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TV Technology Question

L

LITTLEBOYBLUE

My time in TV news was almost 50 years ago ... and obviously a BUNCH has changed.

The thing I am curious about (tried to find answers on YouTube) is how switching technology has changed ... from the freeze-frames I do when they show control room shots, it still appears to be buss-based (one row can feed another row, etc.); but I am curious how the multi-image setups are done (cable news, remotes, etc.). Are those images done on computer routers that feed the switcher, or are there templates built into the switcher and routers assign the source for each image or ????

Thanks!
(and I'm sorry I couldn't find a way to make this more about Seattle...but this is where I know folks so hope it stays online....)
 
LITTLEBOYBLUE said:
My time in TV news was almost 50 years ago ... and obviously a BUNCH has changed.

The thing I am curious about (tried to find answers on YouTube) is how switching technology has changed ... from the freeze-frames I do when they show control room shots, it still appears to be buss-based (one row can feed another row, etc.); but I am curious how the multi-image setups are done (cable news, remotes, etc.). Are those images done on computer routers that feed the switcher, or are there templates built into the switcher and routers assign the source for each image or ????

Thanks!
(and I'm sorry I couldn't find a way to make this more about Seattle...but this is where I know folks so hope it stays online....)
Click to expand...

I'm not sure what you're asking by description, but I'll take a whack at it:

Traditional still stores are still around, but hardly used. Essentially, they take one frame of video or a still shot and store it in a RAM or hard drive of some fashion. Most graphics systems; (think lower third, bug, crawl, etc.,) commonly used in News are nothing more than a graphics PC's that use a luminance key in the production switcher to superimpose the graphic over the video. Now we're doing things like Augmented Reality graphics, where school buses, planes, trains, tornadoes, whatever, can seeming be right there in the studio. You probably see some of the examples of A.R. used in sporting games.

As for production switchers, (vision mixing) the workflow is essentially the same as 20 years ago. The back end technology has changed recently to include the switcher being completely IP based. Modern switcher have so many more ME's/Mix Effect capabilities of just 5 years ago. Mainly because it's all software being controlled by a familiar-looking panel of buttons.
 
Thank you, buddy!

What I was trying to figure out is when you have shot of anchor + insets for Bob in LA, Joe in StL, Laura in NYC and Jenna in Miami …. are those insets all done with a switcher or with an external device that uses a template to select the images (mostly, I assume, from satellite/remote feeds) --- or are the M/E capabilities of switchers today designed to address that need?

I figured Chyron has given way to dedicated graphic computers that have replaced the dedicated hardware that Chyron used to be....and that many of those are sourced from automated or specialized sources (e.g. temperatures, headlines, etc.) so that very little is manually entered anymore. I know years ago there was integration with news automation systems where reporters could directly create their own head-shot graphics for interview heads without having to feed all that to a producer.

In other words....we've come a long way from Letraset rub-on graphics on black cards that would be picked up by a dedicated camera!!

Thanks again....
 
LITTLEBOYBLUE said:
Thank you, buddy!

What I was trying to figure out is when you have shot of anchor + insets for Bob in LA, Joe in StL, Laura in NYC and Jenna in Miami …. are those insets all done with a switcher or with an external device that uses a template to select the images (mostly, I assume, from satellite/remote feeds) --- or are the M/E capabilities of switchers today designed to address that need?

I figured Chyron has given way to dedicated graphic computers that have replaced the dedicated hardware that Chyron used to be....and that many of those are sourced from automated or specialized sources (e.g. temperatures, headlines, etc.) so that very little is manually entered anymore. I know years ago there was integration with news automation systems where reporters could directly create their own head-shot graphics for interview heads without having to feed all that to a producer.

In other words....we've come a long way from Letraset rub-on graphics on black cards that would be picked up by a dedicated camera!!

Thanks again....
Click to expand...

Okay gotcha.. In your example; the two-box, three-box, or whatever number, is created using the switcher ME's. Any graphic box or border associated with the multi-box is either stored in the switcher and recalled with the ME, or a graphic created by a graphics box, then keyed in downstream by the switcher.

Was watching Morning Joe the other day, and saw them doing an eight-box. Funny thing was, two of the boxes were from the isolated PTZ cameras of Joe and Mika sitting right next to each other in their little home studio.
 
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