Feature Article:

High Def Switching Feature

Introduction

When people employ the term “live multi camera switch,” they are usually referring to one of two scenarios. In the first instance, the event is truly “live.”

It may be a local newscast happening in the same facility as the switcher or it may also be a “remote” where the signal from the switcher is being microwaved, uplinked or sent via fiber optics back to a local station or to a network ops center for immediate broadcast. In the another context “live” essentially means “live to tape” for broadcast at a later date.

Very often, producers and directors will make isolated recordings in addition to the “switch record.” They do this so that they can refine the decisions that they made while producing the “line cut.”

Infrastructure

There are three primary systems employed during multi-camera production. The first system is “in studio.” This refers to a permanent installation where cameras in a studio at either the local or network level are wired to a control room for switching and distribution. Power, data and communications flow over “multicore,” triax or fiber optic cables between the camera heads and the camera control units.

An engineer is usually on hand to “shade” the cameras. “Shading” refers to controlling the iris, black level and colors of the cameras. It is important that all of the cameras “match” as they enter the switcher. Otherwise, even the casual viewer will be aware that something is “not quite right.” An engineer uses a waveform monitor, a vectorscope and a correctly calibrated video monitor to ascertain that all of the cameras look the same.

The second system is handled via a remote production vehicle. These 40-52’ tractor trailers carry racks of gear which have in essence the same support gear that a “brick and mortar” studio has. The main difference is that the cameras get packed and unpacked as the truck moves from venue “a” to venue “b.”

Most modern sporting venues have been pre-wired for triax to enable a speedier setup and teardown process. The third system is what is referred to as a “flight pack” or a “fly pack” system. This approach involves having discrete components like cameras, switchers, distribution amps, and video tape recorders arriving at a location in individual “Anvil” style cases.

An “engineer in charge” unpacks the gear, wires it together, works the show and packs it all up to move it to the next “gig.” Fly pack style production shines because of its versatility. First, the gear list is very precise depending upon the nature of the event.

Second, fly packs can be utilized in places where studios aren’t built and where trucks can’t go. Locations as diverse as war zones and hotel ballrooms regularly play host to the trusty fly packs. Transportation is relatively easy. The “footprint” of the gear is small. The results are the same as those delivered by in studio or remote vehicle style production at what can amount to significant cost savings.

Standard Def Vs. High Def Switching

Traditional, standard definition NTSC camera chains deliver a nominal 525 line signal. Lately, it has become fashionable to refer to this as a 480 line signal since not all of the 525 lines contain picture information which is available to the average viewer.

High definition cameras are engineered to deliver between 720 lines and 1080 lines depending upon the manufacturer and the specific camera model. Standard definition switchers are usually looking for an analog composite, analog component or an SDI signal as an input. They will, in turn, deliver the same “flavor” as an output.

Pure high definition switchers are usually looking for an HD SDI or HD component signal. As with the standard def switchers, they typically deliver the same format as an output. Along the migration path from standard definition to high definition, the major manufacturers have produced “convertible” switchers which can be changed from standard def to high def. This is accomplished either via upconversion/downconversion cards or via executing a command in the switcher’s menu to define the desired format.

Large Body Cameras Vs. Small Body Cameras

In the eng/efp world, all of the major camera manufacturers have “spigots” on their large body high definition cameras. These spigots deliver either HD SDI or HD component signals. Some cameras, such as the Sony HDW F-900/3, which delivers HD component from its spigots, also allow for the docking of a crossconverter. This crossconverter delivers an HD SDI signal for maximum versatility.

Luckily for the end user on a tight budget,the major camera manufacturers also have high def outputs available on their smaller body cameras. Units such as the Canon XL-H1 and the Panasonic HVX-200 could be fed directly into a correctly optioned switcher such as the Panasonic HS-300.

Coming out of the switcher, you could feed a number of video tape recorders. It is important to note that comparing $100k high definition cameras to sub $10k cameras is not exactly “apples to apples.” It is however, helpful to note, that producers in the HDV or P-2 worlds do have an option when it comes to high definition multicamera production.

Conclusion

As we have been saying for some time, “high definition production is here to stay.” Multicamera high definition production is a natural outgrowth of the progression of the technology. Where once there was only “a camera”, now there are lots of cameras, monitors, decks, switchers and other ancillary products designed to produce a harmonius HD workflow.

At Broadcast Rentals, we are proud to note that we have embraced the exciting world of HD from its onset. Our experience combined with our state of the art product line can deliver some pretty spectacular results. Do yourself (and your client) a favor by making your next production a multi camera high definition production with the help of Broadcast Rentals.
We’ll show you how!