spidercam has a proven track record in football, rugby, cricket, and live entertainment. But golf? That remained a big question mark. Until now.

For the first time in The Open history, a cable-based camera flew over the 18th green, delivering sweeping, cinematic views to millions of fans around the world. From emotional close-ups to smooth tracking across the crowd and course, spidercam brought a new perspective to one golf’s most iconic tournaments.

Before this project, spidercam hadn’t drawn much interest from the golf leagues. So, what changed? Mostly, the appetite of viewers, producers, and broadcasters for more variety and distinction. With so much new content, and particularly new sports content, producers want to stand out any way they can.

Our production partner, , had the vision — and had built the trust — to push those boundaries for The Open. The pitch was the elevated storytelling that spidercam would bring to The Open, with immersive, emotionally resonant, and most importantly, unique camera angles and movements.

A significant challenge in getting a cable-based camera system approved for The Open was that any new technology must be virtually invisible. Golf demands precision, quiet, and respect for the player’s focus. To satisfy those strict conditions, we worked closely with EMG and to engineer a setup that was visually unobstrusive but would still give The Open access to all the latest technology available.

The solution was a bespoke four-point support system for spidercam that respected sightlines, avoided distracting players, and preserved the pristine aesthetics of the course.

Installation came with its own set of challenges. At Portrush, the coastal winds were a constant factor, particularly during tower setup, when safety margins are at their tightest. Working closely with Unusual Rigging, we installed anemometers linked directly to our operating desk, giving us live wind data to monitor conditions and keep the system safe at all times.

Gameplay added another layer of complexity. To protect players, spectators, and the course (and the cameras!), we pre-defined “no-fly” and “safe park” zones and timings.

Just as important, our spidercam operators worked hand-in-hand with the directors, advising them on what was achievable within the environment and suggesting camera movements that complemented the rhythm of play and would add to the drama and storytelling of the tournament.

The payoff was undeniable: sweeping aerials of chips landing with pinpoint precision, graceful follow-throughs on decisive putts, and that unforgettable closing shot: spidercam gliding silently above the 18th green as the crowd erupted.

Watching that final putt drop with spidercam overhead gave me goosebumps. That moment captured exactly what we set out to achieve. It wasn’t just a technical win. It was a creative leap forward.

spidercam proved it could enhance the emotion of golf for viewers at home without disrupting its natural rhythm, giving directors a new lens for storytelling in golf.

The success at The Open demonstrates what’s possible with spidercam, for golf but in many other sports. The demand for elevated, immersive perspectives continues to grow, especially across extreme sports like skiing and motorsports, where traditional cameras struggle to get close to the action.

Directors and audiences both want more angles that put fans at the center of the moment, and spidercam has built a reputation for delivering them with precision, safety, and reliability in the most demanding environments.

Discover how Robotics is changing the game in Sports Broadcasting & download our free Robotics Guide.

Video is no longer optional for today’s enterprise clients — it’s essential. Internal comms, executive updates, social content, training, onboarding, livestreams, product demos — it’s all going on camera. And more often than not, your clients want to produce that content in-house.

Why?Ěý Because speed, brand consistency and cost-efficiency matter. Because leadership doesn’t want to wait three weeks for a vendor quote. Because internal comms wants to pivot messaging this afternoon. And because teams want tools that work like the rest of their tech: simple, scalable, and self-operated.Ěý

That’s where you come in.Ěý

As an AV consultant or system integrator, you’re the one they count on to bring order to the chaos — to design a repeatable, future-ready studio model that empowers internal teams without overcomplicating their day.

Anyone can hang a camera in a conference room and call it a studio. But your clients are asking for more. They want branded, high-quality content that looks sharp across platforms. They want to reduce tech friction so non-technical teams can produce without stress. And they want a solution that scales — across floors, buildings, campuses, and time zones.Ěý

In short: they need a system. Not just gear — a workflow.Ěý

This is where your design expertise shines. By partnering with vendors like 91ĚŇÉ«, you can create high-performing studio environments that are intuitive, elegant, and repeatable — environments that make your clients look and feel like pros without needing a full crew every time.

Whether it’s a Fortune 100 or a regional utility, the requests are becoming consistent:Ěý

• “Can our comms team run it without IT every time?”
• “Can we control it from the main campus — or from home?”
• “Will this still work five years from now?”
• “Can we duplicate this setup in New York and London?”

When you design with systems like 91ĚŇɫ’s Ultrix, Carbonite, PTZ robotics, and DashBoard, the answer is “yes” — every time.

Here’s how consultants like you are using Ross systems to build studios your clients can actually use:Ěý

Ultrix
Think of it as the flexible backbone. One platform that bridges SDI, ST 2110, Fiber, NDI, HDMI, DisplayPort DANTE, MADI — compact, energy-efficient, and perfect for rack-tight corporate installs. It keeps things clean, organized, and ready to scale.Ěý

Carbonite Switchers
Your client doesn’t need to know what a transition bus is — they just want scenes to switch smoothly and their brand to look consistent. Carbonite delivers that with muscle and simplicity.Ěý

XPression
2D & 3D graphics and animations for any live video format, in real time.

PTZ
Perfect for live broadcasts based in corporate board rooms, auditoriums, classrooms, and corporate video studios, our 4K UHD PTZs provide the perfect addition to any video production.

DashBoard
This is the secret sauce for self-operated studios. You build custom panels — no code required — so users can trigger shows, adjust lights, or control PTZs with labeled buttons that just make sense.Ěý

Inception
For clients with larger comms or news-style teams, Inception centralizes scripting, scheduling, and publishing — all in one place. It’s great for planning, and it keeps everyone aligned.Ěý

The beauty of a great corporate studio design is that it can be replicated. Start with one flagship install — then scale it across departments, campuses, or regions. That’s real ROI for your clients — and real opportunity for you.Ěý

We’ve seen consultants design a single-room template with Ross gear and deploy it to six locations within the year. Repeatable infrastructure = repeat business.Ěý

And since Ross supports open standards (Dante, NDI, ST 2110, SDI/IP), you’re not locking anyone into a walled garden. You’re giving them freedom to evolve — and that builds trust in the workflow, for consitant and repeatable resluts for AV/It operators.Ěý

Corporate video isn’t a trend — it’s a long-term strategy. Clients want to move away from ad hoc gear carts and start thinking like media operations. They want durable, serviceable, supported systems. And that’s exactly what you can give them.Ěý

Ross systems are built to last, CAD-ready, and backed by global support. You get pre-sales engineering, deployment support, and 24/7 assistance post-install. So when clients call, you’re already one step ahead.Ěý

You’ll also get access to:Ěý

• Pre Sales Ross Solutions architects -– your Ross contact throughout your project
• Reference designsĚý
• Network diagramsĚý
• Workflow templatesĚý
• Pre-configured DashBoard panelsĚý

It’s all there to make your job easier — and your projects faster to deliver.Ěý

You’re not just wiring boxes. You’re creating experiences that shape how brands tell their stories. When you build a studio that works, your client’s entire team gains creative confidence. They can shoot content without fear. They can represent their brand with polish. They can tell better stories, more often.Ěý

That’s the impact you make. And that’s the kind of work we love to support.

You already know how to design great AV experiences. Let us help you bring that same standard to high-quality video production workflow.Ěý

Whether you’re working with a corporate campus, a government agency, or a university comms team, we’ve got the tools to make your next studio a standout — and the support to make you look good doing it.

Let’s collaborate. Find out more and talk to a 91ĚŇÉ« solutions expert today.

So far, cloud adoption has been mostly in content distribution, data tagging and analysis, and transcoding. But the real momentum is building in live content creation. It’s a more complex environment, but it’s becoming increasingly cloud ready.

In environments where the cloud makes sense, bandwidth and latency aren’t an issue. Operators using NDI or SRT often describe it as if they’re right there in the control room. Push a button, and it feels instant. That kind of responsiveness is what makes the cloud viable for real-time production.Ěý

We saw this at the NAB Show, where AWS ran a fully cloud-based live production right from their booth, using 91ĚŇÉ« tools to switch, mix, and control graphics in the cloud. The entire environment was remote, but the experience was as smooth as on-premises hardware.Ěý

Is the cloud the go-to for every use case? Not necessarily. For tier-one sporting events, where 4K, visually lossless quality, and zero-frame-drop performance are non-negotiable, the bar is higher. But even then, the challenges are being addressed with better codecs like JPEG XS, higher bandwidth connections, and more intentional architecture.Ěý

For most productions — especially those where accessibility, operational agility, and scale matter — latency is not a significant issue.Ěý

In the shift to cloud-based production, speed and efficiency are top priorities. Broadcasters want to spin up environments quickly, start when ready, and shut things down when the production wraps. With cloud costs looming, there’s pressure to use only what you need when you need it.

That’s the real use case for the cloud: agility.

This expectation is shaping the design of 91ĚŇɫ’s next generation cloud production tools, that let teams launch, pause, and fully remove cloud environments as needed, cutting waste and increasing flexibility.

Teams also want simple ways to scale production. Take Tier-2 sports: these productions may not have on-site graphics gear or the budget for an OB van, but they still want professional-grade results. With 91ĚŇɫ’s Rocket Cloud Services, operators can run graphics in the cloud and integrate them into on-premise productions. That means lower thirds, scoreboards, and more, without extra hardware or permanent investments.

Orchestration has become a central theme, and for good reason. It’s no longer enough for tools to work in isolation. They need to work together.

That’s especially true in hybrid environments, where infrastructure spans both cloud and on-premise. Many creative workflows already operate this way, blending the flexibility of the cloud with on-premise reliability, and that model is here to stay. But without orchestration, added complexity and coordination gaps can slow everything down.

Solving this requires real investment. That’s why initiatives like Catena (via the Society of Motion Picture and Television Engineers) and (via the European Broadcast Union) are promising spaces to follow, both focused on orchestration across hybrid, multi-vendor environments.

In the modern broadcast television industry, any organization that fails to closely monitor expenses, eliminate overhead waste, and maximize return on investment (ROI) is bound to lose out to competitors that do. Optimizing your onscreen graphics system for financial efficiency certainly won’t solve all your financial problems, but in a world where streaming and other forms of content delivery are taking ever bigger segments of a rapidly dwindling television audience, broadcasters must do all that they can to cut expenses wherever they can. And graphics infrastructure is far from cheap.Ěý

With the exceedingly challenging nature of today’s broadcast environment in mind, read on for a brief exploration of how to control costs while delivering outstanding broadcast graphics to your viewers.Ěý

To avoid the often-crippling capital expenditure (CapEx) upfront costs that go hand in hand with the purchase of new production and/or broadcast equipment, organizations are increasingly turning to subscription-based operational expenditure (OpEx) models. By taking the OpEx approach, they can avoid the expense of installing and housing additional equipment onsite by contracting with providers that offer graphics capabilities through subscription agreements. These OpEx models allow broadcasters to budget for production and distribution needs as recurring operational expenses that come with predetermined (and therefore predictable) pricing structures.

But just because these pricing structures are often predictable and allow broadcasters to avoid large upfront CapEx expenses, you shouldn’t immediately assume that they are cost-effective for every organization. As virtually anyone with a monthly subscription to anything can readily attest, those small regular charges can really add up over the long term. This is particularly true of some providers that offer only subscription-based pricing models, as well as others that are increasingly promoting lease-based pricing structures.

While subscription and leasing models can offer flexibility and easier entry points, they may also create challenges in long-term budgeting, scaling, and infrastructure alignment, especially for broadcasters with changing needs. This is particularly true for any organization that needs to scale its video production and broadcast graphics capabilities to adapt to new demands and objectives.

While the OpEx approach is great for controlling upfront investment costs, it requires ongoing budget allocations for recurring payments tied to your provider contract. The CapEx approach, by contrast, generally involves a single, large purchase, after which an organization wholly owns that purchase in perpetuity. This approach might come with a substantial upfront expense, but it can significantly reduce ongoing costs.

The value of any CapEx graphics infrastructure investment can be challenging to assess before you make it. Although one of these systems can require a substantial initial payment, it can lead to lasting advantages and value generation over time. If it delivers month after month and year after year of dependable service, your graphics system will inevitably pay for itself.

When it comes to choosing between the CapEx and the OpEx approach, different paths will make sense for different broadcasters. Are you looking for the flexibility of ownership without tying yourself to a never-ending subscription? Then you should gravitate toward the CapEx approach. Do you have significant cashflow problems at the moment, or do you want to protect yourself from catastrophic financial risk in the future? Then you will certainly want to consider the OpEx approach.

Both the CapEx and the OpEx approaches can provide exceptional video production and broadcast graphics, and both have their own unique but generally equal benefits and drawbacks in terms of workflow integration and operational efficiency. So, wouldn’t it be great if you could select a high-quality graphics system that meets your needs and then come up with a CapEx or OpEx pricing structure that works best for you? Well, with 91ĚŇÉ«, you can.Ěý

A comprehensive 2D and 3D graphics engine,ĚýXPression has a highly scalable architecture. This means that broadcast organizations can start with a streamlined setup and expand capabilities as needed without being locked into restrictive pricing models. The most powerful real-time motion graphics system on the market, XPression allows you to build striking onscreen visuals and animations with amazing ease.Ěý

And, thanks to its flexible pricing models, Ross makes paying for XPression as easy as using it. XPression is available as a perpetual (CapEx) model, which provides organizations with outright ownership, or as a subscription (OpEx) model, allowing them to pay for graphics capabilities as needed. The Ross team can even help you determine which of these models better suits your current and projected business preferences and requirements.Ěý

Whether you’re managing a long-term investment strategy or responding to shifting production demands, XPression empowers you to scale on your terms. Its flexible purchasing options—paired with powerful, real-time graphics capabilities—give you control over both performance and spend. For broadcasters seeking to balance innovation with financial strategy, XPression delivers the best of both worlds.Ěý

Visit the 91ĚŇÉ« website for more information about the XPression. Knowledgeable company representatives are ready to explain how cost-effective these systems can be.ĚýĚý

Considering today’s highly challenging and competitive broadcast television landscape, effective cost control is an absolute must. Broadcast organizations that fail to closely monitor expenses, eliminate unnecessary overhead, and maximize return on investment (ROI) are likely to fall behind their competitors that do. While boosting the efficiency of your on-screen graphics system isn’t likely to solve all your financial woes, every bit of savings counts for modern broadcasters who want to deliver quality content while positioning themselves for success in the marketplace. By overcoming the challenges of reducing graphics infrastructure costs, broadcasters can make a tangible difference for both their viewers and their bottom line.

With growing competition from streaming and digital platforms, traditional broadcasters are under increasing pressure to optimize production costs, raise productivity, enhance competitiveness, and ensure long-term sustainability. The 91ĚŇÉ« team highlights the fact that saving money over the long haul often requires a significant up-front investment. The Ross blog article “Why Today’s Broadcasters Rely on Quality and Performance to Stay Ahead” wisely states, “Failing to adapt doesn’t just affect performance—it impacts the bottom line. Broadcasters that fall behind face spiralling capital costs and the constant need for new investments to keep pace. This is on top of a gradual reduction in the ability to innovate and remain competitive, which can cause viewership to drop, further escalating the negative impact on revenues.  Sticking with outdated technology is a risk broadcasters can’t afford. To maintain peak performance and safeguard long-term success, the technology that broadcasters use must improve alongside these industry changes.”

The desire to stay up-to-date with the latest broadcast sector trends while avoiding substantial upfront investment costs has led many organizations to adopt an operational expenditure (OpEx) approach to video production and content delivery. This approach allows broadcasters to avoid the often-massive capital expenditures that go along with securing the necessary software and hardware to create and deliver desirable viewer content. Rather than purchasing this software and hardware outright and housing it on-site, broadcasters can adopt an OpEx approach by contracting with providers that offer graphics capabilities through subscription agreements. That way, a broadcast organization can budget for various production and distribution capabilities as recurring operational expenses, typically on a monthly or quarterly basis, depending on the provider’s model.

When it comes to OpEx graphics, broadcasters typically encounter models such as subscriptions, leasing, and cloud-based services, each with different terms, levels of flexibility, and billing structures. While each of these options offers advantages—such as ease of entry, scalability, and access to the latest updates—they can also introduce challenges around long-term budgeting and infrastructure planning, especially as needs grow.

Unlike the OpEx approach (which demands budgetary carveouts and more regular financial payments), the capital expenditure (CapEx) approach to meeting any business need involves purchasing and owning essential equipment and/or supplies. While this often presents substantial upfront costs, it can eliminate the need for additional daily, weekly, monthly, and yearly expenses moving forward.

So, if you want to ensure that you have the right graphics infrastructure to meet modern demands, which approach is superior: CapEx or OpEx? Both can provide exceptional video production and broadcast graphics that will meet or exceed the needs of today’s television audiences. Both have their own unique but generally equal advantages and disadvantages in terms of workflow integration and operational efficiency. So your decision to go CapEx or OpEx with your broadcast graphics infrastructure will depend largely on your budgetary restrictions and ROI expectations.

The value of CapEx graphics infrastructure investments can be difficult to calculate because they require substantial initial payments but can yield permanent benefits in terms of long-term production output and bottom-line profitability. OpEx investments, by contrast, can seem safer and more sensible because they are predetermined, often guaranteed, and incremental in nature. But as we have previously discussed, the smaller yet ongoing payments of the OpEx approach can add up to deliver very poor ROI over the long haul.

Because both CapEx and OpEx graphics solutions can provide exceptional benefits to your broadcast organization, you will want to conduct extensive research, economic projection, and budgetary analysis to determine the best path forward in terms of immediate value generation and long-term ROI. To make the most out of whatever approach they choose, wise broadcasters will seek flexible equipment and tools that support both CapEx and OpEx models, allowing them to invest in high-quality solutions that align with their financial strategies. A flexible graphics system that allows broadcasters to choose between CapEx and OpEx models can give broadcasters full control over their infrastructure and expenses. With a system designed for adaptability, newsrooms and live productions can optimize their spending while maintaining high-performance graphics capabilities.

Billed as the fastest-growing real-time motion graphics engine,Ěýthe XPression CG and animation system from 91ĚŇÉ« is a perfect example of this flexibility and adaptability. Many providers require customers to commit to either substantial upfront CapEx investments or ongoing OpEx payments—models that may not align with every broadcaster’s financial strategy. Ross, however, offers multiple purchasing options that allow customers to take either a CapEx or OpEx approach, depending on their preferred financial and business requirements. This flexibility enables 91ĚŇÉ« to act in the best interests of its customers by providing multiple purchasing options.

In today’s technology-driven broadcast television industry, expectations are high, and competition is fierce. Broadcasters must carefully consider their graphics delivery options with a close eye on expenses and ROI. The CapEx and OpEx approaches to graphics infrastructure each come with their own distinct sets of advantages and disadvantages. By selecting a high-quality system that can operate according to either of these models, you can achieve exceptional results while meeting both your immediate and ongoing financial needs.

Some legacy broadcast graphics vendors trace their origins back to the 1980s and even earlier. While these platforms were once industry staples, many are now considered outdated, earning the label “legacy” systems. Though they may carry brand familiarity and a long history, these aging tools and workflows are increasingly misaligned with the demands of today’s broadcast environment. Established vendors may have considerable brand-name appeal and a proven track record, but they might not be fully equipped to meet the technological demands of current video production environments. Simply put, more and more organizations are abandoning their legacy graphics systems in favor of far more adaptable next-generation systems that are capable of bringing them into the future of broadcasting.

As legacy graphics systems age, they become increasingly prone to hardware component failures, which can cause unexpected shutdowns. Their incompatibility with modern software platforms and digital devices often results in rendering output errors, driver incompatibility, and delivery glitches. Outdated graphics systems may also suffer from frequent crashes, data loss, slow start-up times, playback lags, and outdated user interfaces that complicate workflows. In general, aging graphics infrastructure puts broadcasters at higher risk of workflow disruptions and on-air issues that audiences are quick to notice, not to mention the constant frustration it creates for your production team.

As many older graphics systems approach end-of-life or require costly maintenance to keep them running, broadcasters that rely on them are facing increased levels of operational risk. Limited operating system (OS) compatibility and escalating support costs can lead to security risks and technical failures, which can cause outages during live production and long-term reliability concerns, especially for content creators working in mission-critical environments. If this sounds like your current graphics workflow, you already know how these issues can interfere with broadcast hardware and software functionality — causing technical failures, missed graphics in production, and escalated financial liabilities.

A fully supported, industry-leading graphics solution ensures long-term reliability, regular software updates, and responsive customer service. In many cases, outdated graphics systems are unable to deliver these benefits adequately. Choosing a best-in-class, next-generation graphics platform with a strong roadmap and dedicated support enables broadcasters to mitigate risks and focus on delivering high-quality content to their audience. In many cases, upgrading to a new XPression graphics system can be accomplished in phases with minimal interruption to your daily workflow. Seamless integration with minimal downtime is enabled through industry-standard protocols such as MOS, CII, and openMAM, which allows XPression to interface smoothly with a wide range of newsroom systems, automation platforms, and other third-party tools.

When it comes to delivering high-quality, universally compatible video production and broadcast graphics equipment, along with comprehensive ongoing service, 91ĚŇÉ« stands out as a trusted and forward-thinking provider. Our graphics solutions include continuing software updates, responsive global support, and a clear technology roadmap to ensure stability for broadcasters both today and in the future. By partnering with Ross, newsrooms and production teams gain a future-proof solution from a manufacturer committed to long-term development and customer success.

The bedrock component of 91ĚŇɫ’s graphics offerings, XPression is a real-time CG and rendering engine that delivers high-performance graphics across live and recorded productions. While many legacy systems are limited to traditional lower thirds and basic on-screen graphics, 91ĚŇÉ«’s XPression offers nearly limitless possibilities that span the 2D and 3D realms.Ěý

While XPression excels at real-time 2D and 3D graphics, broadcasters seeking advanced immersive environments can look to Voyager—91ĚŇɫ’s Unreal-based platform built specifically for extended reality (XR) production. =The Voyager software is even integrated into the XPression MOS Client for seamless all-inclusive graphics workflows for newsroom usersĚý

Looking for more advanced graphics capabilities? XPression Tessera offers seamless, synchronized rendering across large video walls and LED displays—perfect for immersive studio setups and complex, multi-screen productions. You can also create exceptional map-based visuals with XPression Maps, enable touch-screen interaction using XPression Touch Factory, and enhance your spot box workflow with XPression FX, enabling dynamic video playback and advanced effects control for live productions.Ěý

When they needed to upgrade the television production capabilities in their 165,000-square-foot facility in Ponte Vedra Beach, Florida, the PGA TOUR turned to 91ĚŇÉ« for graphics solutions. In particular, the ·É´Ç°ů±ô»ĺ’s biggest professional golf organization wanted to provide more engaging and immersive experiences for its target audience of sports fans.Ěý

Using a suite of Ross products, including XPression, XPression Tessera, XPression FX, and Voyager, the PGA enhanced their overall viewer experience for all elements of their live broadcast coverage. From LED content management to advanced video playback, the organization successfully captured the attention of viewers and kept them engaged in the long term.Ěý

Don’t sell yourself short with a legacy graphics system that can no longer go the distance. Today’s television viewer demands graphics that are vibrant, dynamic, immersive, and state-of-the-art. For more information, take a close look at 91ĚŇɫ’s full suite of graphics tools or contact a knowledgeable Ross representative today.Ěý

In some cases, it’s tough to beat the classics. A vintage Rolex watch, for example, can work beautifully, look amazing, and represent a tremendous amount of value. There is also much to be admired about a classic (or “legacy”) broadcast graphics system. After all, these stalwart graphics systems have been delivering generally reliable and effective video production and television broadcast graphics for decades.Ěý

However, the capabilities and capacities of legacy graphics systems are generally out of step with the operational processes of modern broadcasters and the general expectations of contemporary viewers. Is it time for you to replace one of these systems? Well, the expense of doing so will likely prove less costly than keeping it in place for the long term. Ěý

OS compatibility problems and other system-level failures are all too familiar with aging graphics platforms. As these systems mature, they often suffer from hardware degradation, affecting everything from processors to memory cards, which can lead to full system shutdowns. Many older systems also lag in technological evolution, leading to frequent rendering output errors when connecting with more current technology.

Software-related challenges are just as common. Glitches, driver conflicts, and total application crashes can disrupt operations, particularly during scheduled updates when newly released apps prove incompatible or unstable.

Additionally, some older graphics systems are known for experiencing frequent crashes, which can result in data loss and production delays. Rebooting these systems can be a slow and frustrating process, resulting in significant workflow disruptions and missed graphics cues during live broadcasts. Performance issues—such as playback lag, slow start-up times, and difficulty handling complex media timelines—are typical, especially when older systems are pushed beyond their original capabilities. These issues are compounded by growing security vulnerabilities, as legacy platforms often lack timely patches and updates—leaving critical broadcast operations exposed to cyber threats.

Beyond the technical concerns, many of these older graphics systems also lack intuitive interfaces. In a world of desktop design and video editing tools, newer user interface paradigms have become commonplace. Designed around outdated workflows, older graphics systems can present steep learning curves that hinder new or younger operators and slow down production teams. As one industry expert put it:

If you’re still making the most out of an old and tired graphics system, it may be time to make a change. You can enhance your current capabilities and better ensure long-term viability and reliability by switching to fully supported, industry-leading graphics solutions, such as those offered by 91ĚŇÉ«. Modern graphics systems are generally based on a strong integration roadmap and trained, dedicated technical support, which allows broadcasters to mitigate risks and focus on what they do best: deliver engaging, high-quality content to their viewers. After implementation, your new graphics system should be positioned to operate smoothly on currently supported OS environments, with a wide range of interconnected production software and hardware. To remain current, it is essential to work with equipment providers that offer regular updates for the graphics systems they manufacture and support.

Beyond ensuring the long-term relevance and versatility of your new video production and broadcast graphics system, you can maximize your return on investment (ROI) by choosing a versatile, real-time CG and rendering platform like 91ĚŇɫ’s XPression. Whether controlled by automation, a studio crew, or in real-time by on-air talent, the XPression workflow is great for news, live sporting events, studio shows, weather programming, and even remote coverage of special events. From traditional 2D and 3D graphics to real-time data-driven visuals and augmented reality (AR) integration, XPression is built to meet the evolving graphics demands of today’s content creators—and scale for tomorrow.

Many production teams hesitate to move on from their existing graphics systems—not out of necessity, but because those platforms feel familiar. But that comfort often comes at the cost of creativity. New systems like XPression are built to do more, faster—without steep learning curves—giving teams more freedom to design, animate, and innovate.Ěý

Legacy graphics vendors may have failed to keep pace with the latest technology, resulting in numerous compatibility and general performance issues for teams that use them. Suppose you are struggling to make your outdated graphics system work in today’s tech-driven and highly competitive broadcast environment. In that case, it may be time to level up to a modern system that will better position your organization for long-term success.

Today’s news production teams are expected to deliver broadcast-quality content in real-time across linear, streaming, and social media platforms. Despite these increasing demands, production switcher technology and workflows largely remain the same, still relying heavily on operator experience and skill to meet rising expectations.

Carbonite production switchers from 91ĚŇÉ« challenge this status quo. They’re packed with innovative features not typically found in standard modern video mixers and switchers—features that streamline workflows, reduce hardware dependence, and dramatically improve newsroom agility and output quality.Ěý

With tools like MiniMEs, UltraScenes, Sequences, Output Rotation, Canvas Mode, UltraChrome Chroma Keyers with Input Delay, and Rave audio mixer, Carbonite enables your team to do more with less, delivering more high-quality content across platforms while maintaining an intuitive and reliable user experience.

In this article, we’ll explore some of the advanced features within the Carbonite Switcher series and how they can help your newscast stand out while reducing the pressure on your production teams.Ěý

Live news moves fast. Operators must handle multiple camera angles, graphics, and data-driven overlays without missing a beat. Unlike traditional switchers that require external gear or manual layering, °ä˛ą°ů˛ú´Ç˛Ôľ±łŮ±đ’s tools simplify complex compositions, allowing you to build and recall intricate compositions — such as multi-box interviews, layered election graphics, or branded feeds — directly within the switcher. That means more polished visuals, fewer errors, and less pressure on your crew.Ěý

Keep Watching: Discover the full power of Ross Carbonite Production Switchers in our

Modern newsrooms are multiplatform by default. A story might need to go out simultaneously on air, social media, and the station’s live stream. But many switchers still treat vertical video as an afterthought, requiring post-production workarounds or dedicated gear.ĚýĚýĚý

Carbonite supports enabling native horizontal and vertical outputs. Your team can create platform-specific versions on the fly, without added editing or staffing. That means your team can produce traditional broadcast and social-first versions without re-editing or extra resources.Ěý

Your newsroom’s visual identity matters. Many switchers may require external systems or manual timing to execute transitions and recurring segment templates.Ěý

Carbonite helps maintain a consistent aesthetic with pre-programmed templates for common segments, such as weather, traffic, or breaking news. WithĚýProduction Sequencer,ĚýTechnical Directors can pre-build more complex sequencesĚýand trigger them step-by-step during the live show. That means smooth, error-free transitions, regardless of how fast-paced the show becomes.

News operations are constantly adapting. Whether you’re adding remote guests, launching new digital channels, or expanding coverage, your tools shouldn’t hold you back. Many modern switchers still require hardware upgrades when production demands grow, which comes with significant costs and implementation time.ĚýĚý

°ä˛ą°ů˛ú´Ç˛Ôľ±łŮ±đ’s modular architecture and software licensing model enable you to add capacity or functionality as needed, without the need to add or replace equipment. Combined with software upgrades, Carbonite switchers evolve with your newsroom, whether you’re adding remote guests, launching new platforms, or experimenting with new channels.Ěý

In today’s visual-first media environment, virtual sets and augmented reality elements are increasingly common in news production. But the high-quality chroma keying and technology required often means expensive external gear or a complicated setup process.Ěý

°ä˛ą°ů˛ú´Ç˛Ôľ±łŮ±đ’s capabilities are built in, making it simple to replace green or blue screen backgrounds with polished, branded virtual environments. Operators can fine-tune key edges, suppress color spill, and adjust foreground settings directly from the switcher interface, ensuring clean, believable composites and virtual sets on air. Whether you’re creating immersive weather segments, virtual interview spaces, or AR-driven election graphics, Carbonite gives you complete creative control and broadcast-ready results right from the switcher interface.ĚýĚý

Modern newsrooms often feature large-format displays, video walls, or multiscreen sets, but managing these setups usually requires complex routing and precise coordination across multiple outputs and devices.ĚýĚý

°ä˛ą°ů˛ú´Ç˛Ôľ±łŮ±đ’s allows operators to easily map content across multiple displays, creating a unified visual experience. Carbonite controls all outputs from a single Canvas control layer, keeping video walls, banners, and studio monitors in perfect sync during live segments.

It’s crucial to have tools that help your team stay composed on-air, even during the most intense moments. Some switchers bury advanced functionality in complex menus or require specialized training to operate efficiently. °ä˛ą°ů˛ú´Ç˛Ôľ±łŮ±đ’s interface is purpose-built for the pressure of live news production — designed for speed, flexibility, and ease of use.ĚýĚý

TouchDrive control panels, combined with °ä˛ą°ů˛ú´Ç˛Ôľ±łŮ±đ’s intuitive software UI, deliver a production experience that empowers operators at every level. Quick-touch actions to trigger macros and transitions, highly customizable workflows, real-time responsiveness, and a clean interface design help eliminate guesswork, reduce errors, and boost operator confidence.ĚýĚý

91ĚŇɫ’s Carbonite series of production switchers offers powerful, flexible, and scalable solutions tailored to the diverse demands of modern live production environments. Whether you’re working in a compact studio or a large-scale control room, there’s a Carbonite model engineered to meet your needs without compromise.Ěý

• Carbonite Ultra is the flagship mid-sized production switcher built with versatility in mind. Compact yet feature-rich, it supports up to 3 M/Es, 4 MiniMEs, and multiple DVEs, keyers, and format conversion paths, making it ideal for a wide range of production scenarios. It’s a reliable workhorse for broadcasters looking for high performance in a cost-effective form.Ěý
• • Ideal for mid to large-size stations managing broadcast + digital.Ěý
  • Flexible licensing model lets you scale features as needed.Ěý
  • Simultaneously outputs for traditional and vertical video platforms.Ěý
  • Delivers high-end production value without needing extra hardware.
• Carbonite Ultra 60 elevates the capabilities of the Ultra series by offering increased I/O capacity—up to 60 inputs and 25 outputs. Designed for more demanding productions, it’s a perfect fit for larger studios or multi-studio environments that need greater connectivity and future scalability.Ěý
  • Built to handle complex, high-volume productions.Ěý
  • Full feature set with maximum ME layers, MiniMEs, keyers, and more.Ěý
  • Scales to the demands of regional or national broadcasters.Ěý
  • Engineered for speed, reliability, and redundancy at scale.

• Ultrix Carbonite combines the routing, audio mixing, and multi-viewing power of the Ultrix platform with the robust Carbonite switching engine. This hybrid system delivers an all-in-one production solution that minimizes rack space and cabling while maximizing workflow efficiency, making it particularly beneficial for facilities looking to modernize or consolidate their infrastructure.Ěý
  • Hyperconverged production platform reduces complexity and equipment. Ěý
  • Scale quickly and economically with functionality expansion via software licenses.Ěý
  • Hybrid SDI/IP workflow support gives you flexibility and optionality. Ěý
  • Ideal for centralizing multiple control rooms for shared infrastructure efficiency. Ěý

Whether you’re running a single-camera studio or coordinating a live, multi-studio newscast with AR graphics and digital outputs, there’s a Carbonite switcher built for your workflow. Each model shares the same intuitive control experience, powerful live production tools, and seamless integration with Ross infrastructure so you can grow without compromise.Ěý

In a newsroom production environment, speed, reliability, and workflow integration are crucial. In this context, Carbonite Ultra often presents the best balance of features and value. Its native compatibility with Ross OverDrive automation, streamlined control panel options, and ample M/E resources make it ideal for managing dynamic, fast-paced newscasts where operational simplicity and technical reliability are essential. Additionally, its compact footprint suits smaller control rooms, while still offering the performance needed for complex graphics and multi-camera setups.Ěý

However, for larger newsroom operations with multiple incoming feeds, remote contributions, or integrated master control, the Carbonite Ultra 60 or Ultrix Carbonite may be more appropriate.

These models offer enhanced flexibility and I/O scalability, enabling more robust routing and signal management without requiring separate infrastructure.Ěý

Carbonite isn’t just a switcher. It’s a newsroom production platform designed for the realities of live, multiplatform broadcasting. It helps your team:Ěý

• Automate complex tasks with one-touch precisionĚý
• Deliver consistent, branded visuals across every segmentĚý
• Publish to linear, social, and digital channels simultaneouslyĚý
• Create virtual sets and multiscreen visuals with easeĚý
• Grow capabilities without changing gearĚý
• Reduce errors and stay on air—even when things change fastĚý

Modern demands need modern tools. With Carbonite, your team moves faster, works smarter, and produces better content day after day.Ěý

Contact our teamĚýfor assistance in finding the ideal Carbonite switcher for your needs.ĚýĚý

The modern news studio operates in an environment that demands speed, precision, and adaptability. As audiences consume news across a range of channels — linear, online, and social media — producers must deliver consistent, high-quality content tailored to each channel. Achieving this level of sophistication requires more than just skill; it demands the right technology and workflows to simplify complex operations and minimize the risk of errors.

Despite the enormous changes in distribution, the core workflows of many production switchers have remained essentially unchanged. These legacy systems still rely heavily on manual effort, require racks of external gear, and leave little room for adaptability in fast-paced environments.

Newsrooms now face the challenge of delivering more content to more platforms faster than ever before. To succeed, they need modern production solutions that do more than switch — they need tools that reduce complexity and provide flexible, intuitive control.

This article explores the modern capabilities newsrooms should expect in their production switchers — features that allow teams to work smarter, deliver cleaner shows, and meet today’s high-performance expectations that audiences demand.

In a typical control room, Technical Directors must juggle multiple live feeds and pre-recorded video segments, all while layering graphics, feeding onset monitors, controlling external devices, and more. Without a cohesive system, this complexity can lead to delays and errors. A modern production switcher can serve as a centralized hub, integrating all video and graphic inputs into a single interface.

Tip: Use MiniMEs and flexible compositing to create submixes and manage feeds. Monitor with built-in multiviewers and drive content from a single, intuitive interface.

Time-sensitive productions often leave little room for error. Pre-programming tasks in modern switchers streamline routine tasks, including frame-accurate transitions, quickly recalling multi-layered effects, and triggering connected devices.

A control room that pre-programs tasks to deliver real-time election results can transition smoothly between live feeds, graphic overlays, and expert analysis, ensuring consistent quality and pacing.

Tip: Build Custom Control macros to simplify repetitive tasks, such as transitioning from a weather forecast to a live traffic update. With the pre-programmed tasks, you can then trigger sequences step-by-step with accuracy during live production.

News audiences expect updates that are not only timely but also visually engaging. Production switchers with built-in chroma key tools that integrate with graphics engines and real-time data simplify the process of adding live updates, such as election tallies, stock prices, or weather forecasts.

Tip: Pre-configure templates for recurring data-driven segments. For example, a weather report can use a dynamic graphic overlay that updates automatically as data is fed into the system. During election night coverage, your production team can use a switcher to overlay live vote counts, seamlessly integrating with real-time data sources while maintaining a polished, branded aesthetic.

Producing content for TV is no longer enough; modern news studios must create versions optimized for social media and streaming platforms. Production switchers with simultaneous output capabilities enable teams to produce platform-specific content without duplicating efforts.

Tip: Use features like output rotation to deliver vertical video for social media while maintaining traditional horizontal formats for TV broadcasts. A breaking news clip can then be output simultaneously in a widescreen format for TV and a vertical format for social media, ensuring your newsroom’s content reaches audiences on their preferred platforms.

Maintaining a consistent on-air look reinforces your brand identity and maintains viewer trust. Production switchers offer customizable sequences to support more complex show opens, multi-step transitions, and long-running features, such as sponsored segments, making it easier to apply your newsroom’s visual style consistently across all segments.

Tip: Develop a library of sequences for common segments, such as weather reports, sports updates, or breaking news alerts. This allows operators to deploy branded visuals quickly and without manual adjustments. For example, a morning news show can maintain a unified aesthetic by using pre-programmed sequences and graphic templates, ensuring seamless visual continuity even as content shifts between live and pre-recorded elements.

News studios vary widely in size and scope, but they all face resource constraints, whether in staffing or budget. Production switchers that can scale through free software updates allow teams to adapt their workflows based on available resources.

Tip: Software-licensed features allow you to expand without adding or replacing equipment. Upgrade features like additional MEs or multiviewers through software keys as your needs evolve.

In high-pressure studio environments, production switchers must offer more than just technical capability. They need to empower Technical Directors to move quickly and with precision. Familiar user interfaces and customizable control panels reduce complexity, enabling operators to stay focused and responsive throughout a live broadcast.

Tip: Look for a production switcher that offers real-time responsiveness and customizable controls. An intuitive UI and a well-organized control panel can streamline repetitive actions, prevent errors under pressure, and ultimately elevate the performance of your production team.

Even the best-laid plans can be disrupted by breaking news or technical challenges. A production switcher’s ability to make real-time adjustments is invaluable in maintaining a polished broadcast under dynamic conditions.

Tip: Train operators to use features like hot-swappable inputs and live audio mixing so they can adapt quickly to unexpected changes. For example, if a reporter’s audio feed suddenly cuts out, the switcher operator can immediately lower the reporter’s mic and switch to a secondary source, maintaining professionalism on-air.

Multiplatform newscasting is complex, but it doesn’t have to be overwhelming. By leveraging modern production switcher technology, news studios can simplify their workflows, program routine tasks, and deliver consistent, high-quality content across all platforms. The key is to combine strategic planning with the right tools, ensuring that your team can adapt to the fast-paced demands of modern journalism.