| Newsroom production management and automation systems |
GV STRATUS V6
Want to delete a Facebook post if it doesn’t reach 50 likes? Got it. With social media management in GV STRATUS 6.0, the publishing team can focus on creating new content rather than managing existing assets. GVRE Transcoder: Build a loyal social media audience by always being first to publish. With growing file workflow support, Editors and producers can start working before the content has finished uploading. GV STRATUS 6.0 gets the video you need to air no matter the format within 15-20 seconds of ingest initiation. Virtualization: End-to-end virtualization allows GV STRATUS 6.0 users to phase in to virtualization on their own timeline. The new storage manager allows for a commodity-based system to allow users to utilize the feature based on their workflow, their schedule and their production requirements.
Live Video Cloud
Live Video Cloud
LTN® Live Video Cloud is an intuitive routing console that streamlines and scales the management of live video, from acquisition to distribution, from any source to every destination — without additional capex.
Break through feed chaos and power innovative video experiences: organize aggregation, monetize publishing, and easily enable remote productions with virtual audience engagement.
With Live Video Cloud, you can acquire unlimited concurrent live feeds from any source, configure productions in minutes, monitor and curate live video within a continuous playback multiview, and distribute live signals simultaneously to unlimited destinations.
Live Video Cloud runs on all major cloud providers worldwide, with intuitive browser-based control accessible from anywhere.
Empower audiences to easily become part of your program, and expand your digital audience reach to earn more top-line ad revenue. Command the future of video with Live Video Cloud.
NewTek TriCaster® 2 Elite
NewTek TriCaster® 2 Elite
The TriCaster 2 Elite is the most complete video production platform available today, and sets a new platinum standard for how much you can achieve with a single system.
LiveU’s LU800 production-level field unit for live news and sports coverag...
LiveU’s LU800 production-level field unit for live news and sports coverage
The LU800 is the first all-in-one production-level field unit, designed for live news and dynamic sports coverage.
The LU800 combines multi-camera and superior video/audio capabilities with mission-critical transmission in a native 5G unit. Designed from the ground up to unlock 5G potential, the unit offers unparalleled quality of service and resiliency.
The LU800 enables complex remote productions (REMI), supporting up to four fully frame-synced feeds in high resolution from a single unit. Delivering the highest-quality video performance, the LU800 offers up to 4Kp60 10-bit HDR transmission for optimal color depth and richness.
The LU800 product series accommodates any customer need or production scenario with multi- and single-camera variants.
Key features include:
- Up to 8 x 5G modems with high-efficiency internal antennas
- Up to 4Kp60 10-bit HDR transmission for optimal color depth & richness
- Multi-camera with up to 4 fully synced feeds & flexible unit/station switching
- Rich remote production tools: Video Return, Tally Light, Audio Connect
- Super-fast file transfer for sending edited footage from the field
- Up to 16 audio channels for richer audio production
- 7” ultra-sensitive capacitive touch-screen for easy unit control
- Optional external antennas connections for harsh RF conditions
- Dual power input (standard power supply & external battery input)
- 2 Ethernet & 2 WiFi interfaces for more connection options
MIMiC
MIMiC
Whether it’s a slate of games for a major sports league, a regional athletic meet, an international esports competition, a targeted enterprise announcement, or any other live or virtual event, The Switch has production services to suit every organization’s needs. Our cloud-based platform, MIMiC, is an on-demand, production-as-a-service offering that includes remote IP-video contribution, production and clipping tools, and distribution. It empowers you to cost-effectively ensure broadcast quality production to and from anywhere in the world.
MIMiC handles all aspects of the production workflow in the cloud, from editing and graphics creation to comms and talk-back. It gives content producers the choice of using their own production crew or relying on The Switch to provide a full complement of experienced operators who know how to deliver award-winning programming. For a mainstream TV sporting event, for instance, rights holders can tap our full remote production service to produce the main game, while leveraging MIMiC to produce the shoulder programming, social media streams and individualized “player-cam” feeds. Plus, it offers the perfect set-up to produce esports tournaments, either stadium-based or virtual.
MIMiC is also ideal for both live and virtual enterprise events. It offers a flexible and scalable way to run everything from customer conferences and product launches to all-hands meetings and press briefings. MIMiC allows you to produce content in any time zone, localize the feed and address specific segments individually.
In enabling true cloud-based production, MIMiC gives producers of events of every size and type unmatched agility. It enables you to streamline workflows to get the most out of each production and better engage audiences. MIMiC complements the existing remote production services The Switch helped pioneer, letting rights holders, enterprises and other content producers choose the level of service they need.
KMU-200 4K Multi-Channel Touch Screen Region of Interest Switcher
KMU-200 4K Multi-Channel Touch Screen Region of Interest Switcher
Produce traditional landscape (16:9) & vertical (9:16) video from a single 4K camera with built-in streaming. The KMU-200 allows users to output multiple landscapes or portrait pictures simultaneously just by creating cutouts of a 4K input using the 14” touch screen. The HD output signal can be streamed to many mainstream live-streaming platforms and output video can be recorded on an SD card. The KMU-200 features virtual camera control, switching, audio mixing, streaming and backup recording within one compact unit, which is an ideal product for content creators who want to live stream their content to social media platforms. Video productions that are traditionally done by multiple crew members now can be done by one person using the KMU-200.
The KMU-200 is a single unit that allows users to convert a 4K input signal to a 1080 HD output signal. An auxiliary HDMI input is also available for Skype or other sources. Hardware control is available on the unit to control the created cutouts, giving control over zoom, tilt, and pan of the virtual camera with a convenient joystick. Professional illuminated buttons control the switching of a maximum of 6 shots: 4 cutouts, the full image, and the auxiliary input.
Furthermore, its 14" capacitive touch screen allows users to easily control of picture selection and camera operations. Users can control the picture selection of the KMU-200 by not only the joystick but also by gesturing and pinching directly on the touch screen. This intuitive control method is suited for inexperienced users who are used to tablets and other touch screen interfaces.
Hive Unified Content Platform
Hive Unified Content Platform
With the latest HTML5 editing tools and the ability to integrate other best of breed toolsets onto the platform, Hive delivers an unparalleled user experience to rapidly process any content for any medium and deliver it whenever, where ever and how ever it is needed.
HIVE has been built on a cloud native distributed services architecture, therefore it is quick to deploy, easy to maintain and cost-effective to provision as workloads change. HIVE can be deployed on premise, in private or public cloud, or as a hybrid mix of all three, enabling ultimate commercial flexibility in the business.
Uniquely for a broadcast production system HIVE has been architected, from the ground up, on data centre class technologies that are not yet capitalised on in the media broadcast industry.
HIVE utilises the advantages of data centre focused and open source technologies (object storage, containers, NoSQL) as opposed to traditional industry configurations of dedicated systems running resources in silos. Thanks to this HIVE leverages internet methodologies to deliver a dynamically scalable, highly scalable and highly available system which can be deployed either on premise or in off-site data centres. See figure 1 to show the architectural differences and key benefits.
Hyper Convergent Node technology enables HIVE to grow (or shrink) with the business performance required. Complex broadcast systems can, for the first time, be designed for a customer’s current level of performance, secure in the knowledge that additional storage and processing can be added at any time in the future whilst the system is live. No down time. No significant project expenditure. No investment in under-utilised assets.
Future expansion of the system into new production areas with different applications is also supported through the use of a common Platform/Toolset architecture with a highly scalable core and industry standard APIs.
With these core technologies embedded in the Network Production platform it is not difficult to see the opportunities:
• Acceleration of the Capex to Opex trends
• Outsource of commodity IT practises – data centres or on premise service
• Centralsiation of multi tenanted platforms
o Either as a SAAS model
o Or a National Broadcaster providing a platform as a service to local
broadcasters
As an omni-media network production system, HIVE, supports the fast and efficient creation of content for Internet, VoD and Broadcast applications. Key integrations with a number of market leading Newsroom Computer Systems and Graphics Platforms ensure that the journalists and operators work within the tools they are used to.
Key customer benefits include:
• Streamlined camera-to-archive production workflow
• Fully Integrated solution to support efficient planning to publish operation
• Internet/mobile first workflows that flex with digital trends
• Common content management platform with the ability to optimize the
repurposing of assets through a single system
• A recognized toolset designed for journalists/users
• Proven and future proofed ROI with tested, delivered and improved workflows
following ten years of experience
• Dynamic “pay-as-you-go” system for scaling and functionality
• Ability to flex with the business requirements - scales down as well as up
• Adaptable and Open solution that can be expanded into new production areas
CAMIO
CAMIO
Your on-air graphics control center. CAMIO Universe is a news producer-driven, template-based workflow for a unified, end-to-end content creation, production, and playout solution.
In CAMIO , artists set the visual brand for consistent and correct content, producers/journalists create stories that include broadcast graphics, weather graphics, virtual studios, and augmented graphics, and directors build, order, and control all camera, switcher, audio, virtual set, and graphic cues – all from within a single, unified tool.
Viz Mosart
Viz Mosart
Viz Mosart puts the story in the center of the production, removing technical complexity with a simple user interface, designed to give all necessary information to the director while giving full flexibility to operate both planned and breaking news scenarios.
Viz Mosart operators in the control room benefit from a real-time view of all upcoming events through a tight integration with all major newsroom computer systems.
The system gives the director a real-time updated version of the presenter text, and video integrated into the user interface to view of all the elements that are on program out and in preview. The user interface also contains advanced keyboard and touch screen hotkeys specially made to handle breaking news and other unscripted events.
Polymotion Chat
Polymotion Chat
SIMPLY YOUR WORKFLOW
Polymotion Chat is a camera solution for small studios. Controlling up to 6 robotic heads from one operator stadium, Chat can be used as a flexible broadcast solution.
ADAPTABLE, AUTOMATED SYSTEM
Whether your requirements are traditional newsroom, standing presenter-led, or magazine format show, Polymotion Chat can help streamline this work-flow.
REPLICATE NATURAL MOVEMENT
An operator has several tools inside Polymotion Chat to replicate a natural camera movement. For example, after framing their subject, a ‘static zone’ can be set to control how far the subject can move before the camera starts to follow it. The speed of this move can also be controlled in line with the production requirements.
FLEXIBLE AND EASY TO USE
Polymotion Chat can utilise presets to help locate and frame subjects. This can include off frame positions for graphics insertions for news or sports programming or set camera positions for intros or interviews.
Additionally, for the pop-up studio, a remote production workflow can be used with the operator managing the Polymotion Chat system over IP from the main production facility.
USE YOUR EXISTING CAMERAS
Any combination of the MRMC Robotics range can be used with Polymotion Chat.
For customers who already have chosen their cameras they can simply add them to our AFC100 platform. This will turn the camera into a fully automated robotic head with pan, tilt, zoom and focus. This delivers the same consistent ‘look and feel’ in production with the added benefit of precision.
ONE OPERATOR
The Polymotion Chat solution comes in either a 1U Polymotion Server (which supports up to 3 tracking heads) or a 2U Polymotion Server (which supports up to 6). Simply use your existing cameras on one of MRMC Robotic heads and connect. The interface has been designed to work with either a touchscreen or a standard keyboard and mouse. One operator can easily control Polymotion Chat and additional operators’ consoles can be added.
SIMPLE UI
With Polymotion Chat software, automatic zones can be set per camera to ensure the subject is framed correctly and if they move beyond a set radius the camera automatically follows them. Limits can also be set so that if the subject moves out of the studio space the camera simply stops following and returns to it’s default position.
Pro Capture AIO 4K capture card
HDMI
DVI-D 1.0
HDMI 1.4
BNC
SD/HD/3G/6G SDI
Host Interfaces:
PCIe Gen2 x2
Input Features:
Support for input video resolutions up to 4096x2160 pixels
HDMI Specific Features:
297MHz HDMI receiver
Adaptive HDMI equalizer
Support for customized EDID
Support for extraction of AVI/Audio/SPD/MS/VS/ACP/ISRC1/ISRC2/Gamut InfoFrames
Full colorimetry support
Support for 8-bit signals that use RGB/YUV 4:4:4 color sampling at pixel rate no more than 297MHz
Support for 12-bit signals that use YUV 4:2:2 color sampling at pixel rate no more than 297MHz
Support for 10/12-bit signals that use RGB/YUV 4:4:4 color sampling at pixel rate no more than 170MHz
Support for extraction of audio formation information & channel status data
Support for extraction of video timing information
Support for extraction of 3D format information
Support for extraction of Sony/Canon DSLR time code
Support for Side-by-Side Half, Top-and-Bottom, Frame Packing 3D mode.
SDI Specific Features:
Integrated cable equalizer extending the cable length as follows:
up to 330m for SD-SDI signals
up to 190m for HD-SDI signals
up to 150m for 3G-SDI signals
up to 75m for 6G-SDI signals
Support for SD/HD/3Ga/3Gb/3Gb-DL/3Gb-DS/6G (SMPTE 2081) standards
Support for 2K (2048x1080) & 4K (4096x2160) mode
Support for RGB 4:4:4, YCbCr 4:4:4, YCbCr 4:2:2 color sampling
Support for 10/12-bit color depth
Support for extraction of SMPTE 352 payload identifier
Support for up to 8 (mono) audio channels at 48KHz (channels 1–8 from the 16 available in the SDI spec)
Support for extraction of audio formation information & channel status data
Limited support of 3Gb-DS: only the first stream can be captured
Limited support for capture of the first link of dual link interfaces:
YCbCr 4:2:2 10-bit 1080p 50/59.94/60: captured as 1080i 50/59.94/60
YCbCr 4:4:4 10-bit: captured as 4:2:2
RGB 4:4:4: R/B sub-sampled
Support for Closed Caption via SDK
Video Capture Formats:
Support for capture image resolutions up to 4096x2160 pixels
Support for capture frame rates up to 144fps
SDK:
Magewell Capture SDK for easy integration, maximum flexibility and performance
Eco Capture HDMI 4K M.2 capture card
JST SHD 20-Pin socket
DVI-D 1.0
HDMI 1.4
FPC 20-Pin socket
DVI-D 1.0
HDMI 1.4
Host Interfaces:
M.2 2280 Type M (PCIe Gen2 x4)
Input features:
Support for input video resolutions up to 4096x2160 pixels
HDMI Specific Features:
297MHz HDMI receiver
Adaptive HDMI equalizer
Support for customized EDID
Support for extraction of AVI/Audio/SPD/MS/VS/ACP/ISRC1/ISRC2/Gamut InfoFrames
Full colorimetry support
Support for RGB/YUV 4: 4: 4 8-bit format signals with a pixel frequency of no more than 297MHz
Support for YUV 4:2:2 12-bit format signals with a pixel frequency of no more than 297MHz
Support for RGB/YUV 4:4:4 10/12-bit format signals with a pixel frequency of no more than 170MHz
Support for up to 8-channel IEC60958/IEC61937 audio streams via SDK
Support for extraction of audio formation information & channel status data
Support for extraction of video timing information
Support for extraction of 3D format information
Support for extraction of Sony/Canon DSLR time code
Support for Side-by-Side Half, Top-and-Bottom, Frame Packing 3D mode
Video Capture Formats:
Support for capture image resolutions up to 4096x2160 pixels
Support for capture frame rates up to 144fps
SDK:
Magewell Capture SDK for DirectShow (Windows) or V4L2 (Linux) for easy integration
Magewell Capture SDK for DirectKS (Windows) or ioctl (Linux) for maximum flexibility & performance
Accessories:
SHD to HDMI type A cables
FPC ribbon cable
FPC to HDMI type A adapter
