If you haven't been shopping for video switchers in the last five years, the landscape has changed quite a bit. It wasn't that long ago when all you needed to consider shopping for video switchers was format (HD, SD or both) and I/O (ins and outs). While those questions are still legitimate, the format question is now HD or 4K, and there is far more to I/O than just the number or connector type. Input types now include web streams and RSS feeds—inputs that don't have direct connections to the switcher. The switchers themselves have changed; software based switchers are now mainstream. However, what I think is most surprising is while I/O is on the rise as far as amount, switcher size is on the decline. Smaller switchers seem to be the trend. With all this information, making a roadmap for this ever-changing landscape is nigh impossible. However, I would like to take a closer look at some of the trends that will serve as good landmarks to consider while navigating the wilds of today's video switcher market.
Software-based Switchers
With computer processing power on the rise it shouldn't come as a surprise that more companies are venturing into the software-based switcher concept. The early days of this idea were fraught with missteps and failure. But recently, manufacturers have learned from past mistakes and have come a long way in a short time. When you consider that interface is a large portion of the investment in a video switcher, if a company was looking to bring something to market at a budget price tag, removing that barrier is a good step in the right direction. The most notable in this category is the Blackmagic Design Atem. While it comes in a few different flavors, all of them feature a very small rack mount I/O controlled by a software interface running on a computer. They also offer standard interfaces, but the software is the real story here.
Other companies that have historically made just software have started making their own hardware to offer turnkey systems. Both LiveStream and Wirecast, software-based companies, have released turnkey systems for streaming that are solid enough to compete against their hardware counterparts. Interestingly, since the hardware is just a glorified computer, they also tend to run on the lower end of the pricing structure. One advantage of these software-based switchers is that they distribute program feeds to the Internet easily. However, they also tend to have a higher latency than standard production switchers, which, for a streaming delivery doesn't matter, but for IMAG is a problem.
Virtual I/O
With the software switchers coming into their own, I/O has also changed recently. Since the software switchers are computers at heart, they can take advantage of some new “soft” inputs like web streams and RSS feeds. These inputs are virtual as opposed to the “hard” inputs that are made by connecting a cable to the switcher. For example, the TelVue GoToAir can utilize web streams, which could be something as simple as a webcam, or as complex as a multi-camera production. Another example of this is the Broadcast Pix line of switchers, which utilize BPNet and allow any content connected to the Internet to be available to the switcher as an input, right down to cell phones cameras.
On the hardware-based switcher side, virtual I/O is shaping up in a different way. Hardware switchers are taking advantage of virtual “resource pools” or virtual mixing engines (MEs). These virtual MEs function like a small version of an actual ME, but exist in a pool that can be placed anywhere in the program stream. These can be used to assemble virtual studios in an upstream configuration, or they can be utilized downstream for extra layering effects or keys. However, where things get interesting is when they get used on an aux out as an entirely different feed from the program feed. This gives you the option to add control surfaces that can control discrete outputs for streaming, overflow or third/fourth screens in the main auditorium—or all of the above at the same time. The huge advantage here is that it utilizes I/O already in existence, so you don't have to split, duplicate or run multiple cables off of a single source. For-A has this option available in what they call ME Lights. Ross has the same thing for its switchers called Mini MEs. SAM switchers also feature these Sub MEs. In all cases these additions have forced the companies to add more physical ports for outputs, which would have been considered ridiculous not long ago. Which brings us to the next trend: more outputs.
Traditionally, video production switchers are focused on a program or main output. However, thanks to recent advancements, a single switcher can now be used for multiple discrete shows, each of which now requires a dedicated output. For example, consider the Ross Carbonite. The original 2ME Carbonite came out less than six years ago and had 24 inputs and eight outputs. The new Carbonite Black Plus released this year has 36 inputs and 22 outputs. This isn't unique to Ross; the SAM Kula has 36 inputs, 12 outputs and six bi-directional, which are assignable to either in or out.
Bigger isn't Better
Despite all this extra I/O, the trend is also toward smaller more cost effective switchers. Most of the manufacturers have introduced a small switcher, many of which are aimed squarely at the house of worship market. In this department, Roland leads the pack with an entire line of small-format production switchers on various standards. However, Blackmagic, Ross, and SAM all have small switcher offerings, as well. Most of these feature fewer I/O than their larger counterparts, but have the same form and function. This makes many of these product lines ideal for multi-site churches that have large and small congregations. It is conceivable to have a large-format production switcher at one campus and “the little brother” of that switcher at the smaller campuses. As a former multisite TD, it was a relief to me when I transferred to a smaller campus and found it had a console just like the one I was used to, only smaller. At that point the learning curve is less a curve and more a slight turn.
Future Trends
There are a few trends that are peaking over the horizon. On the input side, HDBaseT is being thrown around by a few companies, so don't be surprised to see that. 4K has also become a standard; pretty much all the manufacturers have something in the category to offer. HDR is another one that made a big splash last year at NAB, so expect to see more of this functionality showing up in live production video.
All of this boils down to a lot more options to consider when buying a switcher. As a result, you need to be extra diligent about your research when considering a new switcher and, when in doubt, get a professional integrator involved.
