Mo-Sys VP Pro is the complete solution for creating virtual production content for live broadcast, film, game cinematics and architectural visualization. With a full range of creative tools directly in the engine, enhance your productions using augmented graphics and virtual sets with real-time camera tracking.
What is Mo-Sys VP Pro?
Currently utilised by a growing pool of filmmakers, high-end broadcasters and developers, Mo-Sys VP Pro streams live tracking data from all Mo-Sys robotic and tracking hardware such as StarTracker and RoboJib. Mo-Sys VP Pro features a creative AR mode, an internal keyer and data recording with timecode stamp for FBX export, as well as many more virtual production features that empower your creative processes in the Unreal Engine.
High-quality camera tracking
Developed from our patented broadcast camera tracking system, StarTracker comes the film-orientated StartTracker VP. This optical tracking system looks at “stars”; which are small, identical retro-reflective stickers which are randomly applied to the studio ceiling or on the floor. A small LED sensor, mounted on the studio camera, shines light on the stars and remembers the constellation. This then reports the position and orientation of the studio camera in real time to the rendering engine.
Unrestricted Unreal Plugin
StarTracker VP comes with a plugin for Unreal and as such is not limiting you in your workflow. It allows you to tap into the raw power of Unreal, giving full flexibility and creative freedom. StarTracker VP was specifically tailored for virtual productions and VFX heavy filming – with many features that simplify VFX shots.
Post-production
Whilst allowing on-set visualization in real-time, as well as scene blocking in virtual worlds, StarTracker neatly provides timecode synchronization and an FBX export allowing you to efficiently drop the recorded data and footage into Maya and other post-production software.
- Mo-Sys tracking data over LiveLink – Supports StarTracker, StarTracker MoCap, StarTrackerVR headsets, StarTracker ViewFinder, Handwheels, and extends to all future robotics and tracking hardware.
- Raw Mo-Sys tracking data – Blueprint nodes for use within a ‘built game’
- Data transmitter – Send data out of Unreal Engine to control Mo-sys robotics
- Mo-Cap drift correction – Positional correction for use with StarTracker MoCap hardware
- nDisplay for LED Wall –Receive data via VRPN for off-axis projection
- Live video I/O – Automatic configuration of compositing pipeline
- Drag-and-drop virtual camera – Pre-fabricated components for a variety of compositing modes
- Data recording with timecode – Synchronous multi-source tracking and lens data recording
- Video management tool – Simple interface to configure and monitor video I/O
- VP system status – See at a glance the state of the virtual production system
- VP layouts – Custom layouts for different stages of virtual production
- FBX data export – Virtual camera export to traditional pipelines
- Internal keyer – Color difference keyer for pre-visualisation
- External hardware keyer integration – Switch presets on Blackmagic Ultimatte from Unreal blueprints
- Switcher integration – Cut cameras on Blackmagic ATEM from Unreal blueprints
- External SDI recorder integration – Fire record on Blackmagic Hyperdeck recorders automatically with timecode and metadata
- Lens distortion – Entirely automated distortion for calibrated fixed and zoom lenses
- Depth of field – Automatic focal distance from StarTracker for depth of field handling
- StarTracker configuration – Detect and configure StarTrackers from inside Unreal editor
Other products from this company:
G30
Mo-Sys VP Pro
MoRail
StarTracker Max
StarTracker Studio
VP Pro XR
VP Pro XR
bMR
bMR has been designed to address multiple deployment scenarios
New studio build - where both on-air graphics system and a LED virtual studio are installed at the same time. Upgrade transition plan - where either the on-air graphics system or the LED content server are installed first, and used with the existing on-air graphics system or green screen studio until these are upgraded.
bMR LED content server system
bMR can drive any size/shape/pixel pitch LED virtual studio (equipped with sufficient render nodes), with the base system able to drive an LED studio with up to 8million pixels.
Create expansive virtual studios
Set extensions with simultaneous augmented reality (AR) are also possible, with the delay between the Unreal graphics perspective displayed on the LED wall, and the camera’s actual position, the lowest on the market today.
Multi-camera switching
The system offers multi-camera switching capability, up to UHD4K resolution, enabling multiple cameras to be used with an LED volume, where switching between cameras is orchestrated with the LED wall updating correctly.
Flexible upgrade path
bMR contains 2 Mo-Sys VP VFX virtual studio compositing licences (more can be added), for an upgrade transition scenario where a broadcaster needs to deploy bMR as initially an on-air graphics replacement to work with an existing green screen virtual studio, before upgrading this to an LED virtual studio.
bMR on-air graphics system
bMR’s on-air graphics system offers three ways of displaying templated data-fed graphics; standard 2D keyed graphics, keyed 3D graphics, or 3D ‘in-scene’ Unreal element graphics. The system conforms to MOS protocol and can be controlled by commonly available newsroom computer systems (NRCS) such as Octopus, ENPS, or other popular NRCS.
Intuitive interface with full system redundancy
bMR is based on web browser technology and uses a fully redundant server/client architecture. Importantly, it is an on-premise solution and is not cloud-based.
Local and remote preview
bMR offers local and remote preview, where remote preview is enabled via temporary agents to avoid copying, which in turn reduces remote preview latency.
Absolute control
The system uses a browser-based Mediahub to manage graphics assets, offering streamlined control of multiple graphic elements on a single production, as well as multi-studio capability. bMR offers users the ability to create simple custom interfaces for populating graphic templates, for attaching real-time data sources to graphic templates, or for manual control of graphic elements.
G30
Novel 45 Degree Frame Geometry
The G30’s unique oversized frame geometry provides easy access to all the camera connections and accessories, making camera loading fast and simple. Its shorter and stiffer frame delivers better extended crane performance, ensuring the smoothest looking images. The unique frame geometry combined with a re-ordered axis priority (pan, roll, tilt) means that even when the mounted camera is pointing directly down, there is no gimbal lock and all 3 axis of movement and stability are active.
Oversize Direct Drive Motors
The G30’s high torque output oversize motors makes for crisp and precise camera movement, with optimum stabilization. Its built-in axis encoders are designed for virtual production and green screen use, meaning the G30 can be used for VFX shots without the need for re-rigging or additional external encoders.
Designed for Large Camera/Lens Packages
The oversized frame of the G30 means there's no need to use counterweights with large camera payloads to compensate for a gyro frame that is too short. The unique frame design, combined with powerful motors and semi-automatic balancing system, helps to balance a heavy payload.
High Payload
With a weight of 24kg (27.3Kg with wire isolator) and a 30kg/66lbs optimum rated payload, the G30 provides the fastest stabilized acceleration of camera payload in its class. The oversize motors and stub-frame design ensure that the G30 can provide stabilized movement for any camera and lens package chosen by the DP.
Smart Cable Management
The G30’s drive motors all contain ‘through holes’, eliminating the need for slip rings and specialized cables. As a result, standard cables and connectors can be used to connect camera and lens packages, giving the DP a wide choice of equipment.
Assisted balancing
On the back of the G30 are controls for Pan, Tilt, Roll. Pressing each button in turn enables the operator to adjust the axis chosen whilst the G30 holds the camera package in the other two axes. This dramatically reduces the time taken to balance the camera package across all three axes.
New Touch/Dial console
The Touch/Dial console for the G30 takes its design from the automotive industry. It comprises a shallow menu structure, a display showing the operator current parameter settings, and physical controls for direct, tactile, intuitive operation. This is the optimum interface for stressed production environments, where changes need to be fast and delays minimised.
Simple Tuning
Using a combination of the G30’s assisted balancing, simple cage adjustment, and touch/dial console, tuning a camera package for optimum performance is simple and fast compared to traditional gyro-stabilised heads. This process is further accelerated by smart features available through the Touch/Dial console: Auto inertia measurement – auto-sensing of camera payloads; Factory pre-sets – a library of camera/lens weight presets; Console pre-set buttons – recall of previously used camera settings.
Mo-Sys L40
Extremely strong drive unit
Extremely strong and backlash-free drive units gives the operator instant and delay-free control. The precise gear drive enables flawless operation even with the biggest zoom lenses, unlike worm gear drives which can cause judder. The hole through the center of the gear boxes for cable pass-through removes the need for slip-rings and makes it future proof for high bandwidth digital video. This also allows for tangle free direct cabling.
Back-pan option
The L40 sets a new standard with the digital back-pan gyro option, making it a preferred choice for telescopic and standard crane work. It allows the operator to concentrate on the framing while the head takes care of the compensation of the crane movement.
Incredible payload
The L40 boasts a payload of incredible 40kg while only weighing 18kg. It is one of the lightest heads on the market with that strength.
Fast set-up
The L40, like all Mo-Sys heads, is lightning quick to set up utilising a daisy-chain system of identical “Mo-Sys bus” cables, providing simplicity and redundancy of spares. The head features a quick release camera plate to enable fast camera installation. All head frame size adjustments are by quick release levers for quickness and ease of balancing and nodal point positioning.
Intuitive control
The L40 can be operated with a variety of input devices such as hand-wheels, pan-bar or joystick. The Button-Console interface provides controls for pan/tilt velocity adjustment, input smoothing and direction, user defined position limits with feathering and axes zeroing. It simplifies the operation of the head in remote-mode making it ideal for tech-less operation. Our intuitive touch screen console gives access to the extended extra features like back-pan.
Data for post production
With built in high-resolution encoders the L40 is ready for a full VFX workflow, outputting accurate pan and tilt data and also connects to Mo-Sys VR modules to track cranes, dollies and cameras. The data can be recorded for post-production with the Mo-Sys MotionLogger or in Unreal using our Tracking Plugin. The L40 also interfaces to most virtual set softwares using our own protocol.
Roll-axis
A two-axis head can be effortlessly upgraded to a three-axis model with a 360˚ roll axis.
Mo-Sys Lambda 2.0
High precision
The Lambda 2.0 is pre-equipped with telescopic camera plates, which provide quick and easy adjustment for any size of camera packages. The slip-ring technology allows continuous multi-turn 360˚ rotation on all axes without the worry of cable wraps. Since it was originally designed for motion control, the Lambda 2.0 offers and enhanced high-precision operation, accurate to a millionth of a full rotation, or a 3000th of a degree.
Incredible payload
The gears are also strong enough to cope with out-of-balance cameras that weigh up to 50kg. The head is capable of moving the heaviest cameras with a feather-like touch and can even handle 3D-stereoscopic mirror rigs.
Strong gears
Unlike some of its competitors, Lambda 2.0 has zero backlash. As a result, there is no ramping-up to overcome the backlash and, therefore, no latency. Now, integrated with the specially-designed gears from our L-40, it is reliable and robust, and can be used in extreme temperatures, enduring both in Siberia and the Sahara.
Intuitive controls
Another reason why the head is so popular is its ease of use. It comes with an operator friendly touchscreen control with an intuitive user interface that makes changing the settings, recording a move and playing it back a quick and painless task. The motion data can be recorded and used for post-production VFX.
Modularity
Another strong point of the Lambda 2.0 is its modularity. A two-axis head can be effortlessly upgraded to a three-axis model with a 360˚ roll axis, allowing operators to perform quick and smooth start and stop shots, allowing very subtle slow dutch moves, all with lightning fast precision. The additional roll-axis is controlled by a 3rd hand wheel or joystick remotely located at the operating desk for ease of use.
Console features
With the modularity come three stages of operational sophistication. The touchscreen operator can set the level with a password we provide. Some rental houses have been using the first level head as a tech-less system. The second level is for motion control with a simple, tech-less operation.
Mo-Sys VP Pro
What is Mo-Sys VP Pro?
Currently utilised by a growing pool of filmmakers, high-end broadcasters and developers, Mo-Sys VP Pro streams live tracking data from all Mo-Sys robotic and tracking hardware such as StarTracker and RoboJib. Mo-Sys VP Pro features a creative AR mode, an internal keyer and data recording with timecode stamp for FBX export, as well as many more virtual production features that empower your creative processes in the Unreal Engine.
High-quality camera tracking
Developed from our patented broadcast camera tracking system, StarTracker comes the film-orientated StartTracker VP. This optical tracking system looks at “stars”; which are small, identical retro-reflective stickers which are randomly applied to the studio ceiling or on the floor. A small LED sensor, mounted on the studio camera, shines light on the stars and remembers the constellation. This then reports the position and orientation of the studio camera in real time to the rendering engine.
Unrestricted Unreal Plugin
StarTracker VP comes with a plugin for Unreal and as such is not limiting you in your workflow. It allows you to tap into the raw power of Unreal, giving full flexibility and creative freedom. StarTracker VP was specifically tailored for virtual productions and VFX heavy filming – with many features that simplify VFX shots.
Post-production
Whilst allowing on-set visualization in real-time, as well as scene blocking in virtual worlds, StarTracker neatly provides timecode synchronization and an FBX export allowing you to efficiently drop the recorded data and footage into Maya and other post-production software.
- Mo-Sys tracking data over LiveLink - Supports StarTracker, StarTracker MoCap, StarTrackerVR headsets, StarTracker ViewFinder, Handwheels, and extends to all future robotics and tracking hardware.
- Raw Mo-Sys tracking data - Blueprint nodes for use within a 'built game'
- Data transmitter - Send data out of Unreal Engine to control Mo-sys robotics
- Mo-Cap drift correction - Positional correction for use with StarTracker MoCap hardware
- nDisplay for LED Wall -Receive data via VRPN for off-axis projection
- Live video I/O - Automatic configuration of compositing pipeline
- Drag-and-drop virtual camera - Pre-fabricated components for a variety of compositing modes
- Data recording with timecode - Synchronous multi-source tracking and lens data recording
- Video management tool - Simple interface to configure and monitor video I/O
- VP system status - See at a glance the state of the virtual production system
- VP layouts - Custom layouts for different stages of virtual production
- FBX data export - Virtual camera export to traditional pipelines
- Internal keyer - Color difference keyer for pre-visualisation
- External hardware keyer integration - Switch presets on Blackmagic Ultimatte from Unreal blueprints
- Switcher integration - Cut cameras on Blackmagic ATEM from Unreal blueprints
- External SDI recorder integration - Fire record on Blackmagic Hyperdeck recorders automatically with timecode and metadata
- Lens distortion - Entirely automated distortion for calibrated fixed and zoom lenses
- Depth of field - Automatic focal distance from StarTracker for depth of field handling
- StarTracker configuration - Detect and configure StarTrackers from inside Unreal editor
MoRail
Cost-effective motorized camera rail
Designed for popular pan-tilt-zoom (PTZ) / ENG cameras weighing up to 15kg, MoRail transforms regular static shots into repeatable creative shots with controlled parallax movement. With MoRail, producers can achieve accurate movements during a show without the need to invest in expensive and complex robotics systems.
Controlled movement for creative shots
MoRail delivers a simple yet elegant solution that has the power to transform regular newsroom shots with programmable and live controlled movement. A powerful Mo-Sys controller is used to set rail height and camera position in addition to pan, tilt, zoom, focus and iris.
A new life for PTZ cameras
MoRail gives the PTZ a new creative life by transforming the usefulness of this popular camera format. Production teams can now program accurate and repeatable PTZ movement to traverse, loop and orbit presenters to achieve beautifully smooth and immersive parallax movement.
Flexible design and quick set up
MoRail is available in 3m lengths, either straight or with a 30-degree curve (4m fixed radius). Up to two lengths can be joined together offering production teams maximum creative freedom. Motorized, height adjustable legs ensure fast studio set up, moving the camera plane quickly between 1025 – 1725mm.
StarTracker
Features and capabilities
The system looks at “stars”; which are small, identical retro-reflective stickers – the same reflective material that could be found on emergency vehicles. These stickers are randomly applied to the studio ceiling or the lighting grid. No additional structure is required. They do not have to conform to any pattern and can vary in height. The “stars” are hardly visible to the naked eye. A small LED sensor, mounted on the studio camera, shines light on the stars. This defines the star map, which allows the StarTracker to report the position and orientation of the studio camera in real time to the rendering engine.
Freedom of movement
StarTracker offers unlimited freedom of movement and gives accurate position, rotation and lens data in real-time - this makes it ideal for Steadicam and handheld. You can rotate the studio camera 360 degrees, and move it to any position in the studio, even right to the edge, as long as enough “stars” are in sight of the tracking camera. Other systems are often restricted in their tracking volume. StarTracker can track in 3m to 20m high studios. Since the tracking sensor points up rather than looking into the scene, the tracking is unaffected by studio conditions, such as moving objects, set changes, lighting configurations, reflections and plain green screen environments.
No lighting restriction
As the “stars” can be applied randomly, in no certain pattern, above the lighting grid, they do not restrict the studio lights in any way. Despite being optical, StarTracker is unaffected by studio lighting, giving you complete freedom to install and adjust lights as needed. This is unique to StarTracker.
Ease of use
The initial set-up and calibration is quick and simple. Once you have applied the "stars" to the ceiling, a major part of the installation is done. A brief mapping and calibration process only need to be performed once for each studio. Multiple cameras in the studio can track off the star map. Once calibrated, the system is fully automatic and starts tracking after being powered on. No extra technician is required for day-to-day operation.
Absolute tracking
StarTracker does not drift, unlike mechanical encoded pedestals that work on dead-reckoning and accumulate error with distance travelled. This excludes them from almost all AR applications. Because StarTracker is always referencing itself to its star map, its position is absolute and drift-free.
Cost-effective solution
StarTracker is the most cost-effective choice for tracking of free moving cameras. In fact, it is often the only viable option to track cameras in large areas. Having just one tracking sensor camera and lots of inexpensive “stars”, instead of having an array of expensive tracking cameras, makes it cost-efficient. By adding more stars to the ceiling, the tracking volume can be easily extended at a very low extra cost. You can even employ a single StarTracker system in several studios.
Support and maintenance
StarTracker does not require a tracking operator. Once it is set up, it just tracks, and maintenance is minimal. In case of a problem we can offer fast support, remote or on-site, and training.
StarTracker Max
Mo-Sys invented 'simple-to-use' marker-based optical camera tracking for Virtual Production. The resulting product, StarTracker, became the world's best-selling absolute tracking solution for broadcast and cinematic. Utilising its unrivalled knowledge of Virtual Production Mo-Sys has continued to develop. StarTracker Max features redesigned and miniaturised hardware which leverages Mo-Sys improved algorithm to produce Mo-Sys' most accurate tacking solution to date.
Set-and-forget professional tracking
StarTracker Max auto alignment technology simplifies set-up and ensures ultra-precise studio calibration. Once set-up, StarTracker Max is fully autonomous with no need for costly, time-consuming daily re-calibration. With rapid star map discovery, a new user-friendly interface (iOS and Android) and simple D-Tap power inlet, StarTracker Max sets a new standard for set-and-forget professional tracking.
Maximum versatility
StarTracker Max is optimized for use in studio spaces up to 100 x 100m with no explicit upper limit, and ceiling heights >16m with appropriately sized and spaced stars. Immune from occlusion and blind spotting often experienced by 'outside-in' tracking systems, StarTracker Max provides absolute 'inside-out' tracking.
Superior tracking capabilities
StarTracker Max delivers 6-axis tracking with lens zoom and focus for precision blending of photo realistic 3D virtual graphics with the real-world scenes and objects. Its 120-degree field of view sensor enables tracking even on a camera pointing straight down, with zero drift accumulation and ultra-fast star map discovery.
Unrivalled pedigree
Its a StarTracker! Designed and manufactured in the UK to the same exacting standards as all of our world-leading Virtual Production solutions, StarTracker Max marks the beginning of an exciting new platform, building on the trusted current StarTracker technology and delivering even greater tracking accuracy coupled with new unique capabilities to be announced in due course.
StarTracker Studio
This state-of-the-art virtual studio system provides unlimited creative freedom to generate visually impactful digital studios for every video type.
Create all your video content with a single studio
- 3-camera 4K virtual studio system – expandable to 16 cameras.
- Pre-confi gured system with pre-calibrated lenses.
- 1 vendor for supply, installation, training, and support.
- 1 day installation.
- No additional virtual studio compositing software required.
- Works with LED wall studios or green studios.
- 4K recorders included – shoot live to air, or record for post-production.
- Includes Mo-Sys Beam In technology – include remote guests in a virtual studio.
- Uses Unreal Engine 4 (UE4) - the market leader in photo-realistic graphics engines.
- Suitable for live broadcast/streaming, real-time film workflows, and rapid reaction social media video
VP Pro XR
Unreal Engine editor interface
VP Pro XR further builds upon Mo-Sys’ trusted VP Pro software, which integrates directly into the Unreal Engine Editor interface. The complete suite of real-time compositing tools can also record data for camera tracking, lens focus and zoom plus camera setting data for Arri Alexa and Sony Venice cameras.
nDisplay-enabled
VP Pro XR contains the full VP Pro feature set with additional XR tools, new unique capabilities and it is also nDisplay-enabled for large LED screens. Designed to have the minimum system delay possible, typically 6-7 frames, it ensures that XR shoots requiring real talent to interact with mocap AR avatars, are possible.
The Cinematic XR Initiative
Mo-Sys will deliver Cinematic XR capabilities on VP Pro XR. The Cinematic XR initiative focusses on four key aspects of XR: to improve pixel and composite image fidelity, introduce established cinematic shooting techniques to XR, provide seamless interaction between virtual and real elements, and enable hybrid workflows combining final pixel and non-real-time compositing.
Cinematic XR Focus
The first unique capability released for VP Pro XR is the recently announced Cinematic XR Focus, a collaboration with Preston Cinema Systems, the first product to enable seamless interaction between virtual and real worlds. Mo-Sys will release additional unique features aimed at Cinematographers and Focus Pullers over the coming months.
Multi-Cam
Multi-Cam for VP Pro XR orchestrates the 5-6 frame delay between switching two or more cameras and updating the LED volume with the new camera’s correct perspective graphics. Importantly, it allows switching at full resolution up to UHD4K.
VP Pro XR feature set
The Cinematic XR Focus feature is a taste of the kind of developments from Mo-Sys’ Cinematic XR initiative, with two key software releases due in the coming months. Mo-Sys is also working alongside LED tile and processor experts, developing unique Cinematic capabilities, as well as offering a single supplier solution.
VP Pro XR
Unreal Engine editor interface
VP Pro XR further builds upon Mo-Sys’ trusted VP Pro software, which integrates directly into the Unreal Engine Editor interface. The complete suite of real-time compositing tools can also record data for camera tracking, lens focus and zoom plus camera setting data for Arri Alexa and Sony Venice cameras.
nDisplay-enabled
VP Pro XR contains the full VP Pro feature set with additional XR tools, new unique capabilities and it is also nDisplay-enabled for large LED screens. Designed to have the minimum system delay possible, typically 6-7 frames, it ensures that XR shoots requiring real talent to interact with mocap AR avatars, are possible.
The Cinematic XR Initiative
Mo-Sys will deliver Cinematic XR capabilities on VP Pro XR. The Cinematic XR initiative focusses on four key aspects of XR: to improve pixel and composite image fidelity, introduce established cinematic shooting techniques to XR, provide seamless interaction between virtual and real elements, and enable hybrid workflows combining final pixel and non-real-time compositing.
Cinematic XR Focus
The first unique capability released for VP Pro XR is the recently announced Cinematic XR Focus, a collaboration with Preston Cinema Systems, the first product to enable seamless interaction between virtual and real worlds. Mo-Sys will release additional unique features aimed at Cinematographers and Focus Pullers over the coming months.
Multi-Cam
Multi-Cam for VP Pro XR orchestrates the 5-6 frame delay between switching two or more cameras and updating the LED volume with the new camera’s correct perspective graphics. Importantly, it allows switching at full resolution up to UHD4K.
VP Pro XR feature set
The Cinematic XR Focus feature is a taste of the kind of developments from Mo-Sys’ Cinematic XR initiative, with two key software releases due in the coming months. Mo-Sys is also working alongside LED tile and processor experts, developing unique Cinematic capabilities, as well as offering a single supplier solution.
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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.
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Production AirBox
Production AirBox provides content playout for News, Live shows, screens and video walls feeding, live production broadcasts and other places where video/audio content have to be displayed. It is designed to meet the high reliability requirements of broadcast playout.
Every modification to the playlist can be made during onair session for live productions! No clips become locked It is possible to trim or reposition every clip in the playlist. In fact, on - the-fly playout position can be modified with commands such as next, jump or shuttle. These changes are carried out smoothly without disrupting the running session of playout.
For up to four individual players, one server can be installed. Each player will have separate playlist and control over the playout. It is possible to designate the four SDI interfaces as software or sample outputs. Production AirBox provides content playout for feeding news live shows, screens and video walls, live broadcasts and other places where video / audio material needs to be viewed. To improve the process, it is designed to address the high reliability criteria interfaces of the broadcast playout.
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VP Pro XR
Unreal Engine editor interface
VP Pro XR further builds upon Mo-Sys’ trusted VP Pro software, which integrates directly into the Unreal Engine Editor interface. The complete suite of real-time compositing tools can also record data for camera tracking, lens focus and zoom plus camera setting data for Arri Alexa and Sony Venice cameras.
nDisplay-enabled
VP Pro XR contains the full VP Pro feature set with additional XR tools, new unique capabilities and it is also nDisplay-enabled for large LED screens. Designed to have the minimum system delay possible, typically 6-7 frames, it ensures that XR shoots requiring real talent to interact with mocap AR avatars, are possible.
The Cinematic XR Initiative
Mo-Sys will deliver Cinematic XR capabilities on VP Pro XR. The Cinematic XR initiative focusses on four key aspects of XR: to improve pixel and composite image fidelity, introduce established cinematic shooting techniques to XR, provide seamless interaction between virtual and real elements, and enable hybrid workflows combining final pixel and non-real-time compositing.
Cinematic XR Focus
The first unique capability released for VP Pro XR is the recently announced Cinematic XR Focus, a collaboration with Preston Cinema Systems, the first product to enable seamless interaction between virtual and real worlds. Mo-Sys will release additional unique features aimed at Cinematographers and Focus Pullers over the coming months.
Multi-Cam
Multi-Cam for VP Pro XR orchestrates the 5-6 frame delay between switching two or more cameras and updating the LED volume with the new camera’s correct perspective graphics. Importantly, it allows switching at full resolution up to UHD4K.
VP Pro XR feature set
The Cinematic XR Focus feature is a taste of the kind of developments from Mo-Sys’ Cinematic XR initiative, with two key software releases due in the coming months. Mo-Sys is also working alongside LED tile and processor experts, developing unique Cinematic capabilities, as well as offering a single supplier solution.
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TitleBox
TitleBox is a complex and incredibly user-friendly on-air CG and graphics manager. It allows you to make and save various static or dynamic objects like rolls, crawls, multi-layered simultaneous still images, analog and digital clocks, animated logos, etc. These can be easily used for direct broadcasting or for future use as customized templates.
TitleBox is an interactive graphics manager that generates, shows and manages captivating multi-zone screens with rolls, crawls, animations clocks, station logos, 3D objects, and many more. It is ideal for broadcasting and cable TV channels digital signage systems and public and private facilities like schools, colleges, universities, business entities, corporations, retail, shopping malls, churches, airports, hotels, holiday resorts, theme parks, etc. Furthermore, TitleBox has a Scheduler that allows you to start items at different times from previously created tasks.
TitleBox provides on-air graphics that can be interactively controlled. You can enable multi-layer simultaneous crawls, rolls, animated icons, clocks and text templates with a click of the mouse. TitleBox provides full on-air command, including text selection, running speed and transitions.
MS Windows 10 compatible
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Aveco ASTRA Studio 3
ASTRA Studio 3 controls all equipment in the production control room and studio, including graphics, camera robotics, video and audio mixer, video servers, lights, backdrop screens and more. It puts a show on air with maximum impact and minimum staff.
Being the only independent vendor of production automation, Aveco works with all industry manufacturers. This provides customers extreme flexibility in selecting the best-of-breed equipment for each aspect of operations. There’s no need to be tied to any single manufacturer.
ASTRA Studio 3 works with your existing equipment. Aveco has the industry largest library of interfaces, supporting essentially all studio, PCR and MCR hardware and software.
ASTRA Studio 3 is the industry’s only multi-studio production automation system. It not only excels in control of a single studio, but brings many benefits to designs of multi-studio facilities.
A single system can produce independent shows in different studios. It can manage complex multi-studio production scenarios as well as share devices across studios. When production runs long in one studio, a button click reassigns the next rundown to another studio. This moves control of all production switcher settings, graphics, virtual sets, camera robotics, video roll-ins, lighting and audio to the alternate studio.
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Etere NDI Newsroom
Etere Nunzio Newsroom integrates seamlessly with Newtek NDI to deliver unlimited streams for live productions with savings of up to half the cost of a traditional SDI setup. Upgrade your newsroom to Etere to get more done for less!
With NDI integration, Nunzio Newsroom software delivers and receives unlimited broadcast quality video streams with low latency and frame accuracy. Setting up a live newsroom production for unlimited streams is easy and cost-efficient. Newstek NDI is a royalty-free standard that allows multiple video systems to identify and communicate with one another over IP. It encodes, transmits and receive multiple streams of high quality, low latency, frame-accurate video and audio in real-time. Etere is compatible with Newtek NDI technology since 2014 when it rolled out support for the IT-based Etere ETX Channel-in-a-box system.
Etere NDI Nunzio Newsroom enables the use of virtual machines to manage the complete newsroom workflow. With a virtualised environment, you have the freedom to run unlimited streams without the need to invest, operate and maintain a large number of hardware and cables. In addition, you can save up to half the hardware costs with a smaller footprint using only standard Gigabit cables. Moreover, with the use of standard IP adapters, the system is fully redundant for a fault-tolerant performance.
Etere Nunzio Newsroom is the newsroom management component of Etere Ecosystem. It enhances coordinated multi-media planning and collaboration across different production units and departments with an editorial driven workflow and flexible metadata management. Etere Nunzio Newsroom represents the future of news reporting with a host of features for the modern newsroom. Etere supports complex stories with multiple video elements including video files, live streams, graphics and secondary media files simultaneously. Even in the face of complex workflows, Etere delivers the reliability, flexibilty and speed that is critical in any fast-paced newsroom. Etere Nunzio taps on a common database to provide real-time updates across all workflows. Nunzio newsroom goes the extra mile for your workflows so that you can focus on producing better content.
Etere Nunzio Newsroom is a collaboration tool that was designed to facilitate information exchange between internal and external teams of all sizes. It supports Windows and web interfaces, giving you the flexibility to share resources, run your workflows, plan tasks, schedule news story, create and approve content from wherever you are. With a simple software download, you have access to capabilities including instant chat, E-paper support, website uploads, integration with social media platforms and a mobile interface to take your newsroom with you wherever you are. No longer confined to a single device or platform, you are equipped with the software tools to bring the stories to your audience anytime, anywhere.
Key Features ■ Unlimited creative possibilities for live production, allows multiple video systems to connect to one another over IP
■ Use of virtual machines for unlimited broadcast quality video streams
■ Eliminates the need to invest, operate and maintain hardware equipment and bulky cables
■ Cost-efficiency at its best - Save up to half the hardware and maintenance costs
■ Encodes, transmits and receives multiple streams of high quality, low latency, frame-accurate video and audio in real-time
■ Uses standard IP adapters for complete redundancy
■ Send high-quality and low latency video while simultaneously streaming and capturing it elsewhere on your network
■ Support multiple devices with web, Windows and mobile interfaces
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StarTracker Studio
This state-of-the-art virtual studio system provides unlimited creative freedom to generate visually impactful digital studios for every video type.
Create all your video content with a single studio
- 3-camera 4K virtual studio system – expandable to 16 cameras.
- Pre-confi gured system with pre-calibrated lenses.
- 1 vendor for supply, installation, training, and support.
- 1 day installation.
- No additional virtual studio compositing software required.
- Works with LED wall studios or green studios.
- 4K recorders included – shoot live to air, or record for post-production.
- Includes Mo-Sys Beam In technology – include remote guests in a virtual studio.
- Uses Unreal Engine 4 (UE4) - the market leader in photo-realistic graphics engines.
- Suitable for live broadcast/streaming, real-time film workflows, and rapid reaction social media video
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Mo-Sys VP Pro
What is Mo-Sys VP Pro?
Currently utilised by a growing pool of filmmakers, high-end broadcasters and developers, Mo-Sys VP Pro streams live tracking data from all Mo-Sys robotic and tracking hardware such as StarTracker and RoboJib. Mo-Sys VP Pro features a creative AR mode, an internal keyer and data recording with timecode stamp for FBX export, as well as many more virtual production features that empower your creative processes in the Unreal Engine.
High-quality camera tracking
Developed from our patented broadcast camera tracking system, StarTracker comes the film-orientated StartTracker VP. This optical tracking system looks at “stars”; which are small, identical retro-reflective stickers which are randomly applied to the studio ceiling or on the floor. A small LED sensor, mounted on the studio camera, shines light on the stars and remembers the constellation. This then reports the position and orientation of the studio camera in real time to the rendering engine.
Unrestricted Unreal Plugin
StarTracker VP comes with a plugin for Unreal and as such is not limiting you in your workflow. It allows you to tap into the raw power of Unreal, giving full flexibility and creative freedom. StarTracker VP was specifically tailored for virtual productions and VFX heavy filming – with many features that simplify VFX shots.
Post-production
Whilst allowing on-set visualization in real-time, as well as scene blocking in virtual worlds, StarTracker neatly provides timecode synchronization and an FBX export allowing you to efficiently drop the recorded data and footage into Maya and other post-production software.
- Mo-Sys tracking data over LiveLink - Supports StarTracker, StarTracker MoCap, StarTrackerVR headsets, StarTracker ViewFinder, Handwheels, and extends to all future robotics and tracking hardware.
- Raw Mo-Sys tracking data - Blueprint nodes for use within a 'built game'
- Data transmitter - Send data out of Unreal Engine to control Mo-sys robotics
- Mo-Cap drift correction - Positional correction for use with StarTracker MoCap hardware
- nDisplay for LED Wall -Receive data via VRPN for off-axis projection
- Live video I/O - Automatic configuration of compositing pipeline
- Drag-and-drop virtual camera - Pre-fabricated components for a variety of compositing modes
- Data recording with timecode - Synchronous multi-source tracking and lens data recording
- Video management tool - Simple interface to configure and monitor video I/O
- VP system status - See at a glance the state of the virtual production system
- VP layouts - Custom layouts for different stages of virtual production
- FBX data export - Virtual camera export to traditional pipelines
- Internal keyer - Color difference keyer for pre-visualisation
- External hardware keyer integration - Switch presets on Blackmagic Ultimatte from Unreal blueprints
- Switcher integration - Cut cameras on Blackmagic ATEM from Unreal blueprints
- External SDI recorder integration - Fire record on Blackmagic Hyperdeck recorders automatically with timecode and metadata
- Lens distortion - Entirely automated distortion for calibrated fixed and zoom lenses
- Depth of field - Automatic focal distance from StarTracker for depth of field handling
- StarTracker configuration - Detect and configure StarTrackers from inside Unreal editor
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nxtedition
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Gallery – SIENNA -NDI
Jigsaw24 and Gallery have a longstanding partnership. Together, we’ve delivered innovative projects covering a range of workflows, including news, soap operas and live sports.
Our expertise and experience when it comes to networking and broadcast workflows mean we can provide a complete solution from specification through to installation, including ongoing support once a workflow is in place. As part of the global network of approved Sienna Cloud systems integrators, we can provide local installation, support and maintenance to ensure always-on operation of your entire Sienna Cloud for NDI network.
If you want to see first-hand how Gallery’s solutions can improve and augment your existing workflow, get in touch with the team to arrange an integrated demo featuring a selection of solutions tailored to your environment.
Everything you need to know about NDI
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bMR
bMR has been designed to address multiple deployment scenarios
New studio build - where both on-air graphics system and a LED virtual studio are installed at the same time. Upgrade transition plan - where either the on-air graphics system or the LED content server are installed first, and used with the existing on-air graphics system or green screen studio until these are upgraded.
bMR LED content server system
bMR can drive any size/shape/pixel pitch LED virtual studio (equipped with sufficient render nodes), with the base system able to drive an LED studio with up to 8million pixels.
Create expansive virtual studios
Set extensions with simultaneous augmented reality (AR) are also possible, with the delay between the Unreal graphics perspective displayed on the LED wall, and the camera’s actual position, the lowest on the market today.
Multi-camera switching
The system offers multi-camera switching capability, up to UHD4K resolution, enabling multiple cameras to be used with an LED volume, where switching between cameras is orchestrated with the LED wall updating correctly.
Flexible upgrade path
bMR contains 2 Mo-Sys VP VFX virtual studio compositing licences (more can be added), for an upgrade transition scenario where a broadcaster needs to deploy bMR as initially an on-air graphics replacement to work with an existing green screen virtual studio, before upgrading this to an LED virtual studio.
bMR on-air graphics system
bMR’s on-air graphics system offers three ways of displaying templated data-fed graphics; standard 2D keyed graphics, keyed 3D graphics, or 3D ‘in-scene’ Unreal element graphics. The system conforms to MOS protocol and can be controlled by commonly available newsroom computer systems (NRCS) such as Octopus, ENPS, or other popular NRCS.
Intuitive interface with full system redundancy
bMR is based on web browser technology and uses a fully redundant server/client architecture. Importantly, it is an on-premise solution and is not cloud-based.
Local and remote preview
bMR offers local and remote preview, where remote preview is enabled via temporary agents to avoid copying, which in turn reduces remote preview latency.
Absolute control
The system uses a browser-based Mediahub to manage graphics assets, offering streamlined control of multiple graphic elements on a single production, as well as multi-studio capability. bMR offers users the ability to create simple custom interfaces for populating graphic templates, for attaching real-time data sources to graphic templates, or for manual control of graphic elements.
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Channel in a Box
PlayBox Technology has incorporated its most advanced playout engine which is the result of over 15 years of experience in developing playout solutions for the world's
leading broadcasters.
PlayBox Technology Channel-in-a-Box provides an integrated playout solution for Broadcasters and OTT service providers in a 1RU or 3RU server, regardless if you are working with IP or SDI.
The CIAB will enable you to playout an IP stream or an SDI in SD, HD or UHD. PlayBox Technology’s CIAB takes care of all your scheduling needs and uses simple, clean and engaging HTML5 for your transmission graphics needs including crawlers and rollers.
As you would expect from PlayBox Technology, it offers sophisticated and easy to use automation. We have designed a user friendly ingest which also gives you the ability to FTP your media straight to the Channel In A Box, saving you time.
It is available as a complete turnkey solution for single channel or multichannel HD SDI/SD. Available as both full turnkey solutions and software-only for single and multi-channel operations.
Channel in a Box (CIAB) is compatible with a wide range of compression types, including: MPEG-2, DV, DVCPro, DVCPro HD, AVC/H.264, HAVC/H.265, XAVC and more.
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Megahertz Broadcast System Integration
Megahertz designs, engineers and delivers turnkey systems to the world’s leading broadcasters, content owners and media service providers. As a leading systems integrator, its expert team of skilled engineers and solutions architects, drawn from both broadcast and IT backgrounds, ensures a creative, forward-thinking, independent and highly efficient approach. Megahertz provides dynamic and resilient systems for news and sport production, state-of-the-art studios and advanced file-based workflows, as well as fully equipped vehicles for outside broadcast and newsgathering. The company also provides consultancy, training and support services.
The company head office is based in Ely, Cambridgeshire where it has a 2,000 square metre engineering facility. This allows Megahertz to carry out its own coachwork for vehicles and to pre-fabricate even the largest systems.
With a reputation for excellence since 1982, Megahertz continues to deliver value-added engineering solutions worldwide.
LNS – Live News & Sport Systems
ACQUISITION & NEWS PLANNING Journalists can quickly and easily browse for video and text, with a variety of information sources at their disposal: wire agencies, rss feeds, websites, the station’s existing media archive, or any external video file. The time and number of programmes per day, week and month, and the format or outline structure with placeholders, are imbedded into LNS system. News stories on individual rundowns are assigned to journalists who can see the tasks assigned to them from their own login.
SCRIPT AND VIDEO EDITING Journalists write their story, app and web page template cues, prompter script, camera cues and character generator text using a simple to use, multilingual Windows programme. As the story is changed and updated, all users are updated on developments. The journalist can record voice overs and undertake a simple edit in their workspace, using the inbuilt timeline editor. If extensive video editing, packaging and compositing is required, the timeline can be exported to an NLE, rendered and the file imported back into the LNS workspace. If only cut editing and voiceovers are required, then rendering of the timeline is processed by LNS. After checking, the assigned journalist marks the resulting video as the on-air copy, which notifies it’s completed. It is then marked as being ready for more senior editorial approval and placed in a pool of stories and content, ready to go into the programme running order with a simple drag and drop.
PRE-PRODUCTION RUNDOWN MANAGEMENT Using pre-prepared templates for each deadline or programme category, the completed stories and packaged content is now in a specific rundown, which shows detailed information on the readiness of each of the stories or packaged content, signaling potential issues such as video missing, prompter script not approved, cg not approved, etc. Users who have sufficient rights can then publish the rundown, for air, app and web
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Bluefish444 IngeSTore
Bluefish444 have developed IngeSTore as a complementary multi-channel ingest tool, enabling Bluefish hardware to capture multiple independent format SDI or NDI® sources simultaneously. Capture to QuickTime, AVI and DVCPRO50/HD codecs for free.
Watch the IngeSTore product video here
IngeSTore can be used seamlessly in combination with popular NLE software such as Avid Media Composer and Adobe Premiere Pro CC to provide a simultaneous capture and output solution, with compatible Bluefish hardware and firmware modes.
IngeSTore features software licence upgrades to encode uncompressed SDI to other codecs, such as Avid-compliant OP-ATOM DNxHD 8-bit media. IngeSTore can write directly to local or shared storage, including Avid shared storage, allowing systems to access media directly from the Avid Media Database.
The BlueCodecPack licence includes DNxHD, ProRes, H.264, Sony XDCAM, and AVC-Intra 100 codecs, with JPEG 2000 also available as an optional addition to BlueCodecPack.
The perfect companion for the following workflows:
- Multi-cam studio
- ISO recording
- Archive from video tape
- Post-production
- Electronic News Gathering (ENG)
- Uncompressed capture & encode later
- Edit While Record (Growing files)
- Remote production
- Mobile production
Multiple codec options
- Uncompressed, DV, DVCProHD codecs free
- H.264, DNxHD, AVC-Intra 100, XDCAM, JPEG2000 via additional licence
- Codecs are compatible with MAM options such as eMAM and CatDV
Network Shared Storage
- Connects via 10Gb, 5Gb, 2.5Gb or 1Gb network interfaces
- Compatible with Avid Nexis shared storage devices, and storage from G-Technology, DDP, SNS Evo, ProMAX, JMR, Caldigit, MAGMA, ATTO, Fusion, Facilis Technology, Masstech, Accusys, EditShare, StorageDNA, Quantum, plus more
- Visit Bluefish's website for a full list of qualified shared storage options
Edit-While-Record
- BlueCodecPack licence allows IngeSTore to record to growing file compatible formats
- Edit live in Avid Media Composer or Adobe Premiere Pro while the recording is still underway. This is available within Premiere Pro natively in some formats, with all other formats requiring the BlueRT plug-in
- Can either be used on the same system as IngeSTore or a separate network-connected NLE workstation
- Growing file support with Adobe Creative Cloud, Assimilate SCRATCH, CasparCG, Drastic Video QC, VLC and Medialooks software
REST API
- Control IngeSTore remotely on your network
- Supports multiple servers controlled via a single interface
- Add extra functionality to IngeSTore
- Requires a REST API licence per server
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MAM4PRO
MAM4PRO offers an agile and cost-effective way to produce and orchestrate high-quality content, no matter where teams or resources are located.
By virtualizing the media operations such as recording, ingest, transcoding, streaming and even file transfer, MAM4PRO is simplifying equipment redundancy and network complexity, making collaborative production effortless and simpler.
Jump into the next level of production with virtualized media operations.
Virtualized Media Operations - Real-time Stream, Record, Ingest, Playback, Transcode and File Transfer.
Multiple Deploy Options - On-premises or on the Cloud (Private, Public and Hybrid).
Management and Control - Central Administration of all Media Operations, anywhere.
Centralized Media Ecosystem - Same platform for Production, Contribution and Distribution Video Formats
Collaborative Remote Workflows - Ideal for Remote Digital Media Production and Management.
Resources Allocation & Optimization - Shared equipment, facilities and teams across locations.
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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.
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OverDrive
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Inception Social Management System
Key Features:
Multi-platform publishing - Save time and increase productivity by using a unified platform to search and publish to social media and web platforms.
Feed social content to on-air graphics - Search, curate and display social media content by integrating Inception Social with broadcast graphic systems like Ross Video’s XPression.
Social Polls - Use social media polls to create content through real-time audience participation.
Geolocated Results - Use a location to produce focused results for breaking news, severe weather or live events.
User Permissions & Approval Workflows - Open up social media participation to your team while overseeing the final product before it is published.
IP NOC (Network Operations Center)
As IP continues to go mainstream for video production, producers have identified key requirements. They’re looking to move away from bulky, expensive hardware to more flexible software and cloud-based solutions as well as more lightweight field gear like bonded cellular backpacks. They need IP streaming solutions that can be incorporated easily into production workflows, with the ability to ingest non-baseband sources. Broadcast Operations need to be able to use the entire gamut of IP-based protocols, and sometimes several of them during the same production. Likewise, they need fast, frictionless ways to transcode feeds and files into multiple video house formats for asset management and distribution.
The concept of an IP network operations center (IP-NOC) addresses all of these requirements by bringing together the state of the art in IP-based signal acquisition and cloud-based media asset management (MAM). Driven by these enabling technologies, the IP NOC offers a paradigm shift from traditional broadcast operation centers and satellite trucks to smaller and more nimble transmission gear, cameras, and capture devices.
NewTek TriCaster®
THERE IS A TRICASTER FOR EVERY PRODUCTION
Powerful and affordable tools. Help tell your story…beautifully. NewTek TriCaster systems put an entire suite of media production capabilities at your fingertips. You can make anything from keynote presentations and webcasts to online training and sporting events look amazing with quality, consistency and efficiency.
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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.
Pro Convert H.26x to HDMI 4K decoder
HDMI
HDMI 1.4
HDMI 2.0
Storage Interface:
SD Card (functions to be developed)
Screw Mounting Hole
¼–20 mounting hole
Network Interfaces:
10/100/1000Mbps Ethernet
IEEE 802.3af PoE
USB Interface:
USB2.0 Type B
5V/2.1A power supply
USB RNDIS/ECM
USB3.0 Type A
Support for connecting peripherals (keyboard and/or mouse) to customize the video and audio settings
HDMI Output Features:
Support for up to 4:4:4 8 bit 4096x2160 60fps HDMI output
Support for 96KHz 16bits 8-channel audio streams
Support for delivering videos at the preferred video format according to the EDID of the connected monitor
Accessories:
USB 2.0 A to B Cable
5V/2.1A power adaptor
L-bracket
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Pro Convert for NDI® to HDMI 4K decoder
HDMI
HDMI 1.4
HDMI 2.0
Storage Interface:
SD Card (functions to be developed)
Screw Mounting Hole:
¼–20 mounting hole
Network Interfaces:
10/100/1000Mbps Ethernet
IEEE 802.3af PoE
USB Interface:
USB2.0 Type B
5V/2.1A power supply
USB RNDIS/ECM
USB3.0 Type A
Support for connecting peripherals (keyboard and/or mouse) to customize the video and audio settings
HDMI Output Features:
Support for up to 4:4:4 8-bit 4096x2160 60fps output HDMI resolutions
Support for 96KHz 16bits 8-channel audio streams
Support for delivering videos at the preferred video format according to the EDID of the connected monitor
Accessories:
USB 2.0 A to B cable
5V/2.1A power adaptor
L-bracket
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Pro Convert SDI 4K Plus converter
BNC
SD/HD/3G/6G SDI
Loop-through Interface:
BNC
SD/HD/3G/6G SDI
Storage Interface:
SD Card (functions to be developed)
PTZ + TALLY Control:
Mini-DIN–8 jack
Screw Mounting Hole:
¼–20 mounting hole
Network Interfaces:
10/100/1000Mbps Ethernet
IEEE 802.3af PoE
USB Interface:
USB2.0 Type B
5V/2.1A power supply
USB RNDIS/ECM
Input feature:
Support for up to 4096x2160 30fps input resolution
SDI Specific Features:
Integrated cable equalizer extending the cable length as follows:
up to 180m for SD-SDI signals
up to 180m for HD-SDI signals
up to 150m for 3G-SDI signals
up to 100m 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 16 (mono) audio channels
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
NDI® Output Format:
Support for 4:2:2 8-bit output
Support for up to 4096x2160 60fps output resolution
Support for NDI 4.1
Accessories:
USB 2.0 A to B Cable
5V/2.1A power adaptor
Mini-DIN–8 (PTZ + TALLY) to RS232 (PTZ) + Mini-DIN–8 (TALLY)
L-bracket
LED matrix panel (optional)
';
Pro Convert HDMI 4K Plus converter
HDMI
DVI-D 1.0
HDMI 1.4
HDMI 2.0
Loop-through Interface:
HDMI
DVI-D 1.0
HDMI 1.4
HDMI 2.0
Storage Interface:
SD Card (functions to be developed)
PTZ + TALLY Control:
Mini-DIN–8 jack
Screw Mounting Hole:
¼–20 mounting hole
Network Interfaces:
10/100/1000Mbps Ethernet
IEEE 802.3af PoE
USB Interface:
USB2.0 Type B
5V/2.1A power supply
USB RNDIS/ECM
Input feature:
Support for input video resolutions up to 4:4:4 8-bit 4096x2160 60fps
HDMI Specific Features:
600MHz HDMI receiver
Adaptive HDMI equalizer
Support for customized EDID
Support for extraction of AVI/Audio InfoFrames
Full colorimetry support
Support for up to 4096x2160 4:4:4 60fps input signals
Support for 8 channel IEC60958 audio streams
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 Side-by-Side Half, Top-and-Bottom, Frame Packing 3D mode.
NDI® Output Format:
Support for 4:2:2 8-bit output
Support for up to 4096x2160 60fps or 1920x1080 240fps
Support for NDI 4.1
Accessories:
USB 2.0 A to B Cable
5V/2.1A power adaptor
Mini-DIN–8 (PTZ + TALLY) to RS232 (PTZ) + Mini-DIN–8 (TALLY)
L-bracket
LED matrix panel (optional)
';
Eco Capture QL-SDI 4K M.2 capture card
1-channel SD/HD/3G SDI
1 dual-link HD/3G, supporting 2SI mode only
1 quad-link 3G, supporting 2SI mode only
Host Interfaces:
M.2 2280 Type M (PCIe Gen2 x4)
Input features:
1 Single-link SD/HD/3G SDI mode:
Support for input video resolutions up to 2048x1080 pixels, only one stream can be captured
1 Dual-link HD/3G SDI Mode:
Support for input video resolutions up to 4096x2160 pixels
1 Quad-link 3G SDI Mode:
Support for input video resolutions up to 4096x2160 pixels
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
Support for SD/HD/3Ga/3Gb/3Gb-DL/3Gb-DS/3Ga-QL/3Gb-QL standards
Support for 2K (2048x1080) and 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
Support for extraction of audio formation information & channel status data
Limited support of 3Gb-DS: only the first stream can be captured
Support for Closed Caption via the SDK
Video Capture Formats:
Support for capture image resolutions up to 2048x1080 pixels in single link mode
Support for capture image resolutions up to 4096x2160 pixels in dual and quad link mode
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:
4 X MMCX to BNC cables
';
Eco Capture SDI 4K Plus M.2 capture card
MMCX
SD/HD/3G/6G/12G SDI
Loop-through Interfaces:
MMCX
SD/HD/3G/6G/12G SDI
Host Interface:
M.2 2280 Type M (PCIe Gen2 x4)
Input Features:
Support for input video resolutions up to 4096x2160 pixels
SDI Specific Features:
Integrated cable equalizer extending the cable length as follows:
up to 430m for SD-SDI signals
up to 200m for HD-SDI signals
up to 110m for 3G-SDI signals
up to 50m for 6G-SDI signals
up to 30m for 12G-SDI signals
Support for SD/HD/3Ga/3Gb/3Gb-DL/3Gb-DS/6G/12G standards
Support for 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
Support for extraction of audio formation information & channel status data
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 DirectShow (Windows) or V4L2 (Linux) for easy integration
Magewell Capture SDK for DirectKS (Windows) or ioctl (Linux) for maximum flexibility & performance
Accessories:
MMCX to BNC cable
';
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
';
Ultra Stream HDMI encoder
HDMI
HDMI 1.4a
3.5mm audio jack
Microphone interface
Output Interfaces:
HDMI
HDMI loop-through
USB
USB 2.0
3.5mm audio jack
Headphone interface
Network Interfaces:
Wired Ethernet
10/100/1000Mbps Ethernet
Wi-Fi
IEEE 802.11 a/b/g/n/ac
USB
USB 3G/4G Modem (not included)
Bluetooth:
Bluetooth 4.0 BLE
HDMI Specific Features:
Support for up to 4096x2160 4:4:4/4:2:2 30fps or 4096x2160 4:2:0 60fps input and loopthrough signals
Support for 8/10/12-bit color depths
Support for 60p, 60i, 50p, 50i, 30p, 25p signal formats
For 4:2:0 input signals, the horizontal and vertical resolution will be reduced to 1/2 for capturing
For 4:4:4/4:2:2 input signal at more than 170MHz, the horizontal and vertical resolution will be reduced to 1/2 for capturing.
Accessories:
AC adapter
';
Pro Capture HDMI 4K capture card
HDMI
DVI-D 1.0
HDMI 1.4
Host Interface:
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 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.
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
';
Pro Capture HDMI 4K Plus capture card
HDMI
DVI-D 1.0
HDMI 2.0
Host Interface:
PCIe Gen2 x4
Input Features:
video resolutions up to 4096x2160 pixels
HDMI Specific Features:
594MHz HDMI receiver
Adaptive HDMI equalizer
Support for customized EDID
Support for extraction of AVI/Audio/SPD/MS/VS/ACP/ISRC1/ISRC2/Gamut/HDR/VBI InfoFrames
Full colorimetry support
Support for 8/10/12-bit color depths
Support for RGB 4:4:4, YCbCr 4:4:4, YCbCr 4:2:2 color sampling
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.
Support for HDR10
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
';
Pro Capture SDI 4K Plus capture card
HD-BNC x4
Two connectors are compatible with SD/HD/3G SDI
One connecter is compatible with SD/HD/3G/6G SDI
One connecter is compatible with SD/HD/3G/6G/12G SDI
Support for input of Single Link, Dual Link, Quad Link
Host Interfaces:
PCIe Gen2 x4
Input Features:
Support for input video resolutions up to 4096x2160 pixels
Auto detection of Single Link, Dual Link, Quad Link
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
up to 40m for 12G-SDI signals
Support for SD/HD/3Ga/3Gb/3Gb-DL/3Gb-DS/6G/12G
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
Support for extraction of audio formation information & channel status data
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
';
Pro Capture DVI 4K capture card
DVI
DVI-D 1.0 (Single or dual link)
HDMI 1.4
Host Interface:
PCIe Gen2 x4
Input Features:
Support for input video resolutions up to 4096x2160 pixels
HDMI Specific Features:
Dual 165MHz 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 single link DVI or HDMI signals at pixel rate no more than 165MHz
Support for dual link DVI signals at pixel rate no more than 330MHz
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 easy integration, maximum flexibility and performance
';
Pro Capture AIO 4K Plus capture card
HDMI
DVI-D 1.0
HDMI 2.0
BNC
SD/HD/3G/6G SDI
Host Interface:
PCIe Gen2 x4
Input Features:
Auto scan of video input sources when there is no signal input to the currently selected input source
Manual selection of video input source
Auto selection of linked (embedded) audio input source when the video input source changes
Manual selection of audio input source
Support for standard crossbar based on video input source selection
Support for input video resolutions up to 4096x2160 pixels
HDMI Specific Features:
594MHz HDMI receiver
Adaptive HDMI equalizer
Support for customized EDID
Support for extraction of AVI/Audio/SPD/MS/VS/ACP/ISRC1/ISRC2/Gamut/HDR/VBI InfoFrames
Full colorimetry support
Support for 8/10/12-bit color depths
Support for RGB 4:4:4, YCbCr 4:4:4, YCbCr 4:2:2 color sampling
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.
Support for HDR10
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
';
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
';
USB Capture HDMI Gen 2 capture dongle
HDMI
DVI-D 1.0
HDMI 1.4a
Host Interface:
USB 3.0
compatible with USB 2.0
compatible with USB 3.1 Gen 1
Input features:
Support for input video resolutions up to 2048x2160
HDMI Specific Features:
165MHz HDMI receiver
Adaptive HDMI equalizer support for cables lengths up to 30M
Support for customized EDID
Support for extraction of AVI/Audio/SPD/MS/VS/ACP/ISRC1/ISRC2/Gamut InfoFrames
Full colorimetry support
Support for 8/10/12-bit color depth
Support for RGB 4:4:4，YCbCr 4:4:4，YCbCr 4:2:2 color sampling
Support for 2 channel IEC60958 audio streams
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 Side-by-Side Half, Top-and-Bottom, Frame Packing 3D mode.
Video Capture format:
Support for capture resolutions up to 2048x2160
Support for capture frame rates up to 120fps
SDK:
The USB Capture SDK provide functions including signal status extraction, capture configuration and real-time audio & video capture, etc.
Accessories:
USB 3.0 cable
';
USB Capture SDI Gen 2 capture dongle
MCX
SD/HD/3G SDI
Host Interface:
USB 3.0
compatible with USB 2.0
compatible with USB 3.1 Gen 1
Input features:
Support for up to 2048x1080 input resolution
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
Support for SD/HD/3Ga/3Gb/3Gb-DL/3Gb-DS standards
Support for 2K (2048x1080) 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 2 (mono) audio channels at 48KHz
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
Video Capture format:
Support for capture resolutions up to 2048x1080
Support for capture frame rates up to 120fps
SDK:
The USB Capture SDK provide functions including signal status extraction, capture configuration and real-time audio & video capture, etc.
Accessories:
USB 3.0 cable
MCX to SDI cable
';
USB Capture AIO capture box
DVI-I
DVI 1.0
HDMI 1.4a (via breakout cable)
VGA (via DVI-to-VGA convertor)
Component (via breakout cable)
DB9
YC (S-Video)
Composite video
Analog audio (L+R)
Component video
BNC
SD/HD/3G SDI
Host Interface:
USB 3.0
compatible with USB 2.0
compatible with USB 3.1 Gen 1
Input features:
Auto scan of video input sources when there is no signal input to the currently selected input source
Manual selection of video input source
Auto selection of linked (embedded) audio input source when the video input source changes
Manual selection of audio input source
Support for input video resolutions up to 2048x2160
HDMI Specific Features:
225MHz HDMI receiver
Adaptive HDMI equalizer support for cables lengths up to 30M
Support for customized EDID
Support for extraction of AVI/Audio/SPD/MS/VS/ACP/ISRC1/ISRC2/Gamut InfoFrames
Full colorimetry support
Support for 8/10/12-bit color depths
Support for RGB 4:4:4, YCbCr 4:4:4, YCbCr 4:2:2 color sampling
Support for up to 2-channel IEC60958 audio streams
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 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
Support for SD/HD/3Ga/3Gb/3Gb-DL/3Gb-DS standards
Support for 2K (2048x1080) 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 2 (mono) audio channels at 48KHz
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
Video Capture format:
Support for capture resolutions up to 2048x2160
Support for capture frame rates up to 120fps
SDK:
The USB Capture SDK provide functions including signal status extraction, capture configuration and real-time audio & video capture, etc.
Accessories:
USB 3.0 cable
DVI to VGA connector
DVI-I to HDMI + Component breakout
DB9 to YC + Composite + Analog Audio + Component breakout
';
USB Capture HDMI 4K Plus capture dongle
HDMI
DVI-D 1.0
HDMI 1.4
HDMI 2.0
3.5mm audio jack
Microphone interface
Host Interface:
USB 3.0
compatible with USB 2.0
compatible with USB 3.1 Gen 1
Output Interface:
3.5mm audio jack
headphones interface
Loop-through Interface:
HDMI
DVI-D 1.0
HDMI 1.4
HDMI 2.0
Input feature:
Support for input video resolutions up to 4096x2160
HDMI Specific Features:
600MHz 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 up to 4096x2160 4:4:4 60fps input signals
Support for 2 channel IEC60958 audio streams
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 Side-by-Side Half, Top-and-Bottom, Frame Packing 3D mode.
Video Capture format:
Support for capture resolutions up to 4096x2160
Support for capture frame rates up to 120fps
SDK:
The USB Capture SDK provide functions including signal status extraction, capture configuration and real-time audio & video capture, etc.
';
USB Capture SDI 4K Plus capture dongle
BNC
SD/HD/3G/6G SDI
3.5mm audio jack
unbalanced Line In interface
Host Interface:
USB 3.0
compatible with USB 2.0
compatible with USB 3.1 Gen 1
Output Interface:
3.5mm audio jack
unbalanced Line Out interface
Loop-through Interface:
BNC
SD/HD/3G/6G SDI
Input features:
Support for up to 4096x2160 input resolution
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 2 (mono) audio channels at 48KHz
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
Video Capture format:
Support for capture resolutions up to 4096x2160
Support for capture frame rates up to 120fps
SDK:
The USB Capture SDK provide functions including signal status extraction, capture configuration and real-time audio & video capture, etc.
Accessories:
USB3.0 cable
';
Ultra Stream SDI encoder
BNC
SD/HD/3G SDI
3.5mm audio jack
Microphone interface
Output Interfaces:
BNC
SD/HD/3G SDI
USB
USB 2.0
3.5mm audio jack
Headphone interface
Network Interfaces:
Wired Ethernet
10/100/1000Mbps Ethernet
Wi-Fi
IEEE 802.11 a/b/g/n/ac
USB
USB 3G/4G Modem (not included)
Bluetooth:
Bluetooth 4.0 BLE
SDI Specific Features:
Support for SD/HD/3Ga/3Gb/3Gb-DL/3Gb-DS standards
Support for 2K (2048x1080) input and loopthrough signals
Support for 8/10/12-bit color depths
Support for 60p, 60i, 50p, 50i, 30p, 25p signal formats
Limited support for the first stream of 3Gb-DS
Limited support for the first link of dual link interfaces
YCbCr 4:2:2 10-bit 1080p 50/59.94/60: output as 1080i 50/59.94/60
YCbCr 4:4:4 10-bit: output as 4:2:2
RGB 4:4:4: R/B sub-sampled
Accessories:
AC adapter
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Zao
Smart Telecaster Range
- H.265 HEVC Mobile Encoder
- Bonded Multiple 3G/4G/LTE/Wi-Fi Connections
- Low Bit Rate Requirement
- Minimal Latency (240ms)
- Full HD 1080i Quality
- Optional Cloud Management
- Lightweight & Robust
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Tubicon
TUBICON is an ingenious app for live video production, designed for video producers caught between the rising costs of video production and getting their message to the world. Just by using a smartphone users are able to produce and stream live videos to all social media channels in real-time and in HD. This cloud-based app enables content producers and creators from all industries, such as News, Sport and E-Commerce, to use smartphone technology to reach more viewers and grow their business.
TUBICON's intuitive user interface ensures users an easy access for live production anytime and anywhere. Users can quickly and easily switch live between multiple cameras/smartphones, mix audio, fade in graphics, logos and lower thirds and simultaneously record and stream live in all social media channels. The app warrants a high-quality viewing experience for thousands at a fraction of the usual costs, specially geared to content producers who want to reach more viewers the minute events or news break.
The low latency time for the transmission of the smartphone video signal directly to the cloud-based environment is one of the special functionalities of TUBICON. The latency time from the smartphone to the website, where a preview of the video is presented to the user, is 0.3 seconds worldwide. As far as security is concerned, all control communication and live streaming on Facebook is secured by SSL connections.
The different video and audio streams via smartphones are automatically synchronized with each other in the TUBICON environment, even if the mobile phones are physically separated. With this function it is possible to transmit the video from one and the audio from another smartphone. Transmission delays over the internet are compensated by TUBICON, so that video and sound are played back lip-synchronously. TUBICON can be used directly from any web browser without having to install various extensions.
Furthermore, with TUBICON's new, soon available virtual studio functionality users are able to create a virtual room and easily insert your protagonist into this virtual reality.
TUBICON represents the beginning of a new era, which will lead us away from rigid, linear television formats and towards a low-cost, digital consumption on the go.
The simplicity of using this low-cost platform to develop low latency content and the intelligent virtual studio makes professional live production available anywhere and anytime. It meets the needs of a new generation of live production for a high-quality viewer experience at a fraction of the cost of traditional media production.
As the production of online content will continuously increase in the coming years, TUBICON is the perfect solution for a large number of people to create content on social media platforms in an intelligent and simple but professional way.
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HERO 4K PLAYOUT
Hero Playout is designed for 24/7 automated video/live playout. Automated design allows scheduling live events from different source and durations.
Its easy-to-use interface designed for both monitoring and managing playout operation. Operators can easily manage daily and backup playlists. Customized playlist transfer tool could adopt any equipment and system. In the user interface, operators can preview audio & video live source before playout.
Hero Playout also supports multi layer image logo, text title and ticker. This self-developed system can integrate with main stream broadcasting equipment.
Hero Playout could be perfectly integrated with Hero Scheduling as an efficient media Channel in Box system.
Specification:
◎ Support 4K/HD /SD playout.
◎ Compatible with AJA / Blackmagic capture card.
◎ SDI output.
◎ Format: MP4, MPEG2, MXF, GXF, AVI, H.264, H.265.
◎ Audio sample rate: 48K / 44.1K.
◎ Optional 1CH or more Live input.
◎ Support 6 logo overlay, 2 titles and 2 tickers simultaneously.
◎ Support multi files of Targa and PNG.
◎ Support Timecode RP188-VITC-LTC
◎ Support Audio codec: AAC / MPG1 &2
◎ Support GPI/ Cue ton
Feature:
◎ Support LOOP / 24HR playlist, seamless playout mechanism.
◎ Can appoint real time for playout, complete 24HR playlist is not necessary.
◎ Preview window for next clip.
◎ Can swap program or Ad while broadcasting.
◎ Support “back-up playlist” in case video not exist.
◎ Support pre-download function; download required video to local HDD from video archive base on daily playlist.
◎ Support remote playout function; when video not in local HDD, system will play the video in video archive.
◎ Support auto-delete function; while local HDD is full, system will check the oldest video is not in daily playlist and delete it,
◎ Can connect to video archive for metadata, ex: program, episode, ID, length, SOM, in/out point.
◎ When the file/ subtitle/ logo in archive is updated, playout system can detect and update automatically.
◎ Warming area for video not existing, click warming area to edit the warming program.
◎ 6 logo and 2 program titles overlay simultaneously, manual or scheduled control every logo/title.
◎ 24Hour ticker schedule.
◎ Can edit font, size, location, color of title/ ticker
◎ Audio volume control bar.
◎ Playout log, including playlist load time/start time/ end time/ every clip playing time
◎ Video log, recording auto-download and delete every clip.
◎ System log, including 1. AS run log 2. System debug log
◎ Integrated with 3rd party routing switcher
◎ English/ Traditional Chinese user interface.
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NewsHouse
Features
- Independent Rundowns for On-air modeDepending on workflow, users can create On-air Rundowns in automated or manual modes.
- Two-tiered News Rundows with Blocks
- All-new HTML Print Server with Template Management
- Convenient and clear history of Rundown changesBy utilizing this newsroom computer system users can easily inspect and control any changes in Rundowns.
- Automatic VersioningUsers can save and track the history of previous versions and revert to an earlier version at any time while operating in the newsroom computer system.
- Advanced Rundown TimingUsers can customize the interface having a set of various options including timing information and duration of stories.
- Story Editing PriorityUsers with special permissions can intercept Rundown control and Story editing.
- Embedded Graphics System TitleStation MixUsers can apply various graphic templates and preview the final version of graphics.
- Sending CG Playlists to TitleStation Mix by MOS for Manual Control
- Dynamic Caption Templates
- Advanced embedded Cut EditorUsers can make quick and easy edits in the NewsBase, newsroom software module, which provides integration with third-party non-linear editing systems.
- News Agencies SupportNews wires are visible to users and can be immediately added to the Rundown.
- Integration with the A-MAM AutoPlay systemUsers have access to all AutoPlay features: import, export, video browsing, automation, long-term storage archive, etc. Native integration with Azimuth video servers.
- End-to-end Rundown Management: from Planning to Archiving
- Customizable Workflow for a wide range of tasks
- Floating Licenses for Client Applications
- Simultaneous Work with text, video and graphics inside a Story
- MOS Protocol Support
- User-Friendly Intuitive Interface
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LinkMatrix
The LinkMatrix uses cloud-based transcoding to ensure compliance between any source and any streaming destination. The LinkMatrix is multi-destination and makes it possible to publish the same feed on many platforms including private CDN’s.
Key Elements
- Remote control of all Mobile Viewpoint systems in the field
- Enables a low cost complete remote production or multicamera event
- Create a complete web channel with playlist, graphics, leaders and advertisements
Management of Video feeds
The main function of LinkMatrix is to connect video sources with TS decoders such as IRD or social media platforms such as Facebook.
Remote control
With the LinkMatrix all systems in the field can be easily controlled and monitored. They can be remotely accessed and all settings on the units can be changed. The user-friendly architecture assures that the remote-control GUI is the same as seen in the field, facilitating true remote support.
Remote production management
In combination with our Multicam units, it is possible to do a true remote production of a multi camera event. In combination with our VPilot platform, it is possible to do the complete production with just a single operator on site. LinkMatrix also supports RS-422 output, enabling remote production with cameras from Sony, Panasonic and others.
LinkMix
The LinkMatrix serves as the heart of all our services and products, and can also function as a video router when combined with the MVP LinkSwitch server. The LinkMatrix production tab offers features such as the creation of playlists, overlays, live switches and tickers to enable the production of complete IPTV channels. Playlists can be generated with exports from original WMT streams, as well as from other clips using the upload function, and can be either wall-clock based or interruptible. Interruptible playlists introduce leaders and pre- and post-roles for live productions targeted to platforms such as Facebook. they can also be used to insert advertisements before and during the broadcast of sports events.
Multicamera
For our multicamera units, LinkMatrix supports web-based PTZ control as well as shading and color correction.
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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
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