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The standard configuration includes two 17” LED HD monitors, dual screen vectorscope test devices, a 16-way intercom system, audio mixer and hard disk recorders. Crews that need live encoding, real-time graphics or additional media playout facilities can simply insert units into the rack enclosure. Power for the PPU is supplied by a Datavideo central distribution system. Shunning the One Box Solution The benefits of Datavideo’s PPU are three-fold. Firstly, users specify and pay for the technology they need. If they require CG, the rack-based CG- 350PC can be included; if users need to capture each camera feed centrally, multiple recorders can be installed. Secondly, upgrading the unit does not mean users have to purchase a completely new solution. Finally, with a single multi-function device, there is one point of failure: an OS crash can bring the whole package to a halt; a faulty electrical connection will immediately bring the production crashing down. The single point of failure is a disaster waiting to happen. Datavideo’s PPU avoids the issue. The heart of the Datavideo PPU At the heart of the MS-3000 is the SE-3000, a vision mixer that can handle up-to 16 HD or SD inputs. It’s broadcast standard and while it has an interface that will be familiar to television vision mixers, beginners can get to grips with the basics fast. For sound control, it relies on a separate audio mixer and to synchronize pictures and sound, Datavideo produce a very simple to TV-BAY075MAR13.indd 65 use audio delay unit. By keeping audio and video functionality separate, again the fear of catastrophic system-wide failure is allayed. Multicam cabling Setting up cameras in an impromptu studio or for a live outdoors production can be problematic. The HD-SDI inputs on the switcher mean that camera cables can go as far as around 100m from the PPU. If this is insufficient, Datavideo’s low-cost VP-633/634 devices can extend that range to approximately 2000m. Over shorter distances (up-to 100m) Teradek Bolt units make camcorders wireless, with no loss of quality and minimal latency. Thanks to Blackmagic Design, optical technology and its incredible multi-kilometre range is a viable option, with its Atem Camera Converter and Atem Studio Converter (a 4-camera adapter package costs under £3,000). Camera matching It’s all-too easy to disconcert viewers. Switching between unmatched cameras gives jarring, unrealistic results. Colours, brightness, depth of field – for professional results, all signals and outputs must match. To achieve this, cameras have to be set up to deliver consistent and predictable results. In the corporate world where cameras can be sourced from a variety of rental houses, freelancers and in-house units, and may be from multiple manufacturers, there is no alternative to using test equipment. The MS-3000 uses Datavideo’s VSM-200 vectorscope system with live monitors for real-time visual and technical signal matching. The process of managing and adjusting the camera settings is straightforward. Datavideo’s MCU-200 enables the team at the production desk to control four Panasonic cameras remotely which has the added benefit of freeing up the camera operator to concentrate on framing the picture. Record… and go live? By default, Datavideo incorporates a hard disk recorder (HDR) for hours of uninterrupted HD capture of the live programme. Using 2.5” hard disks, the capacities are high, the cost is low. Users that need to record each camera centrally can specify multiple recorders; at little over £1,000 for a 100Mb/s 4:2:2 system, it’s a tempting option for organizations that may want to re-cut feeds in post-production. The live SDI output can be output for viewing on local screens or ingested into a playout system for live TV delivery. Those distributing live over an IPTV platform can encode the output with an appliance such as an Optibase MGW Micro Premium. Users going direct to the Internet are well served by a Teradek Cube encoder that can stream directly to a service such as Livestream or Ustream. 11/03/2013 16:52