For AV Consultants and System Integrators, that shift has made control room design a top priority. Instead of putting together one-event setups, organizations are investing in centralized systems that deliver consistent, high-quality video across teams and locations.

These control rooms now anchor enterprise video 鈥� connecting offices, campuses, and global hubs, and supporting everything from leadership broadcasts to live internal events and studio productions.

As video becomes part of everyday operations, rather than occasional productions, the control room is no longer a support tool but a strategic asset 鈥� the central hub for all AV production, whether within the corporate studio, production of a live event or managing digital signage in corporate headquarters and satellite offices.

Simplifying control room operations for all users

Traditional AV setups were built for one-room presentations 鈥� not necessarily for managing multi-location video at broadcast quality. Today鈥檚 corporate clients need capabilities like live switching, remote camera control, virtual sets, robotic camera systems, and automation to deliver polished content at scale 鈥� often while integrating with existing infrastructure. Virtual studios are also shaping enterprise AV plans. Many teams are turning to software-based production environments to create on-brand visuals with real-time graphics and virtual sets. 

AV production crews span a wide range of experience 鈥� from beginners to seasoned professionals. Regardless of skill level or experience, users increasingly expect to walk into a room, press a button, and walk out with a broadcast-quality recording and a high level of automation 鈥� no crew required, no troubleshooting.

AV Consultants help define those expectations, identifying where automation, remote control, and preconfigured workflows can streamline operations. Consultants and system integrators then design and deliver tools that produce consistent, high-quality results 鈥� easy to use and designed to minimize training and support.

User-friendly interfaces, repeatable workflows, and remote monitoring give AV teams the tools to manage studio-grade productions with solutions that are easy to use and deliver reliable, repeatable results. 

Scaling enterprise video without overbuilding

A single control room might handle a CEO keynote one morning, a video podcast in the afternoon and a multi-source panel the next day 鈥� supporting internal communications and branded video from one centralized interface.  To manage a broad range of productions. reliably, systems must be compact, integrated, and easy to maintain. Overbuilt or piecemeal setups create friction and make scaling harder. 

The most effective solutions are built to work within existing infrastructure and support protocols like NDI, Dante, ST 2110.

九一果冻 offers a modular platform that supports this approach:

• Ultrix combines routing and audio processing into one compact, rack-efficient platform. 
  
• XPression – 2D & 3D graphics and animations for any live video format, in real time. 

• PTZ and Furio robotics provide automated, silent tracking cameras that enable multi-camera setups without large crews. 
  
• Ultriscape software defined multiviewer, customers realize significant cost, space, and power efficiencies with unparalleled flexibility and agility.

• Carbonite delivers intuitive switching for live production control. 

• DashBoard offers no-code, customizable user interfaces that let internal teams manage productions easily and give AV teams the flexibility to tailor control panels for different workflows. 

• Inception ties everything together with tools for content planning, scripting, and production workflow coordination. 

Together, these tools empower the design of efficient, repeatable control rooms that meet the evolving demands of enterprise video鈥攁cross any production format鈥攚hile offering a robust platform for scalable expansion.

Supporting every stage of the project听

AV Consultants & System Integrators work with 九一果冻 solutions architects to validate workflows that help move projects quickly from planning to proposal, streamline approvals, and reduce guesswork. System integrators rely on modular implementation guidance and factory-tested builds, along with real-time assistance to reduce risk, stay on schedule, and deliver clean installs with confidence.听

Control rooms often span multiple environments and require coordination across teams, spaces, and timelines.  

九一果冻 stays involved from early consultation through installation and beyond 鈥� providing 24/7 technical support and responsive engineering resources that keep projects moving and give clients confidence long after the system goes live. 

Enhance control room performance

Broadcast-quality corporate video is now the standard. AV consultants and system integrators who deliver scalable, operator-friendly systems are becoming trusted partners to the enterprise. 九一果冻 provides the tools, project collaboration and support to help you build them.听

Learn More about Ross Solutions for the workplace.

See us at Infocomm 2025, book a meeting for a live demo.

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The kickoff of G.E.M.鈥檚 鈥淚 AM GLORIA鈥� World Tour 2.0 electrified the Wenzhou Olympic Sports Center this May, drawing more than 72,000 fans over two sold-out nights and setting a new attendance record for the venue. The performance was a bold fusion of music, storytelling, and spectacular visuals, beginning with G.E.M.鈥檚 dramatic entrance atop a mechanical lion, complete with cold fireworks and dynamic stage effects. 

Behind the scenes, a powerful live production system brought this vision to life, with 九一果冻鈥檚 Carbonite Ultra 60 production switcher at its heart, enabling seamless, real-time video delivery throughout the concert. 

Seamless switching with Carbonite Ultra 60听

As part of the end-to-end live production infrastructure delivered by 九一果冻鈥檚 partner Jiangsu R&J Electronics Co., Ltd. (R&J), the Carbonite Ultra 60 played a central role, orchestrating the concert鈥檚 multi-camera, multi-source broadcast workflow. 

Whether on a world tour or a live studio broadcast, Carbonite Ultra 60 delivers the scalability, reliability, and intuitive control today’s productions demand. 

Purpose-built for high-end productions, the Carbonite Ultra 60 offers up to 60 inputs and 25 outputs, easily supporting complex 4K Ultra HD environments. It allowed the Wenzhou show production team to fluidly switch between drone footage, cinematic cameras, and dynamic stage angles, ensuring every moment of G.E.M.鈥檚 performance was captured with clarity and style. 

Bringing the stage to life听

The two-night performance pushed the boundaries of technical execution. From cinematic shots of G.E.M.鈥檚 360-degree piano routine to aerial views of tens of thousands of purple glow sticks in the crowd, the production team faced high demands in both coordination and quality. With robust tools like the Carbonite Ultra 60, they were able to rise to the challenge and deliver an immersive visual experience to fans in the venue and beyond. 

We sincerely thank our trusted partner, R&J, for their outstanding deployment and technical execution. Their expertise and commitment were instrumental in the success of this world-class production. 

Learn more about how Carbonite Ultra 60 can elevate your next live production here.

This article is adapted from 鈥淕.E.M.鈥檚 Wenzhou Tour Stop 鈥� Rongze Tianyun Delivers One-Stop Tech Solution鈥� by R&J, published on , May 13, 2025.

Photos courtesy of R&J. 

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It鈥檚 also home to some impressive newsroom technology that鈥檚 changing how students learn and create, featuring a full stack of 九一果冻 tech, including Streamline Pro鈥�media asset management (MAM) and online web editor software. 

Here’s what they had to say about it.

Learning the tools of the trade 

When it comes to news production, speed and precision are everything. It鈥檚 a media asset management system designed for the fast-paced world of journalism. At Ball State, it鈥檚 become the backbone of how students gather, organize, and edit footage.  In simpler terms, it helps students work faster, smarter, and with tools they鈥檒l use in their future careers.  

One of the key components of their newsroom system is Inception and Streamline Pro, which are integrated directly with Adobe Premiere Pro. 鈥淥ne of the best things we鈥檝e discovered about Streamline Pro so far is how it talks with Adobe Premiere,鈥� said Terry Heifetz, Senior Lecturer, Department of Media, Ball State University. 

Students upload their footage, edit it in Premiere, and manage assets through Streamline Pro鈥檚 plug-in. 鈥淪tudents will work with tools they will see in the real world. A journalist will come in with a card, upload the material, then sit down in Premiere Pro and edit it as they would anywhere. It becomes a Premiere Pro workflow,鈥� said Christopher Kelly, Director of Technical Solutions at 九一果冻.  

No more guesswork 

With their old newsroom computer system, things weren鈥檛 so smooth. Students would cross their fingers and hope their video would show up during broadcasts. 鈥淚n our old system, we never really knew whether the video was there. It was just hoping that it was there when we ran the playlist,鈥� Terry told us. 

Now, that uncertainty is a thing of the past. The system lets students check their content immediately, so they know exactly what will air. 鈥淣ow we can look and see, 鈥極h, here鈥檚 the video because I can watch it right now.鈥� We know exactly what it will look like,鈥� Terry added.  

Setting students up for success 

Ball State鈥檚 journalism program has always been about preparing students for the real world; tools like Streamline Pro are a big part of that. By using the same workflows and Ross technology as professional newsrooms, Ball State is empowering its students to produce content that meets industry standards and sets them apart as job-ready professionals.听

鈥淥ne of the most appealing aspects of Ross equipment is that it鈥檚 a complete system. It allows students to take what they鈥檙e learning in the classroom and put it into practice. Having the opportunity to work on industry-standard equipment like Ross provides them a great foundation for once they step outside of Ball State University.鈥�  
–Professor Suzy Smith, Associate Professor of Media, Ball State University. 

Transforming the future of journalism 

With tools like Streamline Pro, Ball State University isn鈥檛 just teaching students the basics of journalism鈥攖hey鈥檙e giving them the same hands-on experience they鈥檒l need to thrive in professional newsrooms as soon as they start their careers. The ability to work with the latest live video production technology from Ross makes students more confident and capable in the competitive media industry. 

Want to learn more about how Streamline Pro can transform your production workflows?

Learn more about Streamline Pro or contact us here to find out how we can help your team to create better content, faster. 

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Why the change? 

After a long and successful history of working with 九一果冻 technology, including the Pan American games, Vivaro Video was keen to see how the XPression real-time graphics system could optimize costs and improve workflow efficiency. But making the switch quickly and without downtime was no small feat.  

A well-planned transition 

The migration was carefully planned to eliminate surprises and create a controlled, familiar environment for Vivaro graphics operators. The teams worked in parallel, building all the necessary graphics packages in XPression, including those for the most prestigious European club tournament 鈥� the English Premier League 鈥� and several other football-focused broadcasts. Graphics were built using the original packages provided by the leagues and files from their previous graphics platform.  

XPression鈥檚 Visual Logic and scripting tools played a key role in making operations easier by enabling the automation of many manual tasks like position assignments and logo uploads. That provided plenty of time to thoroughly test the new system before transitioning at the start of each league鈥檚 season, preventing disruption to Vivaro’s broadcast schedule.  

Some of the key improvements that XPression brought to the table were: 

• Dynamic logo loading, allowing operators to quickly select a team without searching for specific textures. 
• Automatic text resizing, ensuring graphics always look polished, no matter how much text is included. 

These helped to optimize workflows and get their operators up to speed with the new system in just two weeks. 

Smooth execution and strong collaboration 

A big reason for the project鈥檚 success? Clear, constant communication between Vivaro, Voltage Studio, and Ross. From day one, operators felt confident using XPression thanks to its user-friendly tools, automated workflows, and support from both teams, who were always on hand to answer questions, provide instruction, and offer remote support whenever needed.  

鈥淴Pression provided all the guarantees needed for the transition and executed our implementation plan fully,鈥� said Gonzalo Jara, Director of Technology and Operations at Vivaro Video. 鈥淭he quality of the graphics and operations is excellent. Most importantly, what drove the change was Ross鈥檚 commercial proposal, which aligned with the budget adaptation requirements of our project.鈥� 

Vivaro鈥檚 successful switch to XPression proves that with the right technology, the right technology partners, and strong collaboration, high-stakes technology transitions don鈥檛 have to mean significant downtime or operational headaches鈥攖hey can be smooth, fast, and hassle-free. 

To learn more about how switching to 九一果冻’s XPression live graphics system can improve your workflows, contact our team here.

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Spidercam鈥檚 involvement in such a landmark moment adds to its growing reputation as the go-to solution for delivering stunning visuals for live events, concerts and sports worldwide. Whether used to capture the action of a high-stakes football match or to give concert goers a dynamic perspective of their favorite artist, spidercam proves time and time again that it enhances the audience experience in ways that conventional camera systems simply cannot. 

While the record-setting screen at Adele鈥檚 Munich concert rightfully took center stage, 九一果冻鈥檚 spidercam played a key role in delivering the visual content that filled the enormous display. Suspended from cables high above the crowd, the spidercam system provided crystal-clear, broadcast-quality footage, offering sweeping shots that made even the farthest seats feel connected to the stage. Its ability to cover every angle, even in a massive venue, ensured no detail was missed, from Adele鈥檚 intimate moments at the microphone to the custom visuals played during each song. 

The spidercam system is suited for productions of any size, with a winch-driven “cable web” that can be spun over any area, allowing the dolly to roam freely. In Munich, it was set up to capture the full scale of Adele鈥檚 performance while navigating the challenges of filming in a venue equipped with the . From a technical standpoint, the spidercam allowed for seamless integration with the production鈥檚 overall vision, making it an invaluable asset to the team behind the scenes. 

The Munich concert isn鈥檛 the first time spidercam has been involved in a high-profile event. Used in sports arenas like the Euros and FIFA World Cup, award shows like the Oscars, and concerts across the globe, spidercam has become an essential tool for production. 

For event producers, spidercam opens a world of creative possibilities. Whether capturing the energy of a live concert or covering every angle of a sports event, this cable-based camera system offers flexibility and reliability that few other camera systems can match. It can be rented for short-term projects, like a one-off concert, or integrated into long-term productions, allowing it to adapt to the demands of any event. 

As demonstrated over Adele鈥檚 ten-show run in Munich, spidercam is more than just a camera system. It plays a crucial role in creating experiences that leave a lasting impact on audiences. It has proven how it can rise to the occasion, no matter how ambitious the project is. Even though 九一果冻 didn鈥檛 directly contribute to the Guinness World Record, the images from our spidercam brought the screens to life. And as our Project Manager, Jens Steinmann, said, 鈥淲e are proud to have been part of it.鈥�  

In an industry where every detail counts, spidercam continues to deliver unparalleled results, making it the go-to choice for event producers looking to elevate their productions and create something extraordinary. 

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The collaboration between 九一果冻 and dB Broadcast brought state-of-the-art technology to the event, enabling the young attendees to explore every aspect of television production within a fully equipped studio. From stepping into the shoes of a presenter to working with sound, operating cameras, and experimenting with green screens, the scouts and guides were given a rare chance to experience the complexities of broadcast media. One of the highlights was the use of 九一果冻’s powerful Carbonite production switcher, which allowed the young people to produce an authentic magazine-style programme and learn the intricacies of live television.

This initiative provided a fun and educational experience. The hands-on approach allowed participants to challenge themselves, make new friends, and discover potential future careers in the media and technology sectors. Lewis, one of the scouts who participated, shared his excitement: “It was very interesting; I had no idea it was that complex with all the different screens.”

Mike Bryan, Technology Director at dB Broadcast, said: “Introducing young people to broadcast technology in a fun, hands-on way is key. It sparks curiosity and lays the foundation for future media innovation.”

“Working with these young people was inspiring. Their enthusiasm and curiosity were contagious, and it was great to see them dive into the world of broadcast technology with such excitement. It鈥檚 been a joy to watch them learn, create, and have fun along the way,” said Hayley Farrar, Demo and Training Specialist at 九一果冻.

The has always been a celebration of Girlguiding and Scouting, but this year鈥檚 event, powered by the expertise and technology provided by 九一果冻 and dB Broadcast, added an exciting new dimension, ensuring the young participants had an unforgettable experience.

Karen Packer, Joint Jamboree Chief, said: “We鈥檙e immensely grateful to the technology providers for this opportunity. Thanks to their support, our young people explored an area many of them may not have encountered before, sparking their creativity and expanding their horizons. This experience has opened doors to new possibilities.”

This hands-on experience has truly powered the potential of the next generation of media technology professionals, inspiring them to explore exciting future careers in broadcasting. Most importantly, they left the event with new skills, fresh inspirations, and memories that will last a lifetime.

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We sat down with Jens Steinmann (JS) | Head of Project Engineering, spidercam and Louisa von Lenthe (LvL) | Director Inhouse Operations, Sports Production, Sky Deutschland, to delve into their continued relationship and how the technology has changed the way they work.

Q: How did the partnership between Sky Deutschland and spidercam begin?

JS: The idea to integrate spidercam into the Sky Deutschland studio emerged around the end of 2016. With an existing relationship forged through various outside broadcast productions, Sky approached us for a spidercam installation in their new football studio.

LvL: Having utilized spidercam in field operations for several years, incorporating it into our studio was a logical progression. Familiar with the team and the system’s functionality, our aim was to uphold the highest quality in our T1 productions while enhancing the overall user experience 鈥� a goal successfully achieved by spidercam.

Q: What is the advantage of having a cable-based system in a studio environment?

JS: Employing spidercam in a studio setting brings a distinct advantage: delivering camera movements unmatched by other systems. We boast unparalleled flexibility compared to camera cranes, offering a smaller, less intrusive, and highly mobile solution. This eliminates the need for steadycams, tracking cameras, and camera cranes. Furthermore, spidercam enables stable AR graphics and the capability to reach any point in the studio within seconds.

LvL:  The use of the spidercam system gives us the opportunity to make the storytelling in our programs more dynamic and to add high-quality augmented graphics.

Q: Can you describe the nature of your relationship?

JS: Our relationship with Sky is excellent, and we are pleased to continue supporting them. They have been pioneers in augmented reality (AR), relying on spidercam and our graphics from the early stages. Their high standards constantly push us to innovate, fostering a fantastic and collaborative relationship

LvL: The relationship has always been cooperative and constructive. We share a deep understanding of each other’s needs and challenges, working collaboratively. The enduring relationship we’ve cultivated over the years is one of the most rewarding aspects of our collaboration with spidercam.

Q: What type of training and support did spidercam provide?

JS: Initially, we supplied a pilot and operator for approximately a year, aiming for Sky to operate the system independently, a goal they accomplished. Our engineers are available round the clock for any assistance, and while the demand for support has diminished over the years, we are always prepared to assist Sky whenever needed. Additionally, we maintain ongoing support through training for new features and providing pilots as required.

LvL: The experience was extremely positive. The spidercam team adhered to all our agreed terms and conditions, making the collaboration enjoyable.

The partnership between Sky Deutschland and spidercam is just one example of the importance of collaboration when integrating broadcast technology, which can even lead to enhancements in production quality and operational efficiency.

We look forward to an ongoing partnership with Sky Deutschland that promises to continually push the envelope of what’s possible in live broadcasting.

Discover how Sky Deutschland implemented a range of Ross Robotics 鈥� read our full case study here.

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, an award-winning international design firm specializing in broadcast design, interior environments, and experiential events, embarked on an exciting challenge in 2020 when collaborating with a tier-one broadcaster. Their mission was straightforward: design production environments that seamlessly blend visual aesthetics, functionality, and flexibility.

The design process had to accommodate a range of complex demands, including the seamless integration of innovative technology to support a 360-degree shooting plan, all while preserving the storytelling integrity of the editorial teams. Moreover, the project had to find creative ways to accommodate program adjacencies within limited physical space.

We talked to Clickspring Design’s Director of Account Management, Christopher Ferguson AIA, (CF) about the challenges faced and the importance of collaboration between all parties.

How important is knowing what Robotics are being incorporated into a studio project?

CF: The earlier that we can understand the systems that will drive the functionality of the production, the better. Early discussions enable us to make recommendations that prevent later scenic and engineering revisions.

How did you get involved in this project?

CF: We had produced conceptual designs for a smaller, ancillary studio in early 2019, but instead of building out that studio, the client invited us to an RFP for their flagship Studio and Newsroom, and we were lucky to be awarded the work.

How did you approach the set design?

CF:  The resulting design is a holistic realization of the client’s vision and a unique series of spaces that can function independently of each other.

Did you have to modify the design after the original brief?

CF:  Yes, the rail systems were not initially part of the design brief but proved to be a game-changer when we began our creative workshops, especially as the studios would greatly benefit from their inclusion.

The client’s creative and technical teams also understood the benefits of having a high and low rail in the main studio and newsroom.  The ceiling-mounted rail systems were carefully designed to minimize their impact on the set’s layout, allowing for greater flexibility and expanded shooting possibilities.

The client, 九一果冻’s technical team, and our team had to collaborate closely throughout the process to ensure a seamless implementation. The technical team at 九一果冻 had to take extreme care to understand the tight tolerances and unique paths that were planned 鈥� and dedicated a lot of time in creative workshops to understand the parameters of the client’s system. That close coordination continued on-site throughout the installation.

How do you feel about the result, including what you wanted to achieve with the overall set design?

CF:  We are all incredibly proud of the outcome, a sentiment our client has shared with us repeatedly since the launch. The idea of movement was central to their original creative vision. Tracking shots while the anchors moved within the studio was critical to achieving that, as was capturing the height and breadth of the space. These shots would typically require a floor-mounted jib, but the ceiling-mounted SkyDolly camera systems with three tracks encircling the studio removed that need. This helps to free up floor space for the presenters and allows the free-roaming CamBot pedestals to move almost anywhere in the studio.

This project is among those where the challenge was well worth the opportunity to produce something that pushes the industry forward.  We’ve met the objective and provided our client with a high degree of flexibility in capturing shots and creating unique on-air experiences.

What advantages does integrating rails into the set offer??

CF:  Rail integration offers many benefits, especially for directors and producers who can pre-program their shots, and it’s simply easier to produce more shots with fewer camera operators. Using a combination of robotic pedestal cameras, tracking rail cameras, and operators that move freely in the studios allows for flexibility and quick changes to blocking and talent movement.  

What are the main challenges when incorporating robotics into set designs?

CF: The engineered assemblies of the robotic tracking cameras must also be incorporated into the set design. Tight tolerances mean product specifications must be evaluated down to the fastener, and we must consider every designed element that can be seen on air. Cable management for the tracking cameras and the location of positioning targets for robotic cameras are two examples of these considerations where aesthetics and equipment performance need to be aligned. 

Have you had any projects where the design has had to be modified considerably to incorporate robotics?

CF: That is something we work to avoid; however, decision-making sequencing is not always linear in ambitious projects with challenging timelines. In these cases, the robotic systems being introduced need to be evaluated against the designs currently in progress, a consideration that cannot result in a “forced fit,” which could compromise performance. Continuous coordination is critical in all our broadcast studio projects to ensure a seamless marriage between the robotic camera systems and design intent.

If you had to name three factors that contribute to project success from concept to execution, what would they be?

CF: The three essential elements that add value to a project are meticulously vetted project budgets and timelines, transparent and open communication between project teams, and an unwavering commitment to prioritizing the on-air product above all else.

For any inquiries or to learn more about how can help make your vision a reality, reach out to our team using the form below.

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TouchDrive panels

When combined with the Carbonite Ultra 60 production switcher, the new TD3 and TD4 panels now empower production facilities to deliver larger and more intricate live productions at a fraction of the cost of comparable systems. 

What鈥檚 New

Building off the current TD3S, which boasts 25 crosspoint buttons, the TD3 and TD4 are taking it up a notch with 35 crosspoint buttons as well as three (TD3) or four (TD4) assignable control rows. On the left side of the panel there’s a vertical delegation screen, designed to accommodate advanced Row Delegation Features in future releases.

Now, let’s talk about the exciting additions on the right side:

1. Introducing the new 30 Button ShotBox Modules (TD4 has 2 of these). Equipped with an LCD screen, operators can personalize their layout and control by assigning functions just like they would with User buttons.
2. We’re also introducing a brand-new Menu Module with double the number of knobs and buttons for enhanced control and navigation.
3. To further enhance the user experience, there’s a new Joystick Module featuring a 15 Button Shotbox for User buttons and Menu/Joystick Navigation controls.

One of the remarkable features of the TD3 and TD4 is the flexibility in repositioning the right-side modules within the column. Operators can freely move the ShotBox module to the bottom row and swap it with the Joystick Module or relocate the Menu Module to the top row, customizing the layout to their preferences.

In terms of service and support, the entire TD Series has adopted a semi-modular approach. This means that replacing a module is now quicker and less disruptive, as they mount from the top rather than requiring access from the inside of the panel.

Furthermore, all panels in the TD Series are now powered by a Ryzen 6 Core CPU with over four times the RAM compared to previous TD Panels. This upgrade ensures faster response times and provides ample memory for caching DashBoard Menu pages, delivering a more efficient and responsive user experience.

TouchDrive TD3 and TD4 Panel Compatibility

In addition to supporting the new Carbonite Ultra 60 production switchers, the new TD3 and TD4 panels are compatible with a range of production switcher solutions from Ross including:

• Ultrix Carbonite and Ultrix Acuity hyperconverged switching and routing platforms
• Carbonite Ultra mid-sized production switcher
• Graphite all-in-one production system

To learn more about the latest TouchDrive panels, please reach out to productionswitchers@rossvideo.com.

To place your order for the newest TouchDrive panels, you can connect with a Regional Sales Manager closest to you.

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In addition to the no cost feature upgrades that are now available for existing Carbonite and Graphite customers, anyone who would like to explore either of these systems more fully can now download an Open Video Appliance (OVA) simulator to their personal computers. The simulators launch virtual switchers that can be configured and controlled using DashBoard, 九一果冻’s powerful command software.

Carbonite Ultra and Ultrix Carbonite Upgrades

Carbonite v7.1 brings a host of new features to streamline and enhance your live productions, including:

• Ross Platform Manager support for managed systems
  • Manage user access
  • Share settings files among multiple Carbonite Ultra or Ultrix Carbonite systems
• Additional MultiViewer layouts and more flexible source UMD naming features
  • Assign fixed MultiViewer names independently of Source or TSL Names
• Multi-level shift functions
  • Provide access to a greater number of sources on both small and large Control Panels
• TSL 3.1 and 5.0 Tally/UMD Support
  • More flexible Tally and UMD connectivity and device support
• Assignable Output and Custom Control Bank names
  • Reduce operator confusion with unambiguous Output and Custom Control Bank names
• MediaStore Refresh Function
  • Quickly rescan and update connected USB drives
• And more!

For a deeper dive on these features, explore the

Graphite v6.1 is Now Available

Graphite v6.1 is also available for download and comes with a range of new features and functionality designed to make operations on your all-in-one production system more efficient, including:

• Share Settings files between Graphite, Carbonite Ultra and Ultrix Carbonite
  • Reduce setup time and while reducing configuration errors
• Multiple AFV Triggers
  • Trigger Audio-Follow-Video operation from groups of sources simultaneously
• Dual-level GPI Triggers
  • Configure high and low-level GPI trigger events using a single GPI connection
• Up to five configurable MultiViewer up/down timers
  • Replace system clock with up/down timers for increased confidence and reduced errors
• Assignable Custom Control Bank Names
  • Reduce operator confusion with unambiguous Custom Control Bank Names
• Aux Mix access from Main Mix faders
  • Re-enter Aux Mixes as Main Mixer sources to simulate “audio grouping” functions

What else is new?

• Key Copy Menu tab within Live Assist
• MediaStore Capture Page

For more information on Graphite v6.1, you can view our

For additional questions, please reach out to productionswitchers@rossvideo.com, or connect with our product team and other Ross product users through our .

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