Our Symphony musicians’ audio monitoring and microphone amplifier was originally designed to meet the requirements of the IL NOVECENTO ORCHESTRA
They had been using a similar analogue monitoring system for many years and when they updated their production mixer to a Dante enabled desk they naturally wanted to encompass and embrace the advantages of the network audio system to include their monitoring and musical instrument pre-amplifiers.
The shape and feature set of the Symphony came from the customer’s many years of experience from within the orchestral music industry. The simple controls for the musicians, the microphone amplifier setup hidden away from the musicians, the ability to mount the Symphony on a microphone stand and a clean blank audience facing side of the box were all key required features.
Being a high calibre audio environment naturally the microphone amplifiers and monitoring circuits had to be the best available, which was made possible because of our many years of experience in broadcast audio.
Pro Sound news ran an article in June 2017 highlighting the history & requirements for the Symphony.The Symphony is designed to be mounted on a microphone stand and placed between 2 musicians.
Each musician has a set of monitoring controls on an ergonomically shaped sloping front panel, with a headphone monitoring output jack conveniently placed at the bottom of the controls. The monitoring controls allow each musician to adjust the volume of 3 incoming stereo audio mixes from the Dante network, allowing them to monitor their preferred mix at a level that they are happy with. Each musician is also provided with an instrument headphone volume control, so they can adjust the level of their own instrument in their own ears. A panning control is also provided for the instrument in case they only wish to monitor their own instrument in one ear or of centre. Finally an overall volume control is provided for each musician to allow one single control to adjust the overall volume of the whole mix.
On the front panel mounted centrally between the 2 sets of monitoring controls and at the top of the panel is a talkback microphone, at the bottom of the panel and within easy reach of each musician is a push to talk (PTT) switch that turns the talkback microphone on. This talkback circuit is very useful for communications between the musicians and sound control room.
The bottom panel contains the 2 microphone inputs, 1 on each side of the unit allowing the microphone cable to enter the box in a tidy and organised way. The panel also contains simple engineering setup controls to adjust the microphone input gain, turn phantom power on/ off and also turn the internal compressor limiter circuit on/off. Connections to the Dante/ AES67 network are also located on the bottom panel, so like the microphone cables the network cables can easily be routed safely down the microphone stand.
There are 2 Dante network interfaces allowing a fully redundant netowrk to be set up with primary and secondary Dante networks. Both of these interfaces are on Neutrik Ethercon connectors and both accept Power Over Ethernet (PoE).
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FA-1616
Telos Infinity® Virtual Intercom Platform (VIP)
Telos Infinity® Virtual Intercom Platform (VIP) is the first fully featured Cloud-based intercom system. It delivers sophisticated comms virtually, making Cloud-based media production workflows available on any device—smartphone, laptop, desktop, or tablet. Users can even use third-party control devices, like Elgato’s Stream Deck®, to control Telos Infinity VIP. Now you can harness Telos Infinity IP Intercom’s award-winning performance, scalability, ease of integration, and operational/cost efficiencies anywhere—At Home, On-Prem, Site-to-Site or in the Cloud.
Telos Infinity VIP
- Cost-Efficient - Less Maintenance, Infrastructure, Space Required
- Scaleable - Pay for Only What you Need
- Ease of Use – Virtual Panels on Familiar Devices (Smartphone, Computer, Tablet)
- Workflow Flexibility - At Home, On-Prem, Site-to-Site, In the Cloud
- Reliable, Proven Cloud Workflows Flexible Deployment Options
- TelosCare™ PLUS Service Option for Premium Service & Support
Deployment Options
Meeting users where they are on the path toward virtualization, Telos Alliance offers several deployment options for VIP, which scales to suit users’ varying requirements, from a few remote smartphone VIP instances to an enterprise solution requiring hundreds of instances.
- On-Prem – Use Telos Infinity VIP hardware appliance or your own server for on-prem installations.
- Integrated – For both On-Prem or Cloud versions, Telos Infinity VIP can be integrated with Telos Infinity hardware comms, or any third-party intercom or audio subsystem using AES67 or SMPTE 2110-30 connectivity.
- Cloud Server – Software for supported Cloud platform installations. A complete communications infrastructure in the Cloud with connectivity options for integration with third-party Cloud-based and On-Prem audio subsystems.
- Software as a Service (SaaS) – Various third-party Telos Alliance partners will offer a Telos Infinity VIP SaaS option, allowing users to lease it in a virtual environment.
The Switch Remote Production
Live TV events, especially sports, generate unrivalled buzz and excitement among viewers the world over, but live event production is no small undertaking. Remote production offers a smart, flexible model for success in the globalized world of live content, where surging audiences for niche sports, esports and unique entertainment are driving even more demand. The Switch’s remote production services enable broadcasters and other rights holders to continue meeting consumers’ seemingly insatiable thirst for high quality live content while maximizing resources.
The Switch has pioneered remote production for three decades and our Emmy Award-winning team has played a leading role in bringing premier sports to life for major networks and leagues. We know how to put together top-caliber productions and determine what our customers need so they can deliver the best content to viewers around the world.
With The Switch, producing content more efficiently and cost effectively – without compromising quality – is simple. Our end-to-end event production and packaging capabilities scale to meet the needs of a single event or multiple productions. As a home away from home, we support dynamic live sports, news, entertainment and event production in locations across the globe, removing the need for large amounts of equipment and big production crews on site.
With links to every major sports stadium in North America and connections to the leading international sports and entertainment venues around the world, The Switch has you covered from stadium to studio to any screen. Many of the biggest names in sports and entertainment rely on our production services and facilities to create and deliver the world’s major live events.
The Switch Studios
Our operations are located in the world’s foremost media centers – Los Angeles, Burbank, New York and London – ensuring you tap into the best pool of directors, creatives and technical crew anywhere.
The Switch has everything you need to create and deliver high quality content from locations across the globe. Our nine full-service broadcast studios and our soundstages can be connected to any location for media tours, product staging, VO, demos, live inserts and multiple language versioning.
Available as a wet or dry hire, each studio comes complete with cameras, audio capability, lighting, teleprompters, backgrounds and green screen
GS-HA014
This stereo amp mounts underneath desks and allows easy headphone connections for presenters or guest users. A 6.35mm and 3.5mm jack socket is available for the headphones and a full size, covered pot allows level adjust. Audio inputs are on 2 x balanced 6.35mm jack sockets.
The units link power via CAT5. Up to 8 units can be connected from 1 external 9V DC supply. Via an internal jumper, audio can also be routed via the same CAT5 connections as the power. The external power supply is not included and at least 1 must be purchased separately.
The GS-HA014 is suitable for use with a wide range of input levels, a pair of preset gain controls accessed via small holes in the top of the unit allow both broadcast (0dB) and domestic (-10dB) input levels to be accommodated.
Signature HA2+
The HA2+ has 2 x XLR inputs that are used as the primary programme audio input. This can be stereo, or, if mono, can be switched to appear on both sides of the headphone outputs. There are left and right programme input gain controls on the front panel, and they are on recessed screw terminals.
There are also secondary, mono cue inputs. Connections are via one of 3 x 6.35mm jack sockets on the rear panel. This allows a single cue input to be connected to both headphone outputs, or each headphone amplifier can receive an individual cue input.
On the front panel there is a source control for each headphone output that allows a mix between the programme and cue input. Full left is programme only, full right is cue only, and anywhere in between is a variable mix.
Each of the two headphone amplifiers has its own volume level control. There is also a master volume control that affects the overall level of both amplifiers. This can be defeated via a rear panel dip switch.
The headphone outputs are available via 2 x front panel 6.35mm headphone sockets, and in parallel on 2 x rear panel XLR connections.
The Expedition uses Glensound’s propriety CAN headphone system. This allows multi impedance headphones to be used, from 32-1000ohm, with the same perceptual level in the headphones when the volume control is kept in a fixed position. Stereo or mono connections can also be made to the headphone sockets, including mono earpieces.
Rear panel inputs and outputs are electronically balanced on XLRs and can accommodate unbalanced connections if required.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12V DC power. The 12V DC input can be connected to the optional Signature Ps1 external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
Signature HA1M
The Signature HA1M is a broadcast specification 2 channel headphone amplifier, designed to operate in a mono or a stereo mode.
The HA1M has 2 x XLR inputs that can be used as either a stereo input, or as 2 x mono inputs. There is a selector switch to change between mono and stereo modes.
In stereo mode, the left input goes to the left ear, and the right input goes to the right ear. Each input has its own level pot for adjusting the volume level in the left or right ear.
In the mono mode, each input goes to both headphone outputs. The level pots adjust the relevant input levels in both ears.
There are 2 x headphone outputs on jack sockets. One is 6.35mm and the other is 3.5mm. The headphone circuits can accept stereo connections, or mono connections from single earpieces. The headphone drivers are independent and so varying impedance connections can be used in either socket at the same time.
The rear panel has a single XLR output that is a mix of both inputs.
Rear panel inputs and outputs are electronically balanced on XLRs and can accommodate unbalanced connections if required.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
Signature HA6+
The HA6+ has 2 x XLR inputs that are used as the primary programme audio input, and 2 x XLR inputs that are used for the secondary aux audio input. These can be stereo, or, if a mono input, can be switched to appear on both sides of the headphones. There are left and right primary input gain controls on the rear panel, and they are on recessed screw terminals.
On the front panel there is a source control for each headphone output that allows a mix between the programme and aux input. Full left is programme only, full right is aux only, and anywhere in between is a variable mix.
Each of the six headphone amplifiers has its own volume level pot. There is also a master volume pot that controls the overall level of all amplifiers. This can be defeated via a rear panel dip switch.
Each of the six headphone outputs are available via front panel 6.35mm jack sockets, and in parallel on rear panel XLR connectors.
Rear panel inputs and outputs are electronically balanced on XLRs and can accommodate unbalanced connections if required.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
Signature DAC 1
The digital inputs are available separately in three formats:- 3 pin XLR using AES- RCA phono plug using S/PDIF- optical connectors using TOSLINK
The analogue outputs are available separately in two formats:- balanced XLR connections- unbalanced RCA phono connections
The front panel features a 6.35mm stereo jack socket for headphones monitoring, with a full size pot to adjust the volume level.
A front panel screen shows current operation mode and allows configuration of all unit parameters.
Power is provided by an internal switch mode power supply, with a wide input range.
There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
Signature ADC 1
The analogue inputs are available separately on balanced XLR connections, or unbalanced RCA phono connections.
The digital outputs are available separately in three formats:- 3 pin XLRs using AES- RCA phono plug using S/PDIF- optical connectors using TOSlink
The digital output is 24 bit and can be selected to be from 44.1kHz to 192 kHz.
The DARS (Digital Audio Reference Signal) can also be input on a separate 3 pin XLR input, or via the word clock input on a BNC connection.
The front panel features a 6.35mm stereo jack socket for headphones monitoring, with a full size pot to adjust the volume level. A front panel screen shows current operation mode and allows configuration of all unit parameters.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
Signature ADDA 1
The analogue inputs and outputs are available separately on balanced XLR connections, or unbalanced RCA phono connections.
The digital inputs and outputs are available separately in three formats:- 3 pin XLRs using AES- RCA phono plug using S/PDIF- optical connectors using TOSlink
The digital output is 24 bit and can be selected to be from 44.1kHz to 192 kHz.
The DARS (Digital Audio Reference Signal) can also be input on a separate 3 pin XLR input, or via the word clock input on a BNC connection.
The front panel features a 6.35mm stereo jack socket for headphones monitoring, with a full size pot to adjust the volume level. A front panel screen shows current operation mode and allows configuration of all unit parameters.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
Signature U2B2
Its primary job is to interface domestic type audio outputs (unbalanced) to the balanced audio inputs on broadcast and professional audio equipment.
As well as providing a balanced interface the U2B2 also provides variable gain/ loss to allow the lower level audio outputs produced by domestic equipment to be raised to meet the higher level broadcast and pro audio standard.
The stereo audio input (which can work as dual mono) is on gold plated RCA phono connectors. This input is electronically isolated with RF filters to prevent extraneous signals, and fed via multi-turn preset gain controls on the rear panel to a pair of electronically balanced and isolated outputs on Neutrik XLRs.
The rear panel gain controls are multi-turn presets to allow accurate gain setting and are also recessed to prevent accidental movement.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1 external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
Signature U2B4
Its primary job is to interface domestic type audio outputs (unbalanced) to the balanced audio inputs on broadcast and professional audio equipment.
As well as providing a balanced interface the U2B4 also provides variable gain/ loss to allow the lower level audio outputs produced by domestic equipment to be raised to meet the higher level broadcast and pro audio standard.
The two stereo audio inputs (which can work as quad monos) are on gold plated RCA phono connectors. These inputs are electronically isolated with RF filters to prevent extraneous signals, and fed via multi-turn preset gain controls on the rear panel to two pairs of electronically balanced and isolated outputs on Neutrik XLRs.
The rear panel gain controls are multi-turn presets to allow accurate gain setting and are also recessed to prevent accidental movement.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
U2B8
Its primary job is to interface domestic type audio outputs (unbalanced) to the balanced audio inputs on broadcast and professional audio equipment.
As well as providing a balanced interface the U2B8 also provides variable gain/ loss to allow the lower level audio outputs produced by domestic equipment to be raised to meet the higher level broadcast and pro audio standard.
The four stereo audio inputs (which can work as eight off monos) are on gold plated RCA phono connectors. These inputs are electronically isolated with RF filters to prevent extraneous signals, and fed via multi-turn preset gain controls on the rear panel to four pairs of electronically balanced and isolated outputs on Neutrik XLRs.
The rear panel gain controls are multi-turn presets to allow accurate gain setting and are also recessed to prevent accidental movement.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
UBBU2
It is most commonly used for interconnecting domestic type recording/ playback devices to broadcast/ professional equipment.
Its primary job is to interface domestic type audio outputs (unbalanced) to the balanced audio inputs on broadcast and professional audio equipment while simultaneously connecting balanced outputs from professional equipment to the unbalanced inputs on domestic products.
As well as providing the balancing interface the UBBU2 also provides variable gain/ loss to allow the two connected pieces of equipment to match audio levels.
The two stereo circuits can both work as dual mono. Both the inputs are electronically isolated with RF filters to prevent extraneous signals, and fed via multi-turn preset gain controls on the rear panel to their outputs.
The rear panel gain controls are multi-turn presets to allow accurate gain setting and are also recessed to prevent accidental movement.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
UBBU4
The Signature UBBU4 is a broadcast specification twin stereo unbalanced to balanced, and balanced to unbalanced analogue audio interface that is equally suitable for professional & home studio use.
It is most commonly used for interconnecting domestic type recording/ playback devices to broadcast/ professional equipment.
Its primary job is to interface domestic type audio outputs (unbalanced) to the balanced audio inputs on broadcast and professional audio equipment while simultaneously connecting balanced outputs from professional equipment to the unbalanced inputs on domestic products.
As well as providing the balancing interface the UBBU4 also provides variable gain/ loss to allow the two connected pieces of equipment to match audio levels.All the stereo circuits can both work as dual mono. All the inputs are electronically isolated with RF filters to prevent extraneous signals, and fed via multi-turn preset gain controls on the rear panel to their outputs.
The rear panel gain controls are multi-turn presets to allow accurate gain setting and are also recessed to prevent accidental movement.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
Signature SW 8:2+
There are 8 balanced audio inputs on 3 pin Neutrik XLR sockets on the rear panel and these can be set globally to be 8 mono inputs or 4 stereo inputs.
On the front panel there are 8 large illuminated buttons for turning sources on/ off. They work as 8 individual switches when in the mono mode and 4 pairs of stereo switches when the SW 8:2+ is set to stereo.
Two balanced Neutrik XLR plugs on the rear panel provide the output of the unit, which will either be one single mono channel or 1 stereo channel when the unit is set to ‘switch’ mode or a mix of all selected sources when set to ‘mix’ mode.
Three rear panel dip switches allow for setting mix/switch, mono/stereo & output pre/post headphone volume pot.
The front panel features a 6.35mm stereo TRS jack socket for headphones monitoring, with a full size pot to adjust the volume level. This headphone circuit monitors the output audio.
A stereo 28 LED Peak Programme Meter (PPM) is also provided on the front panel for a visual indication of the audio currently being routed/ mixed to the output. The PPM provides a 1 dB resolution per LED.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external +/-12v DC power. The +/-12v DC input can be connected to the optional Signature PS1 external DC Master Power Station, for situations where a redundant power supply is desirable.
Signature SW 8:2
There are 8 balanced audio inputs on 3 pin Neutrik XLR sockets on the rear panel and these can be set globally to be 8 mono inputs or 4 stereo inputs.
On the front panel there are 8 large illuminated buttons for turning sources on/ off. They work as 8 individual switches when in the mono mode and 4 pairs of stereo switches when the SW 8:2 is set to stereo.
Two balanced Neutrik XLR plugs on the rear panel provide the output of the unit, which will either be one single mono channel or 1 stereo channel when the unit is set to ‘switch’ mode or a mix of all selected sources when set to ‘mix’ mode.
Three rear panel dip switches allow for setting mix/switch, mono/stereo & output pre/post headphone volume pot.
The front panel features a 6.35mm stereo TRS jack socket for headphones monitoring, with a full size pot to adjust the volume level. This headphone circuit monitors the output audio.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external +/-12v DC power. The +/-12v DC input can be connected to the optional Signature PS1 external DC Master Power Station, for situations where a redundant power supply is desirable.
VB440 40 Gigabit IP probe w/Instrument View
The VB440 40 Gigabit IP probe provides a breakthrough for the monitoring and analysis of high-bitrate broadcast media traffic as defined in ST2110 and ST2022-6 for core broadcasting networks, production studios, master control centres and outside broadcast vehicles and venues. It enables production teams to continuously survey all layers of media transportation on an IP network and facilitates quick rectification of potential problems, helping to maximise Quality of Service (QoS).
With support for interface speeds from 10, 25, 40, 50 and up to 100 Gigabit on dual interfaces, even the largest of media networks can be accommodated with analysis of SD, HD, HD HDR, 4K and 4K HDR and above. ST2022-7 redundancy is also monitored and analysed when connected to both primary and secondary networks. PTP is provided with ST2059-2 clock analysis, clock source detection/listing and clock accuracy and class, providing troubleshooting and continuous monitoring of this critical infrastructure in a production network – including accurate path-delay for individual flows.
The VB440 can accommodate eight simultaneous users, from local or remote locations over secure https. It features a user interface provided by a standard web browser, and can be provided with Instrument View aluminium kits in broadcast form factors that enable touch screen operation. This gives production teams access to an analytics solution for large numbers of streams and multiple resolutions in real-time and in parallel in multiple locations.
GS-FW021
- Battery powered from 9volt PP3
- Long battery life (in excess of 100 hours)
- Power on switch
- Power on LED
- Low battery indication
- 3 user selectable modes: 4 wire (for standard connection to other broadcast eqpt) Interrupt loop through (IFB) for monitoring & adding talkback over incoming audio 2 wire conference mode for connecting multiple GS-FW021 together 2 wire mode compatible with prospect C1B
- Headset connection on 3 pole 6.35mm (A/B gauge)
- Push to talk button for mic input
- Limiter circuit for mic input
- Headphone volume control
- Auxiliary audio input (on 3.5mm jack) fed to headphone circuit
- Transformer balanced 4 wire input/ output
- Maximum dimensions just 152 x 42 x 72mm (l x w x d)
FreeSpeak Edge
Uplink & Transmission Services
Nextologies' state-of-the-art uplink and transmission services utilizes conventional as well as Nextologies' proprietary 1MHz technology. This allows for optimal satellite capacity, while reducing cost. The technology operates in high modulations using Nextologies' 256 AES encryption with out-of-band keys, allowing for secured delivery.
Our satellite services include IP as well as bonded cellular transmission for redundancy purposes. In addition, it allows for full duplex interconnectivity between the uplink and receiving sites.
Daylight Control for Television Studios Package
Working with lighting directors to provide daylight control for TV studios and windows.
Lighting directors and lighting designers, you know all about the challenges that come with windows in a studio…
On a dark winter morning at 7am, the windows in your studio look great. But by 8am they might need gels. And by noon it’s a whole other setup. Or you might have to change a shot or even skip it. But you don’t have to be limited by windows, there’s a better way…
At Broadcast Blinds we customize your blinds and gels specifically for your studio. It might be a mix of ND6, ND9, and ND1.2, for example. We set it up to be controlled from your lighting board, too. Whether your studio has windows overlooking Times Square or the London Eye, we have your solution.
Libero Hybrid
KEY FEATURES
- Stable for 24/7 operations
- SD/HD/UHD/4K/8K support(*)
- SDI, NDI, WebRTC, IP Stream or File inputs
- SDI, NDI or WebRTC outputs
- UDP/RTP/RTSP/RTMP/HLS/MPEG-DASH for IP Stream input
- Video and audio preview feature
- Input bitrate chart
- Loop feature for file inputs
- LUFS(Loudness Units Relative to Full Scale) Audio Normalization
- Audio Gain feature to turn up or down the audio level
- Auto-recovery of disconnected or failed streams
- Monitoring inputs to auto-activate outputs
- Frame rate conversion (e.g. 30 fps to 25 fps)
- Up/down/cross scaling
(*) Depending on the type of video cards
Blackmagic Design HyperDeck Studio HD Mini
Take a compact broadcast-quality record/playback deck with you on location, in the studio, or built into a rack with the Blackmagic Design HyperDeck Studio HD Mini. The 1 RU tall recorder is 1/3 of a rack wide and powers from 100 to 240 VAC, or via an optional 12 VDC power supply for portability. Featuring one 3G-SDI input, one each HDMI and 3G-SDI output, and a USB Type-C webcam output, the recorder is flexible, enabling you to input, record, and output/stream simultaneously. Supporting both reference and timecode in/out, this unit fits perfectly into a broadcast environment, and you can use one recorder to create an ISO recording of each camera with perfect sync for live and post-production work.
Two SD card slots allow you to capture with virtually unlimited recording time, and the unit also supports recording to USB disks via the USB Type-C output port. The HyperDeck Studio HD Mini features a front-panel button control and a jog/shuttle wheel for an analog scrubbing feel. RS-422 control is supported for external control, and you can also control the unit using either the USB port or over Ethernet at 1G speeds for faster deck control and file transfers via the RJ45 connector. An integrated LCD on the front panel allows you to monitor the video.
UHD 4K Recording and Playback
The HyperDeck Studio HD Mini records UHD and DCI 4K video at up to 30 fps.
Video Inputs
It supports SD, HD, and 3G signals over SDI
Supported Codecs
- ProRes: Apple ProRes 422 HQ QuickTime, ProRes 422 QuickTime, ProRes 422 LT QuickTime, ProRes 422 Proxy QuickTime.
- DNxHD: DNxHD 220x, DNxHD 220x MXF, DNxHD 145, DNxHD 145 MXF, DNxHD 45, DNxHD 45 MXF for 720p and 1080p HD formats up to 60 fps
- H.264: H.264 SDI 4:2:2 10-bit, H.264 High 420 8-bit, H.264 Medium 4:2:0 8-bit, H.264 Low 4:2:0 8-bit for all progressive formats up to 1080p60
VTR-Style Controls
Features VTR-style front-panel controls for record and playback; a built-in jog/shuttle wheel provides analog-style control over your playback.
Remote
The unit is controllable via RS-422 control and over the Ethernet or USB port
Built-In LCD Monitor
The unit's front panel also features a built-in LCD screen that allows you to monitor input or play back video
Included Software
The HyperDeck Studio HD Mini includes Blackmagic OS and Blackmagic HyperDeck Setup.
Buy Blackmagic Design HyperDeck Studio HD Mini from UBMS Dubai.
Blackmagic Design HyperDeck Studio 4K Pro
The Blackmagic Design HyperDeck Studio 4K Pro is an updated 1 RU file-based deck that features the same functionality and control of professional tape decks in a digital design. This model updates the previous HyperDeck Studio models with several features including 12G-SDI support, two added SD card slots, USB Type-C recording output, timecode input and output, Ref input and output, a redesigned jog/shuttle wheel, 10G Ethernet, and a speaker on the front.
The Studio 4K Pro records uncompressed video with 10-bit 4:2:2 color using either ProRes or DNxHD codecs, as well as the H.264 and H.265 compression formats. With two SSD slots and two SD card slots, you can record almost endlessly as one SSD becomes full, recording automatically continues on to the other, and the SD card slots are also hot-swappable. The Studio 4K Pro features one 12G-SDI input, two 12G-SDI outputs, a loop-through 12G-SDI output, a dedicated SDI monitor output, and there's also one HDMI input and one HDMI output that can all output up to DCI 4K. The 4K Pro can even play ProRes 4444 files in true UHD for fill and key outputs. The ports autodetect the signal and will adjust to the SD, HD, 6G-SDI, or 12G-SDI format input. The 3-pin XLR timecode input and output allow you to sync timecode with other devices, and it also allows you to daisy-chain with other devices to create a timecode sync chain.
The Studio 4K Pro is a 1 RU rack-mountable unit, with built-in rack mount ears. It features illuminated front panel button control and a heavy jog/shuttle wheel for analog scrubbing. RS-422 control is supported for external control using the Ref input and output ports. The USB Type-C port allows you to record to external disks, and you can also use it to plug into a computer to use as a source for a web stream. An integrated LCD on the front panel allows you to monitor the video and display timecode and transport information.
Professional Broadcast Deck
The new HyperDeck Studio recorders have been totally redesigned with dozens of new features. The advanced models have new broadcast-style front panel controls and more connections on the rear panel. The LCD screen supports both light and dark modes, plus the transport control buttons are stronger with a firm professional feel. The Pro models feature a machined metal search dial with increased mass and a soft rubber surface that feels nice to the touch. Plus the search dial features an active clutch, just like a traditional broadcast dec. With dual media slots, you can change cards without interrupting recording. The advanced models even include a front headphone connection and speaker.
Mastering Recorder
All models record to H.264, ProRes, and DNx files, so are perfect for recording broadcast masters, plus the 4K model adds H.265 when recording to UHD files. You can even use PCM or AAC audio. You get everything you need to send shows to broadcasters and for uploading to YouTube.
ISO Recording
All models feature timecode and reference generators, with outputs to loop to other HyperDecks. This means you can build a rack of HyperDeck Studios for ISO camera recording, allowing multi-cam editing after live events. You can even sync cameras to the SDI output and the SDI input has frame sync.
Digital Signage
HyperDeck Studio is perfect for digital signage as all models have HDMI output for connecting to large screen TVs and projectors. The built-in sync generator lets you combine multiple HyperDecks for large multiscreen video walls. There's even FTP for file upload and a protocol for remote control.
Broadcast Archive
HyperDeck Studio supports all SD and HD standards so it's ideal for archiving old television shows from broadcast decks such as Digital Betacam, Betacam SP, 1", U-matic, and VHS. You can even record directly to H.264 to maximize storage. For analog decks, just add a Mini Converter Analog to SDI.
Bright Color LCD Status Display
HyperDeck Studio features traditional deck-style transport controls, including a search dial for jog, shuttle, and scroll. The compact LCD shows timecode and transport information, plus a full-color thumbnail preview of the current clip in record or playback. It also displays information about each card's recording status, along with video format, frame rate information, and audio levels, all on the same display. The LCD includes monitoring for video, plus audio level meters, selectable between technically accurate VU or PPM ballistics. The combination of familiar VTR style controls with the built-in LCD screen makes HyperDeck Studio incredibly fast to use and very easy to learn.
Traditional Broadcast Deck Controls
HyperDeck Studio includes a traditional broadcast-style control panel that's very fast to use. Simply press the record button and you instantly start recording the video input to a file. You can also change the record file format from the menu. There are transport control buttons for playback, rewind, fast forward, previous clip, next clip, and more. The Pro models have a machined metal search dial that supports shuttle, jog, and scroll so you can find clips fast. Any button pressed on the front panel is sent to the rear RS-422 remote output for looping control to multiple HyperDecks. The Plus and Pro models also include a front panel speaker and headphone socket for live audio monitoring.
Supports SD Cards, UHS-II Cards or SSDs
All HyperDeck Studio models support recording to common SD cards and UHS-II cards so you don't need expensive custom media. However, the Pro models also add two SSD slots so you can use two different types of media. SD cards and SSDs are the perfect choices for broadcast media because they are small and very affordable. When using H.264, the files are so incredibly small you get very long recordings even on smaller low-cost cards. Plus, you can even record to external USB disks. With H.265, you can record up to 58 hours in 2160p60 Ultra HD or up to 157 hours of H.264 recording in 1080p59.94 on a 1TB card. That's over 6 days of recording in HD using a single 1TB card.
Dual Media Slots for Non-Stop Recording
All HyperDeck Studio models feature dual media slots for nonstop recording. When the recording card becomes full, recording automatically continues onto the next card. That's perfect when recording long live events because you can "hot swap" a full card for an empty card while recording continues in the other slot. Each slot has a status indicator to show which card is being used, either red for record or green for playback. Plus all models now feature very long file recordings to a single file for easy file distribution. HyperDeck Studio is easily repairable with each card slot using an individual PCB assembly that can be replaced if it ever becomes worn out from heavy use.
Record to External USB Type-C Media Disks
If recording to other types of media is required, the USB Type-C expansion port lets you plug in an external flash disk for recording. USB Type-C flash disks have unlimited capacity because they can be physically larger than an SD card or SSD. Plus, it's even possible to record to a disk array you'll use for editing, so you don't need to waste time copying files before starting post-production. Just move the disk over to a computer and instantly start editing. You can even add a Blackmagic MultiDock 10G that has 4 separate SSD media slots, so you can add compatibility with SSD media to the HyperDeck Studio Mini and Plus models. There are also menus for managing external disks on the built-in LCD.
Popular ProRes, DNx, H.264, and H.265 Files
HyperDeck supports the most popular codecs in use today. All models include DNx and ProRes file formats. However, all models also include H.264 in quality levels up to full 10 bit 4:2:2 when recording in NTSC, PAL, 720p, 1080p, and true 1080i interlaced formats. While the 4K model adds H.265 when recording in Ultra HD. That means you get tight 60:1 to 285:1 compression ratios for very small files at full broadcast quality. Plus you can choose uncompressed PCM audio, or even AAC audio when uploading files to YouTube. All models support both ExFAT and HFS+ disk formats and long-duration single file recordings. The Plus and Pro models even support ProRes 4444 allowing fill and key playback.
Advanced Broadcast Connections
Depending on the model HyperDeck Studio features a wide range of video and audio connections such as 3G-SDI, 6G-SDI, or 12G-SDI. All models include HDMI for connecting to televisions and projectors. There's even a dedicated SDI monitoring output on the Pro and Plus models with on-screen status. The Pro and Plus models include two SDI outputs so you can play ProRes 4444 files, allowing simultaneous fill and key output for keying in live production switchers. The internal timecode and reference generator connections can be looped to sync multiple units for ISO recording. The 4K model has 10G Ethernet for extremely fast network file copying. All models even include AC and locking DC power.
Choose 3G-SDI, 6G-SDI, or 12G-SDI Models
With multi-rate SDI, you get support for the most popular video standards. The SDI and HDMI connections will automatically switch video standards, so handle SD, HD, and Ultra HD formats depending on the model. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 720p59.94p. 1080i HD interlaced formats include 1080i50 and 1080i59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94, and 60p. HyperDeck can even support 1080 PsF formats. On the 4K model, Ultra HD formats up to 2160p60 are supported. Plus the 4K model supports 2K and 4K DCI rates up to 30p. HyperDeck Studio also supports level A and level B when running HD video at 3G-SDI rates.
Fill and Key Outputs for Broadcast Animations
The HyperDeck Studio Plus and Pro models can play ProRes 4444 HD files to the two separate SDI fill and key outputs. That means you can use HyperDeck Studio as a graphics clip player for broadcast animation because the ProRes 4444 file's alpha channel will be automatically converted to the key SDI output for real-time keying in a live production switcher. Plus the HyperDeck Studio 4K Pro model adds fill and key playback in UHD. Imagine running animated lower third titles and stingers with key channel outputs for incredibly clean multilayered titles. Plus, switchers such as Blackmagic Design ATEM models connect to HyperDeck Studio via Ethernet to trigger playback synced to transitions.
USB Webcam Output for Video Software
For compatibility with a wide range of computer software, HyperDeck Studio features webcam support using the USB connection. If you're not recording to an external USB disk, you can plug the HyperDeck USB connection directly into a computer to get live video into any video software. The computer is tricked into thinking the HyperDeck is a common webcam, but it's really a broadcast-quality video source. That guarantees full compatibility with any video software and in full resolution 1080 HD quality. HyperDeck Studio's USB webcam feature works with any video software including Zoom, Microsoft Teams, and Skype, or get live streaming with Open Broadcaster, XSplit Broadcaster, and more.
Advanced HDR Support and Monitoring 3D LUTs
You'll be ready for the latest feature film workflows with support for advanced HDR standards. All HDR status information is embedded into the SDI connections so downstream equipment can detect when HDR files are played. When recording, the SDI and HDMI inputs will also automatically detect HDR video standards and then tag the files with the correct HDR information. Static metadata PQ and HLG formats are handled according to the ST2084 standard. Plus the front panel LCD has a wider color gamut for both Rec. 2020 and Rec. 709 color spaces. HyperDeck Studio Plus and Pro models even allow you to load a 3D LUT into the monitoring output to add looks or to convert film to video gamma.
Includes Professional Multi-Channel SDI Audio
HyperDeck Studio includes professional multi-channel SDI audio for recording up to 16 channels. When recording from the SDI input, you can select in the menu to record 2, 4, 8, or 16 channels of audio in real time. There's extra space on the SDI monitoring status overlay, which allows the audio meter display to show the number of channels you have enabled all at the same time, and the audio meters will show 2, 4, 8, or 16 channels simultaneously. The audio meters are designed to use the correct ballistics, and you can change between different VU and PPM meter displays in the LCD menu. HyperDeck Studio is more than just a video recorder, as it also has quality sound.
Incredibly Fast Network File Transfers
All HyperDeck models allow media files to be uploaded remotely, using simple FTP client software. With 10G Ethernet built into the HyperDeck Studio 4K Pro model, file transfers are so fast, they are faster than the SD card or SSD media disks. For remote deck control, all models use an easy-to-learn text-based protocol, so you can use a simple terminal app like Telnet to test control commands. Simply log into the HyperDeck and then type "play" or "record" and it will execute the command. If you combine the control protocol and file transfers with a HyperDeck connected to a large USB Type-C disk array, you get a fantastic broadcast server for ingest, media management, and play out.
Traditional RS-422 Broadcast Deck Control
The most popular control connection used on broadcast decks since the early 1980s is the RS-422 protocol. Originally developed by Sony, RS-422 is used on almost all broadcast gear. HyperDeck Studio features wide protocol support so you can connect it directly to broadcast systems. It also supports extra commands for the Advanced Media Protocol for managing disk recorders. When designing RS-422 control solutions, you'll know you're connected to a HyperDeck Studio when you see the ID 0xF0E0 in 30/60p, 0xF1E0 in 25/50p or 0xF2E0 in 24p. The full set of support remote commands are included in the instruction manual and you can download this from the support page of our website.
Built-In Timecode and Sync Generators
With a timecode and sync generator built into all models, you can stack multiple units for digital signage or multi-channel recording. Each HyperDeck has dedicated outputs for reference and timecode, direct from the internal sync and timecode generators. The generators "free run" unless reference or timecode is connected to the inputs, and then generators will automatically lock. This means you can loop from HyperDeck to HyperDeck to create perfectly timed array or recorders.
Blackmagic OS
The innovative Blackmagic OS has been designed for high-performance film and broadcast products and it manages all functions on HyperDeck Studio. Only Blackmagic OS provides instant power on while including powerful features such as LCD with video, timecode and audio metering, monitoring with overlays, menus, fast networking, multi-disk media management, 3D LUTs plus localization. The on-screen LCD menus include settings to customize your HyperDeck Studio, plus the menus now support both light and dark mode. Blackmagic OS provides world-leading network performance and HyperDeck Studio 4K Pro can sustain data transfers at a massive 1.2 gigabytes per second on its 10G Ethernet connection.
Localized for 13 Popular Languages
HyperDeck Studio supports multiple languages so you don't need to learn a new language just to use it. You get support for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese, Turkish, Polish, and Ukrainian languages. When initially powered on for the first time, HyperDeck Studio will display a menu for selecting a language, plus you can always use the LCD menu to change the language at any time in the future. Once a language is selected, the LCD menus will change, plus the overlays on the SDI monitoring output will also change to the selected language. All this means HyperDeck Studio is perfect for doing work anywhere in the world.
Use All Video Software and Streaming Sites
HyperDeck Studio records files that are compatible with virtually all post-production software. Plus if you record in H.264, you can upload files from HyperDeck Studio direct to streaming services such as YouTube, Facebook, Vimeo, Twitter, and more. You can use popular editing software such as DaVinci Resolve, Apple Final Cut Pro, Adobe Premiere Pro, or Avid Media Composer because HyperDeck uses the same file formats used in post-production. Even VFX software such as Fusion and Adobe After Effects work with the files. Because HyperDeck records to disks formatted on computers, you can simply mount the disk on any computer and start editing without needing to transcode or convert the files.
Built-In Redundancy Keeps You on Air
Serious broadcasters need redundancy because it increases reliability. HyperDeck Studio includes redundant features to help ensure you stay on air. With dual media slots on all models, and the Pro models having 4 media slots, you can stay on air, even if one of the slots becomes damaged. Plus with the HyperDeck Studio HD Mini model you get 3 totally independent recorders in a single rack unit, while the HyperDeck Studio HD Plus model allows 2 independent recorders in a single rack unit. All HyperDeck models include both AC and a locking DC power connection, so you use the DC connection with an external battery pack for redundant power.
Designed for Both Portable or Rack Mount Use
When you need a portable broadcast solution, the HyperDeck Studio HD Mini model includes most features miniaturized into an elegant 5" wide compact design that's only one-third of a rack unit wide. That means you can fit three recorders in a single rack unit. Just use the optional Teranex Mini Rack Shelf and you can mount the three units side by side, then bolt it into a standard equipment rack. Or you can combine HyperDeck Studio Mini with other modules, such as a Teranex Mini Analog to 12G-SDI to convert the input from analog to SDI, all in the same rack which is perfect for archive work. HyperDeck Studio HD Mini looks great when it's not rack-mounted and simply used by itself on a desktop.
Compatible with Switchers, Disk Docks, and Cameras
There's a wide range of Blackmagic Design products you can use with HyperDeck including switchers, cameras, and streaming solutions. As the Mini and Plus models don't include SSD slots, you can add a Blackmagic MultiDock 10G to use regular SSDs, allowing compatibility with media from other HyperDeck models. HyperDeck Studio will manage all the disks for you and automatically record to disks in the MultiDock. You can even use the MultiDock with the HyperDeck Studio Pro models just to add extra SSDs for longer recording times. HyperDeck Studio is also a perfect mastering recorder when used with ATEM switchers, a clip player with fill and key, or looped on switcher inputs for ISO recording.
Buy Blackmagic Design HyperDeck Studio 4K Pro from UBMS Dubai.
Blackmagic Design Studio Camera 4K Plus
Add a powerful studio camera to your 4K broadcast when using an ATEM Mini with the Blackmagic Design Studio Camera 4K Plus. This updated compact and lightweight broadcast camera is designed for live production and provides a variety of options to record and broadcast your video, and it's designed to be used with the ATEM Mini switcher. This camera is similar to the Studio Camera 4K Pro model but it has pared down inputs, so you can control all the camera outputs using a separately available ATEM Mini video switcher. The main features added to the Studio 4K Plus model include a lighter carbon fiber body, up to 25,600 ISO, 13 stops of dynamic range, a bigger tally light, HDMI output, two USB Type-C ports for recording and control, built-in dual microphones, a 7" HDR LCD, and a redesigned sun hood.
The camera offers UHD resolutions at frame rates up to 3840 x 2160p60. It is light for frequent travel, setup, and breakdown, yet durable for use in the field. It has a bright 7" capacitive touchscreen display that allows you to control all the settings right from the screen, and it features a 1920 x 1200 resolution, and it has a detachable sun hood that was redesigned to fold down over the display for storage and protection. There are brightness, contrast, iris, and focus peaking control knobs on the sides of the display, and you can also program the F1-3 buttons on the side. The camera also features DaVinci Resolve built-in, so you can control the camera's color and brightness settings right from a computer when it's paired with a compatible ATEM switcher.
Its Micro Four Thirds lens mount allows you to utilize a wide range of professional lenses, and you can also control the lens remotely with the optional Zoom Demand and Focus Demand lens controllers. To power the camera, it has a standard locking DC power input for external power sources.
Compact and Lightweight Design
Large broadcasters use expensive studio cameras that are extremely large, so they're not very portable. The distinctive Blackmagic Studio Camera has all the benefits of a large studio camera because it's a combination of camera and viewfinder all in a single compact design. It features a lightweight carbon fiber reinforced polycarbonate body with innovative technology in a miniaturized design. The camera is designed for live production, so it's easy to track and frame shots with its large 7" viewfinder. The touchscreen has menus for camera settings, and there are knobs for brightness, contrast, and focus peaking. Plus, a tripod mount with 15mm LWS rod ports and mounting plate is included for fast setup.
Exceptional Low-Light Performance
In advanced cameras, ISO is a measurement of the image sensor's sensitivity to light. This means the higher the ISO the more gain can be added, so it's possible to shoot in natural light, or even at night. The Blackmagic Studio Camera features gain from -12 dB (100 ISO) up to +36 dB (25,600 ISO), so it's optimized to reduce grain and noise in images while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. The secondary high-base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set from the camera.
Cinematic Images in Live Production
The amazing 4K sensor combined with Blackmagic generation 5 color science gives you the same imaging technology used in digital film cameras. That means you can now use cinematic images for live production. Plus, when combined with the built-in DaVinci Resolve primary color corrector you get much better images than simple broadcast cameras. The color corrector can even be controlled from the switcher. With 13 stops of dynamic range, the camera has darker blacks and brighter whites, perfect for color correction. The sensor features a resolution of 4096 x 2160, which is great for both HD and UHD work. Plus, all models support from 23.98 up to 60 fps.
Affordable Photographic Lenses
With the popular MFT lens mount, Blackmagic Studio Cameras are compatible with a wide range of affordable photographic lenses. Photographic lenses have incredible quality because they're designed for use in high-resolution photography. Plus, the active lens mount lets you adjust the lens remotely. To eliminate the need to reach around to adjust the lens zoom and focus, the optional focus and zoom demands let you adjust the lens from the tripod handles, just like a large studio camera. This means you avoid camera shake when adjusting the lens, so you can track shots and operate the camera without taking your hands off the tripod. It gives you the same feel as an expensive B4 broadcast lens.
Frame Shots with Large 7" Viewfinder
The large 7" high-resolution screen will totally transform how you work with the camera because it's big enough to make framing shots much easier. On-screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides, and more. You can even apply 3D LUTs for monitoring shots with the desired color and look. The touchscreen also has menus, and you can load and customize presets for different jobs. The included sunshade can be folded to protect the screen for transport, plus it's compatible with sunshades from the Blackmagic Studio Viewfinder.
Physical and Touchscreen Controls
Blackmagic Studio Cameras feature physical buttons and knobs, as well as controls on the touchscreen. Knobs on the right side of the camera allow adjusting of the brightness, contrast, and focus peaking. The focus peaking knob is incredibly useful as it lets you fine-tune the detail highlight, so you can get perfect focus as you zoom. The three function buttons on the left can have functions assigned to them, such as zebra, false color, focus peaking, LUTs, and more. Plus, you can change the function assigned to each button in the menus. The touchscreen also includes a heads-up display with the most important shooting information, as well as menus for all camera settings, LUTs, and custom presets.
Built-In Tally for On-Air Status
Blackmagic Studio Cameras feature a very large tally light that illuminates red for on-air, green for preview, and orange for ISO recording. The tally light also includes clip-on transparent camera numbers, so it's easy for talent to see camera numbers from up to 20' away. The Blackmagic Studio cameras support the SDI tally standard (on SDI cameras) used on all ATEM live production switchers and the HDMI tally used on ATEM Mini switchers.
Powerful Broadcast Connections
Blackmagic Studio cameras have lots of connections for connecting to both consumer and broadcast equipment. All models feature HDMI with tally, camera control, and record trigger, so are perfect for ATEM Mini switchers. You also get headphone and mic connections and two USB Type-C expansion ports.
Get Low-Cost Camera Control via HDMI
ATEM Mini switchers can control Blackmagic Studio Cameras because the HDMI output to the switcher has return data communication that can send control information back to the camera. All this means the camera operator is free to focus on framing shots.
USB Expansion Port for Accessories
The Blackmagic Studio Camera features a high-speed USB Type-C expansion port that allows you to record to external disks or connect to a wide range of accessories. Plug in an external USB flash disk and the camera can record high-quality 12-bit Blackmagic RAW files for later editing and color correction. That means you can just move the disk to a computer to work, and you don't need to waste time with file copying. You can even plug in optional focus and zoom demands to allow full lens control. Plus, the USB port will power any phone or disk that's plugged in.
Blackmagic RAW Quality
Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from your camera. Some file formats such as H.264 are highly compressed and add noise and artifacts, causing sensor detail to be lost forever. Blackmagic RAW eliminates this problem, so you get stunning images with incredible detail and rich color throughout the whole post-production pipeline. Blackmagic RAW also saves camera settings as metadata, so you can change ISO, white balance, and exposure later in DaVinci Resolve. Plus, the files are small and fast, so editing responsiveness is incredible. Only Blackmagic RAW gives you the highest quality, smallest files, and fastest performance.
Includes Built-In Microphones
Blackmagic Studio Cameras include built-in microphones, so you get sound included in the design, making the setup much faster. Plus, the built-in microphones are shock and wind resistant, so you get great sound even in tough conditions. With each microphone placed at the edges of the screen, you get the advantage of the studio camera design for better stereo separation than what is possible on a regular video camera. There's also a 3.5mm audio input for connecting video camera microphones, as well as a 3.5mm headphone jack.
Monitor Program Video
The Blackmagic Studio Camera lets you view program video from the switcher at the press of a button. Simply press the camera's PGM button, and the viewfinder will switch from the camera display to the program return feed from the switcher. Plus, the built-in speaker lets you monitor the switcher audio. Program return is a fantastic feature as sometimes on large live shows, camera operators can be left waiting a long time for their camera to be used, so program return lets them watch the show while they wait. This means that even if the camera operator is a large distance away from the switcher, they can still keep up with what's happening and remain alert.
Powered by Blackmagic OS
With the advanced Blackmagic OS, you get an intuitive and user-friendly camera operating system based on the latest technology. Blackmagic OS is a true modern operating system where all camera features run independently for smoother control, plus the camera powers on virtually instantly. It features the same controls and menus as other Blackmagic Design cameras, so you can move between cameras on set easily. The interface uses simple tap and swipe gestures to adjust settings, add metadata, and view recording status. You also get full control over advanced camera features such as on-screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings, and more.
Supports 3D LUTs for Film Looks
When Blackmagic RAW files use logarithmic film gamma to preserve the camera dynamic range, 3D LUTs can be used to convert the images on the viewfinder display from looking flat and washed out. The 3D LUTs solve this problem because they convert the image just before it's displayed on the LCD. This allows the film gamma images being recorded to be converted to nicer-looking images on the LCD. The 3D LUTs are also saved into the Blackmagic RAW files, so they can be used in later post-production, but they are never burned into the Blackmagic RAW image data, so you always have the option to disable them. This means the 3D LUT is transported in the Blackmagic RAW file, but only used when you enable it.
Localized in 11 Popular Languages
The Blackmagic Studio Cameras are designed to be used worldwide so they support 11 popular languages. When setting up your camera, you can choose to work in English, German, French, Spanish, Portuguese, Italian, Russian, Turkish, Chinese, Japanese, or Korean. It's easy to switch to another language simply by going into the menu settings. When switching between languages, the on-screen overlays, heads-up display, and setup menus will be displayed in the selected language, and you can change languages any time you like.
Optional Accessories
You can utilize the Focus and Zoom demands to remotely control your lens and the Blackmagic Studio Converter for a single Ethernet connection to the camera.
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Blackmagic Design HyperDeck Studio HD Plus
Take a compact broadcast-quality record/playback deck with you on location, in the studio, or built into a rack with the Blackmagic Design HyperDeck Studio HD Mini. The 1 RU tall recorder is 1/2 of a rack wide and powers from 100 to 240 VAC, or via an optional 12 VDC power supply for portability. Featuring one 6G-SDI input, one HDMI 2.0 input, two 6G-SDI outputs, and one HDMI 2.0 output, this unit is a compact recording/playout powerhouse. A loop-through output and 3G-SDI monitor output, as well as reference and timecode in/out, allow this device to fit into a broadcast environment.
Two SD card slots allow you to capture with virtually unlimited record time, and the unit also supports recording to USB disks via the USB Type-C output port. The HyperDeck Studio HD Mini features a front-panel button control and a jog/shuttle wheel for an analog scrubbing feel. RS-422 control is supported for external control, and you can also control the unit using either the USB port or over Ethernet at 1G speeds for faster deck control and file transfers via the RJ45 connector. An integrated LCD on the front panel allows you to monitor the video.
UHD 4K Recording and Playback
The HyperDeck Studio HD Plus records UHD and DCI 4K video at up to 30 fps. The 6G-SDI outputs allow fill and key playback up to 1080p60.
Video Inputs
6G-SDI, and HDMI 2.0 inputs.
Video Outputs
Two SDI outputs support 1080p60 and 2160p30, and a loop-through output sends the input signal downstream to monitors, switchers, or other devices.
HDR
The HyperDeck Studio HD Plus supports HDR video and 33-point LUTS on the 3G-SDI output.
Supported Codecs
ProRes: Apple ProRes 422 HQ QuickTime, ProRes 422 QuickTime, ProRes 422 LT QuickTime, ProRes 422 Proxy QuickTime.
DNxHD: DNxHD 220x, DNxHD 220x MXF, DNxHD 145, DNxHD 145 MXF, DNxHD 45, DNxHD 45 MXF for 720p and 1080p HD formats up to 60 fps
H.264: H.264 SDI 4:2:2 10-bit, H.264 High 420 8-bit, H.264 Medium 4:2:0 8-bit, H.264 Low 4:2:0 8-bit for all progressive formats up to 1080p60
VTR-Style Controls
Features VTR-style front-panel controls for record and playback; a built-in jog/shuttle wheel provides analog-style control over your playback. Broadcast-style deck control front-panel buttons connect to a dedicated RS-422 output.
Remote
The unit is controllable via RS-422 control and over the Ethernet or USB port.
Built-In LCD Monitor
The unit's front panel also features a built-in LCD screen that allows you to monitor input or play back video.
Audio Output
The unit features a built-in speaker as well as a 1/4" headphone jack.
Included Software
The HyperDeck Studio HD Mini includes Blackmagic OS and Blackmagic HyperDeck Setup.
Buy Blackmagic Design HyperDeck Studio HD Plus from UBMS Dubai.
Blackmagic Design Studio Camera 4K Pro
Add a powerful studio camera to your 4K broadcast with the Blackmagic Design Studio Camera 4K Pro. This updated compact and lightweight broadcast camera is designed for live production and provides a variety of options to record and broadcast your video. New features added to the Studio model include a lighter carbon fiber body, up to 25,600 ISO, 13 stops of dynamic range, a bigger tally light, HDMI output with camera control, 12G-SDI input and output, talkback within SDI, two USB Type-C ports for recording and control, a standard 5-pin broadcast headset jack, a speaker, built-in dual microphones, a 7" HDR LCD, a redesigned sun hood, and 10G Ethernet.
The camera offers UHD resolutions at frame rates up to 3840 x 2160p60. It is light for frequent travel, setup, and breakdown, yet durable for use in the field. It has a bright 7" capacitive touchscreen display that allows you to control all the settings right from the screen, and it features a 1920 x 1200 resolution, high-brightness HDR support for use in sunlight, and it has a detachable sun hood that was redesigned to fold down over the display for storage and protection. There are brightness, contrast, iris, and focus peaking control knobs on the sides of the display, and you can also program the F1-3 buttons on the side. The camera also features DaVinci Resolve built-in, so you can control the camera's color and brightness settings right from a computer when it's paired with a compatible ATEM switcher.
The Studio 4K Pro also provides features you'd expect to find in larger studio cameras, such as a large tally indicator with customizable number decals, talkback, a 5-pin broadcast headset plug, dual XLR audio input with phantom power, and 12G-SDI inputs/outputs. This camera also features HDMI output, and its new 10G Ethernet is an enormous pipe to use when broadcasting 4K video. You can even unplug all the HDMI and SDI cabling and utilize the 10G Ethernet to send all the video and data to a companion converter or switcher, which can even provide PoE to the camera, so you only need one cable. Its Micro Four Thirds lens mount allows you to utilize a wide range of professional photography lenses, and you can also control the lens remotely, broadcast style, with the optional Zoom Demand and Focus Demand lens controllers.
To power the camera, you can use PoE with a compatible switcher or the separately available Blackmagic Studio Converter, or you can use the included DC power adapter with a locking plug. It also has a standard 4-pin XLR power input for external sources to provide redundant power.
Compact and Lightweight Design
Large broadcasters use expensive studio cameras that are extremely large, so they're not very portable. The distinctive Blackmagic Studio Camera has all the benefits of a large studio camera because it's a combination of camera and viewfinder all in a single compact design. It features a lightweight carbon fiber reinforced polycarbonate body with innovative technology in a miniaturized design. The camera is designed for live production, so it's easy to track and frame shots with its large 7" viewfinder. The touchscreen has menus for camera settings, and there are knobs for brightness, contrast, and focus peaking. Plus, a tripod mount with 15mm LWS rod ports and mounting plate is included for fast setup.
Exceptional Low-Light Performance
In advanced cameras, ISO is a measurement of the image sensor's sensitivity to light. This means the higher the ISO the more gain can be added, so it's possible to shoot in natural light, or even at night. The Blackmagic Studio Camera features gain from -12 dB (100 ISO) up to +36 dB (25,600 ISO), so it's optimized to reduce grain and noise in images while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. The secondary high-base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set from the camera, or remotely from a switcher using the SDI or Ethernet remote camera control.
Cinematic Images in Live Production
The amazing 4K sensor combined with Blackmagic generation 5 color science gives you the same imaging technology used in digital film cameras. That means you can now use cinematic images for live production. Plus, when combined with the built-in DaVinci Resolve primary color corrector you get much better images than simple broadcast cameras. The color corrector can even be controlled from the switcher. With 13 stops of dynamic range, the camera has darker blacks and brighter whites, perfect for color correction. The sensor features a resolution of 4096 x 2160, which is great for both HD and Ultra HD work. Plus, all models support from 23.98 up to 60 fps.
Affordable Photographic Lenses
With the popular MFT lens mount, Blackmagic Studio Cameras are compatible with a wide range of affordable photographic lenses. Photographic lenses are incredible quality because they're designed for use in high-resolution photography. Plus, the active lens mount lets you adjust the lens remotely. To eliminate the need to reach around to adjust the lens zoom and focus, the optional focus and zoom demands let you adjust the lens from the tripod handles, just like a large studio camera. This means you avoid camera shake when adjusting the lens, so you can track shots and operate the camera without taking your hands off the tripod. It gives you the same feel as an expensive B4 broadcast lens.
Frame Shots with Large 7" Viewfinder
The large 7" high-resolution screen will totally transform how you work with the camera because it's big enough to make framing shots much easier. The Pro model features an HDR display with extremely high brightness, perfect outdoors in sunlight. On-screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides, and more. You can even apply 3D LUTs for monitoring shots with the desired color and look. The touchscreen also has menus, and you can load and customize presets for different jobs. The included sunshade can be folded to protect the screen for transport, plus it's compatible with sunshades from the Blackmagic Studio Viewfinder.
Physical and Touchscreen Controls
Blackmagic Studio Cameras feature physical buttons and knobs, as well as controls on the touchscreen. Knobs on the right side of the camera allow adjusting of the brightness, contrast, and focus peaking. The focus peaking knob is incredibly useful as it lets you fine-tune the detail highlight, so you can get perfect focus as you zoom. The three function buttons on the left can have functions assigned to them, such as zebra, false color, focus peaking, LUTs, and more. Plus, you can change the function assigned to each button in the menus. The touchscreen also includes a heads-up display with the most important shooting information, as well as menus for all camera settings, LUTs, and custom presets.
Built-In Tally for On-Air Status
Blackmagic Studio Cameras feature a very large tally light that illuminates red for on-air, green for preview, and orange for ISO recording. The tally light also includes clip-on transparent camera numbers, so it's easy for talent to see camera numbers from up to 20' away. The Blackmagic Studio cameras support the SDI tally standard used on all ATEM live production switchers and the HDMI tally used on ATEM Mini switchers. This means a director can cut between cameras and the tally information will be sent back to the cameras via the SDI program return feed, lighting up the tally light on the camera whenever it's on air. SDI tally eliminates complex wiring, so job setup is faster.
Communicate with the Director via Talkback
Unlike consumer cameras, the Blackmagic Studio Camera 4K Pro model has SDI connections that include talkback, so the switcher operator can communicate with cameras during live events. That means the director can talk to the camera operators to guide shot selection, eliminating the problem where all cameras could have the same shot at the same time. The talkback connector is built into the side of the camera and supports standard 5-pin XLR broadcast headsets. Talkback uses audio channels 15 and 16 in the SDI connection between the camera and the switcher, and in the program return from the switcher to the camera. This means any embedded SDI audio device can work with talkback.
Powerful Broadcast Connections
Blackmagic Studio cameras have lots of connections for connecting to both consumer and broadcast equipment. All models feature HDMI with tally, camera control, and record trigger, so are perfect for ATEM Mini switchers. You also get headphone and mic connections and two USB Type-C expansion ports. The advanced Blackmagic Studio Camera 4K Pro model is designed for broadcast workflows, so it has 12G-SDI, 10G-Base-T Ethernet, talkback, and balanced XLR audio inputs. The 10G Ethernet allows all video, tally, talkback, and camera power via a single connection, so setup is much faster. That's just like a SMPTE fiber workflow, but using standard Category 6A copper Ethernet cable, so it's much lower cost.
Four Ways to Connect
Blackmagic Studio Cameras can be connected in lots of different ways. All models feature HDMI so are perfect for HDMI switchers such as the ATEM Mini. The HDMI supports video, tally, control, and record trigger for a broadcast-style workflow using a single HDMI cable. The Blackmagic Studio Camera 4K Pro has 12G-SDI, so you can connect it to SDI-based switchers such as the ATEM Constellation. There's a 12G-SDI connection for camera video, and one for program return. The program return also includes tally, talkback, and remote camera control. Or you can use 10G Ethernet to get camera video, program return, tally, talkback, camera control, and even power using a regular Cat 6a Ethernet cable.
Get Low-Cost Camera Control via SDI
All Blackmagic Design ATEM switchers can control cameras via a protocol embedded into the camera's SDI video connections. Setup is easy because all ATEM switchers broadcast control commands from the switcher's SDI program output to the camera via the SDI program input. The switcher can perform color correction, tally, and lens control, and these are sent to all cameras. All you need to do is select the correct camera number and it all works. Even ATEM Mini switchers can control Blackmagic Studio Cameras because the HDMI output to the switcher has return data communication that can send control information back to the camera. All this means is that the camera operator is free to focus on framing shots.
Low-Cost SMPTE Fiber Style Workflow
The Blackmagic Studio Camera 4K Pro model supports connecting cameras via a single Ethernet cable. It's so simple; just plug it in and you're ready. Traditional broadcast studio cameras use SMPTE fiber to communicate and power cameras; however, SMPTE fiber is very expensive. Blackmagic Studio Camera 4K Pro model has 10G Ethernet as an alternative to SMPTE fiber, so it's much lower cost. The Ethernet includes all camera video, program return feeds, tally, talkback, camera control, and power. The Blackmagic Studio Converter handles all video conversions at the switcher end plus adds power to the Ethernet cable. That means you don't need to connect power to the camera.
USB Expansion Port for Accessories
The Blackmagic Studio Camera features a high-speed USB Type-C expansion port that allows you to record to external disks or connect to a wide range of accessories. Plug in an external USB flash disk and the camera can record high-quality 12-bit Blackmagic RAW files for later editing and color correction. That means you can just move the disk to a computer to work, and you don't need to waste time with file copying. You can even plug in optional focus and zoom demands to allow full lens control. Plus, the USB port will power any phone or disk that's plugged in.
Blackmagic RAW Quality
Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from your camera. Some file formats such as H.264 are highly compressed and add noise and artifacts, causing sensor detail to be lost forever. Blackmagic RAW eliminates this problem, so you get stunning images with incredible detail and rich color throughout the whole post-production pipeline. Blackmagic RAW also saves camera settings as metadata, so you can change ISO, white balance, and exposure later in DaVinci Resolve. Plus, the files are small and fast, so editing responsiveness is incredible. Only Blackmagic RAW gives you the highest quality, smallest files, and fastest performance.
Includes Built-in Microphones
Blackmagic Studio Cameras include built-in microphones, so you get sound included in the design, making setup much faster. Plus, the built-in microphones are shock and wind resistant, so you get great sound even in tough conditions. With each microphone placed at the edges of the screen, you get the advantage of the studio camera design for better stereo separation than what is possible on a regular video camera. There's also a 3.5mm audio input for connecting video camera microphones, as well as a 3.5mm headphone jack. On the Blackmagic Studio Camera Pro model, you get professional XLR audio inputs and a built-in speaker for listening to the program return audio.
Monitor Program Video
The Blackmagic Studio Camera lets you view program video from the switcher at the press of a button. Simply press the camera's PGM button, and the viewfinder will switch from the camera display to the program return feed from the switcher. Plus, the built-in speaker lets you monitor the switcher audio. Program return is a fantastic feature as sometimes on large live shows, camera operators can be left waiting a long time for their camera to be used, so program return lets them watch the show while they wait. This means that even if the camera operator is a large distance away from the switcher, they can still keep up with what's happening and remain alert.
Powered by Blackmagic OS
With the advanced Blackmagic OS, you get an intuitive and user-friendly camera operating system based on the latest technology. Blackmagic OS is a true modern operating system where all camera features run independently for smoother control, plus the camera powers on virtually instantly. It features the same controls and menus as other Blackmagic Design cameras, so you can move between cameras on set easily. The interface uses simple tap and swipe gestures to adjust settings, add metadata, and view recording status. You also get full control over advanced camera features such as on-screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings, and more.
Supports 3D LUTs for Film Looks
When Blackmagic RAW files use logarithmic film gamma to preserve the camera dynamic range, 3D LUTs can be used to convert the images on the viewfinder display from looking flat and washed out. The 3D LUTs solve this problem because they convert the image just before it's displayed on the LCD. This allows the film gamma images being recorded to be converted to nicer-looking images on the LCD. The 3D LUTs are also saved into the Blackmagic RAW files, so they can be used in later post-production, but they are never burned into the Blackmagic RAW image data, so you always have the option to disable them. This means the 3D LUT is transported in the Blackmagic RAW file, but only used when you enable it.
Localized in 11 Popular Languages
The Blackmagic Studio Cameras are designed to be used worldwide so they support 11 popular languages. When setting up your camera, you can choose to work in English, German, French, Spanish, Portuguese, Italian, Russian, Turkish, Chinese, Japanese, or Korean. It's easy to switch to another language simply by going into the menu settings. When switching between languages, the on-screen overlays, heads-up display, and setup menus will be displayed in the selected language, and you can change languages any time you like.
Powers from DC or 10G Ethernet
Blackmagic Studio Cameras have lots of different power options. All models have a common 12 VDC locking power connector, so the cable won't be accidentally pulled out. Plus, the camera includes a power supply with five different AC socket adapters for different countries. However, if you're using a single Ethernet cable to connect to the Blackmagic Studio Camera 4K Pro model, then the whole camera and its accessories can be powered from the Ethernet connection. The Blackmagic Studio Converter has a large power supply that adds PoE power to the Ethernet cable, so you don't need any power connection to the camera. That's a great solution when there's no power available where the cameras are placed.
Optional Accessories
You can utilize the Focus and Zoom demands to remotely control your lens and the Blackmagic Studio Converter for a single Ethernet connection to the camera.
Signature SD1+
The Signature SD1+ is a silence detector used to switch audio to a backup source when the primary audio source falls below accepted silence thresholds in level or time. These are often used on a broadcast path to prevent dead air should a technical problem occur with the audio.
The audio connections are stereo, on analogue XLRs. There is an input pair for the primary source, and an input pair for the backup source. The SD1+ can also be configured as a twin single channel silence detector. The backup source is usually coming from an audio player which can be remotely started by the SD1+ via a GPO should silence be detected.
Each channel can have the configuration parameters set independently. The threshold at which the unit detects a low level is configurable, as is the amount of time that the audio needs to be under this level before an alarm condition is triggered and the audio is switched to the backup input.
A comprehensive set of GPIOs allow for triggering external devices when the secondary input has been triggered.
Intelligent modes can be set to allow for switching back to the primary audio source once a sustained audio level has returned.
With a stereo audio source, if one channel should fail, the SD1+ can be set to switch this single input to both outputs, making a problem unnoticeable to any listeners, whilst at the same time still providing alarm outputs so the engineers can be alerted.
An internal switch mode power supply is provided along with an external ±12v DC input for the main or backup power supply of the Signature PS1 Power Station.
Silence Detection ParametersFor the detection of drops in audio level, a threshold can be specified between -60dB to -10dB. If the audio level is under this level for a set amount of time, then the SD1+ will switch to the backup source, preventing any dead air situations. The fail delay time is configurable between 5 seconds and 5 minutes. When the audio switches to the backup source, a GPO is triggered to start a backup audio source which is connected to the backup input. A GPO is created so that the engineering department are alerted. All switching between the primary and backup source is silent.
When primary audio has returned, the SD1+ can be used in manual or automatic mode. In automatic, the SD1+ switches back to the main input after a recovery delay, that’s configurable between 5-60 seconds. In manual mode, the main input must be selected via the front panel or via a GPI switch.
Stereo Or Dual MonoThe SD1+ can monitor a single stereo source and switch the output to a backup source if a silence condition is triggered. It can also act as a dual mono silence detector, taking in 2 mono sources and switching them independently, to their own backup audio in the event of a silence condition trigger.
In stereo mode, if one channel becomes silent, the SD1+ can perform two configurable functions. It can either feed the one good primary input to both primary outputs, or trigger the silence detect to switch to the backup input.
Audio ConnectionsThe audio connections are stereo on analogue XLRs. There is an input pair for the primary source, and an input pair for the backup source. The backup source can be selected to be at 0dB or +10dB. The +10dB option allows for the connection of a domestic level audio source, such as a CD or a memory card player, that may be used as the backup.
Smart Fail & Smart RecoverySmart recovery mode prevents pops and clicks from triggering the recovery switch back to the main input, and waits for a configurable period of time. This allows full recovery of the audio before switching back to the primary source.
LoopsA 25way d type connector contains all of the available GPIO, for output remote starts and alarms, and for input switching. There are GPOs to indicate if the primary or backup input is active, which can be used as an alarm that a backup switch has been activated.
Configuration ScreenA front panel screen shows visual feedback of the status of each input, and the value of the fail or recovery timer. This screen also access’s the menu for configuration.
Bypass RelaysIn event of power failure the primary audio input is switched directly to the audio output via relays, so that there is no loss of audio.
Power SupplyThe SD1 has an internal switch mode 100-240v AC power supply using an IEC connection. There is also an external ±12v DC input to connect to the Signature PS1 Power Station as the primary or backup power supply.
Signature Series Standard Features
19" Rack Mount EarsA Signature unit can rack mount in a 1U 19” rack, regardless of the size of the unit. Rack ears are included as standard with every unit.
Front Or Rear MountingA Signature unit can be rack mounted via the front panel or if it is more convenient, via the rear panel by simply swapping the rack ears over.
Side Wings For Flat Surface MountingA Signature unit has side wings with mounting holes at the top and bottom, allowing flush fixing from above OR underneath.
Internal Switch Mode AC Power SupplyA Signature unit has an internal switch mode AC power supply, allowing worldwide power connections from 100-240v via an IEC socket.
12V DC Power ConnectionAll Signature units (except PS1) have a 4 pin XLR ±12V DC socket for connection to the PS1 Power Station. This can act as the primary or backup power source.
Cinegy Capture PRO
AUDIMUS.MEDIA
Ensure your content reaches the widest audiences, even on those breaking news. AUDIMUS.MEDIA creates automatic closed captionings for all of live programs and nowadays they are reaching more that 500 million viewers spread in two continents!
The cost-effective solution you were looking for to comply with CC regulations.
MMS-Broadcast Edition
AoIP4O
The AoIP4O unit is designed to easily and quickly interface existing analogue equipment to a Dante® / AES67 network audio system. Being powered by PoE means that only one cable needs to be connected to the network to carry both audio and power, providing flexibility and saving time on installation.
AoIP4O provides 4 balanced analogue audio Outputs from a Dante®/AES67 audio network.
Robust proven construction techniques, simple reliable interface and excellent specification will help make your technician’s life hassle free, whilst the low cost and long asset life will keep the accountant satisfied.
AoIP22
The AoIP22 is designed to easily and quickly interface existing analogue equipment to a Dante® / AES67 network audio system. Being powered by PoE means that only one cable needs to be connected to the network to carry both audio and power, providing flexibility and saving time on installation.
Robust proven construction techniques, simple reliable interface and excellent specification will help make your technician’s life hassle free, whilst the low cost and long asset life will keep the accountant satisfied.
EASY TO USEDante® Controller by Audinate is a free application that controls all your Dante® enabled devices on your network.
It will automatically find the AoIP22 and allow you, just by the click of a mouse, to route audio circuits to/ from it.
Dante® network audio has become very popular because it just works and it’s so easy to use. Yet underneath the simple trouble free setup is a very sophisticated Audio over IP (AoIP) protocol working in real time across standard network switches with clever digital clock synchronisation to keep all equipment working in perfect harmony.
PRACTICAL FEATURESBELT CLIP Can be purchased with or without a belt clip.
RUBBER FEET If the AoIP22 is to be sat on a desk or the back of a workbench, then the beltclip can be removed and rubber feet fitted to stop it sliding around.
CABLE TIE HOLES All four front corners of the AoIP22 feature large extremely strong holes that are ideal for threading cable ties through. This makes temporarily installing the unit in out of the way locations very easy.
AoIP22 AES3
The AoIP22 AES3 is designed to easily and quickly interface existing AES3 equipment to a Dante® / AES67 network audio system. Being powered by PoE means that only one cable needs to be connected to the network to carry both audio and power, providing flexibility and saving time on installation.
Robust proven construction techniques, simple reliable interface and excellent specification will help make your technician’s life hassle free, whilst the low cost and long asset life will keep the accountant satisfied.
AoIP44
The AoIP can be used as a simple low cost audio I/O break out unit on a large Dante audio network where it can be integrated extremely easily using the Dante controller and is fully compatible with any manufacturers Dante equipment. It can also be used in very simple audio over IP scenarios where just 4 bi-directional audio circuits are needed to be distributed across a building's network infrastructure, in which case 2 x AoIP44 units can be used connected together across the network. The AoIP44 is equally suited for high integrity broadcast purposes, intercom, just simple paging facilities or simple distribution of non-critical audio.
Being part of our Signature Range the AoIP44 comes as standard with removable rack ears (to allow front or rear mounting in 19" racks), mounting holes to allow under desk mounting (the holes are equally suited for screwing the unit into odd places!) and an optional external DC power supply for applications requiring redundant power supplies. It is housed in an all anodised aluminium chassis.
AoIP44 AES3
The AoIP44 AES3 is designed to easily and quickly interface existing AES3 equipment to a Dante® / AES67 network audio system. Being powered by PoE means that only one cable needs to be connected to the network to carry both audio and power, providing flexibility and saving time on installation.
Robust proven construction techniques, simple reliable interface and excellent specification will help make your technician’s life hassle free, whilst the low cost and long asset life will keep the accountant satisfied.
DARK8MAI MKII
Having 8 of low noise high quality microphone inputs makes the DARK8MAI MKII perfect for transporting audio circuits from a stage or a pitch side position to a mixer or other location within an audio network .
The rugged design, PoE powering & remote control facility of the unit means that it can easily be placed and left unattended wherever audio sources are required.
DARK8MAIR
Having 8 of low noise high quality microphone inputs makes the DARK8MAIR perfect for transporting audio circuits from a stage or a pitch side position to a mixer or other location within an audio network.
The rugged design, PoE/ Mains powering & remote control facility of the unit means that it can easily be placed and left unattended wherever audio sources are required.
Divine
Internally a Digital Signal Processor (DSP) takes careful care of the audio signals, including state of the art compression and limiting circuits, while a microprocessor provides full setup and control via a small rear panel LCD. Control of setup and day
to day operation of the Divine will also be available on our Windows 10 application GlenController including the ability to group multiple Divines together and control their level simultaneously.
Divine can receive up to four* Dante (AES67 compliant) audio over IP (AoIP) inputs. These inputs can be selected by the user on a large clear front panel select switch. The four audio inputs can also be easily mixed together and their individual levels adjusted.
A priority system is provided to allow one (or more) of the inputs to automatically duck another. This can be very useful if you want to monitor one source but also listen to another when audio is present, such as sending show relay to dressing rooms in a theatre but having the stage manager's call and building fire alarm take precedence when they’re active.
The die cast enclosure has been carefully designed to provide full protection of all control knobs, switches and ports to prevent damage. Uniquely, the housing also features a standard PC screen Vesa mount, meaning that you can purchase any standard Vesa mounting solution to hang/ mount your Divine on, saving you lots of money. Standard microphone stand threads are also provided in the base for an alternative support solution.
Different preset EQs and an LF cut can all be set in the user menu to allow the Divine to be used for a variety of applications.
Divine is so much more than just another powered loudspeaker.
Symphony
They had been using a similar analogue monitoring system for many years and when they updated their production mixer to a Dante enabled desk they naturally wanted to encompass and embrace the advantages of the network audio system to include their monitoring and musical instrument pre-amplifiers.
The shape and feature set of the Symphony came from the customer's many years of experience from within the orchestral music industry. The simple controls for the musicians, the microphone amplifier setup hidden away from the musicians, the ability to mount the Symphony on a microphone stand and a clean blank audience facing side of the box were all key required features.
Being a high calibre audio environment naturally the microphone amplifiers and monitoring circuits had to be the best available, which was made possible because of our many years of experience in broadcast audio.
Pro Sound news ran an article in June 2017 highlighting the history & requirements for the Symphony.The Symphony is designed to be mounted on a microphone stand and placed between 2 musicians.
Each musician has a set of monitoring controls on an ergonomically shaped sloping front panel, with a headphone monitoring output jack conveniently placed at the bottom of the controls. The monitoring controls allow each musician to adjust the volume of 3 incoming stereo audio mixes from the Dante network, allowing them to monitor their preferred mix at a level that they are happy with. Each musician is also provided with an instrument headphone volume control, so they can adjust the level of their own instrument in their own ears. A panning control is also provided for the instrument in case they only wish to monitor their own instrument in one ear or of centre. Finally an overall volume control is provided for each musician to allow one single control to adjust the overall volume of the whole mix.
On the front panel mounted centrally between the 2 sets of monitoring controls and at the top of the panel is a talkback microphone, at the bottom of the panel and within easy reach of each musician is a push to talk (PTT) switch that turns the talkback microphone on. This talkback circuit is very useful for communications between the musicians and sound control room.
The bottom panel contains the 2 microphone inputs, 1 on each side of the unit allowing the microphone cable to enter the box in a tidy and organised way. The panel also contains simple engineering setup controls to adjust the microphone input gain, turn phantom power on/ off and also turn the internal compressor limiter circuit on/off. Connections to the Dante/ AES67 network are also located on the bottom panel, so like the microphone cables the network cables can easily be routed safely down the microphone stand.
There are 2 Dante network interfaces allowing a fully redundant netowrk to be set up with primary and secondary Dante networks. Both of these interfaces are on Neutrik Ethercon connectors and both accept Power Over Ethernet (PoE).
Virgil
Packaged in a small & robust format and designed to be permanently mounted in studios wherever a headphone circuit is required, the Virgil provides a simple interface between Dante network audio systems and users headphones.
The Virgil encompasses our unique headphone amplifier circuit which automatically provides the correct output level to match the impedance of the attached headphones (to produce the same volume high impedance headphones require a much greater output level than low impedance).
Virgil receives 2 x audio circuits from a Dante network and routes one to the left and the other to the right channel of the headphone amplifier. A front panel volume control allows the user to adjust the output volume.
Three mounting holes are supplied to enable the Virgil to be mounted underneath a studio desk in a suitable location for the users headphones. Needing just 1 single network cable to carry both power & audio to the Virgil makes installation very simple.
As well as being suitable for low & high impedance headphones our unique headphone amplifier circuit can be connected to both stereo headphones & mono earpieces, making the Virgil suitable for driving television presenters ear pieces.
Virgil OB
Packaged in a small & robust format and designed for outside broadcast & theatre applications wherever a headphone circuit or analogue output is required, the Virgil OB provides a simple interface between Dante / AES67 network audio systems and users headphones or other analogue audio equipment.
The Virgil OB encompasses our unique headphone amplifier circuit which automatically provides the correct output level to match the impedance of the attached headphones (to produce the same volume high impedance headphones require a much greater output level than low impedance).
Vita
Outputs/TalkbackThere are two output circuits. One is used as the main programme audio, the other as a talkback circuit. There are separate button controls for each of these using Config+. They can each can be independently configured for latching or momentary, with the programme button also having a 'cough' feature. All talkback I/O connections are via the RJ45/CAT5 Dante network audio connection.
MonitoringThere are two monitoring inputs each with independent level control. Each of these inputs can be switched from the left ear, right ear, or both ears to the stereo headphone amplifier. The headphone amplifier is our high performance intelligent circuit which automatically adjusts its output level for high or low impedance headphones and can also drive mono earpieces and headphones.
There are 2 off 4 LED level meters both indicating -12 to +6 dB. One LED meter is located on the front panel to enable easy visualisation of the audio levels if the VITA is being used as a table top device and the other meter is located on the top panel facing the operator when used by its beltclip.
PowerVia PoE on the network connection, or via an external DC power supply.
The VITA is often used as a remote link to the main commentary unit. It is favoured by pitch side interviewers, and is popular in combinations with wireless systems.
Vita BB Plus
The high quality microphone input, with the Glensound Referee compressor, makes the Vita BB Plus suitable for on air commentary use, perfect for a small OB or in an off-tube booth.
The flexibility of the talk button configurations, means that the Vita BB Plus can also be used as a talkback unit as part of a Dante / AES67 network.
The Vita BB Plus can connect to any Dante or AES67 network, or to other audio equipment via Glensound’s own Dante interface units.
Signature ADA 2S12MGT
The ADA 2S12MGT has 1 x stereo input that is distributed to 12 x mono outputs. The two audio inputs (1 stereo circuit) each have their own input gain preset controls. These allow an engineer to set the inputs up to work with levels that suit you, such as mono out = A+B-3 or A+B-6 or 0dB in = 0dB out, or even adjust the inputs for accepting unbalanced domestic levels.
Each of the 12 outputs also have preset gain controls, this allows different outputs to be connected and lined up with different systems.
Audio inputs and outputs are transformer balanced on XLRs and can accommodate unbalanced connections if required. The input & output gains are on front panel multi turn potentiometers (recessed to prevent accidental operation). They provide a wide gain range to cope with the different gain level requirements of broadcast or domestic level equipment.
All outputs are protected, so a short circuit on one will not affect any of the others.
Audio transformers help to make this unit an ultra reliable broadcast distribution amplifier suitable for the heart of your operation.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
Signature Series Standard Features
19" Rack Mount EarsA Signature unit can rack mount in a 1U 19” rack, regardless of the size of the unit. Rack ears are included as standard with every unit.
Front Or Rear MountingA Signature unit can be rack mounted via the front panel or if it is more convenient, via the rear panel by simply swapping the rack ears over.
Side Wings For Flat Surface MountingA Signature unit has side wings with mounting holes at the top and bottom, allowing flush fixing from above OR underneath.
Internal Switch Mode AC Power SupplyA Signature unit has an internal switch mode AC power supply, allowing worldwide power connections from 100-240v via an IEC socket.
12V DC Power ConnectionAll Signature units (except PS1) have a 4 pin XLR ±12V DC socket for connection to the PS1 Power Station. This can act as the primary or backup power source.
Signature ADA 2:6
The ADA 2:6 has 1 x stereo input that is distributed to 6 x stereo outputs. A front panel toggle switch changes the operation of the unit to a mono distribution amplifier with 1 input and 12 outputs. The mono/stereo front panel toggle switch is recessed to prevent accidental operation and also provides the user with clear visual indication of the current mode.
Input gains controls are provided for both left and right inputs. These gain controls are accessed from the front panel and are multi turn preset pots (recessed to prevent accidental operation).
Audio inputs and outputs are electronically balanced on XLRs and can accommodate unbalanced connections if required. All outputs are protected, so a short circuit on one will not affect any of the others.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
Signature Series Standard Features
19" Rack Mount EarsA Signature unit can rack mount in a 1U 19” rack, regardless of the size of the unit. Rack ears are included as standard with every unit.
Front Or Rear MountingA Signature unit can be rack mounted via the front panel or if it is more convenient, via the rear panel by simply swapping the rack ears over.
Side Wings For Flat Surface MountingA Signature unit has side wings with mounting holes at the top and bottom, allowing flush fixing from above OR underneath.
Internal Switch Mode AC Power SupplyA Signature unit has an internal switch mode AC power supply, allowing worldwide power connections from 100-240v via an IEC socket.
12V DC Power ConnectionAll Signature units (except PS1) have a 4 pin XLR ±12V DC socket for connection to the PS1 Power Station. This can act as the primary or backup power source.
Signature PS1
Master And Back Up PowerAs well as providing a backup DC supply for up to six Signature Series units, the PS1 can also act as master DC power distribution to six Signature units.
Safety FeaturesAll outputs are individually fused so a short circuit on one will not affect any of the others.
InstallationFor ease of installation and to allow quick connectivity to other Signature Series units, every Signature PS1is shipped with 6 x 4 pin XLR DC cables which are each two metres long.
As the PS1 is only 336mm wide without the rack ears, it can easily be installed inside equipment racks, and fixed vertically via the flush mounting side wings. This will provides the convenience of power distribution or backup, without taking up any rack space.
Signature ADA 2:6g
The Signature ADA 2:6G is a broadcast specification 6 way stereo analogue distribution amplifier, designed to distribute one or two audio channels to multiple destinations.
The ADA 2:6G has 1 x stereo input that is distributed to 6 x stereo outputs, each with its own gain control. A front panel toggle switch changes the operation of the unit to a mono distribution amplifier with 1 input and 12 outputs. The mono/ stereo front panel toggle switch is recessed to prevent accidental operation and also provides the user with clear visual indication of the current mode.
Audio inputs and outputs are electronically balanced on XLRs and can accommodate unbalanced connections if required. The output gains are on front panel multi turn potentiometers (recessed to prevent accidental operation). They provide a wide gain range to cope with the different gain level requirements of broadcast or domestic level equipment.
All outputs are protected, so a short circuit on one will not affect any of the others.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
Signature Series Standard Features
19" Rack Mount EarsA Signature unit can rack mount in a 1U 19” rack, regardless of the size of the unit. Rack ears are included as standard with every unit.
Front Or Rear MountingA Signature unit can be rack mounted via the front panel or if it is more convenient, via the rear panel by simply swapping the rack ears over.
Side Wings For Flat Surface MountingA Signature unit has side wings with mounting holes at the top and bottom, allowing flush fixing from above OR underneath.
Internal Switch Mode AC Power SupplyA Signature unit has an internal switch mode AC power supply, allowing worldwide power connections from 100-240v via an IEC socket.
12V DC Power ConnectionAll Signature units (except PS1) have a 4 pin XLR ±12V DC socket for connection to the PS1 Power Station. This can act as the primary or backup power source.
STYX
The front panel features 24 x assignable rotary encoders and 24 x assignable illuminated switches, plus a mono assignable PPM and LED graph to indicate positioning of the encoders when they are used.
The real power of STYX is its Windows 10 application which in real time can adjust any of the 2208 mixer cross point levels, provides many setup options, and importantly, allows presets to be stored and recalled.
Reliability is key, STYX has multiple redundant power supply sources and redundant network interfaces.
Signature DDA 1:6
The DDA 1:6 is a cost effective distribution amplifier for digital AES signals. Via rear panel XLRs there is a single input and 6 outputs.
The output signals can pass straight through without any normalising. This is useful if you need syncronisation to be maintained. There is also an option to re-normalise all of the output signals to ensure that all outputs are at the full digital level again. It is important to realise that re-normalising a digital signal while often desirable, does cost one sample.
A headphone monitoring position is also provided on the front panel via a 6.35mm stereo jack socket. This allows monitoring of the incoming audio signal via a variable level pot.
LEDs indicate AES lock or if there is an AES error.
Signature Series Standard Features
19" Rack Mount EarsA Signature unit can rack mount in a 1U 19” rack, regardless of the size of the unit. Rack ears are included as standard with every unit.
Front Or Rear MountingA Signature unit can be rack mounted via the front panel or if it is more convenient, via the rear panel by simply swapping the rack ears over.
Side Wings For Flat Surface MountingA Signature unit has side wings with mounting holes at the top and bottom, allowing flush fixing from above OR underneath.
Internal Switch Mode AC Power SupplyA Signature unit has an internal switch mode AC power supply, allowing worldwide power connections from 100-240v via an IEC socket.
12V DC Power ConnectionAll Signature units (except PS1) have a 4 pin XLR ±12V DC socket for connection to the PS1 Power Station. This can act as the primary or backup power source.
Signature ADA 1:8G
The ADA 1:8G has 1 x single channel input that is distributed to 8 x mono outputs, each with its own gain control.
The audio input and outputs are electronically balanced on XLRs and can accommodate unbalanced connections if required. The output gains are on front panel multi turn potentiometers (recessed to prevent accidental operation). They provide a wide gain range to cope with the different gain level requirements of broadcast or domestic level equipment.
All outputs are protected, so a short circuit on one will not affect any of the others.
Power is provided by an internal switch mode power supply, with a wide input range. There is also an input for external 12v DC power. The 12v DC input can be connected to the optional Signature PS1external DC Master Power Station, for situations where a redundant power supply is desirable.
A bright front panel LED indicates that the unit is operational.
Signature Series Standard Features
19" Rack Mount EarsA Signature unit can rack mount in a 1U 19” rack, regardless of the size of the unit. Rack ears are included as standard with every unit.
Front Or Rear MountingA Signature unit can be rack mounted via the front panel or if it is more convenient, via the rear panel by simply swapping the rack ears over.
Side Wings For Flat Surface MountingA Signature unit has side wings with mounting holes at the top and bottom, allowing flush fixing from above OR underneath.
Internal Switch Mode AC Power SupplyA Signature unit has an internal switch mode AC power supply, allowing worldwide power connections from 100-240v via an IEC socket.
12V DC Power ConnectionAll Signature units (except PS1) have a 4 pin XLR ±12V DC socket for connection to the PS1 Power Station. This can act as the primary or backup power source.
Black Pearl BP2V2 LED panel
Black Pearl is a high-performance, 2.8mm pixel pitch broadcast grade, HD-LED display for indoor applications. With its high frame rate, high refresh rate and low scan lines it is perfect for broadcast and film applications. The BP2V2 offers the trusted performance of the Black Pearl BP2 in an updated version with high-speed components and true-to-content color representation. It results in perfect on-camera performance, adding quicker and easier camera set up and handling. Its on-camera performance is unrivaled.
GhostFrame
GhostFrame works by displaying more than just the video feed on the LED panel, combining hidden Chromakey, hidden Tracking, and Multiple Source video feeds into a single production frame. You choose which elements are visible to the human eye and which are visible only to the camera. Combining the strengths and possibilities of LED and camera technology, GhostFrame enables creative and powerful use of video and broadcast technology.
Ruby RB1.5 LED panel
Ruby RB2.3 LED panel
Easytrack
Dominator AT/12G – 4K multichannel recording and replay server
Dominator AT/12G 4K - (6REC+6SEARCH+2PLAY)
Striving to increase the systems’ functionality while keeping the price affordable slomo.tv created the Dominator AT/12G server.
Dominator AT/12G is the first 4K server that supports 662 configuration for 4K replays - recording of 6 channels, simultaneous search on all 6 channels, 2 playback channels with transition effect. So in terms used by other manufacturers, Dominator AT/12G is a 14 channels 4K server! It also provides 2 workplaces for replay operators.
Since more and more manufacturers use 12G SDI interfaces for working with 4K (UHD), we equipped the server with universal 12G / 3G / HD / SD video interfaces. This allowed us to realize the ideology of "one (BNC) connector for all standards". This perfectly fits modern cameras and mixers and significantly reduces the number of connecting cables.
The new server uses the same connections for all video resolutions. Nothing needs to be switched or reconfigured when switching to another video standard.
Dominator AT/12G 4K has all distinctive features of slomo.tv servers:
· Search on all recorded channels, simultaneously with recording and playing back of two channels with transition effects.
· Automatic clips creation during Instant Replays.
· Built-in Multiviewer. All slomo.tv GUI interfaces display input channels, playback video and search channels. The multiviewer can have 5 basic configurations of different number of video windows. They can be of different or equal size, displaying the input video, search channels, and video outputs.
· MultiSkin. This feature allows the operator to use one monitor to display different interfaces.
· SSD based subsystem.
· Export/Import of video without additional equipment. The export function of Dominator AT/12G enables the export of recorded video into native MXF files with XDCAM422 50Mbit codec for 3G/HD and QuickTime ProRes 422 for 4K video.
· Built-in DMR™ Rack. The server has a Toolles/Trayles rack for 4 cost-effective 3.5" SATA HDD.
· 10 GbE network interfaces. Dominator has two 10GbE interface ports, which provide 10 times higher speed of video and data exchange compared with standard servers. In addition, the presence of 10GbE makes it possible to record video files on NAS, to be used without delay for real-time video editing.
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
Max
Each Max weather and traffic product available within the system can be added to your Max platform as an App. Choose only the tools you need to produce the weather presentations your audience wants. The content you create with Max weather broadcast solutions is easily pushed to other media platforms, so you can instantly reach your viewers— wherever and on whatever screen. Maximize production capabilities, improve execution, increase engagement, and deliver a more targeted, brand-loyal audience to your advertisers across any device.
Which means advertisers stay loyal, too. And that means more profit for you.
- World’s most accurate forecasts for 2.2 billion locations every 15 minutes
- World’s most deployed television weather graphics solution
- Scalable for all production requirements and budgets
- Max Traffic module available for most cities
Studio & Control Room Facilities
We can create a solution for any studio production—anywhere around the globe. Our expert engineers design, build and maintain our custom control rooms based on the unique needs of each show we support. Our control rooms are designed and built to be "semi permanent" with sturdy custom consoles, modular custom fabricated rack units and a spacious comfortable working environment designed to feel like home for a crew working in a daily show situation. They can be built inside any facility or in a climate controlled trailer. With our experience, resources and support behind a production, our clients know the budget and timelines will be met, technical changes can be accommodated and the producers can concentrate on the creative and other business aspects of the show.
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
Trance
Digital Nirvana's Trance opens door to AI-empowered transcription, captioning, translation; anytime and anywhere. Trance is an enterprise-level, cloud-based web application from Digital Nirvana integrated with cutting edge STT technology and cloud-based architecture, leading to significant efficiency gains. Honoring our long term commitment to provide services to the media industry, Digital Nirvana created the platform as an internal tool for providing customers with exceptional closed-captioning, metadata generation, and transcription services.
FA-1616
Multi-channel processor series with essential video production features in a compact 1 RU enclosure. Besides its core role as a frame synchronizer for up to 16 channels, supporting IP/SDI (12G/3G/HD-SDI) and 4K, the FA-1616 series also serves as a color corrector, video processing amp, and audio remapper. Software-defined architecture enables to choose just the right configuration for your needs. Build an optimal system without unnecessary costs by adding exactly what you need with VoIP cards*1 and a range of audio (including Dante and MADI) and GPI cards.
Features
Control and monitoring
- Control from a browser and via Ember+ or NMOS IS-04/05.
- Browser-based control: No need to install a dedicated GUI.
- Ember+ control: Enables control GUI development by users＊1.
- SNMP monitoring.
- Management/control system redundancy also ensured, with 2 dedicated LAN ports (1000BASE-T).
GENLOCK input
Timecode
- LTC, ATC (LTC, VITC) time code generating and offset adjustment.
- Equipped with LTC I/O terminals; supports ancillary time code multiplexing.
Others
- Standard redundant power supply. With the fan, hot-swappable from the front.
- Compact, relatively shallow 1 RU enclosure. 430(W)×500(D)×44(H) mm.
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