Ok, this is beyond the scope of what most live stream producers would ever need in their workflow, but the Evertz Dreamcatcher is pretty damn cool.
The Dreamcatcher is a 48-channel 4k instant replay system that you might find in use at say, the Super Bowl. As you can see in this video, an editor can easily scrub to a point in live captured footage and then select a portion of the frame as your edited output. If you’re shooting with 4k cameras, you can output that selection as full resolution 1080 HD. Not a bad trick, if you can afford it. No idea how much these go for, but you can bet a fully kitted system is in the 6 to 7 figures.
In the all-in-one live production switcher and streamer category comes the Sony Anycast Touch. This looks to be a convenient portable solution, especially if you’ve already invested in Sony PTZ cameras.
What’s unique about this guy is that it’s all about the touch screen. Everything is driven by either selecting shots and elements on the primary multi-view touch screen or the secondary smaller “settings” touchscreen.
The Anycast Touch can take up to six HD inputs (4 HD-SDI, 2 HDMI). The HDMI inputs can be substituted for RGB inputs from VGA computer sources. It can also take 4 separate audio sources over XLR or 1/4″ TRS.
Program mix outputs include 2 HD-SDI, an HDMI and a VGA RGB connection. There’s also an HDMI port for duplicating your multi-view primary touch screen on a separate monitor. Also included are several USB 3.0 ports for importing content or exporting recorded video from the Touch’s internal 192GB SSD storage.
The built-in streaming encoder will encode your program output in H.264/AAC and stream to any RTMP based CDN or your favorite live streaming platform.
The Touch has CG titling capabilities, graphic overlay layers, transitions and the ability to create templates with these elements and camera picture-in-picture.
Probably the most compelling, if you already own Sony PTZ robocams, is that the Touch will control them. You can create scenes that lock in camera positions for easy dynamic switching.
At an expected retail cost of $20k, this unit will likely challenge Newtek’s TriCaster in some key markets such as schools, churches, corporate communications and amateur sports.
Engadget has a video of a Sony rep giving the rundown.
Newtek’s TriCaster is the current gold standard for a portable, live broadcast video switcher with all the bells and whistles that a live production might require. I use a TriCaster 455 and 855 for many events I produce and really have few complaints.
The relatively new TriCaster 8000 (retail $40,000) expands on the feature sets of Newtek’s previous models. Like the 855, the 8000 can handle eight HD-SDI video sources simultaneously and record each ISO separately. The 8000 expands on their virtual sets, transitions, animations, media players and live streaming integration.
I asked a Newtek rep what his favorite feature of the 8000 is and his response was the social media integration. You can apparently make quick clips of video or stills and push them out to Facebook, YouTube and Twitter all from within the TriCaster control interface. I suppose if you’re a lean operation and you’ve got one guy doing everything, then I guess this makes sense. From my experience, anyone who is directing and switching a live event, will have his hands full just doing that.
I’m a sucker for remote controlled autonomous vehicles (non-weaponized ones, of course). Lucky for me, there are plenty of them this year at the NAB Show. This is only a smattering of the ones which I came across today. They range from small quadcopters that can carry a GoPro to heavyweight beasts that can carry 17lb RED cameras.
This little guy was a big hit. The DJI Phantom can carry a GoPro for 10-15 minutes of flight time. Retails for $679. GoPro not included.
DJI also makes a heavier duty hexacopter called the Spreading Wings S800 that can handle a camera load up to 5 pounds. This version has a unique rig by 360 Heroes that uses 6 GoPros to create a 360 degree panoramic experience.
If you like traditional helicopters, you know just two rotors, then you’ll dig this heavy duty workhorse, the SARAH 3.0 from Flying-Cam. This guy can take a payload of up to 17 pounds, which is perfect if you’re shooting a scene from Skyfall with a RED Epic camera.
I’m in Las Vegas for the next several days for my first NAB Show. I’m here seeing what’s new and interesting in the world of live video technologies, equipment and distribution. Traditionally, NAB is known for being a trade show for all things broadcasting. In the old days, that meant radio and TV. Nowadays, Internet broadcasting is a big part of it. I’ll be posting updates over the coming days on what I find of interest that relates to my world, which is shooting and distributing live video across the Internet. And DRONES, because, well, DRONES! Know something I should check out? Feel free to point me there in the comments.
