KnowHOW: Using production switchers

Production switchers, also known as video mixers, are a key component within the broadcast production chain. During a typical live studio television broadcast, the director will sit in the gallery (the production control room) next to the vision mixer, who operates the production switcher. The production switcher controls the live feed, switching between various camera feeds and other sources.

‘At its base level, a production switcher is a piece of hardware or software that allows you to mix two or more incoming video sources,’ explains Craig Heffernan, EMEA technical sales director at Blackmagic Design. ‘The operator can view multiple camera angles and cut to the best view at any given time during production. While traditionally used by broadcasters, more and more houses of worship are now using a production switcher as part of their video workflows. That means video teams can now produce live coverage of a service and package that with custom graphics and pre-cut video content.’

Houses of worship will most likely require a production switcher if they stream or broadcast services, or if they provide IMAG (image magnification) on a big screen so that congregants sat towards the rear of the sanctuary can see the worship leader clearly. The switcher will be needed for setups with more than one camera, as well as if multiple video sources are being used.

‘Typically, all incoming sources will be displayed in a split screen configuration, known as multiview, and the operator controls the switcher, either through a hardware panel or software, to create a programme mix (also known as PGM),’ adds Heffernan. ‘The PGM output is then relayed to screens around the place of worship and/or streamed live to audiences online via platforms like YouTube or Facebook Live.’

‘A production switcher is at the heart of the production workflow,’ says Raymond Siew, NewTek’s sales manager for APAC. ‘Everything else, such as cameras, VTR and graphics, is built around it. A smaller-scale production switcher can be used to focus on providing the programme feed, whereas larger systems can also support an aux monitor and IMAG from a single configuration.’

Switchers for worship

‘As well as broadcasting services to screens and wider online audiences, video can also play an integral part within worship,’ says Heffernan. ‘Many production switchers feature a media pool, where you can preload additional graphics that the operator can use during a production. Some relevant examples could be hymn lyrics for big screens in the auditorium or messages to the congregation before and after the service.

‘Away from live services, many houses of worship have their own websites and social channels that also require content, so a production switcher forms part of the professional video production setup required. This can help build a global profile and, for some houses of worship, has led to visits and trips to other places of worship and congregations around the world to share insights and knowledge. PGM output from the switcher can also be recorded to digital video files and uploaded to YouTube or Facebook to provide “video on demand” content and further contact with a congregation.’

Capabilities

‘Depending on factors such as price and market segment, the features of a switcher will vary accordingly,’ notes Siew. ‘Of course, the primary function is to switch between camera feeds, but additional features like multi-level effects (MLE), external device control (such as robotic cameras), frame capture, DVE effects and pre/post key for distribution and recording can also be provided. A software-driven platform may also be able to offer built-in recording and playout, streaming, virtual sets, tele-prompter and automation control, audio mixing and more.’

Heffernan elaborates: ‘Production switchers have a wide variety of transitions, which is how one image moves into the next. These can add variety into a live programme mix. Many also offer on-screen features and effects – for example, lower thirds, where captions and additional information can be added.

‘If you are looking to produce multi-layered content on the screen, some switchers can also allow multiple sources to be shown on screen at the same time, such as using picture-in-picture, split screen or a SuperSource function, which is a tool that allows up to four sources to be overlaid on a
background source or artwork.’

Visual effects can also be implemented with the help of a production switcher. ‘Production direction can also change depending on the service and the audience, and a production switcher can help create visual differences,’ Heffernan explains. ‘Traditional services targeted at the established congregation may be slower in pace, with fewer cuts, and slower and softer transitions. Services aimed at a younger audience may be more fast-paced and dynamic, engaging the demographic with more elaborate effects and graphics.’

Options
As with almost all technology, there is a variety to choose from when exploring production switchers. Different price points provide different levels of functionality, from entry-level basic devices to complex systems that may be more appealing to creatively advanced users.

‘There is a huge range of production switchers available, with a wide variety of features and capabilities,’ confirms Heffernan. ‘The main things to think about are how many cameras are you going to be using and whether you will be using graphics and prerecorded content. This will determine how many inputs you need. Likewise, where will your video be shown? Just out to screens in the venue or do you also want to consider streaming options? And will you be producing content in HD or 4K?

‘Hardware switchers offer a mix of SDI and HDMI connectivity, which means you can connect directly to low-cost displays or other video equipment that you already own,’ he furthers. ‘It may also be useful to look out for whether the switcher has frame synchronisers on every input. This feature will allow you to “plug and play” your equipment and switch cleanly between different sources, including consumer cameras and computers, without having to worry about converting everything to one format.’

Siew notes that the differences between production switchers of different levels run deeper than price and functionality. ‘Entry-level switchers can provide an easier learning curve,’ he explains. ‘They primarily stick to switching between cameras and adding simple graphics. More advanced switchers, meanwhile, will cost much more but offer complex effects and re-entry feeds, as well as more in terms of SDI and IP inputs and outputs.’

Software options should also be considered. ‘A traditional, hardware switcher typically uses a purpose built FPGA [field-programmable gate array – an integrated circuit designed to be configured by a user after manufacture] for system processing, whereas software can be inflexible and  complex,’ says Siew. There can be differences in the ways in which manufacturers make their software available. ‘Some companies will sell their software as a separate product, meaning that the user buys their own hardware to run it on as the host. Others, such as our TriCaster, deliver software and hardware. The software completes the tasks using generic computing hardware.’

As with all AV technologies, the best place to start is with plenty of research and figuring out what functionality you need to meet your needs and to fit in with your existing infrastructure. ‘A video production reseller in your region will be a really useful contact,’ concludes Heffernan. ‘They will be able to make sure you pick a switcher that works seamlessly with the kit you already have and will be able to recommend products that can also futureproof your workflow for years to come.’

This article appears in the July-August 2020 edition of Worship AVL. Subscribe at www.proavl-central.com/subscribe/worship.