With the recent debut of Carbonite Ultra 60, it’s the perfect time to explore one of its groundbreaking features, which takes a completely new approach to make scene-based workflows more flexible and streamlined than ever. 

Scene-Based Workflows Explained 

Technical Directors and Vision Mixers worldwide rely on Memories, Timelines, and Macros to efficiently manage the increasingly more complex and powerful Mix/Effects banks at the heart of virtually every live production switcher.  

In recent years, efforts have been made to move away from the “standard” M/E architecture in favor of so-called “scene-based” systems that provide virtually “unlimited” layers that can be managed as discrete elements in and of themselves. These scene-based systems are appealing, especially for applications such as templated studio rundowns, IMAG, or multi-screen productions.  

The Scene-Based Paradox 

The main challenge is that some of the qualities that make scene-based systems attractive also make them less than ideal for many common applications, such as news, sports, and even worship or corporate productions.  

Except in the most basic use cases, scene-based systems require operators to construct and save every combination of layers needed for the live show in advance. These “scenes” can then be accessed from the control surface(s) during the live production. But that assumes every detail of the show is known beforehand, which is all well and good — until it’s not.  

Most people who work in live television know that by its very nature, it is “subject to change,” and second chances don’t exist, so preparation is paramount to success.  

Despite “bast-laid plans,” things always change during a live production. When they do, the speed, flexibility, and more efficient use of resources dedicated Mix/Effects banks offer is far more valuable than a blank canvas, even one with supposedly “unlimited possibilities.”  

Since a scene-based workflow does offer certain advantages, is there a “best of both worlds” hybrid approach? Can a fast, flexible, and easily managed production switcher based on traditional M/E architecture provide multi-level scene creation capabilities?  

With Ross, the answer is yes — with the UltraScene Advanced Compositing Engine. (ACE) 

Scene-Based Workflows with UltraScene  

UltraScene, available in the Ross Carbonite Ultra, Ultra 60, and Ultrix Carbonite production switchers, provides eight individually manageable layers (four pairs) that require no M/E or MiniME resources. Layers can be turned on or off at will, and each layer has its own keying engine for Self or Auto-Select keys.  

The pooled DVE and Chroma-key engines in these switchers can also be assigned to any layer for more advanced effects. The multi-layer effects created in UltraScene can be easily stored or recalled, and any of the four available Scene generators can be assigned to panel buttons like any other source, making them instantly available on any M/E or MiniME bank.  

Scenes can be loaded and displayed as part of a switcher Memory or Custom Control macro, allowing them to be easily integrated with other switcher effects.  

For example, a multi-box UltraScene can be displayed on a MiniME directly or using only a single keyer. Perhaps best of all, any UltraScene generator can be assigned to any output, making it easy to feed on-set monitors or IMAG projectors.  

UltraScene, the latest addition to the Carbonite switcher feature set, provides an expanded creative toolset for operators while retaining the on-air flexibility inherent in ME-based production switchers.

The UltraScene Advanced Compositing Engine, which adds a new creative dimension to Carbonite production switchers, is another example of the relentless commitment to innovation that is burned into the DNA of every Ross product.

Learn More  

For more information about UltraScene, Carbonite Ultra 60 or any of the groundbreaking Ross production switchers, visit

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This latest software edition for the Tria, Kiva, and Mira products comes with a new set of RossTalk Receive Commands to improve playlist playout remote control, as well as an update to the default image at the video channel ‘unload’ for a more flexible user experience.

Kiva Presentation Video Servers get a boost with an all-new external Tally feature, while the Quad Viewer SDI OUT on the system is now configured for Count-Down to support operators further in the live event world. 

Finally, the Tria Explorer, Mira Explorer, Mira Replay, and Kiva Presenter applications all received significant feature updates, including:

Tria Production Video Servers

Tria Explorer app:

• Audio Meter Scale change

Kiva Presentation Video Servers

Kiva Presenter app:

• New Unload Channel controls for PVW Audio Player
• Output Mode setting added (Field vs. Frame)
• Audio Meter Scale change & Gain level added

Mira Replay Systems

Mira Explorer app:

• Audio Meter Scale change

Mira Replay app:

• Audio Swap & Mute from Foreign Replay Events
• New User Parameters for Stop at POI / Stop at OUT
• Multi-Item Selection in Clip Register and Playlist
• Modify attributes for Multiple Items in Playlist
• Clip Register “Preferred Camera” Highlighting in Clip Play mode
• Audio Meter Scale change

Upgrade your Tria, Kiva, or Mira Video Server Product

Customers with a software maintenance plan can with 91��ɫ Technical support to obtain the V9.2 Software upgrade. 

Customers who are unsure of their software maintenance status can contact their 91��ɫ Regional Sales Manager to confirm eligibility for the V9.2 Software upgrade.

For more information, visit the 91��ɫ Help Center webpage or contact 91��ɫ Technical Support at techsupport@rossvideo.com.

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The coordination required by the production crews is worthy of an audience itself. From the Technical Director and replay operators to the content managers, graphics playback teams, and broadcast engineers who bring it all together — the success of the show hinges on their perfectly synchronized teamwork. 

In the realm of Esports, the challenge is even more significant. The presentation of real-time statistics during a live event is critical to delivering a compelling story to fans. However, the lightning-fast pace of Esports is too quick for operators to provide integrated statistics and graphics in real time.  

So, what does the control room dance look like for a premier Esports event? Here’s how one of the most significant events in Esports fans’ calendars does it. 

Behind the Scenes of the Intel® Extreme Masters (IEM) Cologne 2023 

Last August, the Intel® Extreme Masters (IEM) returned to Cologne, Germany, and Esports fans descended upon the LANXESS Arena for the final three days of the competition, dubbed The Cathedral of Counter-Strike. This significant event in the Esports calendar draws a sizeable live audience and over 700,000 fans online to watch the world’s top Counter-Strike: Global Offensive (CS:GO) teams go head-to-head. 

IEM entrusted Rocket Surgery with adding Augmented Reality (AR) to enhance the production and immerse the audience and fans at home deeper into the action. 

Rocket Surgery accomplished this through a combination of cutting-edge Ross AR technology, including the Voyager Unreal-Based Render Platform, Ultrix routers, a Carbonite Ultra production switcher, and an OpenGear frame equipped with a range of signal processing cards. 

Complementing this array of production room technology was the use of the spidercam cable-based camera system to provide captivating and unique visuals and feed the tracking data required to power the AR visuals. 

A Unique Challenge: Presenting Real-Time Data for Esports 

In addition to the highly skilled operators working together effectively, Esports events require particularly powerful and flexible technology to handle the pace of the action.  

To address the challenge presented by the rapid pace of online gameplay, Ross introduced a tailored solution that combines DashBoard and Datalinq to seamlessly integrate all their video game APIs and devices directly into the production workflow.  

That allowed Rocket Surgery experts to program the custom DashBoard control panel using the RossTalk protocol to enable operators to manage the whole system efficiently and automatically merge inputs and data with AR graphics in real time. Automating the integration of real-time statistics into immersive AR graphics allows IEM to keep Esports fans well-informed and elevate the entertainment value of the show without additional operators. 

AR graphics, powered by state-of-the-art technology, continue to revolutionize Esports and live event productions. The Intel Extreme Masters Cologne event is just one example of how AR is being deployed to build a meaningful story and draw audiences of all live sports and events deeper into the action.  

Subscribe to our blog here to learn about the latest developments in Augmented Reality and live video production first.  

Ross Esports Venue Production Solutions 

Ross offers a comprehensive suite of Esports venue production solutions, ranging from extensive control room hardware to LED content management systems and venue control software. These products are tightly integrated to provide Esports producers with limitless control options for their arena or studio space. 

Learn more about how Augmented Reality solutions from 91��ɫ can enhance your Esports production at /industries/esports 

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