HAMILTON, N.J.—Integrated production systems offer an easy and affordable way for virtually anyone to produce multicamera HD show and even stream live to online viewers.

Since they pack the functionality of a control room—such as multicamera switching, robotic camera control, keying, effects, audio mixing, CG, multiviewers, virtual sets, video playout, encoding and streaming— into a compact, user-friendly system that one person can operate, they’ve taken hold in non-traditional video settings like education, corporate and worship.

INTEGRATING THIRD-PARTY TECHNOLOGY
With powerful new features—like automatic camera switching, IP-driven workflows and seamless integration with Skype and cloud storage—these systems are starting to make inroads in the broadcast space.

One reason that adoption by broadcasters has been slow is that—with end-to-end functionality in one box—they haven’t been able to integrate best-in-class third-party products the way they’ve always done in video control rooms.

HAMILTON, N.J.—Integrated production systems offer an easy and affordable way for virtually anyone to produce multicamera HD show and even stream live to online viewers.

Since they pack the functionality of a control room—such as multicamera switching, robotic camera control, keying, effects, audio mixing, CG, multiviewers, virtual sets, video playout, encoding and streaming— into a compact, user-friendly system that one person can operate, they’ve taken hold in non-traditional video settings like education, corporate and worship.

INTEGRATING THIRD-PARTY TECHNOLOGY
With powerful new features—like automatic camera switching, IP-driven workflows and seamless integration with Skype and cloud storage—these systems are starting to make inroads in the broadcast space.

One reason that adoption by broadcasters has been slow is that—with end-to-end functionality in one box—they haven’t been able to integrate best-in-class third-party products the way they’ve always done in video control rooms.

HAMILTON, N.J.—Integrated production systems offer an easy and affordable way for virtually anyone to produce multicamera HD show and even stream live to online viewers.

Since they pack the functionality of a control room—such as multicamera switching, robotic camera control, keying, effects, audio mixing, CG, multiviewers, virtual sets, video playout, encoding and streaming— into a compact, user-friendly system that one person can operate, they’ve taken hold in non-traditional video settings like education, corporate and worship.

INTEGRATING THIRD-PARTY TECHNOLOGY
With powerful new features—like automatic camera switching, IP-driven workflows and seamless integration with Skype and cloud storage—these systems are starting to make inroads in the broadcast space.

One reason that adoption by broadcasters has been slow is that—with end-to-end functionality in one box—they haven’t been able to integrate best-in-class third-party products the way they’ve always done in video control rooms.

REMOTE CONTROL OVER IP
At Broadcast Pix, Product Manager Tony Mastantuono says that operational and labor cost pressures are driving the higher end of the video business to take a closer look at their multiconfigurable Flint and other integrated production systems.

“As our systems get more powerful, economical, and compact, they’re realizing they no longer have to move a 50- foot trailer with a skilled multiperson crew for every event,” Mastantuono said. “They can leave Flint at their master control, and just send a small crew with a flypack to shoot the video and send it back live to the studio. Then Flint can be used to remotely control the production over an IP network, which is one of the ways it helps keep production costs down.”

With its multitiered IP approach, Flint also streams directly to the Internet while simultaneously recording, allows access to media and files from cloud services like Google Drive, Dropbox, and Microsoft One Drive, as well as the ability to incorporate Skype calls and PowerPoint presentations into live productions. The system also offers wireless control via a tablet.

Earlier this month, Broadcast Pix announced that it had joined the ASPEN Alliance, an IP-based protocol backed by Evertz.

VIDEO TO GO
With its PortaCast HD flypack consoles— which house components by such vendors as NewTek, Ross, Panasonic, For-A and Sony—Mobile Studios makes it easy for integrated production systems to be set up quickly.

“We’re seeing growing demand for our systems as people in many vertical markets—such as corporate and education—recognize the importance of producing and distributing their own video content,” said Rich Rubin, president of Mobile Studios, in Deerfield Beach, Fla. “In the age of IP video distribution, even small to mid-sized companies need to use video strategically to promote themselves and their products and services in order to stay relevant and competitive.”

PortaCast Deluxe features a hinged lid that supports multiview monitors, a pullout drawer that provides a switching control surface, a bench that doubles as storage for cables, and built-in storage for up to 22 rack units of components.

The waterproof, shockmounted case can be wheeled over steps or into a van using an optional aluminum PortaRamp for easy transport.

NEW OPPORTUNITIES
Integrated production systems are breaking down barriers and allowing talented video producers—regardless of budget—to enter the live production market, according to Rush Beesley, president of RUSHWORKS, in Dallas.

“When you factor in affordable cameras, lightweight LED lighting panels, green-screen and channel-in-a-box playout, you now have much of what you need to run a robust, 24/7 TV channel for under $75K,” he said.

RUSHWORKS offers VDESK multicamera pan/tilt/zoom (PTZ) production systems with 4, 8 or 12 SDI/analog inputs starting at $7,500. It also offers control of most PTZ cameras, HD/SD production and streaming, remote control using a tablet over a wireless network, and Talk- Take automated video switching intelligence based on active microphone detection.

RUSHWORKS is integrating the Blackmagic Design Micro Studio 4K camera with its next generation PTX pan & tilt head. The solution will be on display at the NAB Show, controlled by VDESK and also by a DMX lighting console.

SOFTWARE-BASED
Continuing the trend towards crew consolidation, Grass Valley Ignite is a software- based integrated production system that allows a single operator to manage a control room full of devices for live newscasts and event programming. When Ignite automation is paired with the GV Stratus Digital Media Platform (DMP), broadcasters have an integrated production workflow for distributing content efficiently across multiple platforms, such as TV, Web and mobile.

“DMP automates the newscast beyond traditional on-air TV, and eliminates the need for human intervention to prepare complex, ad-supported content for multiplatform delivery,” said Ed Casaccia, senior director of product management/digital media and workflows for Grass Valley in Montreal.

“When a news story airs during a live newscast, it may consist of many elements, such as an on-camera intro, field report, Broll with a voice-over, graphics and an on-camera wrap-up,” Casaccia added. “DMP marks the in and out points of that entire news report, treats all of those components as a single segment, and then automates its delivery to the Web and mobile.”

There are also additional processing capabilities, such as the ability to replace embargoed content, like a few seconds of sports action with a suitable alternative, such as a scoreboard graphic. It’s also possible to dynamically insert different ads into the online versions, and even “hyper-localize” the ads based on zip codes or other criteria.