A Powerful New Switcher Changes the Game

Grass Valley's Kayenne can handle big, complicated productions or, in some configurations, take on several smaller ones at the same time. It also has a radical new control panel that can be installed flat or in a banked curve, and a "Source Rules" feature permitting users to pre-program when to add or remove keys automatically over certain sources. In this interview, David Casper, manager of advanced development and Greg Huttie, director of product management for Grass Valley switchers and effects, talk about the company's newest major product.

Grass Valley has just unveiled Kayenne, its newest switcher. What sets it apart?

Casper: The most visible innovation is the new control panel, which is radically different than what we've done before. We've gone to a modular design so the end user can install it flat or arrange it in a banked curve. The video processing frame includes four-and-a-half M/E (mix/effects) banks, and each of those has six keyers—that's a total of 30 keyers. We've also integrated 16 DPMs (digital picture manipulators) into the M/Es—plus another four channels which are independently controlled. So we have up to 20 DPMs. The Kayenne has 96 inputs and 48 outputs. So overall it's very powerful.

The true test of a switcher lies in how the T.D. (technical director) interacts with it.

Casper: Yes, and Kayenne puts more control than ever at the T.D.'s fingertips. We created a modular Device Control Module that features a jog wheel to control forward and reverse motion and has a library of cues. Kayenne also features Define E-MEM (effects memory). We invented E-MEM years ago and have constantly improved it, but this is a whole new level of control. Digital effects and still stores used to be external devices, but we've built that functionality right into the Kayenne.

Huttie: Another innovation is the customizable System Bar. It lets the T.D organize and manipulate many different functions from just one section of the switcher.

With so many features and so much power, who is your target customer?

Casper: A network newscast and many sporting events, like NASCAR racing, use every one of these features. Even when you're producing a golf tournament, where you've got eighteen holes and maybe four cameras on every hole, you can see how very rapidly the number of inputs can be used up. Demands are increasing on the output side, too. One truck at a sporting event may now feed the home team broadcast, the away team broadcast, plus satellite or cable. Also, something like a World Cup soccer match needs specific feeds for different nations.

Huttie: Plus, it's human nature to always want more. When Kalypso came out with four keyers, everyone kind of laughed and said, "Nobody's ever going to use that." Well guess what? They have used them all and now they're asking for more, so the Kayenne gives them six. It's also got 96 inputs, but I'll bet you that down the road they'll even want more.

So more power and more inputs and outputs. What else?

Casper: We've added something called Source Rules, which put a degree of intelligence into the switcher. It's part of the control panel but configured through the on-screen menu. It allows you to pre-program the Kayenne to add or remove keys automatically over sources. For example, you may want your "LIVE" bug over your camera and remote shots, but never over a replay.

And that might be just one of a hundred things a T.D. has to remember to do manually in real time.

Casper: Right. The same with sponsor logos and many other graphics. Source Rules provides simple templates that let you plan ahead and tell Kayenne when and where to insert the graphics. Not only are the rules applied automatically but they can be previewed before taking it manually.

Huttie: When we showed the Kayenne to T.D.s, they really liked that feature. It's not surprising because that preview function can be an important safety net before putting something on the air—especially for complex animated sequences or sponsor logos.

What other features have caused the most comment among users who have tried Kayenne?

Casper: Well the Source Rules is number one, closely followed by the Define E-MEM, because it offers such precise control of the placement and timing of each effect. But we've gotten a great reaction to the design of Kayenne's control panel, not just because it just looks so good, but more importantly because of the functional innovations we built into it.

Such as?

“Each module is hot-swappable without shutting down your production, and when you pop in a replacement, you can automatically remap all the previous settings.”
—Grass Valley's Greg Huttie

Huttie: Physically it's easy to understand and easy to service. We use consistent color-coding to make it easier to follow various features or functions throughout the panel. Each module is hot-swappable—you can remove and replace parts without shutting down your production. And when you pop in a replacement, it automatically remaps all the previous settings and instructions—immediately.

Casper: In fact, there's a lot of power in each control panel module. Many of the buttons are "soft buttons." That is, their function changes through panel delegation. Instead of permanently labeling those buttons, each has a four-character LED display that indicates the function assigned to each button. This gives the T.D. tremendous power in building effects on the panel to fit the show. Also, as we create new features, we can add new functionality to existing modules.

You're talking about the actual control surface. But that's not where all the processing power is located.

Huttie: No, the processor and power supply is housed in a separate PCU (Panel Control Unit) that's designed to live in a separate place. We consider the Kayenne to be a very "green" design, not only because it uses less wattage than previous switchers, but because it's much quieter. There are no fans or other noise-making components in the control panel. It's completely silent.

Are Kayenne's control surface and operation different from those of Grass Valley's other switchers?

David Casper: Yes, in terms of the menu operation, we have improved the touch screen, which we pioneered for the Kalypso. For Kayenne, we've gone to a wide screen format, 15 x 9. We've built in some menu features found in Internet browsers such as "favorites" and "history" that allow you to find and copy a favorite settings page by name or simply by back-tracking. That can be a huge time-saver.

We've also redesigned the menus so everything navigates from the bottom up. That may sound counter-intuitive since we're used to computer screens that scroll down. But in actual use, your hand would obscure the screen. By working from the bottom upward, you can always see what you're doing. That's just one thing we learned after many weeks of ergonomic studies.

Did your ergonomic research reveal anything surprising?

Huttie: We were surprised to discover how often the T.D. relies on the feel of the switcher even more than the visual. It's a tactile thing, like a pianist who is sight-reading the music, the T.D. is watching the video monitors, and relying on tactile feedback. We supply a kit that lets them add a dimpled surface to any button they want to use.

Casper: The T.D.s also showed us how they rest their hand on the switcher so they're ready to reach the buttons they need the most. We came to call that position "the claw" and that guided our button placement. We moved the "cut" button about three inches to the left (under the right thumb) and provided space to rest the palm under the other buttons.

Huttie: But when we actually built an X1 (an initial prototype) and brought it to a hotel room at N.A.B. last year, our T.D. consultants told us we still had to adjust those buttons to get them right for "the claw." So even at the point of an X1, we moved those buttons. You need that kind of attention to detail in order to get it right.

I've read that the Kayenne offers an ergonomic installation option.

Casper: Yes, we deliver the control panel in sections so it can be installed either flat or curved.

You mentioned that viewing angles were part of the ergonomic design. How so?

Huttie: Well, in addition to the bottom-up orientation and position of the touch screen, we've improved our electronic panel labels called SNDs—Source Name Displays. We use OLEDs to label each customizable button.

Casper: OLED stands for Organic LED and we're using this cutting edge technology in a switcher for the first time. They make the SNDs bright, crisp and readable from almost any angle. At almost 180 degrees, they still look excellent. And because the T.D. can choose each label name, it's ergonomic in another way, too. Some directors prefer to call cameras 1, 2 and 3, while others prefer to call on Bob, Dave, etc.

The economy is challenging. Are there bottom-line benefits to purchasing the Kayenne switcher?

Huttie: There are several. First, the Kayenne delivers more and can actually cost less than the Kalypso. We've added all the new functionality we mentioned without increasing the price. Secondly, the Kayenne is designed for maximum flexibility. We offer several configurations at different price points—and depending on the configuration and operation mode, the same Kayenne can be used to control one extremely complex production—or entirely different programs simultaneously.

Casper: And for those customers who simply must buy a new switcher this year as part of the transition to high definition, the Kayenne is a good investment. We've designed it to provide years of reliable, flexible service. Finally, the Kayenne delivers superior production values. If you want the best possible viewer experience, you need the best switcher you can get.

This year marks Grass Valley's 50th anniversary. When you look at your products today can you see a design philosophy that goes back to the company's roots?

Casper: I think we've gone out of our way to discover how the customers really work during news and sports productions. We talk to a lot of people, asking them what their problems are and how we can help. For example, the enduser community is always focused on efficiency, so we count how many buttons you have to press to achieve something. Our designs are very much optimized for the quick access people need during production.