Choosing a Video Switcher

Edward B. Driscoll, Jr.
July 2006

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Choosing a video switcher is a significant decision for most video producers. While a video project's cinematography determines what it looks like, it's the video switcher that gives a multiple camera shoot its overall professional sheen. Video switchers, AKA video mixers, are particularly essential for a live production. A talented operator can use a switcher to blend individual video cameras on the fly with dissolves, wipes, and other effects, and frequently--but not always, as we'll discuss in a few moments--the sound as well. For a video director, the switcher is practically like a musical instrument, and shot timing and dissolves are often timed for an almost rhythmic feel that's subliminal, but palpable. For someone new to this aspect of video production, the switcher's myriad of knobs, faders, T-bars, inputs and outputs can appear overwhelming at first. But remember that what's going on with one row, is usually the same with the other rows..

Although a few manufacturers might give you the impression that their switchers can do everything, it's always best to have some idea ahead of time the main type of production you'll be using the unit for. Some units will be more flexible and allow you to work on different types of projects. Others are more limited, but may be perfectly suited for the type of production you do every week.

Are you going to use the switcher at a live performance on location? Then consider a model with its own custom-fitted travel case. Unless the switcher is going to be fitted into a studio control desk and never be transported, buying the case could be well worth the extra cost to protect the delicate circuitry inside. In addition, for those location jobs, you might want to consider a unit like the Datavideo SE-800, which has its own optional small bank of attachable video monitors.

But if you're working in a studio, then external monitors will give you a better idea what the audience is seeing, and small proprietized monitors become less important.

Of course, planning your input and output needs ahead of time is necessary. How many cameras will you need to switch? Are you mixing sound as well? All of these questions should be answered up front.

Most switchers will have a mixture of composite and S-video inputs. Many higher-end switchers will have bayonet-style BNC inputs. Whether these are worth the price depends again on your use: if you're working in a high-traffic area, a BNC's protection against accidental un-plugging is worth the price.

Not all video switchers are set up for audio. Again, ask yourself where the work is going to be done. If you're doing location work, a combined unit may make transport easier. A stand-alone audio mixer will probably have more features, and can provide somewhat better sound quality than combined units. If all-in-one sound and video is valuable to you, make sure the unit has a sufficient quantity of audio inputs and outputs for your needs.

High definition switchers are an even newer beast. Check out a switcher such as Edirol's V-440 HD if high def is definitely a high concept requirement. But be prepared to pay a fair chunk of change as an early adopter. .

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