The OPS300 “Opus” by Analog Way is a high-resolution video mixer designed for live presentations that require image magnification (IMAG) and other video enhancements. It has become standard for larger churches to provide close-up camera shots on their sanctuary screens, and churches of all sizes are looking to add multi-media to their Sunday morning service. The OPS300 can switch seamlessly between standard- and high-definition sources, such as worship lyrics, graphics, multiple camera angles and DVD,to be projected onto sanctuary screens.Add to this such effects as moving picture-in-picture (PIP) and logos, as well as the ability to run two separate outputs, and the OPS300 will equip a church with high-end live video presentation capabilities.
Operation Modes
The OPS300 “Opus” can run in two operation modes: multi-layer mixing and seamless matrix. In mixer mode, it runs much like a video switcher used for DVD recordings and internet streaming. One output provides the program video for the audience while the second output feeds a preview monitor. It is in this mode that the user can create effects in preview before going live, mixing as many as six layers at once. This can include three live sources, one still frame, and two logos simultaneously.
In matrix mode, switching can be done between any of the 12 inputs and synchronized on the two outputs. In this mode, the preview becomes the second main output. This makes it possible to run IMAG [image magnification] on one screen and sermon notes or worship lyrics on another. This further expands the options the OPS300 gives the user. While adding lower-third titles can provide information such as names during a service, it may not be desirable to superimpose worship lyrics on the live video. Designating one or more screens for text and another for the IMAG image can may be preferable, and this unit delivers both options. However, PIP and logo effects are not available in matrix mode. Resolutions can be selected independently for the two outputs.
Inputs
The OPS300 offers up to 12 inputs, including two fitted with digital DVI and two with SDI. One input is situated in front for easy access, and includes analog and audio input capabilities. No doubt such a feature can be a life-saver when a device needs to be patched in quickly and the operator has no time to get behind the machine or track down adapters. Each input can be manually or automatically configured individually or all at once. For instance, the OPS300 could easily handle an input configuration of three or four cameras, one computer providing titles and overlays, another computer running a program like ProPresenter or EasyWorship for full-screen sermon notes, and a DVD or Blu-ray player.
The versatility of the OPS300 aims to meet just about any event configuration, and certainly with the right supply of adaptors and cables, this seems to be the case. But don't plan on plugging all of your camcorders directly into the unit. Most of the universal inputs are HD15 and DVI-I. These inputs can accommodate a variety of computers, high-end cameras, laptops, and video players, but consumer cameras will need an adapter. Plan on doing some cable and adapter shopping prior to setup.
Outputs
OPS300 outputs two digital and analog signals in DVI and VGA simultaneously. The preview and main outputs can go to a computer monitor, video monitor, or projector, depending on the event and venue. There is only one frame of latency, meaning the video falls one frame behind the audio (generally unnoticeable), making it ideal for IMAG. The additional video output can send the main video output in either HD or SD for DVD recording or web casting.
General Operation
The OPS300 “Opus” can be controlled from its own front panel, or can be hooked up to a computer or Analog Way's Orchestra remote console. Analog Way claims that the layout of controls is simple and intuitive, and perhaps it is to those experienced in operating presentation hardware. My experience is generally with control room switchers, so perhaps this is the reason I found the front controls somewhat complicated. Using the computer interface is much more intuitive, but either way, don't expect to master all the functions “within minutes.”
The OPS300 allows the creation of four user-defined presets to save screen configurations. These presets can then be called back at any time during or between events.
Remote Control Options
Analog Way provides software that can be installed on a PC to operate the unit via serial or ethernet connection. The menus allow you to navigate through the equivalent of the OPS300 front panel menu items. The interface also features graphical representations of the preview and main screens for positioning layers and graphics. Although I was not able to test out the software due to my occasionally hindering devotion to the Mac OS, it looks like a PC laptop would be an excellent choice for controlling the unit at locations requiring a quick, physically confined setup.
Orchestra, an optional remote control surface, turns the OPS300 “Opus” into the sort of switcher traditionally tucked away in the video production room. The remote controller can control six independent screens simultaneously in different locations. Preview and main have their own row of buttons, and transitions can be done with a full-size T-Bar. Orchestra also expands the functions of the OPS300 with greater saved presets capacity, a USB drive, and a touch screen to preview configurations.
Compositing
Live layers can be customized with an assortment of attributes, including borders, movement, size and transparency. Setting PIPs using the front controls can be a handful, but is easier using the computer controls. PIPs are set up in preview before going live, and can be layered. These may not be the sort of features normally used during a worship service, but they can be used to punch up a concert or youth event. For example, during a lecture or message the shot of the speaker can share the screen with notes and images.
OPS300 can store eight still logos and eight full screen frames. Frames are still images that can be uploaded from a computer or freeze-framed from one of the video inputs. Logos are frames with a color keyed out using chroma or luma. The image can be scaled down and positioned anywhere in frame. This is also a way to bring in titles and graphics with alpha channels. In addition, the keying function can be used to create live green- or blue-screen effects.
Audio
The OPS300 “Opus” can also switch between 12 audio inputs to feed two outputs. Master volume and individual input levels can be adjusted. This wouldn't take the place of a traditional soundboard in a permanent installation, but can be handy for on-location presentations with limited space.
The OPS300 can be used directly on a table or rack-mounted, making it easy to set up in either a permanent installation or temporary location setup. The unit works well in concert with a configuration of mixed video sources and computer stations, or as the sole video source for an event. Retailing for $12,490, it is certainly a high-end piece of hardware aimed at large venues. Analog Way offers a wide variety of switchers, including many simpler and less-expensive models as well as one with an additional edge-blending operation mode. But for churches looking to amp up their video presentations, the OPS300 “Opus”can bump up the quality and versatility of sanctuary or location presentations.
