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The Pulse2 from Analog Way is a new member of the company’s mid-range Midra line of seamless switchers. It also offers some advanced features inherited from the company’s LiveCore range of premium presentation mixers. Pulse² offers upgraded connectivity, through eight seamless inputs and 14 input plugs: four universal analog, four DVI-D, four HDMI inputs and two 3G-SDI connections. Thanks to the CleanCut effect, the Pulse² can operate fast and seamlessly switch between any of its 14 input plugs without fade through black or loss of sync. http://www.analogway.com/en/
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Roland / VR-50HD all-in-one AV mixer fully integrates an audio mixer, video switcher, multi-viewer touchscreen, and USB video/audio streaming into a standalone device. This live HD production solution is designed for churches wanting to expand their reach by mixing, streaming, and recording their services. Shipping in October 2013. List Price: $7,495.00 www.rolandsystemsgroup.com
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Based on the larger Carbonite 2X, the new Ross Video Carbonite 2S has individual ME Effects Memory keypads that many operators prefer, and the panel can be configured with any Carbonite processing engine, including the new Carbonite eXtreme. It also comes with Ross’ ViewControl touchscreen production controller and LiveAssist Graphical User Interfaces. When purchased as a Studio System Package with Ross’ BlackStorm Playout Server and XPression Motion Graphics System, it becomes a complete production system.
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Sony / Anycast Touch AWS-750 Live Content Producer offers simple and easy-to-use operation with a dual touch-screen interface. Sony says, the unit eliminates the need for additional hardware typically required for live production and streaming applications. It includes a video switcher, encoder, recorder, audio mixer, titler, clip player, and remote camera controller. It features six video inputs and five video outputs with 1920x1080 10-bit processing. Shipping in September 2013. List Price: $19,995 www.sony.com/anycasttouch
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DataVideo / SE-2800 is ideal for congregations with 100 members or more. Users can configure 8 or 12 SD or HD inputs, incorporate CG, and send output to various SD/HD devices for storage or streaming. Available as an all-in-one, hand-carried studio model or in a production kit. All versions of SE-2800 are currently shipping. List Price sta rts at : $6,000 www.datavideo.us
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TVONE / CORIOmaster Miini features tvONE’s CORIO technology and combines real-time 360-degree video rotations, multiviewing, windowing, and multi projector edge blending into a 1RU frame. This video wall processor fits up to 12 Universal DVI or 10 HDBaseT ports, controlling full-scale 3x3 video walls without a rack’s worth of video components. The product is shipping now. List Price: $10,995 www.tvone.com
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Grass Valley / Director Integrated Nonlinear Live Production Center is more than a switcher. Grass Valley says the GV Director brings a dynamic new paradigm in live production workflows to houses of worship with its simplified way of producing and delivering live content. GV Director will begin shipping in fourth quarter 2013. List price: $35,800 www.grassvalley.com
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Panasonic / HS410 Plug-in SDK - The recent introduction of the HS410 Plug-in SDK enables creation of custom interfaces and control functions for the AV-HS-410 switcher by developers, integrators, and users with Linux programming capabilities. Examples of plug-ins already created include web-based switcher control from PCs and tablets and external video player/ recorder control from the switcher. List Price: The SDK is available at no charge to qualified developers who sign up for the HS410 SDK program. www.panasonic.com
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For-A / HVS-XT SERIE S portable video switchers include mixed HD/SD input, frame synchronization, multi-viewer capability, re-sizing engine, 2.5D wipe effects, DVE and keyer with chroma key. The HVS-XT100 comes with a separate main unit and control panel, while the HVS-XT110 features a compact, integrated design. List price sta rts at : $9,800 www.for-a.com
As houses of worship continue incorporating video into services and events, the video switcher is becoming an essential piece of core technology. A video switcher—also known as a video or vision mixer—is used to mix multiple video sources into one or more master outputs. They operate along similar lines to an audio mixing console, taking in multiple input sources, applying effects and/or processing, and providing an output or outputs. Switchers are normally used for real-time recording, broadcast, or streaming of live events or where multiple sources need to be mixed in real-time, as opposed to post-production editing.
Video switchers are able to create visual effects like mixes or wipes between scenes to compositing effects where various inputs and graphics are layered for a single output. Many of today's switchers are designed to deal with multi-formats where it can accept a variety of sources like SDI (6G, 3G, HD, or SD), High-Definition Multimedia Interface (HDMI), DVI, component video, VGA, composite, etc. Most switchers include scalers to correctly scale the output based on the requirements of the display. In addition, a number of new models offer graphics and titling, as well as audio mixing. The current wave of products is trending toward the multi-function unit in one device, rather than having a lot of separate devices that do many jobs.
SWITCHERS IN CHURCH USE
CPM asked several manufacturers what they're seeing that's new in video switcher product development—and the benefits of the more comprehensive feature sets for the church market. The trend they're seeing at Grass Valley “… is a lot of consolidation in live production technology,” says Chuck Garfield, director for the company's Ignite product line. “Production switchers today are supporting integrated multi-viewer outputs, graphics, and video clip playback, with the need to support numerous data feeds driving what's being displayed on air. It's not just about the primary output anymore. Production content needs the ability to be quickly and easily distributed to web and mobile devices.”
Broadcasting services and programming to the Internet and mobile devices via streaming is a key element that many HOW are adding to their video production.
If streaming is important to your facility then you want to be sure to look for switchers that can seamlessly integrate with streaming video. John Broadhead, vice president of technology and communications with Roland Systems Group sees this growing trend in the HOW market as “the need to get content live online and captured. Video switchers are now dealing with multiple screens and outputs; not unlike auxiliary and matrices in the audio world. Many facilities now have multiple sends to deal with, including multiple screens, overflow rooms, broadcast/streaming feed, and archiving/recording.”
John Stapsy of Datavideo USA sees networking as an important development. “The ability to network multiple switchers over multiple locations using the Internet as a backbone is what's new in switcher product design.” When asked what trend they were seeing in switchers at Kramer Electronics USA, Clint Hoffman, vice president of marketing, answers simply, “More HDMI inputs. The HOW market has always had a preference for scaler/switchers rather than traditional switchers, and manufacturers are having to include more HDMI inputs on our scaler/switchers to accommodate the proliferation of HDMI sources available.”
Another important consideration to understand is that as newer digital signals like HDMI incorporate Extended Display Identification Data (EDID) communication and High-bandwidth Digital Content Protection (HDCP) verification, switching is slowed down, so a key feature to look for is faster switching between HDMI signals. “When a switch is made, a bunch of communication, unseen by the user, is initiated,” explains Hoffman. “For example, the display will tell the source what the perfect signal resolution it can accept is, and the source will then prepare that resolution and send it. At the same time, an HDCP process occurs to make sure that the material to be shown is legal. The time it takes for this communication is dependent on the source, and even more so on the display. Manufacturers are finding ways to speed this process up, which is important especially in HOW applications as it is unacceptable to have a blank screen during a service for 10 seconds while the system is switched from one source to another.”
CHURCH-WORTHY FEATURES
As for key features that are important for the HOW market, the manufacturers agree that it's crucial to consider that tech staff in the church market are largely made up of volunteers; so user-friendliness is a priority when developing products. “Ease of use is a significantly important feature for the HOW market as local volunteers are frequently sought after to help create live productions,” explains Garfield. “It is important for a switcher to be simple enough for users of all technical levels, while still delivering high-quality content and technically sophisticated services.” Steve Ellis, CEO at Broadcast Pix, concurs, “It helps when almost anyone can learn, use, and set up the equipment without having an extensive video background. You have to consider if the products purchased will not only help produce high-quality content, but if that equipment is easy to learn, easy to use, and easy to store when finished. The last thing you need is an intimidating and complicated piece of equipment when your production crew is composed primarily of volunteers.”
Set up flexibility helps the video team greatly, as well. “We're seeing new products with customizable interface designs and macro functions that enable HOW tech managers to create powerful but easy-to-use workflow for their AV staff and volunteers,” says John Rhodes, product line manager of system cameras and switchers with Panasonic System Communications Co. A scaler is another feature that aids in ease of use. When you have different sources—cameras, DVD, tapes, computers, etc., having a scaler built into the switcher makes life easier by choosing the proper output.
The trend is toward having one unit perform multiple functions, rather than having a lot of separate devices that do many jobs.
“The quality of the image is a priority,” says Broadhead. “With large screens and HD, you want to have a switcher that can nicely scale whatever source is coming in whether a camera, a weird computer format, or even standard-def content.”
Stapsy lists a few other features that are key to incorporating existing equipment, graphics, alternate sources, or streaming content. “Multi-format switching, built-in Downstream Keying (DSK) and/or luminance key, and built-in up/down signal conversion are important switcher features.”
Rhodes adds, “Two or more picture-in-picture (PiP) are important to enable composite shots that show the minister, congregation, and ASL interpreter or choir soloist. Accurate preset shots and effects are important to enable volunteer tech staff to smoothly execute dynamic transitions according to a script. Superior keying quality is important to enable clear projection of hymn lyrics, readings, etc.”
Garfield reports that the ability to work offline is becoming a necessity for the HOW market. He explains, “Many traditional switchers require access to equipment for set-up effects, but as HOW are not commonly designed with live production in mind, the option to work offline is essential and ensures that high-quality content and technically sophisticated services can be delivered in the church.”
PURCHASING TIPS
The manufacturers offer some considerations that technical staff should take into account when looking to purchase a new video switcher for services and programs. “The most important factors are reliability and ease of use—ask around to get recommendations from other churches and members who work in professional video,” advises Rhodes. “Secondly, the church should select a switcher with enough inputs and outputs to accommodate expected expansion and upgrades over the next three years or so.” In addition to switching speed—how the unit handles the EDID and HDCP processes—Hoffman suggests this: “Look at the number of HDMI inputs, HD-SDI inputs if they are working with that format of signal.”
While many HOW go with HD in new systems—as there's just no real cost savings these days to choosing SD—there are many that are still using SD, which works just fine for many congregations. Ellis suggests, “Make sure the video switcher provides multi-format support, in case your church has not yet made a complete transition to HD production. Also, don't underestimate the number of inputs you will need. You might have a three-camera setup today, but make sure your switcher has enough inputs to handle more cameras in the future, in addition to graphics and clips.”
Houses of worship ultimately need to look for a solution that simplifies live content production and delivery while being flexible and reliable. “Ideally, the solution should be designed for non-technical users, empowering the creative abilities of the user to enhance each production,” explains Garfield. “With a simple and intuitive user interface, one person has the power to gain the ability to control an entire show and lower the possibility of human error due to poor integration of functions or miscommunications. A switcher must provide various functionalities in a single, multipurpose solution. It should be easy to deploy and install while still providing the same high-quality content as studios.”
Rhodes agrees, “Reliability and adaptability are more important than hundreds of fancy effects—though we have these too. It's key that a switcher not get in the way of delivering the message—either by failure to function properly, or [by] inability to grow and change with the congregation's needs.”
Be sure to think of the overall scope of the system and keep your goals in mind as you make your selection. “Pay attention to the complete video path from the camera lens through to the display/projector,” says Broadhead. “Make sure the design is tested to ensure the minimum latency.”
Since budget and staffing may be at a premium, it might be wise to consider an integrated production system. Ellis makes this recommendation before investing in multiple products: consider an integrated production system. “For the cost of a standalone production switcher, integrated production systems can provide a number of other built-in tools, including multi-views, audio control, clip stores, and CGs,” he says. “It's an easy way to limit capital expenses and minimize crew requirements.”
Initially, shopping for a new video switcher may seem daunting, especially if it's your first time looking at video equipment. When looking for a switcher for your facility, take your time—and be sure to speak with other AV technicians at other churches similar to your own. Also, be sure to get demonstrations from your video suppliers or manufacturers. Do your research, keeping in mind your current needs, but also leave some headroom for future growth. As always, if you have questions or comments about this article, please feel free to drop us a line at info@churchproduction.com. We are happy to be a resource for you.
5 Main questions to consider when purchasing a switcher:
1 - What are the types of video input sources and end destination video formats
that will be used in the video production of their services? This will help
determine the formats the switcher will need to support.
2 - How many sources are live and needing to be switched? This will determine
the number of channels needed in the switcher.
3 - How many screens do they want to display content on and which screens
need to be independent of each other? In other words, do you want to see
the same thing on all screens or do you want different things on different
screens? This will determine how many mixing engines (M/Es) and/or busses
the switcher will need to have.
4 - Do they need the switcher to handle audio, as well? This will determine if
you need an AV Switcher or Video Switcher.
5 - Do they want to web stream and/or archive/record their services?
