WUPPERTAL, Germany—Riedel Communications says it's expanding its partnership with SKAARHOJ, a Danish provider of tactile controllers for media production, bringing official SKAARHOJ panel support to SimplyLive production workflows. Enabled through the latest SimplyLive 2.1 release, the integration expands SimplyLive’s control options with a tactile switcher panel experience, complementing both its touchscreen interface and existing RCU-based workflows.

The integration addresses customer demand for dedicated hardware control in live production environments where operators want the speed, confidence, and familiarity of a classic switcher panel, Riedel said. With SKAARHOJ panels, SimplyLive users can control key live production functions such as source switching, program output switching, transitions, auxiliary output control, keying, graphics, and macros.

“SKAARHOJ was the obvious partner for this integration because of their strong reputation for high-quality products designed with the user in mind,” said Paul Macklin, Senior Product Manager, SimplyLive at Riedel Communications. “Their collaborative approach allowed us to tailor the solution around the specific needs of SimplyLive operators, especially in single-operator environments where speed, confidence, and ergonomics are essential.”

This operator-focused approach extends beyond the panel integration itself. To support fast deployment, Riedel and SKAARHOJ said they provide a curated starting configuration that helps customers get up and running quickly while preserving the flexibility to adapt the setup to their preferred production workflows.

“We're excited to expand our collaboration with Riedel through the SimplyLive integration,” said Kasper Skårhøj, CEO, SKAARHOJ. “Having previously integrated with Riedel SmartPanels and MediorNet, this is another great example of how our technologies can come together to create new and flexible workflows. While the solution is tailored for the Master Key 48, users can choose any SKAARHOJ panel that best fits their production needs.”

SimplyLive 2.1 introduces official support for SKAARHOJ panels through a gRPC API, enabling responsive communication between the panel and the SimplyLive ViBox application. Alongside a range of other enhancements and new features, the release also adds a new Venue Gateway license for SimplyLive Production Suite Flex customers, allowing the same server hardware to support Venue Gateway applications in addition to All-in-One, Replay, Ingest, and Review workflows.

Additional SimplyLive resources, including the curated starting configuration, are available via the MyRiedel portal. Further guidance on SimplyLive 2.1 workflows, including instructions for implementing the SKAARHOJ configuration, is available in the SimplyLive 2.1 user guide.

IRVINE, Calif.—Teradek has launched RF-X Auto Switcher, an appliance designed to simplify and secure high-stakes wireless video workflows and deliver flawless, uncompromised signal integrity for demanding mission-critical broadcasts.

RF-X is engineered to provide smarter redundancy, stronger signal and superior quality, allowing technical directors, camera assistants, digital image technicians and video engineers to replace complex, expensive manual failover solutions with a single, intelligent device.

“Professionals in live production are constantly challenged to maintain a flawless video feed under tight budget constraints,” Derek Nickell, product manager at Teradek said. “Why rely on manual switching or expensive, complex failover solutions? RF-X eliminates this pain point by delivering built-in intelligence that automatically manages signal integrity, radically cutting down on labor and travel costs while guaranteeing the highest quality feed for clients.”

Key features include:

• Hitless fail-over: The device seamlessly ingests up to six feeds from Teradek Ranger or Bolt receivers. Its built-in intelligence automatically detects and selects the absolute best available signal path.
• Guaranteed quality output: As a Feature Highlight, RF-X outputs a single, clean 12G-SDI feed, delivered via BNC or SDI fiber SFP.
• Cost savings: The system enables Ranger and Bolt users to replace costly manual video switchers and eliminate associated labor cost.

RF-X significantly reduces complexity and labor while ensuring an uncompromising signal, making it well-suited for high-end cinematic and broadcast applications.

More information is available on Teradek’s website.

Many industries have seen big-ticket hardware turn into software. Switchers, though, demand a combination of real-time performance and sheer bandwidth that has only recently become achievable in software, and has taken a while to begin affecting the high end.

Greg Huttie, vice president of production switchers for Grass Valley, said the company’s designs have long relied on both silicon and code. “Every production switcher we’ve ever put out has software involved in it one way or the other,” Huttie said. “Across the board, I’ve got hardware engineers and software engineers. The world is becoming hybrid.”

Level of Trust
That world, though, interfaces with working practices which change slowly.

“When you talk to a vision mixer or technical director, they’re basically piano players,” Huttie said. “They have a tactile feel. I sat in director’s chairs for many years, and there’s a trust level—even though I’m calling something, my technical director is in my head, lingering on shots he needs to linger on but also knowing the rhythm of the show I’m putting out. They don’t look at the keys.”

That kind of experience, Huttie continued, is increasingly in demand on shows at every scale.

“There is a growing trend where you place yourself further downmarket—not in finished features or functions, but as a smaller piece of that Grass Valley hardware,” he added. “We just delivered 48x24 in a K-Frame XP and won awards at IBC and NAB. We saw that a lot of folks want the power of a production switcher, but they wanted to reduce headcount…going for that single seat.”

Increasingly, software-defined implementations more easily fulfill the demand for a wider range of options, as Huttie explained by reference to Grass Valley’s cloud-integrated Event Producer X with its Maverik X switcher.

“I think a better place for that single seat isn’t really for sports but events, news, corporate,” Huttie said. “Event Producer X couples things together and makes it less burdensome on body count, though we’re not advocating that you reduce your body count.”

A Connected World
Software definition has implications that reach further than feature set or scalability, according to Deon LeCointe, director of networked solutions at Sony.

“Everything we build now has to have some connectivity involved,” he said. “They have to be not only hardware for on-prem, they have to be software for cloud, SDI and IP.”

Even the comparatively recent move toward IP, though, faces unexpected pressures. “The prevailing logic is that if you’re building a new facility, or renovating, you have to take a hard look at implementing IP,” LeCointe said. “Three years ago, I would have said that the question still comes to mind.”

That idea, though, might no longer quite be universal. “When the pandemic happened, REMI became required for day-to-day operations, and it accelerated the conversation around IP tech moving toward cloud tech,” LeCointe said. “People were saying, ‘Can we skip IP and go to the cloud?’”

The answer, he said, was often no, not least because of the media industry’s uneasy relationship with metered-data exit fees. “Cost was a pretty big roadblock,” he said. “Then, the challenge of not having all your live production elements in the cloud—replay, graphics switcher elements, video shading—that just hadn’t gotten there yet.”

Given the interaction of so many complex technological considerations, LeCointe emphasized, Sony has kept things flexible.

“We opt for more of a customer choice philosophy,” he said. “M2L-X is our software-based switching platform, which can be deployed on the public cloud or on a COTS [commercial off-the-shelf] server. We’re not trying to delve into the minefield about where customers want to deploy.”

Back to Prem
A combined interest in quick, flexible scalability and cloud as a choice rather than a requirement, then, seems like the mood of the moment, according to Satoshi Kanemura, president and chief operating officer of For-A America.

“Everyone likes a 100-input big switcher, and that’s driven mostly by the technical director’s opinion,” Kanemura said. “Nowadays, what they’ve found is that sort of big event is once or twice in a year, but most operations need 20 to 30 inputs with 2 ME.”

Doing that the old way takes effort, Kanemura said. “When they increase or reduce the system, adding hardware, rewiring, recabling…they have to manage such a change,” he said. “So, software-defined is becoming a very big buzzword. One or two years ago, many people jumped into the cloud: ‘Cloud’s going to solve everything, it’s easy to increase or decrease the operation.’ What they found was that…even if they shrink the application, still using the cloud, that charge is coming every month.

“Now they’re coming back to the on-premise solutions,” Kanemura continued. “People who can’t afford a big switcher with 100 inputs can go toward software-defined. For-A Impulse can do anything a customer wants—switcher, multiview, frame sync or you can put only multiview into the server and that can be shared into the three rooms. Then, the next day, you can change it to all HDR-SDR conversion parts.”

For-A’s market position in Japan has granted it a unique position with regard to AI and the vexed issue of training data. “Now [that] cable revenue is down, most broadcasters are looking for new revenue from streaming,” Kanemura said. “They do the production in a 16:9 format, then want to trim down to 9:16 for cellphones. You can crop using AI to track the main player into the center of that 9:16…it’s that kind of AI engine.”

Making that happen has allowed For-A to leverage its relationship with NTV. “Their engineers and For-A’s got together to collaborate to build the AI,” Kanemura said. “To make a good AI, you have to give more and more data, but most AI in the market is not specified to the broadcast market; it’s more generic data they put in. [But] NTV has 70 years of archives—that AI knows how to cut, zoom, and understands the sort of scene. It’s a more broadcast-friendly AI engine.”

‘Keys to the Kingdom’
With or without AI, running a switcher on a workstation or server raises issues around the sort of real-time responsiveness that users expect. Les O’Reilly, director, switcher product management at Ross Video, described how the company has accommodated that change within an existing product line.

“The Carbonite family has shipped over 12,000 switchers,” O’Reilly said. “Carbonite as an operator user base was massive… and Carbonite Code launched at NAB 2024. It’s a Carbonite switcher, but instead of on an FPGA [field-programmable gate array], it’s running it on a GPU [graphics processing unit], a software-based switcher that can do some things that are different, but it still operates like a Carbonite.”

The bounds of the underlying hardware are necessarily imposed in a rather different way than the input and bus counts of a conventional switcher—though Ross’s experience in graphics has influence here.

“You have processing headroom you will run into in a software switcher,” O’Reilly explained. “In our XPression world, we have a software 3D renderer, all done in the GPU, which has a load meter. It’s showing you that you’re still rendering faster than your frame rate.”

Implementing that in a switcher running on COTS hardware, O’Reilly continued, gives users an easily-understood performance metric. “If you’re at 90%, you’re rendering 10% faster than real time,” he said. “If I see 103%, 104%, it’s telling me I’m not rendering 60 frames per second any more, I’m rendering 57. We give them the keys to the kingdom, let them build their shows and figure out what they can and cannot do.”

O’Reilly’s approach to AI’s role in the future of production switchers is pragmatic.

“I want our industry to introduce practical uses, otherwise the joke is that when a company does its keynote, the Discord group takes a drink every time they mention AI,” O’Reilly joked.

Ross’s approach leans toward making the switcher a directable part of the show itself. “We have a speech analysis tool that allows you to direct your show while talking,” O’Reilly said. “We had it on the floor—you could come up and direct it—ready one, take one, put one on the left split, two on the right—and since then we’ve refined and applied that to other products.”

Despite all this advancement, O’Reilly cautioned, the exigencies of live television have maintained the demand for traditional hardware. However, making changes acceptable to highly experienced users is, as always, a consideration.

“FPGAs keep getting bigger, badder and faster,” he said. “We’re constantly adding features and functionality, and we have to get the operator and the user to come along on the journey. So, yes, we absolutely can’t stay locked in the past, but we have to bridge to the future.”

CYPRESS, Calif.—For-A America has partnered with the Tim Russert Department of Communication at John Carroll University in University Heights, Ohio, providing an HVS-1200 video switcher, FA-9600 signal processor, and MV-1640IP multiviewer for its TV production studio.

The equipment offers hands-on experience in professional broadcast operations—from live studio productions to sports broadcasting‚ with the actual systems employed worldwide.

“Students at this university will become leaders in the media industry, and our partnership with For-A gives them a chance to be trained at the same level of technology they’ll see in studios and out in the field,” said Dan Slentz, director of Blue Streak Media at John Carroll. "With the HVS-1200 video switcher, FA-9600 signal processor and MV-1640IP multiviewer, we can produce everything from a live sporting events to weekly wrap-up shows, while giving our students hands-on technical and creative instruction."

The new system has significant benefits for the school’s multi-camera studio, now equipped with talent monitors, teleprompters, wireless handheld cameras, and high-end playback systems, For-A said. Students can combine different video sources easily, synchronize wireless feeds, and explore greater creativity in real-time using For-A’s signal processing and IP-based multiviewing technology.

The upgraded studio was launched at a ribbon-cutting ceremony on Aug. 25. Beyond its fundamental TV production and editing, the complex can now host ambitious productions like music videos, speech programs and streamed events.

Slentz said of his new video production system: “We can now go live to YouTube at the press of a button, and the FA-9600 signal processors give us the flexibility to bring wireless cameras and computer inputs into productions. This changes what we can offer for students, not just as class exercises, but as productions that feel and look like professional television.”

Expanding Sports Production Capabilities
Sports management has always been a popular and successful academic track at John Carroll. Thanks to the new For-A switcher, sports broadcasting is an area of focus at the Department of Communication. The university now has a high-end production tool it can exploit to develop live and recorded coverage of football, soccer, volleyball, and other events for Rock Entertainment Sports—a statewide sports network Slentz was instrumental in launching.

“The switcher helps us support simultaneous events and deliver high-definition live events,” Slentz said. “That’s a requirement as John Carroll grows its national coverage through its athletic programs and its expanded communication outreach throughout the U.S.”

A Future for an Innovation Center
Slentz said he’s looking to create an Innovation Center within the O’Malley Center, where the communication department is headquartered. The Innovation Center will be a digital hub connected to the TV studio. The concept: create an experimental lab space for students to play and learn about production workflows, data-driven communication and multiplatform content methods.

Chair of the Tim Russert Department of Communication Brent Brossman made note of the relevance of this vision. “Our O’Malley Center is the first destination for prospective students and their families,” Brossman said. “The Innovation Center not only will give us state-of-the-art resources for teaching and research, it also will help us display how we prepare students for actual careers in communication and media. For-A’s sponsorship is at the heart of bringing that vision into focus.”

MONTREAL—The Los Angeles Clippers have tapped Grass Valley and integration partner BeckTV to provide fully native 2110 IP 4K switcher solutions for Intuit Dome, the new home of the NBA franchise.

Located in Inglewood, California, Intuit Dome opened for the 2024-25 season as a premier destination for basketball and live entertainment. Designed to be the most technologically advanced arena in the United States, the venue required a no-compromise, state-of-the-art IP production infrastructure to support Clippers basketball, concerts, and other live events, GV said.

To meet these demands, Grass Valley supplied three fully native 2110 IP switcher systems, all paired with top-of-the-line Kayenne control panels. These systems will serve as the heart of production across three different control rooms, ensuring seamless operations for dozens of operators working on a variety of high-profile events.

“We needed a solution that could deliver uncompromised IP 2110 switching across all of Intuit Dome’s productions, and Grass Valley provided exactly that,” said Brock Raum, senior engineer at BeckTV. “The ease of use of the Kayenne panels ensures that operators can move between control rooms seamlessly, which is essential for a venue of this scale.”

Integration partner Beck TV recommended Grass Valley’s solutions as the only true native 2110 IP 4K full raster switchers on the market, with the ability to provide the required flexibility, reliability, and scalability of the facility’s production operations.

Additionally, the collaboration with BeckTV, a top-tier partner of Grass Valley, ensured a seamless integration process, GV said.

“This deployment, in collaboration with our trusted partners BeckTV, further solidifies Grass Valley’s leadership in large venue builds and elite sports productions,” said Alex Keighley, senior vice president of sales for North America at Grass Valley. “As more venues transition to fully IP-based workflows, Grass Valley continues to set the standard for innovation and performance in live event production.”

MONTREAL—Two long-time competitors in the TV production market have announced a collaboration that allows integration of two of its platforms.

Grass Valley and Ross Video—both among the largest providers of production switchers to the TV production market—have announced that Grass Valley’s Maverik X Production Switcher, powered by AMPP OS (Agile Media Processing Platform), can now be directly controlled via Ross Video’s OverDrive. This collaboration enhances flexibility for broadcasters, enabling seamless interoperability between two industry-leading production technologies for studio production, the companies said.

By working closely together, Grass Valley and Ross Video have expanded OverDrive’s capabilities to include the Maverik X Production Switcher, reinforcing both companies’ commitment to open and adaptable production workflows, the companies said. Ross Video continues to expand OverDrive’s compatibility with a wide range of third-party devices — enabling customers to utilize the production tools that work best for them.

“Media organizations today demand the freedom to build systems that match their unique workflows by integrating the best solutions from across the industry,” said Adam Marshall, Chief Product Officer at Grass Valley. “With OverDrive support now available for Maverik X, media organizations can modernize their technology infrastructure while maintaining the familiar OverDrive user experience—minimizing disruption for operators while leveraging AMPP’s advanced processing technology for greater agility and flexibility in hybrid deployments.”

“AMPP OS was designed from the ground up as an open platform, built to enable seamless integration with best-in-class solutions across the industry,” Marshall continued. “The growing adoption of the GV Technology Alliance is a testament to this commitment. We’re excited to see industry-leading automation tools like Ross Video’s OverDrive now providing direct control over AMPP OS-based solutions like Maverik X. This deep, bidirectional collaboration underscores our mission to deliver unmatched choice and flexibility for customers.”

Ross Video’s OverDrive powers thousands of hours of live production every day, trusted by leading broadcasters around the globe for its tight newsroom integration, intuitive UI, and powerful rundown-based control. Now compatible with over 220 third-party devices, OverDrive gives producers and TDs the confidence to execute fast-paced shows with precision and consistency, the company said.

“Automation is no longer just a nice-to-have — it’s essential to producing more with less, and doing it reliably under pressure,” said Jeff Moore, Executive Vice President and Chief Marketing Officer, Ross Video. “We’re pleased to see this integration with Maverik X, further expanding OverDrive’s reach within today’s dynamic, multi-vendor environments.”

This collaboration between Grass Valley and Ross Video marks a significant step toward broader interoperability, the companies said, adding that they are committed to further expanding OverDrive control across additional AMPP-powered solutions in the future.

Production switchers are a fine balance between the technical—handling multiple incoming video sources—and the creative, mixing between various sources to create seamless, exciting or engaging and comprehensive coverage of a live event or studio production. High-end broadcasters have always put high demands on this key piece of equipment, but now other users have equally exacting requirements.

Keith Vidger, principal technical consultant for media and entertainment at Panasonic Connect, sums this situation up in four words: “More, fewer, higher, lower. These relate to more content being created by people who use fewer traditional outlets to distribute at higher production values with a lower cost.”

As Vidger observes, switchers are generally thought of as the province of those involved in live broadcasting, such as broadcasters and call-letter stations.

“Those that derive their revenue from selling advertising [and] create cool content, including news and sports, are still there, but in addition there are corporate customers who used to produce fairly straightforward content to a group of people within their own domain, in other words employees, which are now producing shows with enormously high production values at a lower cost,” he says.

Vidger explains that new technologies—”cutting-edge software and reliable hardware” —have been applied to switchers and reduced costs while achieving “if not the same results as we had before, maybe even better ones.” This, he adds, has allowed users to achieve their high production goals for less money.

Surface-Level Advances
Another sector likely to benefit from the evolution of production switchers is the second-tier sports market. Satoshi Kanemura, president of FOR-A Americas, says another factor is the budget and staff cuts being made by some of the large U.S. broadcasters.

“Broadcasters are facing up to how they can do productions more cost-effectively [but without] gigantic 4 M/E [mix/effect] 100 input switchers, which were very useful for live events but are difficult to afford now,” he says.

This, Kanemura explains, has led to companies like FOR-A producing smaller-scale switchers featuring only 2 M/E and 40 inputs. In addition to this, he adds, the younger generation of operators and technical directors now coming into the business are familiar with touch panels, iPads and iPhones, but unfamiliar with big traditional switcher panels.

“The trend is that the production-switcher surface stays the same but has more of a web GUI [graphical user interface] setup and control,” he says. “In the near future, with the number of younger people in broadcasting increasing, maybe web GUIs or touch panels will be the main interface. This may be seen especially in coverage of minor-league sports that prefer to go to cloud operations. It could be the next trend and although it’s not coming soon to the broadcast market, we are in a transition period.”

‘Wow Factor’
A key function of switchers is to help set the visual style for a TV station, observes Greg Huttie, vice president of production switchers at Grass Valley. “In general, broadcasters are interested in developing the look and feel [of their output],” he says. “People might tune in to a football match or a baseball game or auto racing from a particular network that has only eight cameras, or it could have 32 or, as with the Super Bowl, 96 to 100 cameras,” Huttie says. “But the broadcasters don’t want the viewer to realize how many cameras there are. They want something that looks the same [regardless of the number of cameras] and has an impact.

“The ‘wow factor’ is an important element in how manufacturers and their R&D departments develop switchers because there needs to be a consistency across the board, whether you’re on site or doing something as a remote or what kind of processing engine you’re using,” he adds.

While IP is now moving steadily into the broadcast market, Scott McQuaid, product manager for switchers at Sony Electronics Professional Solutions Americas, comments that SDI “still has a significant role to play” but points out that large broadcasters and networks are moving towards IP.

“Most anyone building a brand-new facility would probably tend towards IP, but in the smaller [station] market, they’re still going to go SDI because IP is very expensive to implement,” he says. “But whenever we speak to customers about a new switcher, whether they’re still SDI or not, they’re looking for an upgrade path to IP.”

Big Impact, Small Size
McQuaid says more customers are looking for smaller switchers with hybrid processing and a mix of hardware and software.

“The frames are more compact, but we’re still able to handle multiple inputs,” he explains. “One IP connection at 100G can handle up to 32 ins and 32 outs, so your smaller panel/switcher hardware can deal with 64 ins and
64 outs in IP.

“The infrastructure will include extensive 100, 200, 400G switches and be connected to a broadcast controller, which is basically the old SDI router, handling the 2110 video, audio and metadata all at once,” McQuaid adds. “You can choose where you send those individual signals or send all three to the switcher or the audio board.”

IP and the idea of a small, software-based control surface has led to discussion of “virtual switchers,” although, as McQuaid observes, everyone has their own name for the concept.

“I call them hybrid cloud software switchers, which is a virtual switcher that lives up in, say, an AWS or Google cloud,” he says. “The software lives in the cloud and you access it from anywhere you want. You can also go with that software running on a COTS server that’s on-prem, it just depends on how you want to move signals and where you want to go with them.”

Virtually Anywhere
Nigel Spratling, vice president of switchers and servers at Ross Video, comments that to support remote production workflows, switchers now offer various operating modes to enable remote control and operation.

“Control panels, which were once tethered to local processing frames, can now be located remotely and connected via VPN [virtual private network] technology,” he says. “Additionally, comprehensive software-based control panels allow operators to manage productions from virtually anywhere.”

In these scenarios, FOR-A’s Kanemura says, the processing engine will be virtual but people can continue to use a hardware panel connected to a software-based switcher. “Eventually all operations will be on a touch-panel basis, but I don’t know how long that’s going to take,” he says.

Grass Valley demonstrated switching control in conjunction with the Apple Vision Pro mixed-reality headset at IBC 2024. Huttie confirms that some end-user testing is now taking place “in the realm of virtual monitoring” combined with a physical panel, such as the company’s Maverik MAV GUI modules.

“Broadcasters are open to anything that achieves their goal,” he says. “But for major events, it’s all about the content and what it looks like. Whether they can achieve that with a software-based switcher or a traditional engine, they flip the coin. People are trying a lot more things today if it’s what their production needs and it’s reliable.”

LAS VEGAS—JVC Professional Video, a division of JVCKENWOOD USA Corporation, will be highlighting its latest NDI and vMix solutions at InfoComm 2024 (Booth C5715) this week. 

This includes the company’s new KY-PZ540 Series Connected Cam PTZ Cameras with 40x zoom and KY-PZ510 Series Connected Cam  PTZ Cameras, which each have NDI-enabled options. 

The company will also feature its KM-IP12S8 Series Connected Cam vMix Studio Switchers and RM-LP450G Slow-Motion Controller for its vMix Studio Switchers, with live demos of all products being held at the booth throughout the show. 

“Industry professionals have adopted NDI-enabled devices at a record pace, and we are thrilled to be part of the network of manufacturers to offer this solution,” says Joseph D’Amico, vice president of JVC Professional Video. “Similarly, vMix has time and again proven to be a leading brand for live streaming productions, and we are grateful for the partnership between our organizations. We look forward to reinforcing the value and advantages that JVC offers to the AV market at InfoComm this year.”

Designed in direct response to customer feedback, the multi-award-winning KY-PZ540 Series PTZ Cameras are the company’s first PTZ cameras to incorporate a 40x focal length. The cameras are ideal for large event spaces and instances when the need to zoom in from a distance is essential. The cameras feature JVC’s 4K imager and renowned Variable Scan Mapping technology, which dynamically scans the 4K sensor to produce a seamless and lossless image transition up to 40x in full-resolution HD. Increasing the zoom magnification while keeping the unit affordable made it possible for JVC to accommodate the needs of a larger segment of customers, the company reported. 

Complementing the KY-PZ540 model is the KY-PZ510 PTZ series, which is most recognized for its super-wide horizontal angle of view (80 degrees) and focal length of 21.8 to 261.8 millimeters. The KY-PZ540 and KY-PZ510 PTZ award-recognized cameras include AI-enabled advanced SMART auto-tracking operations. This feature can follow one person or one of multiple people within its field of view and includes its latest advancements in: Standard, Area, Stage, Wide Area and Fine Adjustment modes. These modes provide additional controls and adjustment options allowing for flexible and precise operations. Both series are available in black or white models and host non-NDI and NDI supported IP-based remote operation capabilities, JVC said. 

With the NDI-enabled KY-PZ540N and KY-PZ510N, users have the added ability to utilize NDI HX3 for the highest quality video with reduced latency, at a fraction of the bandwidth of full NDI. The NDI HX3 capability also enables integrators to take advantage of the cameras’ award-winning features, such as the KY-PZ510N’s super-wide horizontal angle of view (80 degrees) and focal length of 21.8 to 261.8 millimeters. 

Additionally, the incorporated Vertical Interval Time Code (VITC) with Network Time Protocol (NTP) provides the cameras with multi-camera synchronization for seamless live event production. Using the latest HEVC technology, the cameras ensure higher quality video at lower bitrates for remote production over the internet (REMI). The cameras also support H.264 and H.265/HEVC encoding, offering increased compatibility with a variety of hardware and software applications. Furthermore, the 4K60p output, via both HDMI and streaming, delivers ultra-clear, natural imagery in settings with a lot of movement, such as sports and live events.

Comprised of both the KM-IP12S8 and KM-IP12S8PRO, the KM-IP12S8 Series Connected Cam vMix Studio Switchers are complete live video production solutions that provide live mixing, switching, recording and streaming for a variety of multi-camera, fast-paced applications, JVC explained. 

The KM-IP12S8 includes the vMix 4K license and supports up to 12 NDI/SRT and eight SDI video inputs, as well as multiple output options, including 12G-SDI, 3G-SDI, HDMI, DisplayPort and up to four live 3840x2160 60p inputs via 12G-SDI/NDI. Additionally, three 2.5 GbE Ethernet ports are available for NDI, SRT, Dante and RTMPS internet connectivity. The switcher also offers concurrent outputs to three CDNs, Multiview and ISO recording, all in a quiet 4RU case with liquid cooling. The KM-IP12S8PRO has the same hardware specifications, with the addition of the vMix Pro software license, which enables eight-channel instant replay.

The switchers’ front dock has four removable SSD drive trays and USB 3.0 Gen.2 ports for digital audio and control surfaces. This includes JVC’s RM-LP350G vMix Control Surface with PTZ camera joystick and the recently released RM-LP450G vMix Slow-Motion Control Surface, which can increase the speed of a live playback workflow. 

Designed for use with vMix Replay, the RM-LP450G offers a modern appearance and simple control layout, along with 38 backlit keys to quickly identify important functions and reduce the chance of errors. Ideal for sports broadcasting, the controller caters to the replay needs of this market. It is equipped with quick-action Playback Search Disks and Control T-bar for speed control of the video playback, for up to eight video inputs, JVC said. 

MONTREAL—Grass Valley today introduced new production switcher bundles for sports, entertainment, news and other applications.

The bundles combine newly redesigned Kayenne modular video production center surfaces with K-Frame XP video processing engines. The new Kayenne control surface modules are reminiscent of what operators have used for more than 10 years but include several enhancements, the company said.

“We’ve listened to our users and by drawing on our Kayenne design heritage and innovated by adding touchscreen areas, additional tactile feel for 8-keyer recall buttons, new Panel Control and Menu Control Units, along with new easily sourced standardized cabling – all of which enables future customer-defined operational enhancements,” said Greg Huttie, vice president of video production switching at the company.

“The added plus of these new bundles is that they come at a reduced price, giving users a more affordable offering with all the same creative power that is expected from a premier Grass Valley switcher, all while making the lives of TDs and EICs easier.”

The Kayenne K-Frame XP bundles are designed for larger productions; however, Grass Valley’s commitment to an “any surface, any engine” philosophy makes it possible to bundle its Korona and Karerra panels with any K-Frame, including the CXP, SXP, V-series or software switcher powered by AMPP, the company said.

The company also announced its K-Frame engines can now be fitted with a JPEG XS board for advanced IP input and output based on user needs, it said.

More information is available on the company’s website.

WAYNE, N.J.―JVC Professional Video has announced the availability of affordable new workflow solutions aimed at smaller production teams―such as classrooms, courthouses, houses of worship, college sports broadcasters and local news OTA stations. 

The new solutions that are now shipping include the new KM-IP8 and KM-IP8S4 CONNECTED CAM vMix Studio Switchers, the RM-LP350G CONNECTED CAM vMix Control Surface, the KM-HD6 CONNECTED CAM Six-Input Switcher and the RM-LP5G CONNECTED CAM Compact Joystick PTZ Controller. 

“The release of these affordable new production tools will enable budget conscious studios, venues and arenas to have high-quality, glass to glass workflow solutions,” says Joseph D’Amico, Vice President, JVCKENWOOD USA Corporation, which is the parent company of JVC Professional Video. “With growing expectations from viewers for broadcast-quality content, JVC developed these products to provide price effective, easy to configure equipment and support. These solutions will undoubtedly increase the creative production possibilities for venues around the world.” 

Included among the new solutions are the two-time award-winning KM-IP8 and KM-IP8S4 CONNECTED CAM vMix Studio Switchers, which can each manage a minimum of eight NDI|HX inputs and comes standard with vMix 4K licensed software for Windows 11 Pro. The KM-IP8S4 also features four 3G-SDI inputs with bi-directional connectors and mini-SDI-to-SDI cables. Both devices offer several output options, including one 3G-SDI, one HDMI and four DisplayPorts; as well as a Gigabit Ethernet network port. Additionally, the KM-IP8 and KM-IP8S4 are optimized for switching live programming in SD up to full HD 1080 60P, the company reported. 

Designed for use with the KM-IP8 Studio Computer, the RM-LP350G CONNECTED CAM vMix Control Surface enables traditional-style switching in the vMix environment. It provides four-channel PTZ camera presets, panning and zoom, and features a low-profile transition fader. The controller also supports 12-channel PGM and PVW switching, as well as selectable PGM/PVW in four groups of 12 downstream key settings, JVC said. 

Offered both as standalone and in a package, the KM-HD6 CONNECTED CAM Six-Input Switcher features four SDI and two HDMI inputs, with a USB Type-C output for livestreaming through a computer to popular video conferencing applications, such as Zoom, Microsoft Teams and Google Meet. Additional output options include two 3G/HD/SD-SDI, one HDMI PGM (program) and one SDI AUX, as well as one each of HDMI and SDI multi-view outputs. The switcher also boasts a variety of production options, such as automatic cut transitions; mix, fade and wipe effects; adjustable PiP/PoP window; and a GPIO interface for live tally. The integrated audio mixer also features 3.5mm and RCA audio inputs and outputs, along with USB Type-C HDMI- and SDI-embedded audio, JVC explained. 

The RM-LP5G CONNECTED CAM Compact Joystick PTZ Controller features a dual-axis joystick and zoom bridge, capable of managing up to five PTZ cameras. This compact solution supports VISCA, UDP and PELCO P/D control protocols over IP, RS422 and RS232. Additionally, the controller’s four-color LED multiscreen display affords ease of setup and operation. Available only as part of a bundled package with two or more JVC CONNECTED CAM PTZ cameras, the controller is perfect for smaller market organizations looking to provide network-caliber productions.

More information is available at JVC Professional Request for Quote.

FREMONT, Calif.—Blackmagic Design has introduced a new family of portable ATEM SDI live production switchers with professional 3G-SDI connections.

Fast and easy to set up, the new ATEM SDI family of portable production switchers is powerful, offering standards converters on all inputs, a built-in Fairlight audio mixer with 6-band parametric EQ compressor and limiter on all inputs, internal DVEs, chromakeyers and professional transitions, the company said.

Priced starting at $345 and available from Blackmagic Design resellers worldwide, the new switcher family includes the ATEM SDI and ATEM SDI Pro ISO models with four SDI inputs and the eight-SDI-input ATEM SDI Extreme ISO model. Each offers re-sync on every SDI input, it said.

A USB port works as a webcam to connect video to computers. The Pro and Extreme models feature built-in streaming, the company said. 

The switchers’ all-in-one design includes control panel and connections. The front panel offers easy-to-use buttons to select video sources, video effects and transitions. Source buttons are large so it is possible to use the new switchers by feel, enabling a presenter to do the switching. The new switchers also include buttons for audio mixing, it said.

The ATEM SDI Pro and Extreme models have buttons for recording and streaming control as well as output selection buttons to change video output between program, direct camera feeds and the multiviewer. The rear panel is where SDI sources are connected. Extra microphone inputs are available as are USB for webcam use and multiple SDI aux outputs for program video, it said.

The ATEM SDI Pro and Extreme also support direct recording of streaming output to USB flash disks, making long recordings in the same H.264 video files with AAC audio possible to upload to any online video site. Recording to multiple disks is supported via a USB hub to ensure recording continues even when a disk reaches its maximum storage capacity, it said.

These models also allow users to edit live events because they can record multiple video streams, including clean feeds of all inputs and program at the same time. Video files include metadata tags, such as synced timecode and camera numbers. The ISO models also save a DaVinci Resolve project file, making it possible to open a live production as a video edit, Blackmagic Design said.

“The new ATEM SDI live production switcher is perfect for broadcasters who want advanced, professional features while also looking for extreme portability,” said Blackmagic Design CEO Grant Petty. “There are three great models with 3G-SDI video connections and some really great feature like DVEs for picture-in-picture effects, graphics, transitions, advanced chromakey and Fairlight audio mixer. It’s really exciting, and we cannot wait to see what customers do with these new models.”

More information is available on the Blackmagic Design website.

LONDON—The production switcher is a foundation of any studio gallery or OB truck and any change in how it works marks a fundamental shift in the way TV operations are run. This is particularly the case for switchers right now, not just because of the increase in remote working but also a general reappraisal of the best interface for this key function.

“In the past the only switcher conversation was around how many mix effects [M/Es] and keyers there were,” says Niels Borg, senior product manager for automation and switchers at Vizrt. “Now, the conversation has shifted toward a focus on how flexible a production system is. Customers want to know whether it is baseband only, IP friendly, where it can be deployed and if they are able to mix and match sources and transcode on the fly. Forward-looking switchers are now software powered.”

Borg observes that IP is one of a “powerful” trio, which is completed by software and the cloud. “By moving from SDI, where linear limitations to some degree cause linear production thinking, to IP-software-cloud, a whole new reality of production opens up—particularly with what is achievable in terms of content,” he added.

FLEXIBILITY AND CROSS-POLLINATION

In terms of market trends, Tim Felstead, product and solutions marketing manager for live production at Sony Professional, sees the most important as flexibility and cross-pollination.

“Producers are looking for switcher systems that fit a wide gamut of production scenarios, which have inbuilt scalability and can be used via flexible user interfaces with a view to reducing operational costs,” he says. “On the other hand, because of the increased demand for remote and distributed production, with operators and [locations] decoupled, we’re also seeing different production levels being implemented by broadcasters. The aim is to be efficient and tailor solutions to the real requirements of the output.”

Felstead adds that this has resulted in increased demand for a blend of technologies in switchers.

“Driven by increasing capacity in GPUs [graphics processing cards] and associated software, many tasks can be offloaded from FPGAs [field-programmable gate arrays],” he explains. “CPUs [central processing units] are currently still restricted in capacity for high-end switchers, yet continue to evolve in terms of clocks and cores.”

FRIENDLY TO FIRST-TIMERS

As is well known by now, the COVID pandemic accelerated the move towards remote production that was already happening. This has called for greater flexibility and functionality from production switchers but another development in user requirements is taking that even further.

“Over the last two years, almost every industry has adopted video streaming in some capacity, whether to reach employees and aid internal communications or stay connected with customers,” says Darren Gosney, technical sales manager at Blackmagic Design (BMD) EMEA. “As a result, there are more inexperienced or untrained operators working with production switchers for the first time. They need systems that are simple to set up, quick to learn and scalable over time.”

As part of this, BMD offers a choice of how to control its switchers, all of which can be run over an IP connection.

“This means operators who want a traditional hardware control surface can take that option,” Gosney says. “However, users moving into live production for the first time can begin working on a software interface before migrating to hardware over time.”

Offering traditional, pro broadcast operators and the new breed of untrained operators a selection of control options is now a priority for all manufacturers. Nigel Spratling, vice president of production switchers and video servers at Ross Video, observes that among the trends influencing the design of switchers is the need to reinvent the long established M/E architecture, coupled with creating “denser” devices that have more capacity in a smaller platform.

“Another trend is for re-engineering existing technologies or platforms to create new hybrid production environments, adding switcher capability to a video routing and processing platform,” Spratling says. He adds that the expanded market for production switchers is also having considerable influence.

“In the U.S., the term ‘broadcaster’ used to refer almost exclusively to call letter stations and national networks,” he said. “The term has evolved over the years and now encompasses virtually any entity that distributes its productions to a broad segment of its viewing audience. But regardless of market vertical, distribution method or workflow, core requirements for a switcher continue to be reliability, flexibility and ease of operation.”

TWO SIDES TO THE MARKET

Graham Sharp, chief executive of Broadcast Pix, highlights that last factor as a crucial feature for production switchers, regardless of the operator’s level of knowledge or experience. 

“It’s now a game of two halves, with the high end on one side and prosumer on the other,” he says. “That last category has grown dramatically, with demand in the corporate and church sectors. It’s no longer about feeds and speeds and although some companies are trying to convince people everything should be 4K, the bigger impact has been made by IP. The fact that you can now control things remotely means that [the priority] becomes ease of use.”

Sharp continues that non-professional users are likely to either use less than five percent of a M/E panel or not understand it at all. But, he says, even broadcast veterans do not necessarily want all the buttons, bells and whistles on control surfaces today, preferring instead to load presets into a few macros. This change in attitude, he says, informed the design of the ChurchPix live production and streaming system.

“All the camera moves can be pre-set in templates and controlled from a touchscreen,” Sharp says. “We also have a client who controls the broadcast of town halls from a single office, remotely connecting to IP cameras on-site. This is production switching as a service and is similar to what some broadcasters have done by broadcasting several soccer games a day from the same control room.”

DIFFERENT INTERFACES

While Sharp is of the opinion that M/E’s will remain in the high-end market until people are “weaned off it,” Greg Huttie, vice president for production switchers at Grass Valley, comments that the use of the older interface as opposed to touchscreens is about the preferences of individual technical directors and vision mixers.

“It comes down to how the interfaces differ, the feel and tactility,” he says. “But at the same time TDs do like automation, the recall and different effects. Ultimately, when a director or producer asks for something, the engineer in charge should be able to give it to them.”

In terms of the emerging switching as a service trend, Huttie says Grass Valley has made it part of its AMPP (Agile Media Processing Platform), which is designed to work in cloud-based live production scenarios.

“What it’s about is if you don’t have the hardware on location, you can link into the cloud and utilize what you want or need when you need it,” he explains. “In effect, there is now a greater focus on the future and looking at customers’ needs. It’s about how you fit into the program, whether it’s a small talk show or the Super Bowl. Broadcasting is now about producing more content and what switchers fit best.”

The switcher will continue to be at the heart of broadcast productions in the future but where it is located, how it is controlled and—if switching does indeed become a service—on what business model it operates are all key questions still to be answered. 

Blackmagic Design has released its ATEM Mini Pro, a low-cost, live production switcher with all the attributes of ATEM Mini, plus extra features for recording, streaming and monitoring. The ATEM Mini Pro includes a new hardware streaming engine to allow direct streaming via its Ethernet connection to YouTube Live, Facebook and Twitch.

There is also support for recording the stream direct to USB flash disks in H.264, plus support for recording to multiple disks for continuous recording. The new model also includes a multiview on the HDMI video output that allows all inputs to be monitored on a single monitor, as well as live status of recording, streaming, and the audio mixer. All ATEM Mini models have USB that works like a webcam so customers can use any streaming software, and the ATEM Mini Pro model adds live streaming and recording to USB disks.

Cypress, CA, January 22, 2020 – FOR-A Corporation of America today announced David Morris joined the company on Dec. 9, 2019, as its western regional sales manager. He will lead sales efforts across more than a dozen U.S. states, including Alaska and Hawaii, as well as Western Canada.

Morris has built his career in sales serving the professional video industry. He spent more than 16 years as the western regional sales manager for Hitachi, almost seven years as a senior district sales manager for JVC Professional Products, and more than six years in sales for Premier Mounts. Most recently, he held sales positions with VMI Video and Extron.

“David is respected throughout our industry because of his knowledge and experience, and we are happy to welcome him to our team,” said Ken Truong, president of FOR-A Corporation of America. “He will help us continue to deliver switchers, servers, and other live production solutions to new and existing customers throughout California, Washington, and all the western United States.”

Morris is based out of the company’s corporate offices in Cypress. Contact him at (714) 723-1100 or via email at d.morris@for-a.com.

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.

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

And more functionality is on the way.

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

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

PROPER NETWORK BACKBONE

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

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

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

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

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

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

IT’S NOT ALL IP… YET

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

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

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

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

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

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

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

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

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

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

HIGH DYNAMIC RANGE

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

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

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

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

EXTRA FEATURES

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

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

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

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

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

ARTIFICIAL INTELLIGENCE

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

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

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

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

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

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

New product specialists join from broadcasters to enrich customer understanding

Cambridge, 7 October 2019: Underlining the importance of its solutions business, Pixel Power has added two new product specialists to the team. Tanya Schurawel and Toria Farrell both come direct from broadcasters, and will use their unique insights to help customers develop optimised solutions for automated production, graphics and playout.

Tanya Schurawel joins from Univision in the US, where she was most recently technical supervisor, animator and designer. With her strong technical and creative background, Tanya – who will be based in Florida– will engage with customers during the pre-sales period, ensuring their complex requirements are identified and satisfactorily met with Pixel Power’s virtualizable, modular systems.

Toria Farrell was previously a transmission controller at Red Bee Media/Ericsson. Toria began her career at the BBC as an EPG scheduler, and her career has seen her act as network director and playout director. Toria was a key member of the transmission launch team for the BT Sport launch in 2013, and became a senior playout director in 2015. She has worked within many client transmission areas from uktv and ITV to Channel 4, BT Sport and BBC World News. Based in the Pixel Power headquarters in Cambridge, she will work with customers to define software and virtualized playout solutions which enhance their businesses.

“As playout moves from large hardware installations to the almost infinite capabilities of software-defined, virtualizable solutions, broadcasters need to look at their operations and workflows afresh,” said James Gilbert, CEO of Pixel Power. “Vendors have an important role here, in translating a broadcaster’s business needs into innovative, practical and affordable technologies and workflows.

“Tanya and Toria, because of their extensive and current experience in broadcast and online transmission, are great assets in these discussions,” Gilbert added. “I’m delighted they have joined the Pixel Power team, helping us – and our customers – go from strength to strength.”

###

About Pixel Power, a Rohde & Schwarz Company
Pixel Power develops software-defined, virtualizable, solutions for broadcast playout, automation, master control, graphics & branding used in linear television channels, OTT and VOD. Our award-winning branding and promotions systems, graphics-enabled master control switchers and sophisticated switchable graphics production systems allow producers to deliver dynamic live and pre-recorded content for any SD, HD, 4k, mobile, online or interactive application.

Pixel Power has 30 years’ experience of engineering prowess and dedication to customer support that has made it the industry’s first choice in graphics, branding and playout. With more than 2500 installations worldwide, customers including market-leading broadcasters such as BBC, Ericsson, ITV, SWR, WDR, TV2 Norway, Danmarks Radio, TV5 Monde, CBC, Disney, Discovery, ESPN, ViaSat and Sky.

Recently acquired by Rohde & Schwarz GmbH, Pixel Power corporate headquarters are in Cambridge UK with regional offices in Grass Valley California and Dubai UAE.

Pixel Power can be contacted online at www.pixelpower.com.


Pixel Power Contact:
Name: Ciaran Doran
Title: Exec VP
Email: cdoran@pixelpower.com
Tel: +44 7775 581301

PR Contact:
Name: Jennie Marwick-Evans
Company: Manor Marketing
Email: jennie@manormarketing.tv
Tel: +44 7748 636171

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.

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.

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.

Tokyo, Japan, November 1, 2018 – Given a mandate from the country’s Ministry of Information and Communications Technology, Nepal Television, the national broadcaster of Nepal, must fully upgrade to high-definition by January of next year – which also marks the broadcaster’s 34th anniversary.

By January 31st 2019, Nepal Television will be running three HD studios, replacing all of its current equipment from SD to HD. As of that date, all new equipment must be installed and on-air so that Nepalese viewers can enjoy HDTV broadcasts from the country’s national broadcaster.

The selection was made in October to work with FOR-A’s Southeast Asia office to fulfill the networks’ quick turnaround, future 4K upgrade path, and budgetary requirements. Nepal Television will utilize two FOR-A HVS-2000 2 M/E video switchers for two of its studios, one HVS-2000 3 M/E video switcher for a biggest production studio, and dual-channel FA-9520 signal processors for frame synchronization, color correction, and up/down/cross/aspect conversion. The Nepal Television has been using HVS-390 video switchers in two studios, including one regional studio in Kohalpur.

Nepal Television will also upgrade the master control room (MCR) and program control room (PCR) for its two national channels (NTV and NTV PLUS) to full HD. Nepal Television will use two FOR-A MFR-3000 routing switchers - one in the Master Control Room and one as a redundant router. In the program control room, FOR-A’s MFR-1616 routing switcher will serve as the upstream router, the HVS-100 as the on-air production switcher, and FA-9520’s for all signal processing.

“FOR-A is known for the ruggedness and reliability of its product range and its modern design,” said Mr. Chinta Mani Baral, HOD, Engineering and Mr. Hari Prasad Bhandari, Chief of Studio Transmission and Maintenance of Nepal Television. “From video switchers, to routing switchers to signal processing, we were able to deal with one premier manufacturer in Japan, which was a big benefit to us. They’re able to meet our pricing and tight turnaround time and make sure we’re fully HD by January 31st 2019. We expect to enjoy a mutually beneficial relationship with FOR-A for a long time.”

About FOR-A

Leading this year’s recurring themes and category catch-phrases were the inevitable and overworked IP and Cloud, followed closely by Workflow Orchestration, Virtualization and relative newcomer Artificial Intelligence, all well-intentioned to automate the routine, liberate creativity, and enable deeper-than-ever dives into metadata, both for content and—shades of George Orwell—its consumers.

MASTER CONTROL AUTOMATION & CHANNEL PLAYOUT

AVECO debuted Ad Juggler, an ad revenue optimization tool for live sports coverage. A single key-press instantaneously executes an “alternate list” video/graphic sponsorship when a peak audience-interest play occurs; events post to the as-run for traffic and billing reconciliation.

BITCENTRAL showcased Central Control with multiple redundancy modes and Join-in-Progress updates, plus enhanced user-interface efficiency with multichannel control and customizable maps to aggregate and view remotely managed channels.

BROADSTREAM introduced Media Exchange for transcoder-free PitchBlue and Pathfire file acquisition and native playout. Also, CompuSat integration for off-satellite recording, and closed-caption display within its OASYS Browser.

CINEGY brought v12 of Air, Desktop, and Capture, plus Multiviewer v14. Desktop added real-time access to live feeds and its Archive MAM content. Included tools support logging, editing, post-production, news, and import/export to non-linear editing and automation.

CRISPIN unveiled a Sonybased Disaster Recovery solution via its RapidPlayX Web GUI. The Cloud-native playlist software offers on-premises and virtual deployment flexibility for stations to stay on-air when their ground facility’s off-line. Also, user feedback-based Join-in-Progress enhancements.

DNF CONTROLS unveiled its Live Cloud Playout collaboration with AWS. Thirdparty automation “sees” its GTP-32 controller as a local server channel, although content is remote on Amazon S3, and updates status as clips are added or removed. Also GTP-V1, a new software-only virtual IP controller for video/KVM routers, switchers, multiviewers, servers, tally systems, and more regardless of physical location.

ENCO announced NewTek Network Device Interface (NDI) support for IP video, plus a new ClipBoard interface for its Media Operations Manager (MOM) playout automation. Also, live input cut-ins without external switcher and support for SCTE-35 triggers and CEA-608/708 Closed Caption pass-through.

EVERTZ featured OvertureRT-LIVE workflow integration with iPowow, a social media aggregator and moderator, to enhance the viewer experience through real-time interaction with favorite shows.

FLORICAL partnered with Harmonic to debut FéniX, a scalable automation/playout package for simple channel to highyield enterprise configurations. Acuitas, its COTS hardware channel-in-a-box platform, added SAN environment capabilities for greater channel scalability.

GRASS VALLEY unveiled its SAM-merged automation range: iTX Flex, a Cloudbased SaaS solution for rapid channel spin-up; iTX Integrated Platform, software-based SD, HD or UHD playout with HDR support; and iTX On-Demand for VOD workflows. Complementing them: Multi-channel/screen Morpheus for on-premises, virtualized or multifacility operations, and ICE (Integrated Channel Playout), now supporting graphic templates with dynamic realtime data.

HARMONIC expanded its media processing family with VOS SW Cluster software and VOS 360 SaaS. Both support Cloud and bare metal environments to speed OTT deployment and channel migrations with greater flexibility and lower cost-per-channel.

IMAGINE COMMUNICATIONS added “Vizrt Inside” graphics to Versio, its Cloud-native, microservices-based playout platform, plus version redundancy, geo-zone back-up synchronization, and Adobe Acrobat integration.

NVERZION debuted Aramyst to automate syndicated content acquisition, prep and playout from PitchBlue and Pathfire; also announced, a Utah Scientific partnership combining their master control offerings under the brand “Uinta.”

PEBBLE BEACH added low-latency NDI confidence monitoring for live, reactive channels, plus 3D graphics integration with Pixel Power and Ross for Orca, its virtualized IP solution for scalable playout using private or public Cloud infrastructure.

PIXEL POWER showcased the addition of NewTek’s NDI technology to its Stream-Master integrated playout platform to generate and monitor low latency proxies. The company also demonstrated Gallium Workflow Orchestration to automate adding/removing graphics, branding, content packaging and regionalization; and GalliumVOD for OTT, catch-up and multiplatform services.

PRIMESTREAM debuted IP stream ingest and transcoding, a SaaS-based Review and Approval system, 4K/UHD end-to-end workflows, a centralized configuration module, and public APIs for Xchange.

RUSHWORKS unveiled A-List Streamster, IP-based desktop scheduling and playback automation for Internet channels, with URL and NDI input/output support for YouTube and similar outlets.

NEWSROOM SYSTEMS & WORKFLOWS

AVID brought multiple Cloud-centric journalist apps to its MediaCentral platform, including: “Publish,” to repurpose on-air content for Web and social media; “Rundown,” for live news production; “Research,” news feed and social media consolidation; and “Maestro News,” to facilitate graphic workflows.

BITCENTRAL launched FUEL, designed to dynamically stream and monetize viewer-personalized news content, while boosting engagement and ad impressions. Fuel incorporates the necessary tools to version, upload, and publish to digital audiences anywhere. The company also highlighted functionality updates throughout its newsroom workflow, including multiple third-party integrations, enhanced Oasis collaboration, and heightened security.

DALET showcased smart journalist modules powered by Media Cortex, part of its Galaxy AI framework. Content Discovery creates contextual recommendations with auto-content tagging, topic extraction, and key phrase searches; Social Media Framework lets editorial teams harvest, analyze, produce and deliver fast-paced news with popularity tracking and an aggregator tool to identify and follow threads.

GRASS VALLEY augmented its newsroom workflows with social media tools for STRATUS 6.0; enhanced video, IT and cloud-based asset management in Momentum; and v11 of its Ignite newscast production automation with upgraded Event Builder, third-party switcher support, and editing via SAM’s Go!, Rio or Grass’s EDIUS.

ENCO showed advanced ENPS, Avid and Octopus plug-ins and a new MOS interface for its Media Operations Manager (MOM) playout platform. Journalists can search asset libraries within their NRCS interface to add graphics, audio or video to scripts; rundowns auto-synchronize and are controllable via MOS for play-to-air.

OCTOPUS featured v8.2 of its eponymous NRCS. Among enhancements: collaborative scripting, faster rundown editing with clip replacement and in/out point modification, plus direct posting to social media and new story slug shortcuts.

TRAFFIC, BUSINESS & RIGHTS MANAGEMENT

BROADVIEW SOFTWARE rolled-out Version 8, with tools for linking series, seasons and episodes; expanded live event metadata management; upgraded auto-promo placement; enhanced secondary event and ad break functionality; and streamlined workflows to create and publish bulk program content.

IMAGINE COMMUNICATIONS debuted xG Scorecard. Blending input from sales and traffic, operational databases, social media, ratings and more across the enterprise, it empowers media executives to organize, navigate, interpret and draw real-time insights from their data.

MYERS introduced Console, a Cloud-enabled single point-of-entry to the ProTrack suite with enhanced security and multi-factor authentication. Also, ProTrack’s transition to browser front-end with advanced sales capabilities and interactive scheduling grid, and a significant update to ProWeb scheduling.

OPERATIVE (formerly SintecMedia) released an open API and ContentDNA, a machine learning algorithm within OnTarget forecasting to its Cloud-based AOS sales, traffic, and content management ecosystem. Also, new alliances with MediaOcean and Freewheel, among others.

WIDEORBIT launched Cloud Analytics, a streamlined SaaS edition of its flagship business intelligence solution that lowers implementation costs, yet retains its powerful dashboards, integrated traffic data, and mobile access for improved sales and financial decision-making.

ARCHIVE & MEDIA ASSET MANAGEMENT SOLUTIONS

AVID demonstrated On Demand, a Cloud-based SaaS platform to securely manage and deliver content to any device, anywhere, while automating transformation and QC tasks. Also, new AI Suite creates searchable rich metadata libraries, applying machine learning and cognitive services to content indexing, closed caption verification, scene and facial recognition, and speech-to-text conversion.

DALET introduced Galaxy five, the latest edition of its asset management and workflow orchestration platform. The new version adds AI across the workflow, hybrid infrastructures with on-premises and cloud deployments, and a core emphasis on social media.

EVERTZ showcased third-party integrations with Mediator-X, its Cloud-enabled asset management platform, including a file-based QC solution from Interra Systems; automated closed caption and video description verification, alignment and language identification with Avid|Illuminate; and scalable object storage with Cloudian HyperStore.

MASSTECH introduced its “Metadata Mining” concept: a framework to relay archive or production content to third-party AI services to create metadata such as voice-to-text, facial, object or location recognition, even sentiment recognition that can be converted into searchable metadata linked to specific stored assets, thereby expanding potential content discovery and monetization.

PRIME FOCUS TECHNOLOGIES added work order automation modules to its CLEAR Media ERP, including a Content Acquisition Portal to manage, evaluate, cata-logue and schedule; OTT Distribution for multi-platform VOD publishing; and Ingest for Satellite & Terrestrial Distribution for centralized capture, prep, QC and automated delivery to station master controls.

SONY announced full integration between Media Backbone NavigatorX and its Ci Media Cloud Platform, plus Avid and Adobe edit integration; HTML5 apps to ingest, organize, manage, and search across multiple departments and locations; and an Optical Disc Archive collaboration with Qualstar to develop an enterprise-class library system.

TEDIAL debuted AI-based SMARTLIVE, a metadata engine and production support tool for sports and live events. It automatically builds logs, player grids and schedules, captures actual multi-camera or multi-venue content, and creates highlight clips based on actions, keywords or logged occurrences for live production enhancement, archive, or publication to social media.

TMD showed Media-flex-UMS Orchestrator with third-party device controls and business system integrations for simple-to-complex software-defined workflows that adapt automatically based on metadata values. Companion Composer’s workflow designs may be cloned and edited in-house without programmers or costly professional services.

TVU NETWORKS unveiled its cloud-based MediaMind, consisting of Contribution Automation, AI Engine, Producer Pro, plus Real-Time Search and Workflow Engines. It precisely indexes video from the start of production based on AI-generated metadata, enabling production workgroups to efficiently locate and interact with content.

VERIZON DIGITAL MEDIA SERVICES featured Path Monitoring for OTT, part of Volicon Media Intelligence, with end-to-end delivery chain visibility, including a “what aired” video affidavit. It simultaneously monitors, logs and records baseband or transport stream feeds to confirm content integrity across geo-separated locations.

VSN showed Explorer MAM with new auto-metadata detection using IBM, Google or Microsoft Azure integration to obtain real-time insights from content via facial and brand recognition, keywords, speakers, objects, and more. Explorer now includes Wedit (web-based editor) enabling users to edit videos and export EDLs from any location.

XYECH revealed new features for its MediaPulse facility management, including Azure PaaS support, Change Control for Approval Workflows, Personnel Entitlements and Payroll Penalties in Schedule Book, and Auto-Assign Resource.

SWITCHERS/VISION MIXING

BLACKMAGIC DESIGN launched ATEM Television Studio Pro 4K, an all-in-one live UHD switcher with integrated hardware control panel featuring eight independent 12G-SDI inputs, built-in Fair-light audio mixer, ATEM Advanced Chroma Keyer, multi-view, flash-based media players, creative transitions, DVE, and more.

BROADCAST PIX released a dual-channel BPfusion CG software option for its BPswitch production series. It streamlines data-intensive graphics creation via built-in NewBlueNTX multilayer 3D motion CG and auto-updates with IP-based scoreboard, Twitter, RSS, spreadsheet, and similar sports, election, and news data.

EVS debuted X-ONE, an all-in-one live production system with software-defined technology for small to mid-sized events. An intuitive touchscreen interface enables solo operators to create replays, control audio, mix video sources, and add graphics over live content with high quality broadcast-standard output.

FOR-A unwrapped a new 4K 3 M/E model for its HVS-6000 switcher platform with a maximum 64 inputs/48 outputs in 12G-SDI and 12RU, Designed for users upgrading from HD to full 4K, it’s future-scalable to 8K.

GRASS VALLEY introduced K-Frame X, which uses existing K-FRM boards plus a new 192x96 I/O video production engine. It supports TICO compression or uncompressed SMPTE ST-2110 4K, along with HDR, and operates from any GV Kayenne, Karrera or Korona switcher panel.

JLCOOPER ELECTRONICS upped its Proton and Ion switcher control surfaces with front panel input mapping, Hall-effect T-Bar, GPI-input, and QuickSwitch to support multiple Blackmagic ATEMs.

NEWTEK unveiled NDI 3.5–its widely accepted interface protocol–with performance, network connectivity, and device discovery enhancements. Flagship TriCaster gained LiveGraphics with real-time motion and dynamic, data-driven text and imagery via Adobe Photoshop or After Effects, and without needing proprietary hardware.

ROSS VIDEO launched Carbonite Black Solo13, a compact 13-in/6-out switcher and hardware panel combo. Acuity gained Floating 3D DVE; 2020 WCG HDR Conversion on Input and Output Processing Boards with HLG, PQ and Slog3 support; audio on the Global Store; and enhanced Custom Controls. Carbonite v13 added DashBoard Virtual-Panel; input/output Color Corrector and proc amp controls; color temperature presets; Any Bus Follow, and more.

RUSHWORKS updated its VDESK Radio/TV Production System with 3n1 multi-function PTZ camera and TALK-TAKE voice-activated, hands-off switching between host and guests.

SONY unveiled the XVS-9000, an advanced live switcher for 4K, HD and HDR content productions with up to 80-inputs/40-outputs in 4K or 160-inputs/80-outputs in HD, plus IP, 12G-SDI in 4K, and hybrids of both for large sporting and entertainment programming.

ROUTING

EVERTZ debuted the XRF4, a modular RF router with hot-swappable rear panels, 64x128 matrix, direct fiber-optic inputs, and control/monitoring touch-screen.

FOR-A launched the MFR-6000 SD/HD/3G/6G/12G, a router with 12G-SDI compatibility across a matrix of up to 144-in/outputs plus 4K and 8K support. A built-in Web server simplifies setup and it can be integrated within an SNMP system to monitor operational states, I/O signals, and cross-point status.

GRASS VALLEY introduced v1.5 of Convergent, its SDI/IP router with familiar interface to visualize IP network bandwidth; it supports SDN and IGMP, as well as audio breakaway, shuffling and AES profile conversion. Also new, the Sirius 840 Enterprise, a router with integrated MV 850 multi-viewer with support for SDI, AES, MADI, 4K UHD, IP and 12G, 840 with integral audio/video processing.

ROSS VIDEO debuted the Ultrix-FR5, a 5RU, 144x144 routing/AV processing platform featuring SD to 12G, clean/quiet switching, audio embedding/de-embedding, and up to 24 MultiViewers with 100 PIPs per head.

UTAH SCIENTIFIC unveiled a pass-through card for its 400 Series 2/3 routers or standalone operation. It converts SDI to IP while keeping the original SDI for use elsewhere. Twelve 3G/HD/SD signals can be switched in SDI with simultaneous IP copies (2022 or 2110) fed to IP fabric, easing the migration to IP-based workflows.

KVM SWITCHES

ADDER TECHNOLOGY introduced the ALIF100T, a dongle-sized USB power-capable KVM, part of its ADDER-Link INFINITY series. The diminutive unit consumes a quarter the power of conventional rack units yet delivers up to 1920x1200@60Hz via DVI or DisplayPort interface.

BLACK BOX debuted its Emerald Unified KVM Platform, a converged solution to distribute video, audio, and peripheral signals in hybrid environments, including IP and proprietary direct-connect networks, with mixed resolutions up to UHD/4K and beyond.

G&D NORTH AMERICA unwrapped a KVM-over-IP matrix with dynamic access, secure AES-128 encrypted operation, and control room functionality for monitoring, scripting and scenario-switching.

IHSE launched the Draco ultra-491 Series, HDMI extenders that pass video over long distances without quality loss in simple point-to-point applications or combined with enterprise or compact matrix switches. It can extend HDMI up to 10 kilometers over fiber or 140 meters usingCat-X cables. Digital audio options include AES/EBU and S/PDIF up to 96 kilohertz.

THINKLOGICAL introduced the TLX Client Integration module, a virtual machine processor and KVM extender offering secure, uncompressed signal management without adding latency, artifacts or dropped-frames. It’s deployable point-to-point or in-conjunction with a matrix switch for multi-source/destination connectivity in collaborative workflows.

Major shifts in the means of broadcasting— as well as what that term actually means going forward—are accelerating us down the IP highway and into the cloud. A Broadway show lyric seems apropos: “There are times I am not sure of what I absolutely know... very often find confusion in conclusion I concluded long ago” (“A Puzzlement” from “The King and I”). Challenging times indeed for manufacturers, next-gen technology decision-makers, and content consumers alike.

MASTER CONTROL AUTOMATION & CHANNEL PLAYOUT

ACTUS DIGITAL will showcase Clip-Factory-Pro, sporting video editing functions, such as blurring, muting, pre/post rolls, Ads removal and more. Clip-Factory-Pro also comes with a new set of metadata generating tools that can integrate to As- RunLog, automation and Ads insertion systems in view of a fully automated workflow from Linear to OTT.

AVECO will highlight Redwood Blue, a multipurpose channel origination engine with up to four channels of ingest and/or playout per chassis and services including graphics, DVEs, live switching, and audio processing.

BITCENTRAL will unveil performance enhancements to Central Control, its scalable play-to-air automation, including new multichannel environment modes, improved Time Delay functionality, and additional workflow support in the Management module.

CRISPIN will debut a master control in the cloud solution with interfaces and controls for OTT and IP streaming. Enhancements to LoadingDock include the ability to streamline content acquisition, preparation, and scalability for multistation distribution that enable operators to pull or upload cloud content, prep files, view lo-rez clips, and manage media status.

ENCO will introduce a new ClipBoard control interface for its playout and TV/radio automation systems. Media Operations Manager (MOM) enhancements include live inputs for cut-ins without an external switcher and support for its browser-based enCloud remote production control applications.

FLORICAL will launch FeniX, an integrated playout solution powered by Harmonic technology and Florical’s enterprise automation suite. It offers SDI and IP options, plus master control switching, branding, and DVE effects.

GRASS VALLEY will showcase iTX Flex, a cost-effective SaaS playout solution using “True Cloud Architectures” to leverage proven iTX and GV Cloud Orchestration technologies.

HARMONIC will debut VOS SW (Software) Cluster Media Processing, a comprehensive suite embedding the company’s best-of-breed encoding, playout, origination, and packaging applications.

IMAGINE COMMUNICATIONS returns with an enhanced Versio Platform, a cloud-native, microservices-based, modular playout solution designed for pure-IP, geo-dispersed environments using commercial-off-the-shelf [COTS] hardware.

PEBBLE BEACH has added NDI confidence monitoring to Orca, a software-defined, virtualized IP channel solution optimized for cloud deployment of high value channels. Also at their booth will be the Dolphin channel-in-a-box system, offering graphics plug-ins and live captioning capabilities.

PIXEL POWER has added NewTek’s NDI protocol to its StreamMaster integrated playout platform. NDI enables generation and monitoring of low latency proxies, letting operators view multiple output buses from within the Pixel Power Gallium Automation interface or a third-party multiviewer.

ROSS VIDEO will introduce a broadcast production and newsroom control bundle that combines OverDrive Express automation with its Graphite switcher, 3-D graphics, and a two-channel clip-server.

RUSHWORKS will introduce A-LIST Streamster, an IP-only edition of its broadcast automation system tailored for OTT content management and distribution.

NEWSROOM SYSTEMS & WORKFLOWS

BITCENTRAL will debut MultiPath, an Oasis media asset management module. Its intuitively structured interface complements the company’s integrated newsroom suite with an overview of the media publishing process for targeting and simultaneous content delivery to websites, apps, social media, and syndication.

DALET will unveil Content Discovery module, a core functionality within its Unified News Operation that presents relevant/related media to journalists and content producers as they develop news stories, thereby enriching narratives with expanded data and detail.

GRASS VALLEY has added a new web client and support of the GV I/O appliance to GV STRATUS 6.0 to enable complete virtualization.

ENCO will spotlight a MOS interface for ENPS, iNews and Octopus newsroom systems, plus NewTek NDI support within its Media Operations Manager (MOM) automation.

TRAFFIC, BUSINESS & RIGHTS MANAGEMENT

BROADVIEW SOFTWARE will showcase v8.0 of its On Demand management tools supporting a wide range of multiplatform services.

IMAGINE COMMUNICATIONS will reprise xG GamePlan, inventory optimization tools to help deliver target audiences with a minimum of commercial airtime.

MYERS will debut options for ProTrack, its management system for broadcast networks, affiliates, and independent media outlets. ProTrack HUB supports Network Operations Centers, integrating tightly with centralized master controls and their distribution to client stations. ProTrack MAM makes file-based media visible to programming and traffic teams.

ARCHIVE & MEDIA ASSET MANAGEMENT SOLUTIONS

AVID will introduce Media- Central | Asset Management to speed finding assets, streamline content delivery across any platform, and create new revenue opportunities.

DALET will feature AI-enhanced media workflow prototypes to help organizations capitalize on opportunities via intelligent auto-tagging, augmented production workflows with contextual recommendations, more advanced task and process automation, and adaptive scaling to leverage powerful predictive analytics.

EVERTZ will feature Mediator-X, a cloud-enabled media asset management platform that helps media companies monetize content and lower operating costs.

MASSTECH will highlight its efficient FlashNet media object storage application and MassStore media services framework for media and storage management on-premises, the cloud, or in hybrid configurations.

PRIME FOCUS TECHNOLOGIES will unveil AI-enabled MAM and subtitling tools for its CLEAR Media ERP range. Capabilities include facial detection, speech-to-text, and location/brand recognition to enrich content metadata and aid content discovery.

TEDIAL is introducing SMART Live, designed for sports and live events. Its metadata engine automatically generates metadata ingest processes to address complex sporting event workflows, creating clips based on actions, keywords or logged occurrences; video and audio recognition can generate additional locator data and annotate the media proxies.

TELESTREAM will add end-to-end Adaptive Bitrate and a new workflow to its iQ Quality Assurance solution, reducing issue report to resolution times.

TMD will unveil an integration between its Mediaflex-UMS workflow engine and Avid’s Interplay, enabling users to select content, master clips, or sequences and initiate actions to archive or distribute media.

VERIZON DIGITAL MEDIA SERVICES will bring enhancements to its Volicon Media Intelligence, Media Xperience Studio; Uplynk Video Streaming, and Edgecast Content Delivery Network service offerings.

SWITCHERS AND ROUTING

When it comes to switching and routing, new solutions on the NAB 2018 show floor are offering more inputs, more DVEs and expanded capabilities such as 4K and IP connectivity. Popular this year: customization and the ability to handling multiple formats and functionalities often in a smaller footprint.

BLACKMAGIC DESIGN will show the ATEM 4 M/E high frame-rate Ultra HD 2160p60 switcher, a 4K switcher with 20 inputs, 4 MEs, 16 ATEM advanced chroma keyers, two Ultra HD multi viewers, full 2D DVEs, and built-in compositing engines with four picture-in-picture DVEs. A smaller version of the ATEM will also be on the floor in the form of the ATEM 1 M/E Advanced Panel, a compact hardware control panel designed to work with all ATEM switchers.

BROADCAST PIX will show the BPswitch family of integrated production switchers, which include control-over-IP capabilities. Features include NewBlueNTX 3D motion graphics, clip stores, customizable multiview and device control.

EVS will demo the DYVI IT-based switching solution, which offers distributed live production and new scalability features.

FOR-A will unveil the HVS-6000 12GSDI video switcher, with support for 4K and scalability for users looking to transition to 8K in the future. The company will also introduce a system package that includes the HVS-490 video switcher, MFR-3000 routing switcher, MV-4200 multiviewer and ClassX suite of graphics solutions.

GRASS VALLEY will feature GV K-Frame X, a new processing engine that supports SDI, IP or hybrid SDI/IP configurations. The switcher offers an I/O footprint of 192x96, supports TICO compression or uncompressed SMPTE ST 2110 4K along with HDR, and connects to any Grass Valley panel.

JLCOOPER ELECTRONICS will feature its ION compact broadcast switcher panel control surface, designed for fast video switching in a live production environment such as mobile, sports, educational or house of worship.

NEWTEK will highlight the TriCaster TC1 production system, offering switching as well as streaming and recording in HD, 3G and 4K UHD 60p. Features include 16 external inputs and 4 MEs as well as an integrated video server for playback, replay and live editing.

PANASONIC plans to showcase the AVHLC100, a combination solution that pulls together a 1ME switcher, PTZ camera controller and audio mixer in a single device.

PIXEL POWER will demo the BrandMaster branding switcher and graphics playout system.

ROSS VIDEO will show the 12G Multi-Processing Input Module for Acuity, a 20-input card that adds single-link 12G connectivity and provides independent input signal management functions. The company will also bring its range of switcher options, including the Carbonite Black Solo single ME switcher, Graphite all-in-one production system and Carbonite midsize switcher.

RUSHWORKS will showcase its VDESK radio/TV production system, a multifunction integrated production system.

ROUTING

BARNFIND will feature BarnOne with Web Server, which offers a new web interface for configuration and operation of BarnOne frames; and new 4K Products as part of the BTF1-41 series.

FOR-A will introduce a system package that includes the MFR-3000 routing switcher that includes a HVS-490 video switcher, MV-4200 multiviewer and ClassX suite of graphics solutions.

GRASS VALLEY will show the latest in router control and configuration with GV Convergent, an IP/SDI router control/configuration system that works with both COTS switches and IP-enabled endpoint equipment to manage facility routing as the industry migrates from SDI to IP.

IMAGINE COMMUNICATIONS will showcase Platinum IP3, a 28 RU device that offers hybrid IP connectivity and offers mixed-format video and audio routing, multiviewer functionality, frame sync and advanced I/O options.

ROSS VIDEO will showcase Ultrix-FR5, a 5RU, 144 x 144 version of the Ultrix routing/AV processing platform.

UTAH SCIENTIFIC will debut updates to the 400 Series, a hybrid digital router designed to accommodate IP signals along with high-density SDI. The company will also show the UHD-12G 12G digital routing switcher which enables distribution of a full range of SDI video signals, from SD data rates up to 2160p60 in a single-link interconnect.

KVM SWITCHES

ADDER will feature the ADDERLink INFINITY 100T, an IP-based KVM transmitter that uses standard network infrastructure to extend and matrix computers away from the user environment.

BLACKBOX will showcase solutions that include its control room KVM options such as the InvisaPC, an IP-based KVM solution that offers access to physical and virtual servers and the DCX digital KVM matrix solution.

G&D NORTH AMERICA will introduce a new KVM-over-IP matrix system, as well as the DP1.2-Vision KVM extender system for 4K, which uses in-house HDIP compression technology and is compatible with G&D’s digital matrices and allows the extension, switching and distribution of 4K video signals through matrix systems. Also on display: the DP1.2-VisionXG, a high-end KVM extender system that extends computer signals up to 10,000 meters over fiber.

IHSE will show the 491 Series for extending HDMI signals; 496 Series SDI/KVM extender series, which converts 3G/SDI signals for sharing serial digital video with Draco tera KVM matrix switches; 494 Series DVI-I, which can interface with other Draco ultra extenders; 444 Series, which allows users to connect a keyboard, mouse and keypad as a single HID device to a KVM system through USB with an additional HID extension, and the OPS+ KVM extender, which is designed to simplify the installation, operation and management of remove displays.

THINKLOGICAL will showcase TLX, an uncompressed 4K/8K KVM solution that delivers extension and switching of KVM and uncompressed 4K DCI video (4096x2160 resolution, 4:4:4 color depth, 30 bits per pixel) at 60Hz frame rate with any-to-any matrix switching. The company will also show its new Virtual Machine Integrated Client Modules.

HAMILTON, N.J.—More than ever, the real excitement in broadcast television is live production. Viewers want to experience major events, such as sports, breaking news and elections, firsthand as they unfold. And the video production switcher has long been at the center of it all, taking all the signals in, processing them and outputting the live show.

While today’s switchers need to maintain the highest production standards, they must also adapt to new forces reshaping the industry, such as 4K/UHD, high dynamic range (HDR), and the IP transition. Just in terms of IP, switchers need to support new SMPTE standards, such as SMPTE 2022-6 and SMPTE-2110, as well as 12G SDI, 4K TICO compression, remote production, online streaming, and even cloud-based capabilities.

RISING TO NEW STANDARDS

Regardless of what the new format or trend is, “no broadcaster wants to sacrifice the look and feel of their on-air product,” said Greg Huttie, vice president of switcher products for Grass Valley. “And more importantly, viewers don’t want to watch a lesser quality show just because it’s now in 4K or IP. If they don’t see multiple boxes on screen, cool graphics, replays, tickers, strike zone tracking, the first-down line, or whatever whiz-bang elements they’ve come to expect, they’ll be disappointed.”

That’s why our production switchers handle the greater processing demands of IP, UHD, HDR and other dramatic new advances without short-changing today’s high production standards, or negatively impacting the familiar live production workflow experience that technical directors and engineers have come to know.”

Grass Valley Kayenne Grass Valley’s Kayenne Control Panel pairs with the company’s K-Frame video processing engine, which supports switching between a mix of IP and SDI infrastructures, including 1080p 3G, 12G SDI, SMPTE 2022-6, and 4K over 1-wire TICO-compressed IP. For UHD shows, 1080p sources can be upconverted in the switcher to 4K, and native 4K/UHD signals can be switched in either 2SI (two sample interleave) or SDQS (square division quadrant). In 2SI mode, upconversion is done automatically for all sources. Grass Valley LDX cameras and switcher hardware also support HDR for brighter, crisper images.

NEW-AGE DESIGN

The DYVI IP-based production switcher—from Belgium-based EVS—is a next-generation switching platform capable of a decentralized and distributed production configuration. With this architecture, users are no longer constrained by hardware, such as the number of M/Es, keyers or proprietary hardware of any kind.

“As an IP switcher with SDI capability added on, DYVI is at the opposite end of the spectrum from legacy switchers,” said James Stellpflug, vice president of product marketing for Belgium-based EVS, with U.S. headquarters in Fairfield, N.J. “Its flexible design lets users scale from HD to 4K and beyond.” By eliminating traditional baseband signal routing concerns, DYVI’s configuration can scale from single user/single location to multiuser/multilocation networks.

“Rather than bringing all the camera signals back to your central control room, you can put DYVI processing modules wherever they’re needed, and control signals using IP as if they’re local,” Stellpflug said. “The control, visibility and access are done flexibly over IP, not using point-to-point wires and other constraining hardware.”

Hollywood Film Director Francis Ford Coppola used DYVI on his “Distant Vision” live cinema project, which can be described as a “hybrid” of theater, film and television (“Coppola Brings the Concept of Live to Cinema,” Broadcast Engineering Extra, November 2016). The switcher was used to cut feeds from 40 cameras to produce 17 scenes involving complex camera requirements. The ability to quickly configure DYVI for unlimited control panel setups, assignment and changes were particularly beneficial to the innovative project, according to Stellpflug.

With this switcher, layering, adding keys and performing visual transforms and effects are done using an onboard GPU card. “This approach offers more creative freedom and power,” he said. “Technology is shifting and we’re ahead of the curve.”

LIMITLESS PRODUCTION

NewTek IP Series, NewTek’s modular software-driven video/audio over IP production ecosystem is based on Newtek NDI (Network Device Interface). IP Series is comprised of the VMC1 Video Mix Engine, a four-stripe control panel, VMC1 IN Studio Input Module for ingesting SDI sources, and VMC1 OUT Studio Output Module for output in 3G/HD/SD-SDI. By adding NDI Connect Pro to the workflow, additional standards like ASPEN and SMPTE 2022-6 can be output.

“The IP Series is an integral part of an NDI ecosystem that leverages a standard gigabit Ethernet local area network and an affordable Cisco network switch that takes the place of a video router,” said Jorge Dighero, national key account manager for NewTek.

While the Studio Input Module accepts four inputs, the sources scale drastically when one or more NewTek Video Mix Engines—handling up to 44 inputs each—are networked. Instead of running miles of SDI cabling between video devices and transferring baseband from point-to-point, the IP Series has immediate access to any of the sources on the interconnected IP modules, regardless of where they are on the LAN. Upon input or output, SDI signals are converted to and from NDI—a broadly supported IP video networking protocol—with virtually no latency or sync issues.

“With the IP Series, we have removed the constraints inherent in switching SDI baseband video, even within the switcher itself, where processing is done entirely in the IP domain,” Dighero added. “And with NDI, we can make live IP production more affordable, and easier to implement than SDI, even at 4K/UHD resolutions.”

SAM KahunaDELIVERING THE WOW FACTOR

SAM’s enterprise-class Kahuna live production switchers include 4-, 12- and 24- M/E models, while its Kula—a compact 1-2 M/E switcher—targets mid- and smaller-sized markets.

“Right now, our customers have many big decisions to make about their underlying infrastructure, whether to continue in SDI, adopt the 12-Gig single-link standard, advance to 4K/UHD or make the leap of faith to IP,” said David Tasker, vice president of systems & technology, Americas for SAM. “And when switching between all these formats, production people consider latency a top concern.”

To manage latency, SAM switchers offer FormatFusion3, which provides up/down conversion within the M/E bus, rather than via external standards converters. “This internal signal processing reduces system timing issues to about a frame of latency and ensures proper lip sync,” Tasker said. “This capability benefits from the same technology found in our Alchemist standards converter.”

Going forward, SAM plans to support HDR and standard dynamic range (SDR), as well as wider color gamut, wherever possible across its product line, leveraging HDR expertise from its Rio color editing and finishing system. Tasker said that many broadcasters are more enthusiastic about combining HDR with 1080p HD than they are about making costly upgrades to support a UHD infrastructure. “They feel that HDR delivers a bigger ‘wow factor’ than the increased resolution,” Tasker said. “So it’s very important for our switchers to support both HDR and SDR, and manage a mix between the two, transparently to the operator.”

SAM will have a very strong presence at the 2017 NAB Show, according to John Shike, vice president, business development, Americas for SAM. “With our accelerated pace of R&D, we will have even more new developments than we did at IBC, which was our strongest IBC to date,” he said.

IP ECOSYSTEM

Following its September 2016 acquisition of IO Gates, an innovator of cloud-based video production management, Broadcast Pix has leveraged that technology into BPNet, a new entry-level cloud-based IP ecosystem available across its integrated production switcher line. BPNet not only allows the switchers to input and output IP- and NDI-based media, they are integrated within an IP ecosystem for sharing, managing and storing content in the cloud.

“People want to use the cloud along with their standard GigE local area networks as an integral part of their media content creation and distribution,” said Tony Mastantuono, Product Manager for Broadcast Pix. “BPNet enables our switchers to integrate in the cloud as well as distribute video to IP-based outlets.”

“With our switchers, customers can also create a customized, branded Web portal that serves as an online broadcast platform as well as deliver live video via venues like Facebook Live and YouTube,” Mastantuono added. “We also offer a mobile app that lets mobile journalists and others in the field ingest video using their smartphones and deliver it to the cloud, making it immediately available as a source that our switchers can use in a live show.”

While all Broadcast Pix switchers have these new capabilities, the lower-end Roadie and Flint models also integrate HD streaming. At the high-end, the 2 M/E Granite supports 22 multi-def SDI inputs with 12 outputs, six layers of keying with DVEs, CG graphics and BPView for multiviewer monitoring.

BPCommand can be added for customizable, automated control that makes complex productions easier to run from an intuitive touchscreen interface. Mastanuono said that, with BPNet, their switchers are growing in popularity in broadcast, as well as non-traditional video markets, such as the PEG, education, house of worship and government sectors.

Ross AcuityFOCUS ON VALUE

Ross Video’s top-of-the-line Acuity Series production switcher offers a powerful, future-oriented processing platform with an aesthetic, ergonomic design. It also offers multiprocessor support for SD, HD, 3G or Quad Link 3G SDI for 4K/UHD productions, as well as a multiviewer for monitoring input sources.

To provide an interface with the IP domain, Ross also recently introduced the Raptor IPG-8970/IP Gateway multiprotocol solution for the openGear signal processing platform. This card creates a bridge between live SDI video production equipment, such as switchers, and the growing packet-based studio infrastructure. It supports SMPTE 2022-6, VSF TR-03/TR-04, among other encapsulation modes.

“This IP Gateway enables facilities to deliver product into the IP domain without changing over their entire SDI infrastructure,” says Les O’Reilly, marketing product manager for Ross switchers. “While virtually every customer today is delivering video to IP and internet sites, the cost of producing in IP is more expensive, and not as well defined, as SDI. Video facilities don’t have to abandon SDI to serve the IP world.”

For the rapidly growing midsize market, Ross offers the Carbonite production switcher line, including the Black Solo Series, which includes the live Xpression CG package, that runs on any Windows PC with an NVidia graphics card. High-quality graphics are delivered over an IP connection between the two.

Since this market tends to be price-sensitive, Carbonite switchers offer the essential features and capabilities required by mid-market users, such as corporations, schools, churches and secondary DTV broadcast applications and control rooms.

“We don’t integrate live streaming capabilities into Carbonite switchers because that function would tax the available processing power and compromise performance,” O’Reilly said. “But by utilizing any third-party streaming encoder card available on our openGear platform, our customers can stream programs cost-effectively with an outboard device without having to compromise the switcher’s performance or pay a premium for integrated streaming functionality.”

SOPHISTICATED CAMERA CONTROL

RUSHWORKS is now shipping its new VDX 12-input control surface, custom-designed for its VDESK Integrated Production System in response to customer requests. According to company president Rush Beesley, “VDESK can be operated with the included 23-inch touchscreen, as well as with a keyboard and mouse. The VDX USB control panel appeals to operators that want a traditional switcher panel with keyboard shortcuts and a T-bar for manual transition control.“

Both VDESK and REMO—the ruggedized remote version—integrate a 4-, 8- or 12-camera input switcher, as well as effects, transitions, chroma-key, local encoding and streaming, playlist creation and other features. The system provides three user interfaces—Classic, Producer and Talking Points—that make it simple for anyone to produce a professional multicamera show with no camera operators required.

“While there’s a video production switcher at the core, the key distinguishing feature of VDESK is sophisticated camera control capability,” said Beesley. “By simply touching picture icons on the user interface, an individual can move the camera to that preset and automatically take the shot.”

Switching and routing technology took a big leap at NAB Show this year as systems continued to evolve to offer cloud technology networking, IP workflow management options, and expanded format capabilities including HD, 3G and 4K.

SWITCHERS/INTEGRATED PRODUCTION SYSTEMS
Blackmagic Design introduced v6.8 software for ATEM, which now allows users to control HyperDeck Studio SSD recorders via an ATEM switcher. Users can deploy HyperDecks as a fully controllable source into their switcher workflow for live production.

Broadcast Pix BPCommandBroadcast Pix debuted BPNet, a cloud-based IP workflow management system for Broadcast Pix integrated production switchers, which allows users to share, convert, distribute and archive media files. The company also unveiled new BP-Command control interfaces as part of its integrated production switchers and demonstrated how certain switchers, like the Broadcast Pix Flint, are now integrated with significant new IP functionality.

For-A introduced a 3M/E version of the HVS-2000 switcher. The company also demonstrated the new ability of its HVS-100/110 portable video switcher to accept HVS-100TB2 Thunderbolt 2 expansion cards to create a CG and virtual studio option.

Grass Valley GV KoronaGrass Valley launched GV Korona, a smaller production switcher available in 1 and 2 M/E panels. Based on the same platform as Kayenne and Karrera, GV Korona supports multiple HD formats, and can be upgraded to 3G/4K. The GV Korona 2 stripe panel supports 20 assignable buttons on each M/E row as well a touchscreen in the transition area.

NewTek introduced TalkShow VS4000, a professional, multichannel video calling production system for both SDI and IP workflows.

Ross Carbonite Black SoloRoss Video introduced v4.0 software for Acuity, now offering Split M/E, DVE Warps, Lighting Engine, and support for the new MultiProcessing Input card option. The company also launched Carbonite Black Plus, a 36-input switcher; and Carbonite Black Solo, a compact production switcher with nine inputs and six outputs.

SAM introduced the Kula multiformat production switcher, a model available in a range of 1M/E and 2M/E panels that can support SD/HD and 4K. The switcher offers expandable control panels, up to five key layers per M/E, and up to 36 inputs and 18 outputs.

Sony introduced three new models to its XVS series of switchers, including the XVS- 7000, which offers 6M/E operation with 112 inputs in HD, and 3M/E operations with 28 inputs in 4K; and the XVS-6000, which supports 4M/E operation with 48 inputs in HD, and 2M/E operation with 12 inputs in 4K. Both—along with the XVS-8000—feature enhanced frame memory, format conversion, multiviewer capabilities, a range of input and output video formats, and HDR support. Sony also announced it is enhancing its interoperable IP Live Production system with a networked media interface.

ROUTING
ETL Systems introduced the Hurricane Matrix router, a 64 x 64 model in a 4RU chassis and featuring fibre inputs, variable gain and variable slope.

For-A debuted the MFR-4000 routing switcher, a unit that features a 72x72 matrix and offers 1.5G, 3G, 6G, and 12G-SDI automatic recognition and input/output. The company also showed the MFR-3232 and how these routing switcher units use the take advantage of the company’s integrated control system, as well as its MFR-3000 routing model.

Imagine Communications showcased the new Platinum IP3 router, designed to support UHD signals and suited for mobile and broadcast production environments.

PESA showed off its Cheetah routers, which range from 64 x 64 in 4RU up to 1024 x 1024, as well as Jaguar, Cougar and Ocelot enterprise class routers. The company also highlighted its PESA XSTREAM R3232 router, which can integrate with the NewTek TriCaster to offer 32 3G SDI I/O to expand TriCaster’s video sources.

Utah Scientific UHD-12G digital routing switcherSAM showed new options to its router lineup, including the Enterprise-level Sirius 800, the asymetric Vega router, and the family of Pyxis routers, which now offer 4K support.

Utah Scientific introduced the enterprise-class UHD-12G digital routing switcher, with distribution of a full range of SDI video signals, from SD data rates up to 2160p60 data rates, in a single-link interconnect. The company also unveiled the UTAH-400 IP Gateway, a new family of IP gateway I/O cards designed for use with UTAH-400 Series 2 enterprise routers. The company also launched the new Foundation Series, a family of hybrid digital routing systems.

KVM
Adder unveiled the AdderLink XD150FX, a high-performance point-to-point fibre extender with USB2.0 that can transmit high quality video—up to 2560x1600—and analog audio over a duplex fiber-optic cable. The company also introduced the fully UL-approved Adder RED-PSU, a 19-inch rack-mountable power distribution unit that features 16 lockable power outputs, two hot-swappable power modules, web interface and intelligent load balancing. There were also two new A/D converters, the VGA CAM, a VGA computer access module (CAM), for the Adderview DDX matrix, and Adder DVA, a professional grade VGA to DVI converter.

Black Box debuted the DKM KVM Switching and Extension System, which can be used to process and route DisplayPort, HDMI, and HD-SDI signals, with resolutions up to 4K.

G&D introduced the DP1.2-VisionXG for transparent KVM transmission up to 4K@60 Hz, totally lossless and without any latency. The company also launched the DisplayPort extender, offering two DisplayPort connectors at the input and output, allowing users to choose one single video channel at full video bandwidth or distribute the bandwidth on two dual-head channels at Full HD.

IHSE showcased the 576 Port Draco Tera enterprise matrix switch, a KVM and video matrix switch that supports a range of video formats; the Draco U-Switch, which enables parallel management of USB 2.0 and USBHID signals to multi-monitor workstations via a single keyboard, mouse or push button panel; and the Draco tera compact UNI port matrix switch, which allows for switching of SuperSpeed USB 3.0 and 3G-SDI.

Thinklogical highlighted the TLX, an uncompressed 4K KVM and video extension and switching system that offers uncompressed 4K video extension over two fibers or CATx cables. TLX signal management solutions include the TLX DisplayPort 1.2 and HDMI 1.4 extenders and the TLX640 switch.

Switching and routing technology continues to evolve, with the growing influence of IT-based technologies, scalable processing and customizable performance tools.

SWITCHERS/INTEGRATED PRODUCTION SYSTEMS
Broadcast Pix Roadie Broadcast Pix will show off a new integrated feature set of customizable performance tools within the Broadcast Pix integrated production switcher lineup, which is designed to streamline and simplify live video production. The multiviewer offers up to 16 full-motion windows with custom layouts across up to four monitors. Also expect to see the Roadie, a mobile integrated production switcher that features built-in HD streaming and recording, as well as support for up to four cameras, audio mixer, CG, clip store, multiview, macros, DVEs and chroma key.

Grass Valley KayenneEVS will be on hand with the newly upgraded DYVI IT-based switcher, which includes an intuitive panel, distributed architecture and scalable processor for improved creative control and streamlined production.

Grass Valley will showcase its Kayenne video production center switchers, which can be configured with full multiformat support including 1080p and 4K.

Henry Engineering will show the AES DigiSwitch, a three-input, one-output switcher for AES digital audio.

Logitek Electronic Systems will show off an updated version of the Artisan console platform, an audio console for TV with a JetStream Plus IP-networked platform that offers a 240-channel dense node router.

Marshall Electronics plans to showcase the VSW2200 seamless switcher, a fourinput video switcher designed to provide seamless transitions between live video feeds for broadcasts, teleconferences or live streamed events. Features include four 3G/ HD-SDI inputs with one SDI/HDMI output and one HDMI quadview output.

Newtek will demonstrate the company’s TriCaster Advanced Edition featuring the Newtek Network Device Interface (NDI) protocol, an open standard for live production for anyone wanting to enable IP workflows over Ethernet networks in their facilities or in production systems they manufacture.

Ross Video will showcase the Carbonite Black production switcher, which provides 36x22 I/O with two or three M/E configurations in a 2RU frame. A redesigned control panels offer one, two and three M/E row layouts with 16, 24 and 32 source buttons.

New from SAM is the Kula multiformat production switcher, which is built on the heritage of the industry stalwart Kahuna switcher. The Kula is available in a range of 1M/E and 2M/E panels that can support SD/HD and 4K. The newest version of the Kahuna production switchers, suited to 4K, HD and IP environments, will also be on the show floor.

Streamstar will show several of its production systems including the Streamstar CASE 710, a six-camera streaming production studio in a compact, portable package; the Streamstar CASE 510, a four-camera streaming production studio; and the Streamstar KITs, a live production and streaming solution.

AJA KUMO SDI routerROUTING
AJA Video Systems will show its newest routing solutions, including its KUMO line of SDI routers, available in three configurations: the KUMO 3232, which supports 32 3G SDI inputs and outputs; KUMO 1616, which supports 16 3G SDI I/O; and KUMO 1604, with support for 16 3G SDI inputs and four 3G SDI outputs.

Barnfind Technologies will showcase the BarnOne fiber platform, which includes multi-functional 1RU frames with built-in router.

Evertz will showcase its 128x128 XPRF RF router/matrix switch, a 14RU wideband, non-blocking, full fanout RF router for signals from 850MHz to 2.3GHz; and the MAGNUM-SDVN control and orchestration system, which offers software orchestration and a control layer for Evertz IP-based SDVN solutions to provide end-to-end control of video, audio and data flows.

Grass Valley plans to show off the GV Node, a real-time IP processing and routing platform that offers a real-time, distributed routing and IP processing node that supports IP and SDI workflows with vertically accurate switching and integrated processing. Also on display will be the GV Convergent, an IP router control and configuration system.

Imagine Communications Platinum IP3 routerImagine Communications will offer attendees a first look at the new Platinum IP3 router, an offshoot of the company’s Platinum IP3 28RU router, but in a smaller offering that provides integrated routing and processing capabilities in a 15RU frame. The router is designed to support Ultra High Definition signals, and is suited for mobile and broadcast production environments.

PESA comes to the desert with the Cheetah Flex, which adds multichannel streaming capabilities to the Cheetah router, resulting in a hybrid routing environment that supports up to 4K video resolution. The company will also show off the PESA XSTREAM R3232 router, which can integrate with the NewTek TriCaster to offer 32 3G SDI I/O to expand TriCaster’s video sources.

Routing stalwart Utah Scientific will show off the newest version of its flagship router, the UTAH-400, in the form of Series 2, which offers a single platform for all signal formats including those within IP network-based environments.

Adder AdderView DDXKVM
Adder will showcase its new compact AdderView DDX matrix, which offers a choice of DVI and DisplayPort transmitters, and provides up to 1920x1200 resolutions at 60FPS without loss. With extension distances of up to 50 meters, over a single standard CATx cable, it also features transparent EDID management, full-speed USB and an intuitive GUI with multiview thumbnail display.

Apantac will showcase its HDMI 4x4 Clean Matrix Switch with HDBaseT outputs, designed for switching video and audio between sources with different resolutions; and the HDMI 16x8 Clean Matrix Switch with HDBaseT outputs.

The DKM KVM Switching and Extension System from Black Box can be used to process and route DisplayPort, HDMI, and HD-SDI signals, with resolutions up to 4K. Likewise, users can extend lossless HD video and KVM over a local area network via the Agility IP-based KVM switching and extension system. Other solutions to be displayed include the DCX3000 digital KVM matrix switch, the Freedom II desktop KVM switch and the 4Site Flex video processor and KVM switch.

IHSE will showcase the 576 Port Draco Tera enterprise matrix switch, a KVM and video matrix switch that supports a range of video formats; the Draco U-Switch, which enables parallel management of USB 2.0 and USBHID signals to multi-monitor workstations via a single keyboard, mouse or push button panel; and the Draco tera compact UNI port matrix switch, which allows for switching of SuperSpeed USB 3.0 and 3G-SDI.

Thinklogical will arrive at the NAB Show with the TLX, an uncompressed 4K KVM and video extension and switching system that offers uncompressed 4K video extension over two fibers or CATx cables.

BILLERICA, MASS.—Broadcast Pix has announced a pair of new software upgrades for its switchers; version 4.5 for the Granite and Mica systems, and version 3.5 for the Flint and Roadie.

Both versions feature AJA Kumo router control, a switcher option to integrate external sources into live production environments. Kumo SDI routers can be controlled by Broadcast Pix switchers through a TCP/IP connection. Any change made to the AJA router panel and Web-based control system will be automatically reflected in the switcher and vice versa.

These new upgrades also offer faster access to show editor and device settings from a Mulit-View PixPad, which provides quicker access to input assignments menu for external inputs and allows the menu to be opened via the Multi-View PixPad edit button.

Version 4.5 exclusively features expanded clip format support, including SD ProRes at 720x480/576 .mov clips and SD DV/DVCPro at 720x480/576 .mov clips.

There is also a new 3.5 version of Rapid CG for data driven graphics. This new version features enhance database integration with support of Sportzcast, Graphic Outfitters and Rundown Creator; advanced Twitter integration features; and new page link, database conditions and easy data source searches.

Both V4.5 and V3.5 are available now.

DES MOINES, IOWA—AVI Systems, a Minneapolis-based A/V and broadcast systems integrator, recently outfitted Principal Park—a 11,500 seat baseball stadium in Des Moines and home to the Triple-A Iowa Cubs baseball team—with an extensive Panasonic camera and switcher system to feed the facility’s new HD LED scoreboard.

The Iowa Cubs use Panasonic’s AK-HC3800 and AJ-PX800 cameras to capture Minor League Baseball action. Beyond this outdoor display, the signals from the three AK-HC3800 camera systems and an AJ-PX800 AVC-Ultra camcorder provide video through their Panasonic AV-HS410 production switcher to an internal cable system for live game coverage throughout Principal Park’s concourses and skyboxes. A signal is also sent to stream the games live on milb.tv, the official website for Minor League Baseball.

NEW CAPABILITIES
When we met with the Cubs’ production team last fall, they didn’t look much further than the Panasonic. Video Director Justin Walters was very impressed with the image clarity of the HC3800s and the camera’s ability to color match, as well as the ease of operation. There was an immediate understanding that the staff of college interns could use the PX800 camcorder for roving portable video acquisition to give them a range of audience shots that they never had before.

AVI Systems installed the new equipment in February and March, and everything was ready well in advance of the Cubs’ season opener in April. We placed two of the HC3800s in the stadium seating above first base and third base. The main HC3800 camera is mounted on the upper level of the stadium directly behind home plate. The camera signals are sent via SMPTE fiber to the camera control units in the control room on the third level of the stadium, also behind home plate.

The Cubs purchased the complete HC3800 camera systems, including AKHCU200 CCUs, AK-HDRP200 remote panels, and AK-HVF70G 7-inch color LCD viewfinders and Fujinon XA20sx8.5 BERM lens with lens controls.

TRANSMITTING VIDEO
The three rackmounted CCUs are connected to the HC3800s via SMPTE hybrid fiber. Even though we didn’t need the distance, the SMPTE cable can pass signals of up to 1,000 meters to provide uncompressed video, communication, camera control and power over a single compound cable. The three camera remote panels are located next to the director in the control room, where one of the crew is assigned to shade each camera. This operator monitors the cameras with a Panasonic BT-LH2170 21-inch LCD monitor and uses the monitor’s internal waveform vectorscope to view and adjust camera settings.

The PX800 is equipped with a Wave Central wireless video transmitter receiver system. The AVC-Ultra camcorder has been color matched to the HC3800s, and has really enhanced the versatility of the Cubs’ in-game production. Previously, with their aging SD equipment, they were limited in getting the kind of crowd color coverage that now makes the scoreboard pop.

The Iowa Cubs absolutely love the new camera systems and we’d like to think we “hit one out of the park” for a franchise that regularly sends up players to the big show at Wrigley Field.

Les Hofland is the system specialist for AVI Systems. Les can be reached atles.hofland@avisystems.comor call 515-323-7302.

For additional information, contact Panasonic at 877-803-8492 or visitwww.panasonic.com/broadcast.

ALBANY, N.Y.—Market forces are favorable for production switchers, according to Transparency Market Research. The Upstate New York firm cited “the increasing consumer demand for broadcasting major programs including music concerts and live sporting events in HD format” as a factor.

“In addition, with increasing demand for higher quality video, the broadcast industry has seen an increase in HD satellite broadcast subscribers globally,” the firm said. “HD channels have seen steady growth and with increasing digital transmission, the number of HD channels is expected to grow from 4,500 to 7,547 at a CAGR of 9.0 percent from 2013 to 2019.”

Researchers further noted that the number of ongoing digital transitions around the world. According to the 2006 International Telecommunication Union treaty in which 120 countries pledged to transition to digital broadcasting, African, European and Middle-East regions had to migrate to digital television before June 17, 2015, and the 16 countries of the Economic Community of West African States sub-region “are working to adopt a common implementation plan for digital transition,” the researcher said.

“This is expected to boost the market for broadcast equipment and, in turn, broadcast switchers deployed in them. Different countries in South America including Chile, Columbia and Venezuela are expected to adopt digital transmission by 2020,” it said.

Arab countries and Commonwealth of Independent States such as Ukraine and Belarus are expected to adopt digital transmission this year. Bahrain, Egypt, Kuwait, Libya, Syrian Arab Republic and the United Arab Emirates among others are expected to “show greater market opportunity in near future,” the firm said.

Despite the positive influences of digital transitions and HD upgrades, the researchers said, “adoption of digital technologies is slow due to the heavy infrastructure required to enable digitized broadcasts. The switchers are used only as a part of broadcast equipment. Moreover, establishing new broadcast facilities involves huge capital investment… Thus, the small private broadcasters that operate over-the-air find it difficult to enter into the market, thus restraining the market growth.

“But the cost of digital equipment is expected to fall during the forecast period [2014-20]. Hence, the impact of these factors is high at present but is analyzed to be medium to low throughout the forecast period.”

The executive summary is here.

SJFD used BlackMagic’s ATEM production switcher to help establish a video communication system between stations.
SAN JOSE, CALIF.—Protecting the heart of Silicon Valley, the San Jose Fire Department responds to approximately 80,000 incidents annually over 200 square miles of urban and suburban area through 33 fire stations. Radio communication drives the response network, but keeping our firefighters in tune with the day-to-day issues confronting us is a challenge. The department is at its best when the men and women who directly deliver our services provide input on management decisions. This is best achieved in real time, but getting busy managers to 33 work sites on three different shifts is not practical.

POWERFUL AND PORTABLE
To address this gap, the video streaming project was initiated and funded as a pilot program and acquired the following key components: BlackMagic Design ATEM Television Studio switcher, BlackMagic Design HyperDeck Studio SSD recorder, 6-Core Mac Pro, three cameras and BlackMagic Design Mini Converters HDMI to SDI. For audio we selected the Behringer Xenix (X1204USB) and Ultramatch Pro (SRC2496) for AES/EBU conversion. We selected Livestream (Premium Plan) for streaming and messaging. All of the hardware, including three video monitors, is mounted onto a rolling cart that allows us to move production effortlessly throughout our building.

As a video production beginner, I was most concerned about the video switcher. I was worried about facing a steep learning curve, and with a limited budget, the wrong choice could have stopped us in our tracks. The ATEM Television Studio, a broadcast-quality production switcher for creating live SD and HD programming, turned out to be a great choice.

EASY TO ASSEMBLE
Setup was trouble free and I was fortunate to find some great information sources that cued me to the AES/EBU format and how to achieve it at a low cost. Using the ATEM switcher is very simple, and training others to step in takes only minutes.

The cameras output via a mini-HDMI port, which we convert to SDI for input to the switcher. Because of the static camera setup, we capture audio separately and process through the Behringer mixer and converter. The live three-camera production uploads through the ATEM in H.264 through the Mac Pro to Livestream.

We stream staff meetings following a published annual work plan as an agenda which means that we can now offer viewer participation on all of the issues that we are working on in the form of online messaging. After a few months of webcasted meetings and presentations, we are receiving very positive feedback from line personnel and have even found some unexpected efficiencies. The medium is still new to us and we anticipate even more benefits going forward.

Robert is responsible for the Operations Bureau inclusive of Emergency Medical Services, Radio Communications, and Special Operations at the San Jose Fire Department. He can be reached atrobert.sapien@sanjoseca.gov.

For additional information, contact BlackMagic Design at 408-954-0500 or visitwww.blackmagicdesign.com.