacity.

We’re a TV station so we’ve had other issues, but this automation system just sits there and cranks, reliably doing its job. And we’ve found the partnership we were looking for. It’s been a great hands-on relationship. Speaking for Denton and for me personally, we have benefited greatly from it.

Billy Matthews has more than 25 years experience in video production including 13 years at WFAA-TV, Dallas. He currently serves as Denton Television Manager responsible for management, development, production, and distribution for Denton’s television channel, DTV. He can be reached atBilly.Matthews@cityofdenton.com.

For more information, visitwww.rushworks.tvor call 888-894-7874.

LAS VEGAS—RUSHWORKS plans to exhibit a new 3-in-1 multi-function PTZ video camera at the 2018 NAB Show, which makes it easier for a single operator to produce high-quality multi-camera broadcast and Internet TV. This HD-SDI wide-angle camera features a 20x or 30x lens and the ability to auto-track single targets.

3-in-1 HD PTZ camera

The new 3-in-1 multi-function PTZ camera—with Talk-Take automated video switching based on voice activation—is now integrated within RUSHWORKS’ VDESK robotic camera video production system for TV and radio. With hands-off switching, it doesn’t add to the producer’s workload.

RUSHWORKS will also show a PTX Universal Pan-Tilt Head with expanded production functionality. Remote control operation is enabled by combining VISCA and DMX controllers with cameras from: AJA, ARRI, Blackmagic, Canon, Datavideo, JVC, Marshall, Panasonic, RED and Sony.

RUSHWORKS is also set to introduce the A-LIST Streamster, an IP-only configuration of its A-LIST broadcast automation system, which enables OTT scheduling, playout, content management and distribution.

In addition, as a compact track dolly that interfaces with PTZ and PTX cameras, RUSHDOLLY is designed for creating scripted, multi-dimensional moves that integrate all motion axes into shots. It includes software for preset creation and speed-defined transitions.

The 2018 NAB Show takes place in Las Vegas, April 9-12. RUSHWORKSwill be in boothSL11216. For more information, visit www.nabshow.com. 

Read up on all of TVT's NAB Show Sneak Peeks and other 2018 NAB Show news here.

FLOWER MOUND, TEXAS—RUSHWORKS is heading overseas to IBC 2017, where it will display its PTX Universal PanTilt heads to attendees. According to the company, this will be their first time at IBC.

The PTX heads are designed to provide production functionality and versatility by using a joystick and other hardware and software devices. The PTX is controlled by VISCA protocol, passing remote communications to VISCA “box” cameras, as well as cameras with LANC and Panasonic remote control interface capability. The heads also accept full DMX control, allowing them to be added as fixture profiles in lighting consoles and software.

RUSHWORKS will display the PTX Model 1 and PTX Model 2 at the show at multiple stands: Datavideo Technologies (7.D39), AJA Video Systems (7.F11), Panasonic (11.C45) and Marshall Electronics (12.D20).

IBC 2017 takes place from Sept. 15-19 in Amsterdam.

TV TECHNOLOGY: What do you anticipate will be the most significant technology trend at the 2017 NAB Show?

RUSH BEESLEY: In my view, the prominent “trending” technology is IP delivery of video/audio/data streams using several alternative formats. This impacts both internal and external operational workflows.

TVT: What will be your most important product news?

BEESLEY: We’re rolling out our RFID robotic camera-tracking technology that allows PTZ cameras—and our PTX Universal PanTilt Heads—to track multiple targets in real-time at distances up to 100 meters. The implications are significant for education, presentation, worship, sports and many other market sectors.

TVT:How is your new product different from what’s available on the market?

BEESLEY: We’ve married our expertise with robotic camera control with a sophisticated real-time data delivery system, the end result being professional camera tracking of individuals and objects without the need for camera operators.

TVT: What is it about the NAB Show that brings you back every year?

BEESLEY: The show is a great opportunity to validate our new product introductions by getting feedback from booth visitors who get a chance to see our products in action. It’s the best way to assure the highest likelihood of product success in the marketplace.

LAS VEGAS—RUSHWORKS will introduce the VDX T-Bar control surface, which integrates with its VDESK and REMO multi-camera integrated production systems, at the 2017 NAB Show. Developed in response to customer requests, the VDX gives VDESK and REMO users new features and capabilities, such as manual transitions, shortcut keys and multi-camera preset selection for integrated pan/tilt/zoom (PTZ) cameras.

VDX

The VDX allows operators to select complex video effects with keyboard shortcuts, all of which have graphical depictions for ease of use. In combination with other features—such as multiple transition and effect controls, access to more than 100 PTZ/PTX presets using the keypad, integrated robotic camera and dolly control, and integrated streaming tools—VDX enhances the live TV production environment.

VDESK, and its portable counterpart REMO, support up to 12 inputs and feature switching, program and ISO-recording, a file browser, creation of multiple playlists, a downstream keyer, chromakeyer, and dozens of transitions and effects, like PiP and double-box shots.

Dynamic Auto Zoom (DAZ) is now integrated within RUSHWORK’s robotic camera control platform. Rather than being limited to static PTZ presets, DAZ provides options for motion presets. Ctrl+R, the company’s software-based camera control application, can now replace traditional hardware controllers with an intuitive, easy-to-use utility that also supports DAZ.

The 2017 NAB Show takes place in Las Vegas, April 24-27. RUSHWORKS will be in booth SL12713. For more information, visit www.nabshow.com.

FLOWER MOUND, TEXAS—The Dallas-based software developer RUSHWORKS is continuing to look to expand its efforts overseas and in an effort to do so has announced the hiring of Martin Cook as its new director of market development, international. Cook’s responsibilities will include establishing and managing RUSHWORKS’ international sales channel.

Cook’s past experiences includes work for the likes of Grass Valley, Sony U.K., Philips and BBC Technology. Since 2004, he has operated a business development consultancy that specialized in sales and marketing growth.

RUSHWORKS reports that Cook has already signed distributor agreements with Cache Media, a supplier of broadcast and AV equipment in Newbury, U.K., as well as AV Group Technologies, which provides hardware systems in Australia and New Zealand.

FLOWER MOUND, TEXAS & SYDNEY—RUSHWORKS is making its way down under as it has announced a new distribution deal with AV Group Technologies for the Australia and New Zealand markets.

PTX Universal PanTilt

One of the RUSHWORKS products that will be marketed by AV Group is the PTX Universal PanTilt Head. The head features full DMX control, is compatible with standalone cameras and camcorders, as well as lighting consoles.

This is a new example of RUSHWORKS’ attempts for global expansion, having previously signed a distribution agreement with Cache Media for the U.K.

FLOWER MOUND, TEXAS & NEWBURY, ENGLAND—Software developer RUSHWORKS is expanding beyond its Texas base to overseas with a new deal with U.K.-based distributor Cache Media. The duo will work to bring RUSHWORKS’ PTX Universal PanTilt head to both the U.K. and the Republic of Ireland.

The PTX expands integrated robotic lighting and video control and features full DMX control. It is compatible with standalone cameras and camcorders to control pan and tilt, zoom, focus, iris and record/stop. Additional features include iso-record of one or more cameras for post-event video editing and the ability to send video outputs to IMAG displays or incorporate them in media server outputs.

RUSHWORKS debuted the PTX at the 2016 NAB Show.

FLOWER MOUND, TEXAS—RUSHWORKS has announced the integration of Broadcast Exchange Format (BXF) file parsing into its A-List Broadcast automation and streaming systems. The SMPTE-developed BXF schema offer alternative software/hardware automation platforms following the discontinuation of Avid’s legacy Sundanced-based systems.

The A-List system supports up to four SD/HD channels per chassis, with real-time up/down conversion of SD/HD files in the playlists. The system supports MPEG-2, H.264, MXF, AVI and MOV files, and non-proprietary NAS storage architectures for access to current and archived media. With the integration, which was collaborated with broadcast management software provider Myers, A-List allows affiliates to migrate to a system that conforms to their operations topology.

RUSHWORKS is a provider of TV production, automation and video streaming technology, based in the Dallas area.

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.

SAN FRANCISCO—NRJ operates two Spanish language television stations in the San Francisco market: KTNC and KCNS. Both serve the growing Latino community in the Bay Area and Silicon Valley in northern California and are programmed from a common master control facility.

During the past year we had to phase out an older automation system based on traditional video servers controlled by separate automation computers. The older system was reliant on more than two full racks of computers, video servers, multiple software packages, three separate Ethernet networks, fiber network, switchers, and various dedicated equipment to provide just two commercial video streams with a limited amount of backup capability. It was a fine system, 10 years ago.

THE RIGHT FIT

A-LIST is a fully integrated channel automation and playout system. With “channel in a box” being the buzzword these last few years, we looked at multiple vendors in that category for our new master control solution. I discovered there were various systems marketed as a fully integrated automation, playout and graphics solution, but many were actually repackaging older automation elements into streamlined products called “channel in a box.” They didn’t take that final step of operating the full suite of traffic import, playlist, server, and graphics from one computer platform.

So instead we decided to give a separate automaton system and video server another go, but that approach proved to be slow and troublesome. It was necessary to change direction; this time with a vendor who embraced the single computer concept.

RUSHWORKS’ A-LIST fit the design concept of fully integrated channel automation and playout: one powerful computer, running everything internally and doing so with up to four channels of HD program playout. It had the full package, and at a price point that made it possible to deploy a second identical ALIST computer for complete redundancy.

GOOD TO GO
Given the simplicity of RUSHWORKS proven Windows environment that A-LIST is built upon, integration within our master control and traffic environment could not have been easier. We opted to link two business-class 16TB NAS media storage units into the A-LIST network as a gateway from the production editing system and it worked perfectly with the A-LIST “Fetch” routine that automatically pulls in the media files to the A-LIST internal storage for on-air playback.

Prior to delivery we supplied test files from our various sources to RUSHWORKS to assure formats were compatible. To our delight the A-LIST systems were delivered so they could automatically play our spots and snipes right out of the box. We didn’t even need to push the power button; ALIST is configured to automatically load the current playlist and begin playing at the correct point. This automatic recovery function preforms perfectly. The operators were amazed at how quickly and completely the system recovers from a cold start. It was truly a turnkey experience.

From day one, our engineering and operations staff was very impressed with the ease of deployment and the well-designed user interface. Training was quick and easy, making for a stress-free installation. The new system went on the air on the second day the RUSHWORKS field engineer was on site. What more could one ask for?

The A-LIST system has been on air for three trouble-free months and we look forward to a long reliable operational life from the system.

Rick Owen is a long time broadcast engineer residing in the San Francisco area. He can be reached atrowen@ktnc.com.

For more information, visitwww.RUSHWORKS.tvor call 888-894-7874.

FLOWER MOUND, TEXAS—RUSHWORKS has announced the release of a new camera tally system that supports both Lumens and 1Beyond PTZ cameras.

The new system supports up to eight small LED tally indicators, with the illuminated tally representing the selected program input on RUSHWORKS’ VDESK and REMO integrated PTZ multi-camera TV production systems. An eight-point tally distribution box connects to VDESK and REMO via a USB, and uses CAT5 cables for each of the camera tallies.

The eight channel kits are now available at a starting price of $299.