PARAMUS, N.J.—Sony Electronics has begun shipping its M2L-X live production switcher for remote and in-house video production, the company said today.

Featuring hybrid processing and operations for on-premises and cloud production, the M2L-X offers 24 inputs and a built-in clip player. It allows producers working remotely to orchestrate live video switching, audio mixing, graphics and captions from virtually anywhere over a network, the company said.

As a key component of Sony’s Networked Live portfolio, which enables production resources

to be optimally connected, used and shared from any location, the switcher can be deployed on public clouds. A future software update will allow it to be deployed on COTS hardware or a private cloud. It also handles various streaming formats and can produce in SDR (8-bit) and HDR (10-bit), Sony said.

The switcher can be used in conjunction with many of the company’s live production solutions to leverage shared resources and foster remote and distributed production. It expands Sony’s established M2 Live cloud-based switcher system and can be operated using Sony’s ICP-X series control panel or an Elgato Stream Deck, the company said.

The M2L-X also can be used with Sony’s MLS-X1 scalable production switcher to create a hybrid processing stack, enabling further flexibility for live productions. The M2L-X supports several third-party controllers and applications as well, it said.

More information is available on the company’s website.

LAS VEGAS—Ross Video has introduced Carbonite Ultra 60, the latest and most powerful switcher in its mid-sized Carbonite product line. 

Boasting an I/O of up to 60x25 in HD or UHD, the modular 3RU Carbonite Ultra 60 frame can be configured as 36x15 and expanded should demand increase. This allows media groups looking to undertake larger, more complex, and more demanding productions to do so without having to spend a considerable amount of money on one of the largest switchers on the market, the company said. Additionally, the new modular design of Carbonite Ultra 60, combined with the fact that it’s based on a software-defined hardware platform, makes upgrading from HD to UHD easier and more affordable.  

“When we launched the first edition of Carbonite at NAB 12 years ago, we introduced a new class of production switcher that went beyond the capabilities of many products twice its size and price,” explained Nigel Spratling, Vice President of Production Switchers and Video Servers at Ross Video. “Since that time, we’ve continued to develop the range of Carbonite products to the point where Carbonite Ultra has become the most popular mid-sized production switcher on the market. With the announcement of Carbonite Ultra 60, we’ve taken another massive step forward in our production switcher offering with the biggest, fastest, and most powerful Carbonite to date.”

Although Ultra 60 leverages the latest hardware technology, it shares the DNA of Carbonite Ultra, including its entire feature set. It also goes beyond simple layering and transitions with onboard Frame Syncs, Format Converters, MultiViewers, and more. From SD to UHD and beyond, Carbonite Ultra 60 supports most major formats and frame rates as well as HDR and WCG support. Audio mixing and processing capabilities are also available with a license key. 

The Carbonite Ultra 60 package features modular I/O boards, making it easier and less costly for customers to leverage the switcher’s feature set without buying more I/O than necessary while supporting future growth, according to the company. Additionally, it is the first Carbonite with an internal power supply for easier installation. 

Ross is targeting Carbonite Ultra 60 towards facilities that need the power, affordability, and feature set of Carbonite but require more inputs and outputs than previously available. Finally, Carbonite Ultra 60 provides the same I/O capacity, without compromise, in both HD and UHD.

Les O’Reilly, Director of Product Management for Production Switchers, noted, “We’ve been on an incredible journey with the development of the Carbonite series, and during this time, thousands of technical directors around the world have turned to Carbonite. With this latest development, we’re thrilled to be able to offer customers what they’ve been requesting from us – a larger Carbonite frame. Carbonite Ultra 60 is the result of direct feedback from our customers and allows them to continue to create compelling content for news, sports, corporate communication, education, esports, houses of worship, and more.”

Kiswe has launched its cloud-based Studio Switcher designed for media producers and broadcasters looking to move fully into the cloud to create live streams without purchasing traditional video production hardware.

“The shift toward streaming, along with viewers’ changing media consumption habits, has created demand for more content across more channels, even as competition has intensified,” said Kiswe CEO Glenn Booth. “Producers and broadcasters are being tasked to do more with less. Switcher Studio enables them to better allocate resources to innovate in new ways, while delivering high quality and engaging storytelling experiences their audiences will love.”

The Kiswe offering is a production suite of cloud-based solutions that covers the entire value chain of production and delivers output at massive scale, it said.

The Kiswe platform has been used to cover a variety of large events, including productions of BTS, Justin Bieber, Queen, the PGA Tour, the NBA and ESPN, it said.

The Kiswe Studio offers fast, proven, cost-effective remote production and livestreaming of premium video content via the cloud, it said.

The Cloud Switcher allows producers to switch between more than 10 high-quality sources, add mix effects and graphics and distribute the production across a wide selection of channels. Kiswe Studio also offers dedicated resources around the globe to ensure technical, product and operational excellence.

More information is available on the company’s website. 

PARAMUS, N.J.—Sony has a new addition to its lineup of switchers, the XVS-G1, an entry-level compact live production switcher. The XVS-G1 combines Sony switching technology with a new video processing engine and the ability to support 4K and 1080p.

Sony designed the XVS-G1 for use in live production situations, including news, entertainment and sports. Offering multiple options, the switcher can be used in various production environments, from small to mid-size studios to outside broadcast vehicles to fly pack systems, per Sony.

The XVS-G1 features a hybrid structure that pulls together a central processing unit (CPU) with a graphics processing unit (GPU) and a field-programmable gate array (FPGA). The FPGA hardware enables high-speed processing at 4K resolutions and wide color gamut, HDR imaging and ultra-low latency.

The GPU, meanwhile, enables multiple creative functions via features like a built-in clip player, 3D digital multi-effects and a multiviewer for displaying multiple types of information, i.e. audio level meter and multilayer captions overlay. Multiple HDR format conversion options are also available, as well as compatibility with Sony SR Live workflow.

The switcher’s optional built-in clip player provides four channels in HD mode and two channels in 4K mode. It also supports AVC codec files in MOV or MP4 container format.

Additional features include a user menu based on a newly designed web application and a range of four control panels derived from Sony’s ICP-X7000 Series.

Sony will release the XVS-G1 in North America during the summer. For more information, visit pro.sony. 

As a public, education, and government (PEG) channel in California, Napa Valley TV is up against top-tier TV networks in the fight for viewers. 1970s-style lousy video just won’t wash! Add the fact that a $20 annual membership fee gives each NAPA Valley TV volunteer the right to uses its production equipment, and the channel needed a video switcher that is as easy to operate and robust as it is professional-grade – in HD/4K, of course. 

Find out how Napa Valley TV built the channel’s HD/4K anchor without going under. Learn how it is:

• capable of handling multiple cameras and supporting network-level switching 
• easily operable with the push of a few buttons
• loaded with virtual sets and LiveMatte keying functions; including keying graphics on the virtual set’s monitors
• affordable and simple to install – and tough!

Click here to download the full white paper.

FOR-A will continue to demonstrate its commitment to 12G- and IP-enabled technology during the company’s ninth consecutive appearance at CABSAT, being held March 12-14 at the Dubai World Trade Centre. The company is developing IP interfaces and remote-control capability via standard protocols for the 12G products for its existing 3G/HD product line. FOR-A will exhibit in booth C1-20 during the conference.

“Our focus at CABSAT will be on delivering the latest innovations across our live production solutions – switchers, servers, routers, and graphics systems that align with our vision of 12G- and IP-enabled productions,” said Mr. Takaaki Imoto, Senior General Manager, Overseas Sales & Marketing Division, FOR-A Company Ltd. “Our wide range of technology enables customers to migrate to IP-based operations while protecting their current investment. We’re looking forward to a very successful CABSAT in Dubai next month.”

CABSAT has historically proven itself a key platform for FOR-A to connect with customers. “The MENA market continues to grow for us,” said Mr. Imoto. “We’ve secured some sizable, high-profile projects in this region. In previous years, we’ve showcased many new products, connected with our customers and identified new business opportunities and market trends. This year, we will continue along those lines. And we’re looking forward to the launch of several exciting new products, which we expect to draw more attention to our solutions.”

The technology highlights from FOR-A at CABSAT will include:

- The SOM-100 media orchestration platform

- The FA-9600 multi-purpose signal processor

- Demonstration of the latest developments when using the Fujitsu IP-HE950

H.265/HEVC real-time video encoders for remote production

- A stronger and more efficient HD integration with third party graphics, replay systems and production servers

FOR-A’s new media orchestration platform (SOM-100) provides seamless interoperability between baseband and IP traffic. An integrated baseband/IP control and monitoring system, it’s designed for use in a mixed SDI/IP environment. SDI and IP routing switchers are managed as one routing switcher in a virtual group. The SOM-100 offers seamless operation of a variety of video equipment, monitored centrally from its interface. It can execute routing system control and process control, so that it supports collective operational changes of multiple pieces of equipment and executes time reservation. The system also features a web interface for easy access from multiple computers.

FOR-A will showcase the next generation in its line of signal processors – the FA-9600. The dual-channel unit provides HDR and Wide Color Gamut support and conversion of multiple formats, such as: 12G, 4K (UHD), 1080p, and SD/HD. Each of the FA-9600 processor’s two HD/SD inputs includes a frame synchronizer. Because the multi-purpose signal processor features 12G-SDI terminals, optional software opens the door to 4K(UHD) production. Adding an expansion card provides four more channels of 3G-SDI input/output or six channels of 12G-SDI distributed output. The FA-9600 simplifies all types of video conversion. A newly developed color processing circuit supports the latest gamut and dynamic range specifications, and an optional converter circuit is available for up/down/cross conversion.

Finally, FOR-A will show the latest developments in the area of remote production using Fujitsu IP-HE950 H.265/HEVC real-time video encoders. Employing the latest compression tools and image processing algorithms to provide best-in-class video fidelity, the IP-HE950 supports real-time 4K contribution, as well as SD and HD. FOR-A is a distributor of Fujitsu’s high-performance encoders and decoders in North America, Europe, Middle-East and Africa, as well as select regions in Latin America.

FOR-A will also demonstrate a stronger and more efficient HD integration with third party graphics, replay systems and production servers – resulting in greater flexibility and improved cost savings. FOR-A recently partnered with Variant Systems Group (VSG). Variant’s Envivo Replay is a complete replay solution packaged with an intuitive touch screen user interface that can be learned how to use in 20 minutes. Integration with all of FOR-A’s HANABI production switchers comes standard. FOR-A will also demonstrate ODYSSEY’s Insight Production Server - a versatile four channel playout system designed for studio and OB Van environments. Insight's flexible event processor allows users to connect multiple devices and interact with FOR-A production video switchers, routing switchers, CG generators, GPIO-connected devices and other studio equipment to orchestrate event triggering for a seamless production. FOR-A will also provide demonstrations of the ClassX (CG) content creation and graphics playout solution. ClassX is a dedicated broadcast solution for 2D/3D character generation, live motion and play out graphics with numerous layers available. ClassX is integrated with all of FOR-A’s HANABI video switchers.

CABSAT features over 900 exhibiting companies and is the premiere technology show for vendors looking to reach broadcasters, production houses and studios, content owners and creators, systems integration firms and distribution channels in the Middle East/Africa/South Asia region.

About FOR-A

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

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

# # #

FOR-A Company Limited, 3-8-1 Ebisu, Shibuya-ku, Tokyo 150-0013 Japan

Phone: +81-3-3446-3936, Fax +81-3-3446-1470 Web site: www.for-a.com

Beijing, China – January 16, 2019 - Blackmagic Design today announced that Shiyan based Shiyan Daily Media Group built a new 4K OB van using URSA Broadcast and URSA Mini Pro cameras, as well as a number of other Blackmagic Design products to provide a 12G-SDI 4K workflow. The new van continues the Shivan Media Group’s move from traditional print coverage to becoming a full digital media organization.

Designed by Wuhan Vijita Technology, the OB van uses a number of different Blackmagic Design cameras, including URSA Broadcast cameras, URSA Mini Pro and Blackmagic Studio Camera 4K. For switching, routing and conversions, they use Blackmagic Design ATEM Television Studio Pro 4K, Smart Videohub 20 x 20 and a variety of Mini Converters.

Shiyan Daily Media Group is one of the first print newspapers in China to have transferred to digital media. Its Shiyan Evening News won the “China’s Leading Digital Media Brand” award in 2012 and has more than one million followers on WeChat. The majority of whom are from Shiyan, a prefectural level city with a population of less than four million. According to new media big data analytics platform GS Data, Shiyan Evening News’s WeChat holds first place position among WeChat accounts of prefectural newspapers in China and has been one of the top 10 popular newspaper WeChat accounts in the country for many years.

“We have been doing well with new media because we started it off very early. Now that the time for commercial use of 5G has been confirmed and it will be much easier to get Ultra HD sources from the mobile Internet, we set our ‘mobile and video first’ strategy and founded a dedicated video team in 2017,” said Zhiguo Gan, deputy managing editor, multimedia division, Shiyan Daily Media Group.

At first, the video team created streaming content for Shiyan Daily’s new media platforms with smartphones and other simple devices, but these tools were not suitable for critical events that required multicam production, so they decided to procure equipment for professional live productions.

Speaking of their standard of choosing new solutions, Gan said: “The new solution must be reliable, have advantages over what our competitors are using, be future proof, able to get new functionalities with updates and be easy to use and maintain. Also, its supplier should provide professional support in a timely manner.”

The six camera 4K OB van designed by Wuhan Vijita Technology around Blackmagic Design’s 12G-SDI products won the contract. It includes two URSA Broadcast cameras and one URSA Mini Pro, each equipped with a Blackmagic Camera Fiber Converter, which is connected to a Studio Fiber Camera Converter housed in the van using a SMPTE fiber cable that supports bidirectional transmission of video, audio, talkback, Tally and camera control.

Blackmagic Studio Camera 4K is directly connected to the van with the fiber connection. All four camera feeds and two wireless feeds go into the Smart Videohub 20 x 20 router, which assigns and distributes the feeds to the ATEM Television Studio Pro 4K switcher and a backup switcher, monitors and a streaming device.

Looking back on the process of choosing products, the head of the video team Zhenyu Zhang said: “We saw how Blackmagic Design’s 4K OB van live streamed an intangible culture heritage event in Jingzhou. Also we visited Wuhan TV’s first HD broadcast studio, which was completely built with Blackmagic Design products, where most of Wuhan TV’s live shows are produced. This gave us confidence in the reliability of Blackmagic Design’s products.”

“In terms of advantages, when most new media and even broadcasters are still using HD products, every Blackmagic product in the van, including the camera, video router and switcher, supports 4K. But the costs are still lower than that of other HD solutions. Even compared with other 4K products, Blackmagic Design could save by one third, which can be used for future upgrades, such as adding 5G transmission devices.”

Zhang noted that the versatility of each Blackmagic product brings an overall advantage to the system. “It reduces the complexity of the system, making the van smaller, easy to use and maintain. For example, on the ATEM Television Studio Pro 4K, each input includes a re-synchronizer and format converter, so we don’t need extra devices because the switcher can take in any feed in any format, be it 720p from a drone, a non broadcast standard output from a computer, or any frame rate,” he said. “Also, both the URSA Broadcast and URSA Mini Pro can be used as a studio camera with a B4 mount or as a film camera with an EF or PL mount, which eliminates the need for more cameras.”

“This allows us to keep the crew small and that means lower operation costs. There are seven members in the crew, so there’d be profit if our van goes to some small or medium events; a common large OB van has to be taken care of by a much larger crew, which means much higher costs and there’d be no profit if it goes to these small or medium events.

The smaller van gives us more flexibility. Our van is a Mercedes Sprinter, enough to house all the equipment. So we can go to many places that large OB vans can’t go to, making us more competitive. Plus, all the products in the van are from Blackmagic Design, meaning the compatibility between each component is better than that of solutions consisting of various brands,” he said.

Before the van, most of the video team members had only used small video cameras and DSLRs and had rarely used broadcast equipment for multicam productions. Just a few days after the van was delivered, they started streaming with it.

“Blackmagic products offer intuitive UIs and are easy to master. We can find the functions very easily and quickly without scouring through menus. Less than a week after the first training, we did our first multicam live streaming for a high school military training with the van and went on live producing many other more complex events in the following two months, such as the China (Shiyan) Auto Products Expo, where there were separate venues and more screens for IMAG,“ he revealed.

It took less than three months to design, build up and deliver the OB van to Shiyan Daily Media Group. Gan pointed out that this not only proved Shiyan Daily’s efficiency but also their resolution to develop the video business. “This also means Blackmagic Design’s products and service are both reliable. Besides efficient van modification and delivery, Blackmagic Design’s authorized reseller Wuhan Vijita Technology always responds immediately when we need service and technical support and even sends experts to Shiyan to help and train our crew.”

Gan also shared his thoughts of the value of the OB van for new media development. “To adapt to media convergence trends, new media are actively exploring ways of increasing production value. Shiyan Daily Media Group started early and acted quickly and this has brought us a dramatic increase in advertising income, making us a model for many counterparts to learn from. In the past, we shared our experience in doing new media. Now that we have had our own 4K OB van, we will also share professional multicam production how-tos with our counterparts. We believe Blackmagic Design’s products will help more media like us, leading to a healthy and prosperous media industry,” he concluded.

Press Photography

Product photos of URSA Broadcast cameras, URSA Mini Pro, Blackmagic Studio Camera 4K, ATEM Television Studio Pro 4K, Smart Videohub 20 x 20 and other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - December 12, 2018 - Blackmagic Design announced today that Orbital Redux, a live performed eight episode scripted science fiction series, was streamed using extensive Blackmagic Design technology, including cameras, switchers and routers, and recorded on HyperDeck Studio.

Orbital Redux was the brainchild of writer/director Steven Calcote of Butcher Bird Studios. His passion for science fiction and science fact led him to envision a story that combined the two. “My work as a director has often focused on the intersection between high technology and humanity,” said Calcote. “But after a decade of flat screen interactivity and pervasive autonomous systems I began to ask myself what would happen if hackers and AI driven viruses began to make computerized systems unreliable.” Orbital Redux reflects a return to this concept of Apollo era spaceflight: thousands of switches, knobs, and dials, all due to the failure of high technology.

The story, told in eight live performed and live broadcast episodes, revolves around two pilots in charge of transporting a critical resource from the moon to the Earth: Helium-3. Despite the failure of technology, the Earth still requires this resource that only space flight can provide. Orbital Redux follows Zachery “Max” Levodolinksy, a former astronaut navigating life after NASA runs out of funding, removing all the thrilling, heroic jobs. The story picks up when Max is tasked with teaching a new pilot the ropes of the space program. Though initially they are at odds, as the new hire is there to replace Max, the pair must later combine forces for survival when a redux fails.

But Calcote and his partners at Butcher Bird were not looking to make just your every day sci fi show. Instead, they asked themselves, “what would make this story unlike any other science fiction series out there?” The answer? Perform it live. Calcote, and Associate Producer Griffin Davis, turned to Blackmagic Design to help solve nearly every technical challenge in producing such a show.

“Blackmagic equipment played an essential role in our production. We could not be making the show without it,” said Davis. “We are using Blackmagic URSA Mini’s, URSA Mini Pro’s, Micro Studio Cameras and multiple ATEM Switchers. With these many different pieces of technology being routed through our mission control switching stations, we wanted to make sure that all of the gear would communicate well with each other. Since we’ve been using Blackmagic gear on our weekly live show Butcher Bird Presents for the past year, making Orbital Redux an entirely Blackmagic Design show was a no brainer.”

Production used ten cameras, a mixture of URSA Mini Pros, URSA Mini 4.6K and Micro Studio Cameras, all fed into HyperDecks to record isolated feeds, and then routed through an ATEM 2 M/E Production Studio 4K for the live cut, with every camera controlled via the ATEM 1 M/E Advanced Panel. An additional Blackmagic ATEM Television Studio Pro 4K was used to switch internal monitor feeds for the actors to react to on set, and the live cameras to capture.

“We organized our mission control in terms of internal video and external video,” said Davis. “By internal, we mean the video occurring inside the ship, managed by Adam Fair, and external video which goes live to the audience, which I handled. Adam also managed two HyperDeck Studio Minis loaded with hundreds of graphics that he could use to customize the overlays displayed on the set monitors.”

Cinematographer Steven Moreno found one of the biggest challenges was simply planning out the camera placement. The set was creatively constructed to accommodate opposing angles across the set by building set panels, monitors and walls to quietly rotate out, allowing operators to stick cameras in to the set for an angle, then discreetly slip out of view for another camera.

“Camera placement was a long discussion since we had to rehearse the blocking of each episode in the empty shell of the Tsiolkovsky (the ship set) when they first started construction on it,” said Moreno. “As we moved around the stage, we determined where we thought our coverage would come from and where we would need camera doors and windows. The ship builders and art department were then challenged with finding ways to hide these panels and engineer how they’d open, close, and disappear into the set.”

Moreno found the URSA Mini Pro to be the perfect solution for the job. “Besides the 4K capabilities and the fact that they integrate so nicely with the ATEM switcher, they are lightweight, with ideal ergonomics for handheld operation, a legendary EVF, great focus assist tools and multiple SDI outputs so we can send to the ATEM switcher and an AC simultaneously.” Moreno also enjoyed the size and flexibility of the Micro Studio Cameras. “They are tiny, fit almost anywhere and we can control their settings from the ATEM. We mount 2-3 of them inside the ship, in various locations which change each episode depending on that episode’s action. They truly fill in the blanks and get into places where we can’t.”

The adventure of live production keeps the entire crew on their toes, but having reliable technology helps mitigate the risk. "One moment that particularly comes to mind was during the opening of Episode 104,” said Moreno. “Our DMX dimmer box was accidentally bumped and it changed the DMX address of a character’s key light in a pocket set…while we were live. As soon as we saw that our light wasn’t firing, Adam Fair, our video engineer, quickly bumped up the exposure on the ATEM and brought (the actor’s) levels up to almost match what the keylight would have done. It was a quick save and a diverted catastrophe.”

None of these challenges seem to daunt Calcote and his crew, nor limit his passion to push the envelope. “We’re extra excited to share the Season Finale (Episode #108) with everyone on November 15th because it’s the first time we know of where a production has done a zero-gee stunt live,” said Calcote. “In fact the entire episode hinges on our ability to convincingly create the illusion of one of our main characters dangerously floating in space outside the ship.”

Despite taking chances every week, Calcote is certain of one thing. “One of the toughest challenges for a show like this, with live switching and filming, is integrating disparate systems seamlessly. Frankly there was only one way for us to dependably pull this off: we went 100% Blackmagic Design for cameras, switching, and video conversions. This was the most important technical decision we made to ensure the project’s success.”

Orbital Redux airs on ProjectAlpha.com.

Press Photography

Product photos of URSA Mini Pro, URSA Mini 4.6K, Micro Studio Camera 4K, ATEM 4 M/E Broadcast Studio 4K, ATEM Television Studio Pro 4K, ATEM 1 M/E Advanced Panel, HyperDeck Studio and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

TORRANCE, CA—Marshall Electronics—a provider of video, audio and multimedia systems for broadcast, pro A/V, audio and OEM applications—announces the new Marshall VMV-402-SH, a compact, lightweight quad-viewer and switcher. The switcher allows users to view up to four 3G HD-SDI video signals in resolutions up to 1920x1080p, making it especially suitable for any control room requiring multiple video inputs to be displayed on a single screen.

The Marshall VMV-402-SH enables broadcasters to add cameras to create more compelling productions, and then seamlessly switch between the inputs to select a single view for output. It also offers independent audiometers and control, with the ability to adjust brightness, contrast, hue and saturation.

The Marshall VMV-402-SH has an embedded processor that converts signals from input sources to match the native resolution of monitors, flat panel displays and projectors, as well as one SDI output and one HDMI output, with user-selectable output settings up to 4K2K 60Hz (HDMI output.

The Marshall VMV-402-SH is pre-programmed with five default quad-view layouts and supports tally function when using the quad-view output. The easy-access, front facing buttons light up to let users know which video source is selected. The unit can also be controlled through IR remote control, RS-232 over USB and Ethernet.

The switcher expands Marshall’s product portfolio, which includes: POV and PTZ cameras, format converters, conferencing microphones, and pro AV production equipment.

MONTREAL—In The Weather Channel’s continuous mission to provide its viewers with high-quality, up-to-date live broadcasts and information, the network has recently acquires some Grass Valley products to provide assistance. GV’s Kayenne K-Frame Video Production Center switcher and Ignite Automated Production System with the Katalyst Programmable Automation Panel are now a part of The Weather Channel’s infrastructure.

The Kayenne K-Frame offers full multiformat support, including 4K and 1080p. The switcher is configurable up to 192 inputs, 96 outputs and up to 9 M/Es with six keyers in every full M/E.

The Ignite Katalyst is a fast-access hardware control system that can work harmoniously with the Ignite system, per GV.

MONTREAL—Grass Valley and the Australian Broadcasting Corporation (ABC) have continued what GV says is a 20 year relationship with the broadcaster installing GV switchers as part of range of studio upgrades. ABC updated 13 studios across eight cities, all of which received GV’s K-Frame based switchers with a mixture of Karrera and Korona switcher panels.

The new K-Frame units are replacing ABC’s older Kayak switchers from GV. With the Karrera and Korona K-Frame switchers, ABC is able to have 1080p and 4K UHD support in either 3 M/Es or 2 M/Es, in a 6RU video frame.

ABC’s new switchers will join the broadcasters existing fleet of GV Kayenne K-Frames.

NEW YORK-At the 2016 NAB Show NY, For-A is demo-ing its new HVS-100 portable video production switcher, which is designed to interface with the real-time graphics system LiveBoard from ClassX. The HVS-100 uses a Thunderbolt card to interface with LiveBoard.

For-A has constructed the HVS-100 switcher to offer audio with graphic wipes as well as 20 multi viewer layouts. It features a built-in web server for operators to change settings from a PC or tablet. In addition, a clip memory feature has been added to the still store to support performances.

By connecting the HVS-100 with ClassX’s LiveBoard via the TB2 Thunderbolt interface, users can send uncompressed, low-latency video, graphics and sound over a single cable. While doing so, it is able to handle up to four I/O full HD videos simultaneously.

2016 NAB Show NY takes place at the Javits Center in New York, Nov. 9-10. For-A will be located at booth 943.

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

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

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

SAN JOSE, CALIF.—Atlona’s AT-UHD-SW-5000ED 4K switcher is boxed up and ready to go, as the company has announced it is now making the product available for shipping. Part of the SW-5 product line, this five-input switcher includes two HDBaseT inputs and mirrored HDMI/HDBaseT outputs.

The SW-5000ED supports 4K/UHD at 60 Hz, 4:2:0 video and transmits AV signals along with Ethernet, Power over Ethernet, and control over a single cable to displays up to 328 feet from the switcher. It features built-in control options like auto-switching, front-panel buttons, and compatibility with IR, RS-232 or TCP/IP-based control systems. Three HDMI inputs and audio de-embedding of digital audio from HDMI to two-channel, balanced analog audio are also offered.

The switcher supports the Atlona Management System, which integrated product configuration, management and updating, and enables remote monitoring and support. It can also enable two Altona HDVS transmitters to be used in a single system. Additional features include a web-based GUI, and USB and LAN ports for firmware updating.

Atlona is offering the AT-UHD-SW-5000ED switcher at a price of $1,549.95.

COLORADO SPRINGS, COLO.—Convergent Design has introduced its latest product, the Apollo, a portable HD multicamera recorder/switcher.

About the size of a tablet, the Apollo is able to simultaneously record up to four HD video signals, along with a fifth channel of either a live-switch between the four or a quad-split reference view. Apollo can also function as a four-channel live switcher while simultaneously recording the four isolated HD video signals. The Apollo keeps all cameras in sync with a matching timecode. The system utilizes 2.5-inch SSD media and features two SSD slots.

Using the new Apollo Media Manager app, recordings can be exported as separate Apple ProRes files or as a single multicamera QuickTime file that drops directly into the timeline of supporting NLEs like Final Cut Pro-X.

Additional features like two-channel 4K/UHD video recording, DNxHD recording, and cascade interconnect between up to three Apollos for up to 12 HD channel or six 4K/UHD channel simultaneous recording are planned for release in 2016. These updates will be made available through a free firmware update. A remote keypad control unit will also be offered, along with a rack mount and other accessories.

Convergent Design is planning to release the Apollo in December. Starting price will be $3,995 and include an SSD to USB3 adapter, a 5-pack of SSD mounting handles, and a universal AC power supply.