A gleaming expanse of glowing buttons casts green and red accents upon the technical director, who is otherwise only illuminated by the program monitors from the front, a soft fill from the graphical user interface, and a sharp rim light from the laptop to the side that patiently waits to do post production work. But who needs to enhance a Sunday morning service if the raw recording emerging from that glorious mixing console is a true masterpiece? Switchers on the market today try to create that final-cut product, and while the Barco's FSN switcher isn't the all-in-one product some other switchers claim to be, it certainly functions as the tool to bring every possible element of a live recording seamlessly together.
Barco began making radios in the 1930s, and through a history better chronicled by someone who knows what it means to "divest divisions," the company has molded itself into a global technology company. They provide visualization solutions for a wide variety of markets, including broadcast, transportation, security, and education. Barco can even meet your church's air traffic control needs. For this review, we're going to zero in on the FSN-150 and FSN-1400, Barco's production switcher and image processing system that was introduced in 2009.
Setup
Barco's technical team did a fine job of connecting our existing video sources to the FSN-1400. This consisted of three Canon XL1s prosumer camcorders, a feed from our computer running EasyWorship, and a laptop to provide title cards and overlays. The test of user-friendliness came when I set out to patch in a source on my own. I quickly and successfully patched in component cables from a Blu-ray player and made a few taps on the touch-screen to assign it to an input on the switcher. Barco's Athena scaler creates remarkable input and output flexibility, enabling the user to mix any combination of high- and standard-definition video signals from an assortment of cameras, computers, and media devices. The final output can be HD or SD as well.
Cards are housed inside a modular chassis that utilizes a mid-plane configuration. The front processing card has a separate rear cable connection card, with the two joining at the mid-plane card that routes the signal. So the front cards, which basically process the inputs and outputs, can be changed without removing the rear cable connections, or the passive rear connector card can be replaced without the expense of replacing the front card. The optional redundant power supply is a welcome feature as well.
Standard cards for a basic setup include one native input card with eight native inputs as well as frame synchronization, one dual-channel universal input card for the integration of analog, digital, and computer inputs, one mix effects card to provide program and preview outputs, and one system card, which basically functions as the PC that runs everything. From there, the unit can be configured and reconfigured over time as needs change. More native input cards and universal input cards can be added to accommodate additional sources. Native auxiliary output cards enable you to switch additional outputs. A multi-viewer card allows you to monitor up to sixteen sources or outputs on one or two monitors. This feature can simplify the video room setup and cut costs.
Once all the settings, customizations, and effect setups have been made, they can be saved into the memory register and even backed up onto a USB thumb drive. This also enables the user to experiment to their heart's content while always being able to return to a saved setup. The USB drive can also be used to back up and restore the system, and in an upcoming update, can be used to import images.
Those wanting to incorporate effects in their live recordings will want to add one or two 2D digital video effects cards (DVE). These enable you to create up to four picture-in-picture (PIP) effects. Images can be resized, positioned anywhere on the screen, cropped, and keyframed. A number of border, shadow, and color effects can be added as well. Here some might wonder about the lack of 3D effects that are possible on other switchers. The makers of the FSN are considering video producers who prefer to do image-warping effects in post-production. I have used a system that features loads of effects and animation capabilities and hardly used but a few of them. Greater control can be had in post-production.
Operation
The buttons on the program bank can be assigned to sources regardless of how things are patched into the input cards. Corresponding labels turn from green to red if the signal is lost. The transition section is kept simple with the option cut, mix or wipe using buttons or the T-bar. Settings for these, such as the speed of the auto mix and the wipe effect, are done on the touch screen. Fans of digital effects transitions may be put off by the limited choice of wipes. There are currently three, with two more on the way. Barco found that technical directors generally use simple transitions during a live recording. While I, too, abandoned the glitzy transitions after a few minutes of exploration, I must admit I would miss the occasional page-turn effect.
For the recording of a worship service, the program bank and transition section may be all the technical director would need to learn, and it takes little time to master the basic functions. I was comfortably switching between three cameras within a few minutes, and another technical director was able to pick up the basics just by watching. The short learning curve is particularly helpful to video departments with a different technical director every week. The switcher is fired up with a power switch, with no programs to start or configurations to load.
Effects are set up using the M/E banks. Controls are laid out in a logical manner, but don't expect to figure out how to position a picture-in-picture effect for the first time while directing a live concert. Prepare to spend some time with your nose in the instruction manual. The M/E banks can also function as a second switcher for an alternate output, such as image magnification for the sanctuary screens, while the program bank supplies content for the DVD recording.
The switcher comes with a touch-screen graphical user interface (GUI) to navigate through menus laid out as user-friendly as possible to set up the unit and perform quick modifications, like color adjustments and transition speed. The graphic environments take a little time to learn, but the essential ones are easy to access and use. For example, the speed of the auto dissolve is adjusted by holding down the "mix" button, which brings up the screen where the new value can be dialed in or punched in on a number pad. The touch screen can be swapped out with a mouse and keyboard-driven monitor if desired.
Graphics
The FSN does not include a character generator. Title overlays would need to be provided by a separate source, such as a nearby laptop. This may be a turn-off to some, but it actually sets up a more professional switching arrangement. Another operator would handle the text and cue up the needed lower-thirds, instead of requiring the technical director to pull their attention away from the cameras while loading up the graphic.
Conclusion
With a base price of $45,000 for both the switcher and the chassis, the system is aimed at larger, well-financed video producers rather than the average church. But video ministries that are looking to upgrade to HD or plan to in the near future may find this to be a viable option. The modular configuration facilitates future expansion and modification, so the switcher can grow as the church and its budget grows. The ability to accommodate a wide variety of input sources and then provide a number of output options will find the FSN to be a powerful central tool for their ministry.
