Articles tagged #SWITCHER
Articles tagged
#SWITCHER

New Blackmagic ATEM Mini

Blackmagic Design announced the ATEM Mini a new low cost live production switcher specifically designed to allow live streaming to YouTube and business presentations via Skype. ATEM Mini will be available in November 2019 from Blackmagic Design resellers worldwide for AU$495. The new ATEM Mini makes it easy to create professional multi camera productions for live streaming to YouTube or innovative business presentations using Skype. Simply connect ATEM Mini and customers can switch live between 4 high quality video camera inputs in dramatically better quality images. Customers can even connect to a computer to present PowerPoint slides or add a gaming console. The built in DVE allows exciting picture in picture effects, perfect for live commentary. There's loads of video effects too. To live stream, ATEM Mini has a USB output that works like a webcam, so customers can connect to any video software. There's also HDMI video out for projectors. Microphone inputs allow high quality desktop and lapel mics for interviews and presentations. ATEM Mini features a compact control panel based design with all video, audio and control connections on the rear panel. The front panel includes easy to use buttons for selecting sources, adjusting audio inputs, as well as selecting video effects and transitions. The rear panel includes HDMI inputs for connecting cameras or computers, plus additional microphone inputs. The ATEM Mini program is output via an HDMI video out as well as a USB for webcam output. The front panel buttons are large and easy to use by feel, so its even possible to use the switcher while presenting. Customers also get audio mixer buttons for live audio mixing. ATEM Mini is very easy to use, as customers simply press any of the input buttons labelled 1 to 4 on the front panel to change or cut between video sources. Customers can choose between cut transitions or effects transitions by selecting the cut or auto buttons on the panel. Unlike cut, the auto button tells ATEM Mini to use a selected video effect when switching between inputs. Customers can select from exciting transitions such as a commonly used dissolve, or more dramatic effects such as dip to color, DVE squeeze and DVE push. The DVE is perfect for picture in picture effects and customers can instantly set up different picture positions from the buttons on the control panel. There is even a still store for titles and graphics accessible via external software control. With 4 independent HDMI inputs, customers can connect up to 4 high quality consumer video cameras. All connected sources will re-sync to the switcher if they operate at different video standards, which means all inputs just work and customers can handle unknown equipment if customers are visiting new venues or locations. Imagine using the low light capability of professional cameras for theater production and music videos. To ensure the maximum compatibility possible, ATEM Mini features a USB connection that operates as a simple webcam source. That means customers can plug in and instantly get working with any video software. The software is tricked into thinking the ATEM Mini is a common webcam, but it's really a live production switcher. That guarantees full compatibility with all software in full resolution 1080HD quality. Choose any software customers like, such as Open Broadcaster for live streaming, or Skype for point to point presentations. ATEM Mini works with software and platforms such as Open Broadcaster, XSplit Broadcaster, YouTube Live, Facebook Live, Skype, Twitch TV, Periscope, Livestream, Wirecast and more. The HDMI program output is perfect for connecting ATEM Mini into an external recorder or monitor. ATEM Mini supports recorders such as the HyperDeck Studio Mini and Blackmagic Video Assist. Customers get a high quality output with switcher program video, plus live audio from the internal audio mixer. The HDMI output can even be connected to video projectors in large venues. If customers connect the ATEM Software Panel customers can even change the HDMI output direct from any of the video inputs. There's also a low latency setting allowing output of connected gaming consoles on the HDMI output. If customers enable broadcast style mix effects switching, the HDMI output can be used to preview sources before a transition. With two independent 3.5mm stereo audio inputs, customers can connect desktop and lapel microphones. With 2 extra stereo audio inputs, customers can ensure a host and guest both have lapel microphones when doing interviews. All audio inputs to ATEM Mini include buttons on the panel for adjusting audio level and enabling inputs into the audio mixer. The ATEM Software Control app unlocks the hidden power of the ATEM Mini as customers get total control over the switcher features, plus the software is included free for Mac and Windows. ATEM Software Control features a visual switcher user interface with parameter palettes for making quick adjustments. Although customers can normally connect via USB, if customers connect using Ethernet it's possible for multiple users to connect to ATEM Mini using separate copies of ATEM Software Control on different computers. Customers can even save the switcher state as XML files. If customers need clip playback, customers can even control HyperDeck disk recorders via Ethernet. The built in "media pool" allows loading of up to 20 separate broadcast quality RGBA graphics for titles, opening plates and logos. Customers can even use still frames for complex effects such as graphic wipes. ATEM Mini can even grab stills from the video output and add them to the internal media pool. Customers can easily manage the still store graphic using the included ATEM Software Control app, or customers can download directly from Photoshop software using the ATEM Photoshop plug-in. The Photoshop Plug-in is perfect for graphics that need to change often, such as scoreboards, as customers can update the text and download directly into the switcher, allowing graphics to get on-air fast. For news or on-set presentation work, ATEM Mini is the perfect choice as it features an ATEM Advanced Chroma Key for high quality chroma or luminance keying, plus an additional downstream linear keyer. Customers can even use it for title overlays simply by using PowerPoint or other software with a green or blue background and the keyer will knock out the green and make the background transparent. With a built in Fairlight audio mixer, the ATEM Mini makes it possible to do extremely complex live sound mixing. The internal mixer features a total of 12 channels so customers get the ability to mix audio from all sources. 8 mixer channels are de-embedded from the HDMI inputs, while an extra two stereo audio channels are input via the 3.5mm microphone connections on the rear panel. Each input channel features the highest quality 6 band parametric EQ and compressor, limiter, expander and noise gate as well as full panning. The HDMI output is a true "aux" output so customers can clean switch each of the 4 HDMI inputs or the program feed to this output. Customers can even "direct" switch input 1 to the HDMI output for low latency for eSport. If customers select broadcast style mix effects switching, customers can also output a preview feed, allowing verification of the source before transitioning to it. "The new ATEM Mini is a perfect example of the spirit of Blackmagic Design," said Grant Petty, Blackmagic Design CEO. "It looks like an easy to use low cost live production switcher, however it has professional broadcast features hidden inside so customers won't be creatively limited and using their creativity they can use it the exact same way all as high end switchers found in the broadcast television industry. What this means is even though it's low cost, there is no glass ceiling with ATEM Mini!" ATEM Mini Features • Features miniaturized control panel based design. • Supports streaming live to all media platforms such as YouTube. • Works with Skype for multi camera business presentations. • Supports connecting up to 4 cameras or computers. • USB output operates as a webcam and supports all video software. • Wide range of professional video effects included. • HDMI video output allows direct recording of programs. • Two stereo audio inputs for connecting desktop or lapel microphones. • Includes free ATEM Software Control for Mac and Windows. • Includes full HD DVE for picture in picture effects and DVE transitions. • Broadcast quality transitions including mix, dip and wipe. • Internal media for 20 RGBA graphics for titles, opening plates and logos. • Includes ATEM Advanced Chroma Key for green/blue screen work. • Operates in cut-bus or professional mix effects switching styles. • Audio mixer supports limiter, compressor, 6 band EQ and more! • Automatically standards converts and re-syncs all HDMI inputs. • Built in Ethernet control and SDK allows customer developer solutions. • Compatible with all professional ATEM hardware control panels. Availability and Price ATEM Mini will be available in November 2019 for AU$495

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Blackmagic Design Announces New ATEM Constellation 8K

Powerful 8K switcher with 8K DVE, standards converted 8K inputs, 8K SuperSource, 8K chroma key and 8K MultiView! The new ATEM Constellation 8K is an Ultra HD live production switcher with so many features, that customers can combine them all to make an incredibly powerful 8K switcher. Customers get 4 M/Es, 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, 4 DVEs, 16 Keyers, 4 media players, 4 multiviewers, 2 SuperSource and standards conversion on every SDI input. Then when switched to 8K, all these features combine to make a powerful 8K switcher. ATEM Constellation 8K features a compact 2RU rack mount design with a built-in control panel. This allows operation of the switcher, critical during setup or for emergency use. Also included is a large LCD so customers can see program output and change switcher settings via on-screen menus. Although only 2RU size, the rear of the switcher has a massive 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, plus balanced audio, Ethernet, RS-422 control and MADI digital audio extra inputs to the internal Fairlight audio mixer With a built-in control panel, customers can simply walk up and take full control of ATEM Constellation at any time. Customers get incredible power with both PGM/PVW or cut-bus style operation. The buttons are the same premium type used on full-sized panels, and allow control of transitions, upstream/downstream keyers, media players and fade to black. But users are never limited, as the LCD menus also allow every single operational feature of the switcher to be accessed.

Customers get 40 independent 12G-SDI inputs, with each input featuring its own dedicated up and cross converter. That means it’s possible to convert 1080p and Ultra HD sources to stunning 8K to use them in their 8K programs. When used in HD or Ultra HD, customers can connect up to 40 different sources in all formats up to 2160p60. When running 8K formats, customers can connect 10 Quad Link 12G-SDI 8K sources in all formats up to 4320p60. ATEM Constellation 8K features 24 independently routable 12G-SDI outputs that can be fully customized. All of these outputs are similar to aux outputs, however, they're more powerful because customers can route any external SDI input and all internal sources to any of these 12G-SDI outputs. All 12G-SDI outputs contain embedded program audio, plus customers get mix minus support, RP-188 embedded timecode, SDI camera control, tally and talkback. The built-in multiviewer let customers monitor multiple sources in a single monitor. Customers get 4 independent multiview outputs that can each be individually customized or transformed into a single full-resolution 8K multiview when customers switch to 8K. Plus all external inputs and all internal sources can be routed to any view. Plus each multiview can be independently set to 4, 7, 10, 13 or 16 simultaneous views. Each view also has on-screen status including a custom label, VU meters and tally. ATEM Constellation 8K includes a wide range of broadcast quality 8K native transitions such as mix, dip, wipe, and more. All transitions can be customized by adjusting parameters such as their duration, border colour, border width, position and direction. Transitions are even fully 8K native. Customers also get exciting DVE transitions, perfect for graphic wipes and even stingers when used with the internal media players. To keep crews working as a single creative team, ATEM Constellation 8K features built-in talkback. Talkback supports a front 5 pin XLR headset connector, as well as a rear RJ12 talkback expansion connector for interfacing with industry standard systems such as ClearCom or RTS. Customers get full talkback control including program and engineering loops, sidetone control for hearing the headset mic into the headphones and program mix. ATEM Constellation also supports SDI talkback that uses SDI channels 15 and 16 for 2-way communication with Blackmagic Design cameras. Customers can even use channels 13 and 14 for engineering talkback. The built-in media pool stores broadcast quality RGBA graphics and animations that can be played back instantly by the two media players. For the highest quality, the media pool can hold up to 24 full resolution 8K stills, or 64 Ultra HD or HD stills. Motion graphics clips for use in animations and stingers can be up to 100 8K RGBA frames, 400 frames in Ultra HD or a massive 1,600 frames in 1080HD. For news or virtual set work, ATEM Constellation 8K is the perfect choice as it features 16 ATEM Advanced Keyers for high-quality chroma or luminance keying. The chroma keyer is incredibly powerful and features a colour picker to sample background colours for automatic generation of the key parameters. Customers get precise controls for edge and flare, and there is even a foreground colour corrector so customers can match the "look" of the foreground layer to the background layer making seamless compositions possible. The keyer can also be used for pattern and DVE keying allowing incredible versatility. Then when customers switch to 8K, customers still get four independent full resolution 8K ATEM Advanced Keyers. With a built-in Fairlight audio mixer, the ATEM Constellation makes it possible to do extremely complex live sound mixing. The internal mixer features a massive 156 channels, for the biggest audio mixer in a live production switcher. 80 mixer channels are de-embedded from the SDI inputs, while an extra 64 audio channels are input via MADI in. Each input channel features the highest quality 6 band parametric EQ and compressor, limiter, expander and noise gate as well as full panning. Customers get extra channels for the analog input, talkback microphone and media players. All this audio power can be controlled via the ATEM Software Control, a Mackie compatible panel or Fairlight Audio Console. The ATEM Software Control Panel gives customers total control over their switcher and is included free. ATEM Software Control Panel features a beautifully designed interface with a visual switcher and parameter palettes for making quick adjustments. The ATEM Software Control also lets customers access camera control, audio mixing, media, macro programming and even control of HyperDeck disk recorders. Customers can even save the full state of the switcher as XML files, plus all media is backed up from the media pool. Unlike other switchers, all features are included in the purchase price. That means customers get all features fully enabled and always ready for use. There are no license fees to allow customers to use features and no ongoing monthly costs. This means users will never experience a license expiring 5 minutes before their program starts. Advanced features such as multi view, SuperSource, DVEs or the ATEM Advanced Keyers are always enabled and always ready to use. "This switcher is so incredibly big that we think customers will love it, even if they don't need to do 8K production," said Grant Petty, Blackmagic Design CEO. "The ATEM Constellation 8K will help our customers handle more complex jobs and put more cameras into scenes than ever before possible. It’s very exciting!" ATEM Constellation 8K Features • HD and Ultra HD switcher can be switched to 8K. • Advanced design with built-in front panel controls. • Large 40 standards converted 12G-SDI inputs. • 24 customizable 12G-SDI outputs. • Supports all ATEM hardware and software control panels. • Includes 4 Ultra HD multiview with multiple layout options. • Includes DVE and stinger transitions. • Includes 4 Ultra HD DVEs that combine into an 8K DVE. • Professional talkback is compatible with ClearCom and RTS. • Internal media for stills and motion graphics. • Includes new ATEM Advanced Chroma Key in 8K. • Multi-rate 12G-SDI for HD, Ultra HD and native 8K. • Built-in 156 channel Fairlight audio mixer. • Includes free software control panel. • Compatible with all ATEM hardware control panels. • Supports Blackmagic Design studio camera with SDI control. • All features are included with no extra customer costs. Availability and Price ATEM Constellation 8K is available now for AU$15,155

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NRL Scores with New Studio and Post Facility Designed and Built by Videocraft

Recently the National Rugby League commissioned Videocraft to design and build a new production and post production studio and facility at NEP’s Redfern HQ to take care of live and recorded online programming and content for their new Digital Network, www.nrl.com, including 16 clubs and 2 state associations sites and mobile applications. NRL media services manager Wayne Dakin explained, “Online properties such as nrl.com are hugely important now, as are the content they produce. With this in mind we engaged Videocraft to build us a studio and facility, based on their previous experience in this area, that would allow the creation of fast turnaround highlights edits of all matches, panel shows, pre and post-match content. As well as fast it all had to be reliable and cost effective.” With a strict brief from the client Videocraft designed the facility with quality, speed and efficiency in mind. Videocraft worked with NRL partners NEP and NRL production office provider to ensure that the solution design integrated seamlessly with existing NRL Bunker and new NRL NEP production infrastructure. The solution design integrates and utilises another NRL primary partner Telstra, utilising the DVN and satellite infrastructure for content delivery. Videocraft MD James Taylor added, “We saw very quickly that for the kind of fast turnaround that was required an EVS XS Server and IP Director production asset management system was definitely the way forward for the new nrl.com studio and post facility. There was also a requirement that the facility be able to manage all incoming feeds and studio records and then the playout of the material. In which case, as EVS is compatible with all of the NRL’s existing broadcast providers and partners such as NEP, Channel 9 and Fox Sports, this made the solution seamless.” With content for the NRL Bunker also managed by NEP the new Videocraft facility made it particularly easy for the NRL to continue down a well-proven path. Dakin continued, “Videocraft really thought through the design and build of the studio and with our specific requirements in mind made the studio Ross based with a powerful Ross Graphite production switcher at its core. They have used this switcher in studios many times before and it’s an ideal combination of power and reliability at the right price point for us. It also has a feature rich version of XPression 3D motion graphics, two channels of clip server and the RAVE audio engine all built in. This allows us to create very high quality graphics at a very reasonable cost.” The issues of cost and quality are not lost on Dakin who went on to explain their importance in the online space.

He added, “As a result of the Videocraft solution nrl.com now has very high quality graphics and a replay system which are comparable to TV but without the engineering resource required for a big studio. This means we get TV quality, but online. The reason for this is that Videocraft treat online production with the same approach and respect as they would for a free-to-air studio build. This in turn means we can now create the exciting, high quality content that’s critical for us to truly engage our viewers and we have Videocraft’s 45 years’ worth of knowledge, expertise and forward thinking approach to thank for that.” In addition to the Ross Graphite switcher the Videocraft solution also integrated a 400TB Avid Media Central system to help with the fast programme turnaround and NEXIS storage for its excellent reliability and interoperability with EVS systems. Wayne Dakin concluded, “The new studio, post production facility, edit suites and storage are an excellent example of a clever, efficient, integrated, high-end Avid solution. With EVS taking care of the ingest and live production workflow and Ross the graphics and vision mixing we have not just a state of the art system but a bulletproof one. The best compliment we’ve had yet is that the content you see on www.nrl.com looks just like it does on television. Great job Videocraft.”

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BLACKMAGIC DESIGN ANNOUNCES NEW ATEM TELEVISION STUDIO PRO 4K

All in one Ultra HD live production switcher with 8 standards converted 12G-SDI inputs, Fairlight audio mixer, ATEM Advanced Chroma Keyer, multiview, talkback, DVE and more! The new ATEM Television Studio Pro 4K, is a professional all in one Ultra HD live production switcher with integrated hardware control panel. ATEM Television Studio Pro 4K features 8 independent 12G-SDI inputs, built in Fairlight audio mixer, ATEM Advanced Chroma Keyer, multiview, auxiliary and program outputs, analog audio inputs, built in talkback, two flash based media players, professional creative transitions, a DVE for effects and more. ATEM Television Studio Pro 4K combines a professional broadcast hardware control panel with a powerful 8 input 12G-SDI switcher for working with all HD and Ultra HD formats up to 2160p59.94. All of the 12G-SDI inputs feature full re-sync and independent format and frame rate conversions. That means customers can connect a total of up to 8 different sources with various different frame sizes and frame rates, and cleanly switch between them. The switcher automatically converts everything to the program’s output format and frame rate. Professional Fairlight audio mixing is built in to the ATEM Television Studio Pro 4K. Fairlight has been used for extremely high end feature film and television audio post production for years and now, for the first time ever, Blackmagic Design has integrated these incredible Fairlight audio tools into a live production switcher. ATEM Television Studio Pro 4K gives customers independent 6 band parametric equalizers on every single input. In addition, it also includes expander/gate, compressor and limiter dynamics on each input. ATEM Television Studio Pro 4K features the all new next generation ATEM Advanced Chroma Keyer. This new keyer gives customers adjustable on screen controls for selecting and sampling a region of color, adjustment controls for foreground, background and edges, and chroma correction tools for spill and flare suppression. That means ATEM Television Studio Pro 4K can pull extremely clean keys to replace a blue or green screen for professional broadcast quality composites. In addition to 12G-SDI, ATEM Television Studio Pro 4K also includes two channels of analog audio in, RS-422, Ethernet and a built in IEC power supply, along with program and auxiliary outputs. Customers also get both SDI and HDMI multiview outputs so they can monitor all sources, preview and program outputs, along with labels, audio meters and more, all on a single big screen television or broadcast monitor. Featuring a portable design, ATEM Television Studio Pro 4K is packed with high end broadcast features that make it possible to create an entire live switched program, complete with effects and transitions. The hardware panel features large illuminated buttons for switching between sources, along with corresponding audio buttons, one touch transition buttons, downstream keyers, fade to black, media player, cut buttons and more. There’s also a built in LCD screen for previewing source and program video, a spin knob and additional buttons for menus and to adjust settings. Customers simply press the button for the source that they want to see next in the program, then hit the cut or auto button to switch sources, add effects, or even key in graphics. ATEM Television Studio Pro 4K gives customers true broadcast quality transitions, effects and graphics. Transitions such as mixes, wipes and dips are done by simply pressing a button on the control panel. There are 37 included transitions, giving customers massive creative options because they can customize things such as border, border color and width, position, direction and more. In addition, there’s a built in 2D DVE for adding digital video effects that can position, resize and scale live video, all in real time. That means customers can create professional picture-in-picture effects, use DVE powered transitions like squeeze and slide between sources, or create graphic wipe transitions with their own graphics. When used with Blackmagic Studio, URSA Mini, URSA Broadcast and Micro Studio cameras, customers get a complete remote control solution that includes talkback, tally, color correction, camera control and more, without having to add any additional cables or proprietary control boxes. These cameras feature a built in color corrector that can be remote controlled, making it possible to balance camera color and create unique looks, all from the control panel. In addition, customers can adjust focus and iris on compatible lenses, change camera settings, and even remote control PTZ heads. ATEM Television Studio Pro 4K has a built in media pool that can store 90 frames of Ultra HD, 360 frames of 1080HD or 1440 frames of 720HD video that can be used with the two built in media players. The media pool uses flash memory, so images are saved even after the power is turned off. That means customers can create completely custom graphics to use in their own programs. In addition, there is an upstream keyer with full chroma keying for green screen shots so customers can add weather maps, graphics, or even virtual sets. The upstream keyer works with chroma, patterns, shapes and linear keys. ATEM Television Studio Pro 4K also features 2 downstream keyers for adding graphics, logos and bugs to video. Customers can use a HyperDeck Studio Mini with ATEM Television Studio Pro 4K as a source for ProRes 4:4:4:4 motion graphics files with alpha channels. That means customers can get fill and key graphics composited over live video, or they can use motion graphics with alpha as transitions between sources, all in real time. ATEM Television Studio Pro 4K also includes a built in talkback converter for SDI cameras. The talkback information is sent back to the camera via the SDI program return feed on the rarely used SDI audio channels 15 and 16. When working live with a reporter in the field, there can be a slight delay that causes them to hear themselves as an echo in their headset. ATEM Television Studio Pro 4K includes mix minus which sends back all of the program audio to the camera but removes the reporter’s own voice, so they don’t hear a distracting echo of themselves while reporting. For maximum speed and flexibility in live productions, ATEM Television Studio Pro 4K includes a free software control panel for Mac and Windows that allows multiple users to be connected at the same time. That means customers can have one person switching the program while another mixes the audio and another uploads or changes graphics, while another person remotely color balances and controls the cameras. “ATEM Television Studio Pro 4K packs our most advanced broadcast switcher technology into a compact, elegant design that you can take anywhere,” said Grant Petty, Blackmagic Design CEO. “The exciting thing about it is that it has all of the same professional features as larger and more expensive switchers, but it fits into a standard equipment rack or fly away kit. Customers get the speed of a full size 1 M/E hardware control panel so they can work on complex, fast paced live events!” ATEM TELEVISION STUDIO PRO 4K FEATURES * Integrated broadcast switcher and professional hardware control panel. * 8 x 12G-SDI inputs, all with auto re‑sync and format and frame rate converters. * Supports all video formats from HD to Ultra HD 2160p at 59.94 frames per second. * 1 x built in multiview for 8 sources, as well as preview and program. * Built in media pool graphics storage for 90 frames of Ultra HD, 360 frames of 1080HD or 1440 frames of 720HD video. * Built in DVE with borders and drop shadow. * Transitions include cut, mix, dip, SMPTE wipes and more. * 1 upstream keyer including chroma keyer plus 2 downstream keyers. * 1 auxiliary output with aux switching buttons and LCD screen for viewing. * Built in audio mixer live mixes embedded audio from all video inputs and independent audio inputs. * Balanced XLR stereo analog audio inputs. * Internal sources include black, color bars, two color generators and 2 media player outputs. * Ethernet connection for computer connection. * Mac and Windows control panel software included. * Compatible with all ATEM Broadcast Control Panels. * Black Burst and HD-Tri-Sync genlock input for integration into large systems.   Available to order now online at Videocraft    

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INTRODUCING X-ONE – EVS’ UNIFIED MULTICAM LIVE PRODUCTION SYSTEM

EVS has announced a brand-new product within its family of live production solutions - X-One. This all-in-one toolset, delivers the signature speed and reliability of EVS technology for live productions requiring six cameras or less. The new system is built with EVS’ software-defined technology foundation and puts all of the capabilities of a control room in the hands of a single production operator – all controlled from the solution’s touchscreen.

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Videocraft Designs, Supplies, Builds and Installs New Television Studio for RMIT

Recently Videocraft played a major part in the delivery of RMIT’s New Academic Street (NAS) consolidation project which included providing teaching and learning environments for students in their Screen and Media, Screen and Media Productions, Communications and Journalism programs. The scope of works required to deliver this project involved Videocraft designing, building and being responsible for the full construction of RMIT’s new TV Studio A.   Videocraft MD James Taylor explained, “This was a very comprehensive project and build and involved the acoustic treatment of ceiling, walls and windows, specialist acoustic doors, an upgrade of existing mechanical and electrical services and the relocation of existing equipment which was no mean feat. Bearing all this in mind Videocraft fulfilled all of RMIT’s audio visual requirements.”   Moving studios is never easy. Moving studios and simultaneously building a new one is even more complex as Taylor detailed, “This was a challenge for all involved. Maintaining continuity of business whilst shutting down one facility and building and troubleshooting a new state-of-the-art studio definitely had its challenges. That said we approached the broadcast AV installation in our usual professional manner and completed the project on a very tight timeframe and within the budget.”   According to Taylor the program constraints were difficult to achieve however he added, “Despite this major constraint we delivered in full and worked extensively with the end user to ensure their functional requirements were comprehensively addressed. I’m delighted to say RMIT were very happy with the end result.”   When all was complete Videocraft built and installed a state-of-the art digital television studio and master control including fibre link to C31, live streaming capabilities and green lighting technologies throughout. To which Taylor added, “All of this on a very tight budget by and within a very short timeframe. I’m very proud of our team for making this happen. It was an incredible effort and they were so professional.”   Videocraft supplied RMIT with the equipment for two TV studios with all associated cabling, two control rooms, comms, master control, cameras, audio, vision switchers, routers, racks, patch bays, CCUs and graphics. Now complete and ‘on-air’ the new studio is a dynamic and busy teaching facility catering to both VE and HE classes at RMIT in addition to RMITV. As a result students can now put live broadcasts to air on CTV31, live stream broadcasts over IP and cater for numerous pre-records and teaching activities.   James Taylor concluded, “RMIT’s feedback is that the users are ecstatic with the new spaces and the overall user experience has been excellent. The students find the state-of-the-art gear we installed a joy to work with and represents best industry practice, which in turn ensures the graduates are industry ready.”  

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12G SDI is the big news from Blackmagic at NAB 2015

12G SDI is the big news from Blackmagic, and the new Smart Videohub 40x40 is now able to run 4K at 50/60P over a single cable.Smart Videohub 12G has been developed to meet the needs of these broadcasters as it operates identically to other Smart Videohub models however because it includes a native 12G-SDI based design with full SDI re-clocking at 12G-SDI rates, it can handle any SD, HD or Ultra HD video format, all on the same router, all at the same time.   Also, the new ATEM 2ME 4K switcher is also 12G SDI compatible, so now we have cost effective switching in UHD at 50P! I am not sure how much often we will actually use it, but I suppose it is another part of the puzzle filled for cost effective 4K live production. Another cool product is the Smartview 12x12 Cleanswitch. A 12x12 6G SDI capable router, with perfect switching between sources, ideal for backup switcher applications, or anyone who wants to switch sources out to air perfectly. Smart Videohub CleanSwitch 12x12 is a compact 1 rack unit router that features 6G-SDI for SD, HD and Ultra HD routing. Unlike other routers its size, the Smart Videohub CleanSwitch 12x12 has full re-synchronization on every input so it can be used with non-referenced equipment. Customers can plug in everything from the highest end broadcast decks all the way down to consumer grade video equipment and the CleanSwitch 12x12 will automatically synchronize them all. That means video can be routed and the signal can be switched without any glitches, picture rolls or other unwanted artifacts. There are lots and lots of new toys, including Davinci Resolve 12, with lots of major new features. This new update includes a new modern interface, multi-cam editing, powerful new media management tools, an entirely new professional audio engine with support for VST/AU plug-ins, shot matching, 3D keyer, new 3D perspective tracker, enhanced curve editing and much more. Fusion now on Mac, Fusion 8 will be released on Mac OS X and Linux. Until now, Fusion has been a Windows only product, and with this new Fusion 8 release, it will now be available on all popular operating systems.Fusion used to cost thousands of dollars, restricting it to Hollywood’s elite visual effects artists.Now, by bringing Fusion to Mac and Linux, Fusion will be available to even more users than ever, opening the door to millions of motion graphic artists, broadcast designers, video editors, visual effects compositors, and 3D animators. Plus a new range of 12G SDI Mini Converters with a great feature set, needless to say we will have them all available when they are released.

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#NAB2014 Products to Watch - Live Production

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Panasonic announces New Broadcast Grade 2 M/E Live Production Switcher

Panasonic Professional Camera Solutions announces the AV-HS6000, a new broadcast grade 2-M/E live switcher. The AV-HS6000 features a highly compact 3-RU size mainframe unit, provides 32 SDI (HD/SD switchable) inputs and two DVI inputs as well as 16 HD/SD SDI outputs in its standard configuration. With its 3-RU size mainframe unit, the AV-HS6000 is a highly compact live switcher. The new Panasonic broadcast 2-M/E live switcher features a stylish design matched with an intuitive button layout and has an optional 25.7 cm (10.1 inches) touch-operated menu panel, which can also show input and output video, WFM display and multi-view display. The switcher can, alternatively, be equipped with a commercially available VGA monitor. A web server feature enables users to select menu settings on a PC through a LAN connection. Furthermore, a Software Development Kit (SDK) ensures excellent expandability. With the SDK provided by Panasonic, third-party vendors and SI professionals can freely develop plug-in software that adds new functionality to the AV-HS6000. The AV-HS6000 supports HD and SD multi-format signals. The system frequency of the live switcher is also changeable between 59.94 Hz, 50 Hz, and 24 Hz (or 23.98Hz), enabling operation and digital cinema production worldwide. The standard configuration has 32 SDI (HD/SD) inputs and two DVI-D inputs. 16 input channels feature a built-in frame synchroniser, there are up-converters for 4 channels and colour correction circuits for 8 channels. In its standard configuration, the new Panasonic broadcast grade 2-M/E live switcher also features 16 HD/SD SDI outputs with down-converters for 2 channels and colour correction circuits for 4 channels. There are 16 keyers with 4 downstream keyer channels. Its combination of input and output channels with two mix/effects (2 M/E) allows the AV-HS6000 to be used in a wide variety of operation scenarios. The numerous built-in effects include standard wipe, mix and cut effects as well as DVE transition effects such as squeeze and slide. A chroma keyer is included as a standard item on the AV-HS6000 with 1 channel for each M/E. This keyer can be expanded to up to 4 channels per M/E. The chroma key compositor employs the powerful Primatte® algorithm , which has a proven track record as plug-in software on many high-end non-linear editing systems. The new AV-HS6000 features the same memory functions as previous models, being: the Shot Memory, the Event Memory, and the Video Memory. The Video Memory is excellent for CG clips as this function allows recording or playback of 4 channels of still images and 4 channels of video clips. In addition, a dedicated module in each M/E of the AV-HS6000 control panel allows users to easily and safely perform memory recall actions. The new Panasonic broadcast 2 M/E live switcher will be available from the first quarter of 2014 with a pricing to be confirmed.

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Sony’s 4K Live Production Solution Delivers Sports the Way It Was Meant to Be Seen

PMW-F55 4K Live Camera System

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Ross Video launches the Carbonite 2S at IBC 2013

Ross Video adds yet another product to its expanding Carbonite switcher lineup. Called Carbonite 2S, this new 2 ME switcher includes all of the powerful standard features of the Carbonite family. Carbonite 2S is a new 2 ME control panel based on its highly successful bigger brother, the Carbonite 2X but with 24 source select buttons instead of 32. “The success of Carbonite has been simply astonishing! It has surpassed all of our expectations, and we have now shipped almost 2000 systems since it’s introduction,” stated Nigel Spratling, Switcher Business Development Manager, Ross Video. “At Ross we listen carefully to our customers to help make our products better, and from their feedback we designed the Carbonite 2S to better suit environments with space limitations as well as offer all of the power of a 2X Carbonite at a great price point.” Like the Carbonite 2X, the 2S has individual ME Effects Memory keypads that many operators have expressed a preference for due to a familiar workflow for high paced sports production. The new 2S panel can be configured with any Carbonite processing engine, including the new Carbonite eXtreme. It also comes with Ross’ ViewControl touchscreen production controller and LiveAssist Graphical User Interfaces. When purchased as a Studio System Package with Ross’ BlackStorm Playout Server and XPression Motion Graphics System, it becomes a complete production powerhouse. Like all Ross products, the new Carbonite 2S is fully integrated with their free DashBoard PanelBuilder application, allowing operators to easily build their own custom control interfaces for the entire production system. The Carbonite 2S is now available for shipping. About Ross Video Ross Video designs, manufactures and supports a wide range of innovative products for use in video production applications. Ross’ award winning product line includes Vision, Vision Octane, Vision Tritium, CrossOver and Carbonite Video Production Switchers; openGear, RossGear and GearLite Terminal Equipment; BlackStorm Video Servers; OverDrive Automated Production Control Systems and Inception Social Media Management System; XPression Character and 3D Graphics Generator; NK Series Routing Systems and Ross Robotics. Ross products are installed in over 100 countries around the world, where they are used daily by top broadcasters, production companies, sports stadiums, government agencies and houses of worship.

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Videocraft Provides Production Solutions For Beyond’s Pipsqueaks, Toybox And Lab Rats Challenge Tv Series

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Behind the Scenes of Toybox[/caption] When Beyond needed production solutions for their Challenge children’s TV series they turned to Videocraft for help. Their shows - Pipsqueaks, Toybox and Lab Rats Challenge are all original Australian concepts and broadcast both domestically and overseas. Beyond Producer Director Ian Munro explained, “For Toybox and Pipsqueaks our studio space came with no technical equipment so we were looking for a cost effective solution. Videocraft’s FlyPack kit provided all that we needed.These shows are switched, drama style, multi-camera productions requiring CCU, a switcher, cameras on pedestals and talkback communications as well as main and backup record. There are musical elements in the shows that also require 2 or 3-camera ISO recording and the Videocraft kit’s router also enables that when required.” The premise of Toybox is toys coming to life and having adventures in a child’s bedroom. To help create the illusion Beyond built sections of a bedroom at 5:1 scale and a matching complete bedroom at 1:1 scale for chroma key backgrounds. Munro added, “There is a considerable amount of chroma key in Toybox and fortunately the Panasonic switcher in the Videocraft FlyPack has enough options for us to make trial keys. It’s also useful as a reference for camera colourimetry and to fine tune lighting. With the switcher’s ability to shrink and position foregrounds we are able to match angles and correct eye lines. We are also able to record clean shots direct for higher quality keying in post and at the same time watch the live reference key to check for possible problems and cropping.” The production’s chroma key backgrounds are shots taken in the 1:1 set and Beyond now has many of the more common backgrounds stored in the FlyPack’s mixer as stills for quick shooting. The show also has two actors in full characters suits with Videocraft supplying independent IFB channels for each one enabling them to hear other actors on programme audio and the director’s talkback. Pipsqueaks uses the same Videocraft FlyPack kit but set to HD for switched multi-camera and ISO recording. As Pipsqueaks is a programme involving puppetry there are additional challenges which Videocraft were again quick to provide solutions for. Munro continued, “In a big set the puppeteers require numerous reverse scan monitors to perform. One option would be to go to a bigger switching desk with the ability to flip images on a separate layer but this is beyond our budget and small OLED monitors which offer the reverse option are too small for puppeteers to use across a big set. We were looking for a cost effective solution and Videocraft spent some time checking out possibilities and found a small converter they could feed into the router - happy days!” The third show in the series, Lab Rats Challenge, is a multi-camera science game show. Due to its unpredictable content it requires all cameras to be ISO recorded – another challenge met and overcome by Videocraft. Munro explained, “While the studio is fully equipped with technical gear the studio wasn’t able to dedicate six ISO recordings. We approached Videocraft to help and they designed a recording and post-production path within our budget, supplying and installing an EVS system to record all the cameras and the switcher output. The only issue was, for a one off production period, it wasn’t feasible to cable the EVS to the Avid. So Videocraft created a simple system of multiple portable raid drives to get the material from the studio to the edit suite. Videocraft also trained our crew to run the system and even though we were interstate, supplied support immediately when we needed it.” With three shows to produce, tight budgets to adhere to and seemingly ever-shrinking timelines it’s become more important than ever for Beyond productions to have an equipment supplier and systems integrator that they can trust and rely on. Ian Munro concluded, “I have always appreciated the help and care Videocraft have given us when designing an appropriate system to fit a show’s needs, especially when the budgets are tight. Working in the lower budget end of production on children’s television, you sometimes feel like the poor cousin but Videocraft have always understood and been totally accommodating. The end result is that we have been able to make extremely efficient television with great production values.” The latest series of Toybox starts on 7Two on 28 August. For more information on Beyond Productions go to: www.beyond.com.au

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Videocraft Builds Full Production Facility For Hillsong Church

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Hillsong Church’s new state of the art full production facility in Alexandria designed and built by Videocraft[/caption] The title for one of the year’s more impressive studio builds currently belongs to Hillsong Church’s new state of the art full production facility in Alexandria, which Videocraft helped design and build. Hillsong TV Technical Manager Luke Irvine explained, “For years our Waterloo campus in Sydney has been growing and we've had a great need to expand our facilities to house the increasing numbers of people attending. As a church we have looked at many options to help relieve the pressure and time restraints that we faced with our current building in Waterloo. Before we embarked on this new project, we were running eight services on the weekend to try and accommodate everyone. Thus the decision was made to custom-build an additional venue so the campus could still grow and not be crippled by time and space.” The venue Hillsong chose was in the neighbouring suburb of Alexandria which was, before construction, an empty warehouse with shop fronts requiring a major construction effort to get it ready for use. Irvine continued, “The warehouse building was converted into a 950 seat auditorium so we knew we had to have a high quality production facility to cater for that many people. That’s why we turned to Videocraft to help us build it.” Hillsong and Videocraft have had a successful relationship with the church utilising many of the company’s rental services over the last few years. After a personal customer service call from Videocraft’s Shane Jones ignited the project, the church decided to put out an industry-wide RFQ which was particularly well responded to. Once the tenders had been submitted, due to the nature and importance of the project, Hillsong took a good deal of time to study each one with great care before deciding on Videocraft as their equipment partner and systems integrator. The RFQ, according to Irvine, had some very specific requirements that made it unique from a traditional broadcast facility, but with quality always the overarching feature that had to be factored in. In essence the system revolved around dual Ross Carbonite switchers chosen predominantly due to their flexibility, functionality and cost effectiveness. The Carbonite switchers particularly excel with their onboard format conversion capabilities, built-in high quality multi-viewer and integration with the Ross Dashboard, which also oversees control and diagnostics of all Ross components across the entire system. Irvine added, “In short our requirements were that the system must be HD, facilitate four cameras, three projection screens and multiple external rooms. The system also had to enable linking to and from all other campuses and keying of song words had to be achieved on five different feeds with different backgrounds and different overlays with ease of use for one volunteer operator. The system had to be cost effective but extremely reliable, easy for volunteers to use on a weekly basis and versatile enough to accommodate for future changes that will happen within the campus. Every source and destination needed to be easily monitored by the relevant volunteer operators and the system had to also be capable of a broadcast TV record for our television programme Hillsong Television – in other words yes, it was quite an extensive set of requirements.” Irvine said, “Videocraft worked closely with us to find really good solutions to achieve a great result. They where willing to look at all options to give us the best outcome and price. They also gave us pros and cons of equipment and allowed us to make changes as we went along to take advantage of cost savings and usability of the system. Videocraft also worked very hard to fully understand our requirements and workflow – this was key to the success of the system especially in tricky areas like the integration between the keyer cards and switcher. They also had a great attitude even through some of the really challenging construction problems of the building.” When complete Hillsong’s new production studio included two Ross Carbonite vision switchers, a Ross video router, Sony OLED and LCD monitoring, several TV One scan converters, Blackmagic design Teranex 2D converters and HyperDeck Studios, a GVG T2 Turbo server, Ross OpenGear and mini converters, Sony cameras, Canon lenses, Vinten and Miller tripods and fluid heads and live IP video links between campuses. There were also significant audio, comms, display, rigging and lighting components supplied by others that Videocraft worked with and integrated seamlessly. Irvine and the Hillsong team were particularly impressed with the quality level and attention to detail of Videocraft’s involvement. He commented, “The Videocraft team were extremely helpful and continually suggested ways of making the system better and more cost effective. They were always professional and impressively took total responsibility for the systems integration, equipment selection, system design and diagrams, installation and labeling all in-house. Videocraft's willingness to work with us, take our ideas and make them work was a major plus. Also the fact that they could work with very tight budgets and be totally honest about the real cost of things from the very beginning was excellent. Listening, thinking outside the box and working with tight budgets is classic Videocraft. To that end I must say a particular thank you to Andy Liell, Glenn Beaumont and the entire Videocraft team for their outstanding effort and commitment to this project.” When inspecting Hillsong’s new production facility it’s sometimes a little difficult to believe that only a few short months ago it was a deserted warehouse. Hillsong Project Manager Sebastian Heck said, “We have often had people from other part of the building install project come and admire the cabling work and the neatness of the racks in the Videocraft install. Many of our volunteers comment on the professional look and feel of the control room and how it looks like we are part of a TV broadcast station control room. The song words on screen setup is my personal favourite as it is so easy for the operator to control the five different feeds they need to without them really having to think much about it at all.”

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