For the 4K transition, BTS and Joyce Meyer Ministries worked together to select Canare’s 12G-SDI/4K video patchbays, panels and coax cables with various connectors. “I have used the brand in the past, but this was first time we’ve done a Canare install of this caliber, and we have been very pleased with the results,” says Bill McKee, Broadcast Technical Services CEO. “The solutions have been great—the connectors went on easily and we have had no issues. In fact, we just did another 12G/4K install for another church and ordered all the same materials we used for Joyce Meyer Ministries.”

Now fully upgraded to 4K, the team at Joyce Meyer Ministries reflects on the benefits that Canare brings to the organization. Since the organization broadcasts globally, long-lasting connectivity was a major consideration. “The connectors are easy to terminate; we bought the right tools and all connections passed testing after termination,” says Joyce Meyer Ministries Broadcast Engineer Brian Laschober, who was pivotal in choosing the Canare solutions. “Every connector works flawlessly.” Laschober further emphasized Canare’s durability, which is important for an integration of this size. “I think Canare is a leader in the industry; the quality is on par, or better than, a lot of the other manufacturers,” he shares. “From past experiences, I know I will get the same durability with these new solutions as I have with the older models, which all continue to perform flawlessly.”

Laschober adds that the ministry also needed a product that would integrate well with the cameras they use. “We use the Sony HDC-F5500, which is a full-size, 4K broadcast camera—six of them for the studio and another six on the road,” he explains. “The integration between Canare and the Sony cameras has been great, and everything works perfectly. When the time comes to upgrade the remainder of our road fleet to 4K, we will use Canare for that as well.”

As a longtime Canare user, Laschober knew the brand was the right solution to assist Joyce Meyer Ministries. “I have been using a variety of Canare and used cables and connectors since the 1990s,” he continues. “I especially like the design of their BNC connectors—they don’t seem to tarnish. I have a 20-year-old Canare connector, and it still looks brand new compared to other connectors I have used in the past. On top of that, Canare provides higher specs at a lower cost and with a quicker turnaround time than any other competitor on the market. Best of all, Canare was able to meet the need and get it done within our timeline.”

Price and time are typically two major considerations for house of worship installations. “One of our objectives is to try and save money for the churches we partner with,” explains McKee. “Canare equipment falls into a price point that makes it possible to use the brand with smaller churches. This was a major install of Canare products, and everything went flawlessly—from ordering to installation. With all the equipment shortages the industry is facing, it was hard to find a brand that could deliver in the timeframe we were faced with, but Canare was able to get us everything we needed to meet our 12G spec quickly. Since Canare builds all its solutions, I also know that the equipment will always be in stock.”

This is not the first installation that Joyce Meyer Ministries and BTS have worked on together. The two organizations have partnered on various other projects over the past 20 years. BTS specializes in providing system design, installation and equipment recommendations for sports venues, houses of worship and television networks. An industry veteran, McKee worked in the industry for many years prior to starting the company, providing component level repair and maintenance on a variety of intercom systems, switchers and routers. He is perhaps most well-known for his role in the creation of the HSC Sunshine Sports South Prime Network, which is now known as FOX Sports Network.

Laschober got his start in house of worship AV productions at a local church before landing at Joyce Meyer Ministries nearly 25 years ago. Today, Laschober serves as the organization’s broadcast engineer, overseeing the technology supporting video and post-production in three studios, as well as location production capabilities. He has also been involved with system integration of all the editing suites, broadcast studios and control rooms at Joyce Meyer Ministries, and as a broadcast engineer for the organization, traveling with the team to its conferences in larger-scale stadiums and arenas.

Joyce Meyer Ministries has a large global presence that connects with millions of individuals each month through its website and social media platforms. The non-profit also shares its message through TV, radio and live conferences around the globe, and provides global humanitarian aid built on the foundation of faith.

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Encore Broadcast Solutions, with headquarters in Tampa, served as the systems integration firm on the project, which consisted of set design, a control room with a Broadcast Pix GX-Hybrid video production switcher, three Panasonic AW-UE160 4K PTZ cameras, and Brightline lighting.

“Lighting is often thought of last in set design,” said Tampa-based Lighting Director Earl Thomas. “Once the set is there, you have to work with what you got. With this project, the set was pushed back close to the walls. Thankfully, the Minnows are so small, you can rotate them. And with the color-changing capability, they provide gorgeous accent lighting. The compact size of the Minnows with the power of an LED gives off a whole lot of light in a small space. We could light every area we needed to without any limitations.” Thomas worked with freelance lighting board programmer, Alex Amyot, on the KERO lighting design.

The TV studio room’s dimensions are roughly 25’ x 28.’ A lighting grid was added to the room, which has 11-feet-high ceilings. The grid is installed 10-feet off the floor. Thomas added that the ability to daisy chain the power and DMX controls of the Brightline fixtures made it even easier to place the lights where he wanted. “That really helped us in such a tight space,” said Thomas.

Doug Tayler of Encore Broadcast Solutions reports that more government organizations are building their own studios for internal productions and broadcasts, and they typically want something they can operate with their own staff. “They want to be able to do everything themselves, from adjusting the lighting to operating the switcher. Thanks to technology like Brightline offers we can easily incorporate the ‘set it and forget it’ ethos into our design,” said Taylor. “One set uses a Planar 165” diagonal video wall. Lighting that set was a challenge, but Brightline and Earl handled it like a champ.”

“This was a great team effort for the Collier County Sheriff’s department,” said Kathy Katz, Brightline managing partner. “We’re thrilled the design of our fixtures enabled exactly the look and operation they wanted. We foresee many more projects of this type next year and beyond. Kudos to all our partners for their work on this new studio.”

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The latest installation was at ABC Canberra’s news studio to support its popular evening program “Insiders.” The studio also features three Telemetrics PT-LP-S5 pan/tilt heads on Telemetrics Televator elevating pedestals.

The ABC now has several Telemetrics pan/tilt heads and Televator pedestals in each of its metro sites across the country (including Adelaide, Brisbane, Canberra, Darwin, Hobart, Melbourne, Perth and Sydney). The Canberra, Melbourne and Sydney studios now all have OmniGlide rovers as well.

The rovers and other equipment was installed as part of a national studio automation project that included Viz Mosart automation and Viz Graphics, Grass Valley production switchers and video playout, and CueScript prompters.

The rovers were installed for their unique operation and easy maneuverability to robotically (or manually) move the rovers across 3 different sets on site. The crew also likes the OmniGlide’s ability to move smoothly for creative tracking shots while live on air.

Telemetrics notes new features for the OmniGlide this year include “Path Planning”, which is performed by the control panel working in tandem with the rover, and Collision Avoidance, which keeps the rover operating safely while it ‘learns” the environment. Combined, these new capabilities allow users to navigate complex nonlinear paths in a studio or event space while avoiding collisions with set pieces and studio personnel. Special AI-assisted software enables the rover to instinctively learn the space it is operating in and find the safest and least obstructed path from Point A to Point B.
 
For those used to working with the limitations of traditional robotic studio camera pedestals, the unique design of the OmniGlide helps it move like no other studio rover and now—with an optional onboard wireless transmitter and battery system to receive commands from an RCCP-2A control panel—the burden of heavy cables to the rover has finally been removed. The wireless system now includes a hot swappable battery system that gives the OmniGlide a continuous run time of 8-10 hours, depending upon the load it is carrying. The batteries can be charged on the rover and new batteries swapped in (without recalibrating), giving users full 24-hour operation if required. These batteries can be monitored in real time via the RCCP-2A control Panel.

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The launch aligns with RTL’s exclusive free-TV partnership with the NFL, a significant move for both the broadcaster and the league, with the NFL also playing a game in Germany during the 2023-2024 season.

The preseason kickoff was hosted on August 12th by Nitro, a channel within the RTL network known for catering to niche interests. This event also marked the inauguration of RTL’s freshly minted live studio, replete with advanced Leyard Europe LED screens.

The journey to this state-of-the-art studio began in February when RTL collaborated with Veech x Veech, an Austrian design firm. The partnership aimed to craft a studio that was not only visually striking but also technically superior.

Laurin Schmid of Leyard Europe (Planar) played a pivotal role, ensuring that the LED screens chosen would offer optimal color rendering for broadcast without common issues such as moiré patterns. RTL’s previous positive experiences with Leyard in other studio settings laid a foundation of trust, influencing the decision to continue with Leyard’s technology in the new NFL studio.

“The preference for Leyard LED solutions by both the Veech x Veech team and the end client is rooted in past positive experiences with our products,” said Schmid.

“For instance, RTL has already successfully incorporated Leyard products in four other studios across Germany. This historical context solidified the choice of Leyard as an LED manufacturer for the new NFL studio.”

Despite the complex nature of such undertakings, the studio was completed within a short timeframe. A concerted effort from various teams and efficient use of Leyard’s Slovakian manufacturing resources were key to meeting the tight schedule, a task typically spanning up to two years but accomplished in mere months.

The studio’s design features a 360-degree layout with four main LED walls. The on-air team, comprising commentators, analysts, hosts and presenters, navigate the studio’s centerpiece – an 11.5m by 2.7m curved video wall made of Leyard AT 1.5mm LED panels. This curved design is a familiar aspect to RTL viewers, reminiscent of other network studio setups.

The studio doesn’t shy away from integrating social media, sporting a vertical LED wall for the community host to display content in a mobile-friendly vertical format. The moderator’s desk is flanked by multiple LED screens, supporting the detailed analysis and vibrant graphics that will keep viewers engaged.

Schmid underscores that Leyard’s offerings are not only top-quality but also sustainable, providing a long-term solution for RTL’s broadcasting needs. The on-camera performance of Leyard’s screens, backed by a lifetime warranty, was a convincing factor for RTL.

The successful completion of RTL’s innovative NFL studio showcases the synergy of quality, reliability, trust, and teamwork. As the 2023/24 NFL season unfolds, RTL Deutschland is poised to deliver an unrivaled viewing experience, leveraging its latest technological advancements.

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When the National College Football Champions requested an upgrade for the Marketing and Communications’ studio lighting rig, Josh Fisher, Systems Integrator for Barbizon’s Atlanta office, had no hesitation in specifying ETC Desire Fresnels and fos/4 Panels for the all-important deep red tone they could produce. But that wasn’t the end of the story for this upgrade: “The color sold the job, but the integrated Multiverse wireless technology was integral to the job,” says Fisher.

“The beauty of this system lies in the Multiverse Wireless connectivity,” adds Fisher. “The only cable is from the console to a City Theatrical Multiverse Transmitter. After that it’s all wireless.” The Multiverse Transmitter can send DMX over distances of 300 feet indoors, easily reaching every area of the studio. And with capacity to send DMX to up to 10 universes of fixtures, the team has plenty of room to reach the full complement of fos/4 Panels, Desire Fresnels and ColorSource CYC fixtures in the studio’s new rig.

UGA was so impressed, they didn’t stop at the studio. “While we were working on that job, we were given the opportunity to do a similar upgrade for Mahler Hall, a multi-function auditorium and meeting space on the same campus,” says Fisher.

The UGA team were looking to trade in their old incandescent system to LED with a new console. Once again, the built-in Multiverse wireless DMX capability of the ETC fixtures offered huge savings in time and data cable costs. The new system uses 18 ColorSource Spot V fixtures and 5 ColorSource Fresnel V fixtures – and no new DMX cabling runs. The retrofit was effective in placing new, high-impact fixtures in in hard-to-reach places giving better light and more control to the largest event space in the Georgia Center. The upgrade was designed, built, and installed by locally-based Barbizon Lighting.

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To ensure quality content, Campbell has forged pivotal partnerships with manufacturers such as JVC Professional Video, which has proven to be a game-changer thanks to the brand’s state-of-the-art camera technology that is tailored for football operations. Campbell has seamlessly integrated JVC’s GY-HC500SPCU CONNECTED CAM Handheld Sports Production Cameras with the league’s Catapult analytics system for streamlined video management and efficient data transfer.

“The JVC GY-HC500SPCU cameras blow others out of the water; they have delivered fantastic results for us,” said Campbell. “The ease of use, fast operation and compatibility of the cameras with our existing systems have significantly enhanced our video operations. We were one of the first organizations to adopt the 500-Series cameras, and we were sold on them right from the start. They are perfect for a start-up league ― the pricepoint is fantastic and the quality really matches everything that I have used in professional broadcasting.”

With two cameras being deployed for each team, the league’s video managers are tasked with collecting player data, player footage and cut-ups of the players in-action. This content then gets shared with the league’s directors of player personnel, who use it for a variety of playback scenarios. “With the JVC GY-HC500SPCU, we’re able to capture crucial game footage, offer dynamic replay angles and even provide supplementary coverage to our broadcast partners,” continued Campbell. “All the teams run out of a hub in Arlington, Texas until game day, which allows us to share equipment easily, so it’s nice to have every team utilizing the same camera.”

Campbell also notes that the XFL gives his team creative control over the techniques they can use on the field. “Our league’s agility allows us to experiment with technology and push the boundaries of what’s possible,” he said. “We do things a little differently on game day in that we share services, so we don’t have two video managers (one for each team) shooting the same thing. Instead, our teams share their content, which makes it a lot more efficient for our video team who work on a tight staffing schedule.”

For Campbell, one of the standout features of the video production system is the camcorder’s unique metadata tagging capability. “It aligns seamlessly with the XFL’s data-driven approach,” he added. “We have a much smaller staff than other professional leagues, so we need a way to integrate and access the footage quickly. The GY-HC500SPCU cameras in combination with the Catapult coaching software system allow us to have efficient categorization and retrieval of critical footage for player scouting and performance analysis. It’s really key for us to be able to work that fast.”

The integration between the JVC GY-HC500SPCU and the Catapult XOS gives users the ability to incorporate the popular exchange mode, which allows for shooting in 720p 60 8MB with subsequent exporting to an exchange file format. According to Campbell, the Clip Continuous mode makes it possible for drills and multiple plays to be combined into one file, increasing import speeds. Additionally, the ODK (Offense/Defense/Kicks) metadata tagging allows users to mark the phases and camera angles of the game or practice, which can be linked to the associated clips for faster and more accurate editing. Finally, the Dual Record Card Slots “allow us to keep a main card and to have the peace of mind that a backup is being made without the need for an external recording device,” adds Campbell.

In addition to the sports coaching and analytics applications, Campbell says the cameras are also used for the league’s replay system, which feeds to HQ in Los Angeles. This includes footage from the sidelines and end zones, as well as play-by-play coverage. Campbell also uses the JVC cameras to provide content to ESPN, the league’s broadcast partner. “We’re feeding all those angles in, and they run through the truck,” he said. “ESPN uses a lot of our shots and I think the footage looks really good on broadcast. I’m not even sure you can tell the difference between our content and the shots from ESPN’s large broadcast cameras.”

Campbell and his team are also enthusiastic about exploring further technological advancements with JVC. “We’re not even scratching the surface on what these cameras can do from a connectivity standpoint,” said Campbell. “As we look to expand, we plan to really explore the capabilities of the cameras and focus on all the features we have yet to try, like on-site file transferring. All those things that are pain points for video managers and directors across college and professional sports; that’s the kind of stuff we’re looking to get a jump on. We’re excited to harness the full potential of the JVC cameras and other innovations to continue delivering exciting football action to our fans.”

Plans are also underway to deploy the cameras’ SRT technology and sports overlays, which will elevate the league’s broadcasts and enhance the fan experience.

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Unlike the festival, which hosts thousands of attendees across eight stages over two consecutive weekends, the TV series presents up to 20 performances each year from Downtown Austin’s historic, 2,800-seat Moody Theater. Among the most recent artists to take the stage at the iconic venue was the GRAMMY-winning duo Rodrigo y Gabriela, who performed with the Austin Symphony to kick off Season 49 of the show. Leading into production for the new season, Audio Supervisor Randy Reynolds decided it was time to modernize the show’s audio solutions, turning to DPA Microphones to deliver a new level of innovation.

With the Rodrigo y Gabriela performance, Reynolds selected DPA 4099 Instrument Microphones for the 26-member symphony and 2011 Twin Diaphragm Cardioid Microphones for percussion. “DPA has quality, modern microphones with exceptional sound, which makes a huge difference in a production like ours,” he said. “Austin City Limits and its performers are very interested in providing people with a unique experience. I think we really did that, and it had a lot to do with our partnership with DPA. The microphones are well-made; they hold up and are the easiest things in the world to set up. We had no issues with any of the microphones and it was a very smooth process for us right out of the box, which is super rad and appreciated.”

As someone who has been involved with hundreds of live performances, Reynolds values a microphone that truly lets the artists’ voices shine. “I think what makes DPA microphones special is that they have a very flat response that emphasizes the player and the passion they put into their music,” he says. “That’s the draw for me with DPA―the performer and the performance are what’s highlighted the most. That really enhances the experience.”

Reynolds also explained that while the venue does provide performers with access to its microphone locker, many of the more established acts will come with the solutions they prefer to use. “One of the goals of Austin City Limits is for the shows to be completely artist-driven,” he said. “We don’t tell them what gear to use, what songs to play or even how long to play. We’re just here to support them, to ensure they have the best performance possible. We put a lot of effort into working with the teams to get the sound they are looking to achieve; one aspect of that is to provide the highest quality equipment, like DPA microphones. Since adding it to our gear list, there have been many artists who are super stoked to see the brand on our riders.”

As a kid growing up in Houston, Reynolds watched the Austin City Limits television show for many years before fulfilling his dream of joining the production, where he has now been working for nearly a decade. A long-time DPA user, Reynolds knew from the start that he wanted the brand to be a part of the in-house systems update and continues to look for groundbreaking ways to produce great shows for great artists.

Recognized by Time magazine as one of the 10 most influential music programs of all time, Austin City Limits appears weekly on Austin’s KLRU/PBS with a wide variety of musical styles and genres. In addition to performers like Loretta Lynn, B.B. King, Bonnie Rait, Chris Stapelton and Brandi Carlile gracing the stage, Austin City Limits has earned prestigious accolades such as a Peabody Award and the National Medal of Arts. Additionally, the show’s iconic venue―the Moody Theatre―has been enshrined as a Rock & Roll Landmark in the Rock & Roll Hall of Fame and Museum. Austin City Limits Season 49 begins airing October 7 with 14 episodes.

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Sinceits establishment in 2006, Aragon TV has remained steadfast in its commitment to informing its local communities about issues directly affecting their lives. Based in Zaragoza, the regional capital, the broadcaster’s main production facility encompasses three studios, where it carries out a rigorous schedule of daily live programming.

This year, Aragon TV embraced a comprehensive modernization project, starting with Studio 3, which marked the channel’s transition to 4K HD and the adoption of IP broadcast workflows. As part of this process, Aragon TV installed its first-ever LED video wall and implemented a new lighting and electrical design aimed at optimizing workflows, enhancing reliability, and significantly reducing operational and maintenance costs.

A key element of this transformation was ARRI Solutions’ development of a robust and flexible lighting network and a studio workflow integrated through an entirely IP-based lighting system.

“Transitioning to end-to-end IP, down to the very last fixture, delivers major technical and operational benefits, due to its clear and intuitive configuration,” said Alejandro Sanchez-Cuerda, Senior Solutions Architect ARRI EMEAI, who led the Aragon TV project. “Any broadcast engineer can quickly select, rig, and connect additional fixtures into the network, adjust existing set ups or troubleshoot issues quickly across the entire studio infrastructure.”

ARRI Solutions also introduced an unobtrusive trussing concept, updated the electrical and power distribution and implemented a variety of ARRI lighting fixtures for the new studio in collaboration with Video Cine Import, ARRI’s Spanish distributor.

The renovated 22 meter x 15.5 meter studio now boasts a three-segment LED wall from Alfalite, forming the backdrop for all of Aragon TV’s news programming. Complementing this are two smaller, mobile LED panels that can synchronize with the main backdrop. A suite of ARRI SkyPanel fixtures, installed on the ceiling trussing, provides versatile soft lighting and accurate color rendition throughout the facility.

“The ARRI Solutions team designed a truss system that incorporates internal channels to house all cabling, Ethernet, and power lines, which gives a very slick and seamless appearance to the studio,” said Carlos Martin, Chief Technical Production Manager Aragon TV. “This means we can utilize even more of the studio floorspace for productions, and teams can also configure the requirements for each program setup very quickly and easily. It’s a very practical innovation that allows our teams to spend their time on content production rather than long technical preparation.”

The newly modernized Studio 3 served as the venue for Aragon TV’s coverage of the regional elections, facilitating a range of content including candidate debates, specialized news reports, and election results analysis across the region.

Reflecting on the project, Martin said, “The new facility offered an exceptional platform for a critical news event for our viewers and ensured that our production values remained top-notch. The dedication and attention to detail displayed by the ARRI Solutions team throughout the project enabled us to continue our public service commitment to Aragon residents from a cutting-edge studio facility.”

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The collaboration was part of a comprehensive studio rebuild, equipping the station with a complete studio lighting package, new set, and  LED display technology.

“Projects of this scope are personally the most rewarding,” said Mark Nadeau of Sinclair Broadcasting Group, who spearheaded the project design and execution with Eric Castagne.

Set Design

WCIV

View a gallery of this project…

“Pulling together all the elements helps create a fresh visual identification for the station.”

To Nadeau, balancing elements such as flesh tones, set color, and LED wall illumination is an essential part of establishing a consistent look for WCIV’s broadcasts. “With lighting being such a major part of the project, partnering with Brightline is always a win,” Nadeau added.

The project’s scope covered various components, including a new floor surface, the design and implementation of the set and lighting plan, and the construction of multiple set areas with internal color-changing capabilities. Furthermore, the studio is now equipped with large, high-resolution LED screens and video displays, backed by an efficient lighting and control system.

Brightline’s system includes LED upgrades to WCIV’s previous fluorescent fixtures, SeriesONE studio fixtures for soft light in each set area, Mako and Minnow profile spotlights, and Lupo fresnels that provide hard light. This comprehensive lighting overhaul enhances the station’s visual quality, which is crucial to engaging audiences.

The recent project marks the third time Sam Cercone, managing partner at Brightline, has provided lighting solutions for WCIV. His initial installation was completed in the aftermath of Hurricane Hugo in 1989 when the station’s original building was flooded. The subsequent projects included a fluorescent conversion in the existing building and the recent upgrade to variable white LED fixtures.

Reflecting on the long-term collaboration, Cercone said, “Visiting the studio numerous times over decades, the importance of integrated component longevity becomes obvious. The upgraded fluorescent lights were amortized years ago, but now that equipment has new life.”

Cercone highlighted Brightline’s commitment to creating product lines around silent, convection-cooled designs, which significantly extend the fixtures’ use due to a lack of moving parts. Many of Brightline’s studio fixtures have operated daily for more than 20 years, and this lifespan is expected to extend further due to the recent redesign.

The partnership between Sinclair Broadcast Group and Brightline demonstrates the power of long-term collaboration and innovation in the broadcasting industry. The significant transformation of WCIV’s studio underscores the role of advanced technology and lighting systems in enhancing the viewing experience. Through the integration of high-quality lighting fixtures and modern design elements, the broadcaster aims to foster increased audience engagement for each show they produce.

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Programs including “Servus Nachrichten Deutschland” and “Guten Abend Deutschland” are now broadcast from Berlin using the secondary studio of Welt.

Welt was chosen by ServusTV to handle both the editorial realization and technical production of these programs, with ServusTV retaining editorial control and licensing while focusing more intently on content creation. Welt was the perfect partner for ServusTV because of its 2021 facility upgrade, moving to a new broadcast facility built with software-defined switcherless workflow for the production control rooms. 

WELT automates production, workflows in new facility with Vizrt tools

“By partnering with Welt as a strong production partner, ServusTV is able to bolster its plans for the German market, while Welt is further strengthened as a producer of high-quality television formats in the long term,” wrote Pedro Sugasti, Vizrt specialist at Welt, on LinkedIn. 

One key element of this partnership is integrating three Vizrt products – Mosart, Multiplay, and Content Pilot Edge – into ServusTV’s operations to create an automated program pipeline. 

Mosart, an automation system, simplifies control of all production equipment and processes through a single user interface. This helps streamline the workflow and makes switching between different content sources easier. Similarly, Multiplay provides a flexible platform to manage content displayed on the studio’s large LED video walls.

This allows the creation of custom layouts and templates adaptable to different types of content, such as live video feeds and graphics necessary for a daily news program.

Meanwhile, the integration of the software with ServusTV’s newsroom system, Octopus Newsroom, allows staff to create and manage graphics content within the system. This further optimizes the workflow, reducing the time and effort required to create and publish graphics content.

The centerpiece of this partnership is the automated video IP infrastructure and video wall solution, a visually engaging element of ServusTV’s broadcasts that reflects the sophisticated integration of Vizrt’s products.

ServusTV Deutschland plans to continue linear operations through the end of 2023. The network will switch to a digital-only format in 2024 with distribution through ServusTV’s web platform and various applications. 

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