At the 2025 NAB Show, April 6-9 in Las Vegas, Vizrt says it plans to showcase a new AI graphics solution integration with Highfield AI, Viz Connect Audio, the company’s first dedicated NDI audio connection solution, and Viz One 8, the company’s largest update to its enterprise Media Asset Management (MAM) system in more than 10 years.

HighField AI, an advanced AI-powered solution designed to automate repetitive tasks within the media production workflow will demonstrate its integration on Vizrt Booth W3031. HighField AI, which announced its launch last week, is the industry's first multimodal and agentic AI solution designed to improve professional broadcast graphics workflow efficiency through its intelligent, context-aware AI solution.

HighField AI—purpose-built for the media industry—analyzes the stories as written by journalists in their NRCS system such as CGI Open Media and Avid’s iNews. It deploys a set of AI agents that automate tasks usually done by operators: selecting the most suitable graphics templates created with Vizrt and filling them with relevant content, including text, images, and video clips pulled from broadcasters' content repositories. These agents collaborate autonomously to assemble the story graphics, learning from past decisions to improve efficiency and accuracy. While the system operates autonomously, journalists maintain complete control over the final product, safeguarding editorial integrity and quality.

The result is maximized user efficiency and higher quality productions, Vizrt said.

"There’s an urgent need to streamline workflows for broadcasters,” says Ionut Pogacean, Senior Product Manager, Media Technologies and Workflow, Vizrt. “This integration helps our customers get the most out of their existing Vizrt infrastructure, streamlining workflows without major changes or disruptions. With HighField AI, Vizrt users can produce high-quality, visually stunning graphics faster and more efficiently, enhancing every production cycle.”

“Together with Vizrt, we're transforming the way journalists work by eliminating inefficiencies and empowering them to craft even more powerful stories," says Ofir Benovici, Co-Founder of HighField AI. "By enhancing journalists' existing workflows with cutting-edge AI, we're enabling them to deliver content faster than ever before and at higher quality.”

Vizrt will demo its integration with Highfield at Booth W3031 in the West Hall of the LVCC during the show as well as in the and in the IABM Lounge (N259).

NDI for Audio
Also new at the show is Viz Connect Audio—the company’s first dedicated audio connectivity and monitoring technology product. Viz Connect Audio adds, for the first time, a much-needed ability to manage any and all NDI sources on a network, both visually and aurally, Vizrt said.

“Audio is just as important as video in any live production. By ensuring seamless and flexible audio connectivity using the same NDI network, with streaming infrastructure also widely used for video, Viz Connect Audio guarantees professional-quality, easy to configure live productions,” says Steve Taylor, Chief Product and Technology Officer, Vizrt.

Viz Connect Audio makes it easy for users to connect analog audio sources, configure and convert them to NDI, enabling their use in a local or remote NDI ecosystem. At the same time, Viz Connect Audio allows visibility of all NDI audio sources on the NDI network.

“While TriCasters have long provided the ability to connect audio sources directly into the live production switcher, with Viz Connect Audio, the focus is firmly on enabling users to bring in analog audio sources, convert them to NDI, and connect them straight to the NDI network – strengthening the entire workflow and flexibility of the ecosystem,” says Christopher McLendon, Senior Product Manager, Vizrt.

Ideal for broadcast studios, event producers, corporate communications, educational institutions, content creators, and anyone doing a live production, Viz Connect Audio easily integrates, enabling the visibility, monitoring, and control of a production’s audio sources.

As one of the first dedicated NDI IP Audio solutions, Viz Connect Audio brings endless connectivity options, expanding unrivalled production possibilities using a range of formats.

At NAB 2025, Viz Connect Audio will be showcased in its seamless integration with Vizrt’s flagship TriCaster, the TriCaster Vizion in Booth W3031 in the West Hall of the LVCC.

Vizrt will also showcase Viz One 8, the company’s largest update to its enterprise Media Asset Management (MAM) system in more than 10 years.

BERGEN, Norway—Vizrt today said its cloud-ready TriCaster Vectar and TriCaster Now are now available in Amazon Web Services (AWS) Marketplace.

AWS Marketplace is a curated digital catalog for software that runs on AWS. Making TriCaster video production tools available in AWS Marketplace streamlines the testing, purchase and management of those products within customers’ accounts, Vizrt said.

“AWS Marketplace provides a centralized portal for access, testing and billing of cloud-based TriCaster video production tools, making it easier than ever for content creators to take their first step in achieving truly remote live productions,” Davide Cortassa, product manager for Cloud Live Production at Vizrt, said.

“AWS customers can leverage their committed cloud spend and enjoy the reduced travel and transport costs and carbon emissions that cloud live productions provide,” he said.

TriCaster Vectar (previously Viz Vectar Plus) is a video production system for larger news and sports productions that supports up to 44 external sources. It can be deployed in customers’ AWS accounts for free as a fully functional watermarked version for testing, Vizrt said, with customers responsible for managing AWS costs.

TriCaster Now supports up to 8 inputs and caters to smaller seasonal or entry-level productions and corporate town halls. It provides a fully managed software-as-a-service (SaaS) with a simple usage-based credits pricing model, Vizrt said.

To support the AWS Marketplace launch, Vizrt said it has qualified as a certified AWS Media & Entertainment Competency partner, a program that validates and promotes AWS Partners that have demonstrated technical expertise and customer success in specific areas.

This builds upon last year’s AWS ISV Accelerate accreditation, ensuring customers that Vizrt’s live production and media asset management (MAM) solutions meet the strict standards and best practices of AWS, it said.

Both TriCaster products are now available in the AWS Marketplace.

More information is available on the company’s website.

BERGEN, Norway—Vizrt today announced the addition of TriCaster Vizion and TriCaster Mini S to its TriCaster family.

TriCaster Vizion, the new flagship TriCaster, is designed for broadcasters, sports networks and live event producers. It offers the latest in IP connectivity, configurable SDI I/O supplied by Matrox devices, powerful switching, audio mixing and state-of-the-art graphics. It features leading graphics capabilities with TriCaster Graphics powered by Viz Flowics as standard, as well as artificial intelligence (AI)-powered automation of time-consuming tasks, the company said.

Vizrt is making TriCaster Vizion available with different licensing options and a choice of two hardware platforms supported by HP. Support is part of the perpetual and subscription-licensing options, the company said.

“TriCaster Vizion is the hub of a complete digital media production ecosystem. It’s built to understand the needs of media production, which are constantly evolving,” Vizrt Global Head of Product Management Ulrich Voigt said. “In fact, TriCaster Vizion was devised from the demands and conversations with the TriCaster user community. The result is a live production system that empowers users to push creative boundaries, streamline workflows and deliver the content they envision.”

TriCaster Mini S is an entry-level, software-only solution for content creators and smaller productions. It offers robust IP connectivity, 4Kp60 streaming, and integrated TriCaster Graphics powered by Viz Flowics as standard. With TriCaster Mini S, users can live-switch video, leverage virtual sets and special effects, mix and record audio, publish to social media and web stream, it said.

“TriCaster Mini S is equipped to bring you everything needed to start your live production journey,” Voigt said. “It also puts the choice in your hands: choose your hardware, then you’re set to create, produce, and stream your stories, your way.”

With the TriCaster Mini S, users simply download software for use or can choose any approved hardware or their own system, the company said.

Both products are available to order now, Vizrt said.

More information is available on the company’s website.

BERGEN, Norway—Vizrt has unveiled the TriCaster Flex Dual control panel, the second in its TriCaster Flex control panel lineup.

“Adding to the TriCaster Flex line of control panels was a natural next step for Vizrt, and by bringing to life the Flex Dual we are aligning our control panel offering to match the depth and breadth of the ever expanding and evolving TriCaster line,” said Vizrt senior product manager Chris McLendon. “The TriCaster Flex Dual is an excellent way of demonstrating how products from across the Vizrt portfolio can work together seamlessly to tell stories beautifully.”

The TriCaster Flex Dual is a dual stripe control panel. It offers users an unparalleled number of ways to work and customize their workflows and can evolve to meet the needs of any production. The control panel offers 24 direct crosspoints, two 10-key dynamic menu systems and other new features, including a full-size joystick—a first for a Flex control panel, the company said.

The TriCaster Flex Dual is an NDI-native panel, which means operators no longer are tethered to the physical location of their TriCaster switchers. Capable of working with TriCaster hardware models, such as the TriCaster TC1, 1 Pro and 2 Elite, as well as the TriCaster Vectar in the cloud, Flex Dual simply connects to the network and controls switchers from anywhere in the world, it said.

Providing creative freedom regardless of the size or complexity of a production, the new control panel offers delegate and utility rows for unique workflow configurations, giving users the freedom to define how they want to work, it said.

More information is available on the company’s website.

SAN ANTONIO, Texas—NewTek today issued a call for entries into its inaugural TriCaster Director of the Year Awards honoring the innovation, technical skill and creative excellence of TriCaster directors from around the world. Entries open May 19.

“We are on a mission to honor the amazing talent that gives real purpose to our flagship product line. We want to recognize the visual storytellers that operate TriCasters and highlight how they artfully weave together video into impactful and compelling stories,” said NewTek president and GM Barbara Spicek.

“Cutting-edge content needs more than just technology, it needs talent," she continued. "With the TriCaster Director of the Year Awards, we want to give back to the TriCaster maestros who create magic and delight for audiences and the industry.” 

Categories include:

• The TriCaster Director of the Year – Universal best director chosen by the judges
• The ESG (Environmental, social and corporate governance) TriCaster Director of the Year Awards
• The Corporate TriCaster Director of the Year
• The Education TriCaster Director of the Year
• The House of Worship TriCaster Director of the Year
• The Sports TriCaster Director of the Year
• The Live Production TriCaster Director of the Year (music, events, awards and broadcast.)

The awards are open to any technical director or TriCaster operator. To apply, entrants are asked to submit a brief highlights video representing their top TriCaster content this year with a short synopsis and statement of support, the company said.

A panel of expert industry judges will review the submissions and choose an overall TriCaster Director of the Year.

For the ESG TriCaster Director category, the panel will select a shortlist of 10 entries. Those 10 will be voted on by the public, which will then be invited to share their perspectives on what creative director has made the most impact on the community with content, it said.

The winners will be invited to a one-of-a-kind NewTek gala ceremony in late November, where the winners will share in a $100,000 value prize pot. The awards show will also be streamed live on NewTek TV using a TriCaster to exhibit the production power of the product.

More information is available on the company’s website. Follow the competition at: #TriCasterAwards2022.

SAN ANTONIO, Texas—NewTek has launched the new TriCaster 1 Pro, a streamlined live video production system with support for 4K UHD switching, live streaming, recording, data-driven graphics, virtual sets, media publishing, and other features. 

In addition, NewTek, which is part of the Vizrt Group, has also added a number of new innovative features to its flagship TriCaster 2 Elite video production system.

Both the new TriCaster 1 Pro, and the upgraded TriCaster 2 Elite offer integrated flexibility of software and IP networks, providing the kind of tight NDI-native integration, available only in TriCasters, NewTek said. 

Both TriCasters also feature LiveGraphics, LivePanel, and Live Story Creator tools as standard offering automation, title and motion graphics, and bespoke control surfaces.

“Today’s producers have to keep up with an insatiable demand for video content while maximizing flexibility,” said Will Waters, NewTek’s head of product management. “TriCaster offers the only complete set of production tools while focusing on efficiency and flexibility only available through combining IP networking and software-defined solutions. The TriCaster 1 Pro is a welcome addition for the storytellers that need robust remote calling but don’t require an extreme quantity of sources and destinations. The update to the TriCaster 2 Elite serves to cement its position as a transformative platform that truly takes video production to another level.” 

Dynamic and powerful nested macros capabilities within the TriCaster Pro 1 and TriCaster 2 Elite allow operators to deliver complex productions effortlessly, NewTek said. Operators can send Alpha Channel through one of the MIX outs, bringing post-production closer to live. Users can also use the keying on TriCaster to feed graphics or real-time 3D creation tools. TriCaster 1 Pro and TriCaster 2 Elite support encoding of three channels.

They also offer improved features for integrating remote guests into productions. Both TriCaster models now offer the latest version of Live Call Connect, effortlessly integrating popular video communication applications like Facebook Messenger, WhatsApp, FaceTime, Zoom, Skype TX, Microsoft® Teams, Discord, Slack, and Tencent as video inputs. In addition, producers can turn any mobile device into a live production camera by using the NDI TriCaster Camera App - now available, for free, for Android and iOS devices. 

Audio capabilities have also been upgraded. Using AI, TriCaster 1 Pro and TriCaster 2 Elite help to maintain all important production quality by cancelling or reducing background noise from any source. The tool automatically detects voices and cleans the audio meaning remote callers in loud environments can be clearly and easily heard, just by the touch of a button, using the Neural Voice Isolation tool, NewTek said. 

NewTek TriCaster 1 Pro is available now at $21,995. International pricing may vary, NewTek said.  

The NewTek TriCaster 2 Elite update is free and available to download now for all existing TriCaster 2 Elite users. TriCaster 2 Elite is available to buy and priced at $29,995 

For more information is available at https://www.newtek.com/tricaster/1-pro/ and at https://www.newtek.com/tricaster/2-elite/ 

MONTREAL—Matrox Video announced its Extio 3 IP KVM extenders are now compatible with the NewTek 3Play 3P1 IP replay solution and TriCaster TC1 live multicamera production system.

The support means broadcast facilities can create high-performance KVM-over-IP infrastructures that enable users to connect to and control the NewTek solutions and make it possible for next-level live event production from a remote 4K or multidisplay station via a LAN or a private WAN, Matrox said.

“NewTek is pleased with both Matrox Extio’s smooth integration with our flagship production systems as well as its enablement of productivity-enhancing capabilities at the user level,” says Will Waters, head of product management at NewTek. “Broadcast facilities will benefit from Matrox’s reliable KVM extension technology that ensures uninterrupted on-air operations while offering pristine-quality performance at the operator station for the same-level-quality productions.”

NewTek 3Play 3PI is a replay, slow-motion video solution used in live game coverage and for training and analysis. NewTek TriCaster TC1 is a full-featured production system offering hundreds of advanced live production features, including native IP processing.

Matrox Extio 3 IP KVM extenders deliver ultra-low-bitrate 4Kp60 4:4:4, dual 4Kp30 4:4:4 or quad 1080p60 4:4:4 video extension and switching via a standard Gigabit Ethernet network.

This KVM-over-IP technology enables users to access, share and manage one or more centralized servers and/or workstations—located in a different room, building, campus or city—from a single 4K/multidisplay station. Extio 3 offers advanced security features, ensuring secure and safe transmission of all audio, video and USB signals over the network.

“As broadcasters continue to incorporate a growing number of NewTek live production systems within their facilities, Matrox Extio 3 provides these environments with a simple, streamlined approach to KVM-over-IP infrastructures that facilitates the centralization of hardware assets while simultaneously providing operators with zero-compromise access to remote equipment,” said Francesco Scartozzi, vice president of sales and business development, Broadcast and Media Group at Matrox Video. 

More information is available on the Matrox website.

LOS ANGELES—When I’ve talked about being a certified NewTek TriCaster operator, I’ve likened it to having a bit of a “super power.” TriCaster has proven over the years to be a “dream catcher” of sorts. Many people have a creative project or vision, but they don’t quite know how powerfully or effectively it can be shared with the world. TriCaster gives you that power.

TriCaster is the technology on which I have built my business—Entertainment Services LA Inc. Since the beginning, I have produced a number of live music events, reality shows, game shows and network scripted television with TriCaster as the backbone. I’ve worked with Comedy Central, MTV, VH1, CBS, Viacom, NBCUniversal, the Oscars and even helped run a streaming channel for horse racing at one point.

Because TriCaster is a feature-rich video production powerhouse in a compact, mobile package, I’ve been able to flex not just creative muscle for clients,  but also offer creative reflex. I’m able to set up quickly in a small footprint within a club or venue, and use it to produce high-quality, multicamera video shows that stream to multiple destinations simultaneously, all without disrupting the patrons, performers or ambience.

And, as a “dream catcher” for clients, it’s been rewarding to make a lot of other dreamers’ visions come true.

However, as of writing this, a global crisis has shut down traditional production as we know it. Live events like music festivals have become non-existent. Television production has grounded to a halt. But, thanks to TriCaster, we are finding ways for the shows to go on.

CHALLENGE ACCEPTED

An example of this can be seen in a project I recently completed in partnership with the BeachLife Music Festival. Last year we streamed a three-day event featuring Willie Nelson, The Beach Boys’ Brian Wilson, Jason Mraz, Ziggy Marley and the Blues Travelers. Using TriCaster live video production systems we were able to set up on-site and capture the performances from two separate stages on Redondo Beach.

With its incredibly small footprint, TriCaster provided the ability to set up exactly where we needed to be to effectively stream 13 hours worth of content on all three days.

This year we had to fundamentally alter the event due to the coronavirus. A remote setup was created, with talent performing from their homes and backyards. TriCaster remained core to the production. Located in my office, I was able to provide all the switching and graphics from my on-site TriCaster setup. We brought in talent using Skype—which integrates natively into the NewTek workflow—and allowed hosts to talk with musicians live. It also provided a high level of quality for both video and audio—critical for a music festival—all while enabling a completely remote production.

This workflow will be increasingly common in the coming months. I’ve already recorded segments for “America’s Got Talent” as the show ramps back up—again, completely remotely with the TriCaster serving as the production backbone. More shows are on the horizon, and will allow entertainment to more quickly return to us as we continue to shelter at home.

The versatility of TriCaster has proven to be impressive during this challenging time—but it isn’t a surprise. It is a complete system that offers creativity, flexibility and a bit of a super power for any job you might have in front of you.

Brian Sheil’s Entertainment Services LA has provided video and audio production services for more than 20 years. Clients include The MTV Video Music Awards, The Oscars Red Carpet, NBC’s Today Show Live, VH-1′s Critics Choice Movie & TV Awards and more. He can be contacted at info@esla.us. 

For more information, visit www.newtek.com or call 210-370-8000. 

ALEXANDRIA, VA.—The old saw is that if you build a better mousetrap, buyers will beat a path to your door. The question of the day is whether IP infrastructure is a better mousetrap for video production when compared to a traditional SDI infrastructure.

The answer seems to be that IP is better for video infrastructure, with the catch being that not everything plays well together—yet. Although there is a SMPTE standard for the transport of IP video (ST 2110) and this is excellent for interoperability, there is a bit of a learning curve and an adjustment period to get all the gear humming the way it should.

That said, there are many benefits to going the IP route for your in-house infrastructure and distribution. A big advantage is flexibility—SDI is a point-to-point one-way system, and IP is bidirectional and can carry multiple uncompressed signals at the same time. A notable future advantage may be lower installation costs, but that’s not necessarily the case today.

“I would say that at current time, an IP-based system is more expensive than an SDI system,” said Svein Henning Skaga, project manager for TV 2 Norway, the country’s largest commercial broadcaster. “We need to do a lot of training since this is new technology, and we need a lot of services from our vendors. But in the long run, we expect it to have lower costs as changes and expansion are less complex.”

Skaga said that the production staff does not see much difference in how operations are conducted, as their systems are much the same as before.

However, for operations and support there is a big change, he said. “They now need to relate to computer network equipment and new [IP] technology.”

The TV2 Norway system relies significantly on Lawo production gear, and the bottom line for Skaga is how well the system runs.

“For a traditional broadcast guy like myself, I was concerned about the stability,” he said. “The IP system has been very stable, and we have full control over all our audio-and video streams.”

When building an IP-based system, Skaga recommends putting a lot of effort into designing the network infrastructure. Getting this right from the start will save you from a lot of trouble, he said, but don’t be surprised if you still have work to do.

“Physical installation was rather quick,” he said, “but configuration took a long time.”

NEW STUDIO USING IP

Celebro Media, a Washington-based studio facility that caters to international broadcasters, recently built a new studio facility using IP technology. At the heart of it is a NewTek production switcher connected throughout the facility using NewTek’s Network Device Interface technology, an IP-based solution that NewTek has shared with many other companies.

“We identified very early on that we needed to go down the IP route,” said Stephen Gaisford, director of US operations for Celebro Media. “We have a studio on the 10th floor and live positions overlooking the White House. Traditionally, broadcasters would be running SDI cables from source to destination all over the building, and we knew that wasn’t practical. We considered New-Tek’s NDI solution as a way to make every source a destination with its two-way connectivity. Everything connected in the in/out module in our rack room is a source that is available to us on our TriCaster switcher in the main studio control room.”

Gaisford pointed out that the NewTek production switcher has only four SDI inputs, and he has four studio cameras plus a host of other inputs—including international remote feeds.

“The flexibility that NDI gives us means that we can have a limitless amount of sources at our disposal,” he said. “We’re future-proofed by going down the Ethernet RJ45 route.”

Celebro’s system was not quite plug-and-play, and Gaisford echoed a thought that many television engineers share.

“Something that broadcasters have to bear in mind going forward is that your engineers are not just going to be television broadcast engineers—they need to have knowledge of computer networks,” he said. “The single biggest issue that we faced getting the bits of kit to talk to each other was making sure that firewalls weren’t stopping one item from talking to another. That’s something that we’ve only resolved quite recently.”

MERCEDES-BENZ STADIUM

The engineering staff at Mercedes-Benz Stadium, home of the NFL’s Atlanta Falcons, recently installed an IP-based video system from Ross Video that is used on game day to source and distribute signals used for broadcasts and in-park video.

One of the decisions was what speed to make the IP network.

“With a 10GbE network, you can send more signals—up to three 3G signals down on path,” said Ben Dolinky, a video engineer for AMB Sports + Entertainment, which operates the video systems at the stadium. “We couldn’t do that with an uncompressed HD-SDI signal.”

Dolinky had one operational note regarding an IP video system, as compared to a traditional SDI-based system: “It goes without saying, but in an IP facility it is very important to keep your server room as clean and dust-free as possible,” he said. “With an IP facility, there is more fiber cleaning and maintenance compared to an SDI facility.”

DAILY BLAST LIVE

To promote the second season of its syndicated daytime programming, Daily Blast Live (DBL), broadcast station group TEGNA conducted a live, point-to-point “media tour” from its KUSA Denver studio to 32 stations across the country. For six straight hours on one day, Daily Blast Live sent 32 different live shots about every 10 minutes featuring DBL talent to TEGNA morning and noon shows.

The number of shots, the total length of time, and the varying time zones that had to be accommodated made purchasing satellite time too cost-prohibitive, so TEGNA turned to TVU Grid, an IP-based switching, routing and distribution system from TVU Networks, to receive DBL media tour audio and video.

Each local TEGNA station receiving DBL media tour audio and media routed the signals through their own control rooms to air. Sharon Levy, DBL technical operations manager, received programming from each station via TVU Grid, using it as a confidence monitor and a source to record all DBL live shots that day. DBL anchors used IFB audio through the TVU Grid to have conversations with each of the stations.

“Distributing our feeds with TVU Grid required no additional fees,” Levy said. “We had the TVU infrastructure in place already, and the technology is nearly as clean [as satellite] now. None of the stations had any issue finding us. All our stations received our output on TVU Grid. I recorded each shot live and archived them all. It went very smoothly.”

HD OR 4K?

Where does 4K fit into the IP video production picture? Gaisford said that all productions so far at Celebro’s Washington studios have been in HD, although the facility can handle 4K origination. It looks like the inherent flexibility of IP makes it a logical choice for systems that have varying needs up to and including 4K.

“One of the big advantages of IP is being able to maximize resources,” said Robert Erickson, advanced technology director for Grass Valley. “Software-defined applications running on IP infrastructures can be quickly spun up and taken down rapidly, allowing more efficient resource management. With IP, projects can be allocated resources as needed and re-allocated somewhere else during downtime. Additionally, IP is completely format-agnostic, enabling broadcasters to quickly respond to new business opportunities.”

A variety of companies now manufacture a wide range of SMPTE ST2110-standard products for IP video production. In addition to those already mentioned, Sony, JVC, Panasonic, EVS and Blackmagic Design all have an array of products that fit into IP production workflows. One example is the Sony XVS-9000 live production switcher, which can be used for 4K and HD productions, and features high dynamic range (HDR) capability.

It is possible today to shoot live broadcast-quality programming using IP-connected equipment. Costs are competitive today with providing similar function using SDI architecture, with the added benefit that IP systems are both bidirectional and more flexible than SDI cabling.

SAN ANTONIO—NewTek has announced the availability of LiveGraphics as part of its Premium Access monthly subscription service. LiveGraphics allows users to go directly to air with 10 channels of real-time animated graphics authored in Adobe Photoshop CC and Adobe After Effects CC for live output from TriCaster TC1 and NewTek IP Series.

In addition to LiveGraphics, Premium Access gives subscribers five additional applications including LivePanel, NDI KVM, Advanced Audio I/O, Virtual PTZ, and NewTek’s entire Virtual Set Library. Premium Access is the gateway to new advanced software features; subscribers will receive automatic updates as new capabilities are implemented.

First demonstrated at NAB 2018, LiveGraphics allows users to replace text, images, and create links to live data, and then play those graphics back in real time. LiveGraphics does not require a proprietary hardware graphics engine and delivers on the promise of Adobe Creative Cloud in real-time.

“Our software-centric approach to innovating tools for live video production allows us to develop at a fast and relentless pace,” said Dr. Andrew Cross, president and CTO of NewTek. “Premium Access is an affordable and highly convenient way to make our current and future software innovations accessible and available to customers. We are proud to initiate this service with truly revolutionary features like LiveGraphics and a robust selection of other ground breaking advancements.”

Premium Access requires the latest version of TriCaster TC1 and NewTek IP Series software now available to all users. This free software upgrade includes more than 20 new features. Premium Access initially includes LiveGraphics along with these additional advanced software applications:

LivePanel allows users to create custom controls from a compatible desktop or mobile device anywhere on a network. Easily accessible through any Web browser or operating system, LivePanel includes production-ready control panels for remote video mixing, media playback, audio mixing, and macro automation. The LivePanel Builder tool enables custom panels geared toward automating and simplifying unique productions and workflows.

Advanced Audio I/O provides comprehensive support for 64+ channels of Dante and AES67 audio while extracting all incoming and outgoing audio channels, including embedded SDI and NDI audio channels, to allow for more sophisticated configuration and complex handling. Interface seamlessly with external routing, networking, and mixing workflows, incorporating compatible audio boards, consoles, and USB sound devices and more. 

Virtual PTZ expands shot selection and storytelling opportunities without increasing source count by creating and accessing multiple shots from any individual video signal. Virtual PTZ starts with a full-resolution camera angle or video source, allows user-defined distinct areas of interest, then stores as full-frame presets that can be switched to or transitioned from seamlessly. Virtual PTZ includes live virtual zoom and real-time pan and scan effects.

Virtual Set Library: Full access to the premium library of NewTek LiveSet virtual sets is included with Premium Access. Choose from an extended variety of simulated environments to suit any style or brand, while providing an instant professional touch that enhances the look and feel of any production.

NewTek Premium Access is available now for the limited time special introductory subscription price of $99USD per month, or $1,149USD per year. International pricing will vary. For more information about NewTek Premium Access, visit https://www.newtek.com/npa/

PIERRE, S.D.—I like the TriCaster Mini for reasons that will resonate with anyone who produces video content.

It’s compact and lightweight, which makes it incredibly easy to transport. It can be set up quickly, transforming a dark conference room into a broadcast-ready set in less than five minutes.

I can also attest to the fact that it’s easy to use and even easier to learn. I run Lifewrx Media, a video production company that produces content for OaheTV, the public, education and government channel here in Pierre. I’m a one-man operation so I often work with other production companies. I’ve worked with organizations that have dozens of staff, many of whom I’ve watched teach themselves to use the Mini in two or three minutes.

NewTek’s TriCaster Mini
COMPATIBILITY WITH OTHER PRODUCTS
One of the greatest things about NewTek’s TriCaster Mini is that it integrates easily with so many other products.

I put the TriCaster Mini’s compatibility to the test the first time I used it earlier this year to broadcast South Dakota’s Quasquicentennial Statehood Celebration, not only across OaheTV, but to viewers across the state. The celebration featured a performance by the South Dakota State Symphony and speeches by numerous dignitaries, including the governor, lieutenant governor and state Supreme Court justice.

Of all the events I’ve produced, it was important that every component worked together seamlessly for this one—which they did.

With HDMI cable, we pulled three camera positions back to the TriCaster Mini, which acted as the on-air live switch. The HDMI-based TriCaster Mini was routed via a Blackmagic HDMI converter to an SDIbased Leightronix Incode X One, which connected directly to a wired cable modem and public Internet connection.

For close-up shots we used a Canon 5D Mark III with a Canon 70-200 f2.8L lens next to the C100. For wide crowd shots we used the Canon XA10. A Panasonic AG-AC7 AVCHD captured the moment the building’s painstakingly restored stained glass was lit for the first time.

At the heart of the equipment rack was the Ultra Nexus video server and PEG Stream encoder. Packages used included Leightronix PEGvault, Total Info and PEG Central.

EXCEEDING EXPECTATIONS
I had only learned of the TriCaster Mini two weeks before the event, which made the Quasquicentennial a “trial by fire.” But based on the experiences I’ve had with NewTek products for more than 15 years I was confident the Mini would exceed expectations.

I’m happy to report it did. It made it easy for us to switch cameras throughout the event. It also provided ISO recording capabilities thanks to its ability to record individual cameras through external hard drives. In turn, the flexibility of ISO recording allowed for timing changes in post-production editing.

I felt comfortable using the TriCaster Mini for the first time during such a high-profile event because it’s a NewTek product. I know firsthand that NewTek prioritizes simplicity, affordability and ease of use in order to level the playing field for small operations like mine. Even though I haven’t had problems, it’s reassuring to know that customer support is there if we need help.

NewTek was critical to our success with the anniversary event, which we completed within budget. NewTek helped us raise the expectations of OaheTV viewers, who definitely liked what they saw. Moving forward, the rest is up to us.

Patrick Callahan founded Lifewrx Media LLC in 1997, and started as General Manager of OaheTV the same year. He can be contacted atPatrick@lifewrx.com.

For additional information, contact NewTek at 210-370-8000, or visitwww.newtek.com.