Dude, the TriCaster is, like, Totally Tubular!

From the press release:

Go211.com, the leading social networking website for action sports enthusiasts, has chosen TriCaster™ portable live production system to produce and web stream Go211 Live, the largest action sports, music and lifestyle festival in North America, which takes place July 24-27 from Huntington Beach, California. Go211 Live features the world's largest professional surfing competition- Honda US Open of Surfing presented by O'Neil- along with BMX, skateboarding, freestyle motocross demos, live music and fashion.



“Go211.com is proud to deliver Go211 Live and the Honda US Open of Surfing presented by O'Neil to world-wide fans,” said Sean Aruda, CEO, Go211.com. “TriCaster portable production system gives us a reliable and affordable way to produce and web stream four full days of activities, in their entirety, to online users.”



“Go211 Live featuring the US Open of Surfing isn’t shot in a controlled studio,” said Philip Nelson, SVP Strategic Development, NewTek. “One of the key benefits of the TriCaster is portability. You can do a live web stream with TriCaster from almost anywhere on the planet: a BMX Track, skateboard park or even the beach. As long as you have power and an internet connection you are ready to stream.”

Cage Match - TriCaster vs. Sony Anycast

Update Aug. 2010: At the end check out my newest updates to this article covering HD varient of the AnyCast, the AWS-G500E. More info on the various TriCaster models.

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People keep asking so I'll tell you what I think. First let me begin by saying this isn't going to be a fair fight so don't whine when your favorite Japanese company's product comes up bruised and bleeding. :)


OK so the most striking difference between the two is obviously the price. The TriCaster Pro setup is half the price of the Anycast. The Anycast wins on inputs but of course we could always upgrade to a TriCaster Studio and still beat Sony's price by eight grand. The Anycast also wins on convenience as it's an all in one unit whereas the TriCaster has a separate monitor and external controller. Oh, and the Anycast has a VISCA controller. The TriCaster requires a third party add-on for this.

In every other area it's a take down for the TriCaster. My major complaints with the Anycast are: Real Media Streaming! what's up with that? A rubber slider is a poor excuse for a T-bar. All the configuration is done through a menu system with a little scroll wheel so it's not practical to make any changes during a production. You cannot make changes to a CG during a production, all imported graphics must be put on a memory stick and then copied to the internal hard drive before you can use them. And you have to use the stupid menus to move the file. Assigning one of the wipes to the wipe button was is also clunky and again not really practical to do during a production. The monitor may be built in but it's kinda small. Running big, long RGB cables from the presenters laptop all the way to the Anycast is no fun.

On the plus side for the TriCaster Pro: Update CGs on the fly even while one is being displayed. Sophisticated external controller, see my review of the LC-11 here. Simple point and click user interface with a mouse. Complete live virtual set and chroma key system built in. Built in video editor. Windows or Flash streaming. Record the production to the hard drive. iVGA makes it easy to input a presenters screen via a network cable or even via WiFi. Four different models and several different controllers to choose from so you can configure a system to meet both your needs and your budget.

So I don't see many reasons to go with an Anycast over a TriCaster the AnyCast is just too limited. Even if you absolutely need Real Media Streaming I'm pretty sure I can get Real Encoder to run on a TriCaster.


Next Time We'll beat up on a GlobeCaster! It won't be pretty.

Sony Anycast Basic Specs

Video I/O

• 4 Composite or Y/C video inputs
• 2 RGB (XGA or SXGA) inputs
• 1 Composite, 1 Y/C and 1 DVI (RGB) output

Audio I/O

• 2 XLR and 4 1/4" Phone Jacks for microphone in
• 1 RCA pair for line level input 
• Phantom Power 

Streaming

• Real Media 

Transistions

• Cross-Dissolve
• 16 Simple Wipes 

DDR

• No 

Other features

• Built in monitor
• Built In Visca (robotic camera control)

List Price $20,000

TriCaster Pro with LC-11  Basic Specs

Video I/O

• 3 Composite, Y/C or Component video inputs
• 1 Composite, 1 Y/C, 1 Component and 1 DVI (RGB) output
• 3 iVGA inputs (VGA, XGA.SXGA, WXGA via network)
  

Audio I/O

• 2 XLR/Phone Jacks for microphone or line inputs
• 1 RCA pair for line level input  
• Phantom Power

Streaming

• Windows Media
• Flash
  
  

Transistions

• Cross-Dissolve
• 200+ Wipes, Curls and DVEs
  

DDR

• Yes + Still Store 

Other features

• Virtual Sets
• Chroma Keyer
• Animated Overlays
• Record Entire Production To Hard Drive
• Video Editor 

 List Price $10,000 ($10,300 if you include a monitor)

Aug 2010 Update:

Sony is now shipping the Anycast AWS-G500E which has interchangable I/O modules. A few other new features include a chromakeyer and a built in CG (still can't make changes on the fly). Almost everything else is the same.

Pricing for the AnyCast:

$13,000 for the base unit with no input cards.
SD SDI I/O (2 inputs) $2,200
HD SDI I/O (2 inputs) $3,200
SD analog I/O (2 inputs) $1600
HD Component Analog  $3,000
RGB I/O $1,700

So a four input HD system will be pushing $19,400 while a SD analog system is over $16,000

The TriCaster TCXD300 three input HD model with LC-11 controller is going to run under $17,000 so for about the same price as an SD Anycast you can get a full HD TriCaster. NewTek also has the TCXD850 with eight inputs if you need even more. Both models of TriCaster TCXD have feature sets that exceed even what the SD TriCasters bring to the table.

LiveControl LC-11 Hands On Review

The new LiveControl LC-11 controller surface for the TriCaster and VT is now shipping and I just spent a couple of hours putting one through it's paces. The LC-11 is a step up from the RS-8/VM controller that's been around for years. The most obvious difference is the eleven inputs rather than the eight of the original.

VT owners might ask why eleven inputs and not twelve? Eleven corresponds to the number of inputs on the TriCaster Studio and Broadcast. All three buses are now accessible from the controller which is an important consideration to those using either LiveSets or a TimeWarp. Below the three rows of inputs you'll find the Auto and Take buttons and to the the right the aluminum and plastic T-bar.

Also in the Transition section in the center we have buttons to choose between a cross-fade or the selected DVE, a knob to adjust the auto transition speed and one to select a DVE from the current bank. This second knob can be pressed to enable the reverse function so that transitions are played backwards so that a fly-in becomes a fly-out.

Next are a Fade to Black button a button labeled Alt that is for "future expansion". And below these are the Fade All and Take All buttons that do both a transition between the main and preview buses while simultaneously fading or taking the overlay. Previously you had to do this with a keyboard command.

On the left we find the overlay section of the controller with it's large Fade Overlay and Take Overlay buttons, buttons for selecting the overlay source and three knobs. Two knobs for controlling DDRs and a third for title templates. These let you scroll through the clips or CGs you have loaded or by pressing the knob in you can preview the clip. Above these are two joy sticks one is, again, for future expansion and the other acts as a shuttle wheel for the selected DDR.

I was never all that enamored of the RS-8/VM because it just seemed to be missing some of the functions I like to use like the Fade All and the ability to easily go between a fade and a DVE. These are now integrated in and it really makes the thing really useful. One thoughtful ergonomic touch is there are actually two USB connections on the box. One on the back and a second one on the bottom to make it easy to inset the unit flush into a desk top. As on the TimeWarp, the edges of the case are a little sharp but NewTek assures me this will be addressed in the next production run.

Cosmetically the unit is an improvement over the RS-8. The face plate is brushed anodized aluminum and the t-bar has been anodized a matte silver color. The whole unit is well built with no cheap plastic bits to break off in the heat of battle. While the buttons are of course plastic they are well made and should hold up to a reasonable amount of punishment.

On a side note NewTek is renaming the VM as the LC-8 to reduce confusion.

LC-11 are available now at www.Digarts.com
Update: Actually placed the pictures . Doh!

TriCaster to Stream Events Surrounding All Star Game

The TriCaster owns the web streaming market! And why does it seem that the radio guys are streaming all these events? I gotta re-think some of my marketing ... hmmm...

From the press release:

Knockout Digital Media has chosen TriCaster™ portable live production system to produce and web stream the ESPN Radio All-Star Game radio shows in New York City to ESPNRadio.com. The July 14 and 15 web streams will give the world’s sports fans live access to Mike & Mike in the Morning from Grand Central Station from 6-10am and to Tirico and Van Pelt from Mickey Mantle’s restaurant from 1-4pm.

“TriCaster is allowing us to give live access to the events surrounding the last All Star Game to ever be played at Yankee Stadium, with a savings in cost, space and time,” said Gil Chavez, President of Knockout Digital Media.“The online presence of this day in baseball brings the ESPN Radio fans another opportunity to be part of the excitement.”

“Space is a premium when you are broadcasting live from venues like Grand Central Station or Mickey Mantle’s restaurant,” said Philip nelson, NewTek SVP of Strategic Development. “The portability of TriCaster is allowing Knockout Digital Media to web stream from both venues without expanding their radio broadcasting footprint.”

NewTek TimeWarp Hands-On Review

I just received my new TW-42 TimeWarp unit and It's pretty slick. The TimeWarp in case you don't know is an instant replay controller for the TriCaster (v. 2.0 or higher) or VT (5.2 or higher). As you can see in the picture it contains controls for recording and playing back clips in a TriCaster or VT[5] DDR along with a nice, big jog/shuttle wheel.

You can record from either the main Live bus or from the Effects bus. In the first instance the replay clips would contain the exact contents of your main output including any transitions, overlay graphics live sets etc. If you record from the effects bus you can dedicate a camera shot to the replay.

The basic work flow goes like this:

Click the "Record Live Playback" button on the On-screen UI. This new button appears when it detects the TimeWarp. You just need to do this once at the beginning of your production.

Just before the play starts press "Replay In" this sets an 'in' point.

After the play ends press "Replay Out" this chops the recording, inserts the new clip into the DDR play list and cues it up. While continuing to record.

Use the jog/shuttle to adjust the starting point of the clip if necessary.

Press "alt" + Pause to place the DDR in cue mode.

The technical director can then select the DDR on the preview bus and take the replay at will. Because the DDR is in Cue Mode it will roll automatically.

In a fast paced game like basketball or hockey you can just go along hitting "Replay Out" after any play that might need to be replayed and then use the next and previous clip buttons and jog shuttle to cue the desired clip once it's been decided to use it.

The TimeWarp can also control the playback speed. There are buttons for 25%, 33%, 50%, 75% and 100% speeds. You can preset the speed with these buttons or even change the speed on the fly during playback. You can also use the jog/shuttle wheel while the replay is live to zero in on a particular frame if you wish.

The jog shuttle wheel is nice and smooth with smoothly ramping forward and rewind speeds between what appears to be about five frames a second up to about 5X speed. The concentric jog wheel does ten frames a revolution with gentle detents for each frame.

You can actually control two DDRs if your TriCaster has them (Studio and Broadcast) selecting the active DDR with the "DDR1" and "DDR2" buttons on a VT the TimeWarp will control the first two DDRs you open. On the TriCaster and TriCaster Pro the DDR2 button lets you control playback in the Picture Viewer. Obviously you aren't going to be recording replays in the picture viewer.

The Alt button gives some of the other controls alternate uses. As I noted above Alt + Pause turns on Cue Mode, Alt + Stop disables it. Alt + Fast Forward jumps to five second from the start of the clip and starts playing while Alt + Rewind jumps to five seconds from the end and starts playing. Alt + Next Clip or Alt - Previous clip moves the DDR playhead in one second increments.

The ergonomics are pretty good, I like the button layout. I'd prefer a dedicated cue mode button but it's not a big deal. I also like the clear black on white legends on the buttons; no deciphering grey on black in a dimly lit room. My only real complaint is the edges of the box are very sharp and could of stood some filing before they anodized the face plate.

The TimeWarp works exactly like advertised and if you are trying to do instant replay on the TriCaster it's the best way to pull that off. Even on the VT where you have a couple of software options to do roughly the same thing the external controller aspect makes it a winner.

The entire manual is a available here if you want to browse through it.

UPDATE:The next production run of TimeWarps will, according to my rep at NewTek, have the sharp edges smoothed over.

Mostly Complete Copy of Metropolis Found!

One more old movie post.

Big chunks of Fritz Lang's Metropolis, an enduring classic of the silent era and one of my favorite movies have been missing for decades. A complete version of the film has not been seen since the Twentys. A recently a restored version of what was left had been released but was still missing almost 25% of the movie. But now an almost complete print has been discovered in Argentina.

The original version was a commercial dud in Germany and the studio made drastic cuts for the US market and some of the cut scenes have been lost for 80 years. The print found in Argentina is said to be missing only one short scene from Lang's original cut.

Metropolis, released in 1927, is still one of the most expensive films ever made and pioneered many special effects. German film historians are working to restore the new footage and complete the task of recreating the original release. I'll have to buy yet one more copy, I think I'll hold out for HiDef this time.

Some related articles:

It is the cinematic equivalent of finding a new book of the Bible or a new play by Sophocles.
"Metropolis, Fritz Lang’s most famous film, can be seen through new eyes.”

The rhythm of the film has been restored.

Live Control LC-11 Ships

NewTek announced the immediate availability of LiveControl™ LC-11 optional switching surface for TriCaster™ portable live production studio and VT[5]™ Integrated Production Suite. LiveControl lets directors mix live cameras, tape decks, digital disk recorders (DDRs), titles and graphics with digital video effects in real-time. It also provides the advantage of touch control of each TriCaster input for more compelling productions with tighter pacing. Used in tandem with NewTek’s new LiveText™ and TimeWarp™ accessories, LiveControl more efficiently integrates titling, replay and slow motion into TriCaster and VT[5] live productions.

LiveControl is available in two versions: LC-8 with 8 video inputs for TriCaster™ and LC-11™ with 11 video inputs for TriCaster PRO™, TriCaster STUDIO,™ TriCaster BROADCAST™ and VT[5].

“LiveControl allows technical directors to keep their eyes forward and react quickly, which is critical in fast-paced production environments,” said Andrew Cross, NewTek’s Executive VP, Software Engineering. “The simple layout and large back-lit buttons provide the physical touch and feel of control mechanisms already familiar to professional technical directors, so they can operate a TriCaster or VT[5] right out of the box.”

LiveControl benefits include:
•Tactile experience for compelling live productions with more control, improved workflow, tighter pacing and accuracy
•Rotary dials enable users to quickly choose their titles, pictures or transitions
•Large, back lit buttons provide easy transitions from one source to the next without looking down or using the keyboard or mouse
•T-bar provides “hands-on” experience to manually control your transition sources