"We have to match the {major} networks' technical quality," says Kevin Washburn, director of production operations for the 225-person company. "Yet we function with a lot less equipment and people. So, the more the equipment can do for us the better off we are."

   For the Washington, D.C.-based public affairs channel, keeping up with the "News Joneses" meant a gradual migration from a tape-only environment to a Grass Valley Profile server. The transition began last summer, with the program "American Writers" on C-SPAN3. Managing that environment prompted the network to nod in the direction of San Diego-based BUF Technology for its Spot server management system, largely due to conversations held at NAB2001.

   Released October 2000, the genesis of the Spot Server Management System can be traced to a simple need --to control servers and enable clip load-up at the touch of a software-labeled button.

   "A button with a display on it would allow the name of the clip to be inserted, and would give the operator an idea of when clips will be loaded on the video server," explains Bruce Bredon, president of BUF, a name previously know best for its videotape recorder control. A roadblock to earlier implementation, he says, was the prohibitive cost of the product. "Since the, the buttons have gotten more reasonable in price and have good reliability and ruggedness."

   Quickly, says Bredon, a full array of capabilities was achieved. "We realized we could program sequences or portions of clips, allowing you to easily call them up, play a sequence or change the playback order on the fly." These can include both individual and multiple asynchronous playlists, loops or fill and matte (key) clips, whose names are readable on up to 32 backlit LCD-equipped pushbuttons.

   As implemented by C-SPAN, Spot is most useful for live, free-flowing segments such as viewer call-in, says Washburn. "If a caller talks about the south side of Chicago, we'd previously have the corresponding video on two tapes with the exact video on each. But we'd have to shuttle that video back and forth to get to where that b-roll may be, and it could take up to two minutes."

   Those two minutes, he says, can mean a delay rendering the video commentary obsolete. "With the shot box, we can preload everything, and if somebody mentions the south side, we have that video on-air in a second or two. It really did improve our program."

   Formed in 1979, C-SPAN (Cable Satellite Public Affairs Network) will continue its gradual migration to an all-digital environment, which -- Washburn states -- should be used exclusively in studio productions by this summer. In March, C-SPAN2 began utilizing the Fibre Channel-based, real-time Grass Valley Media Area Network (MAN), which features more than 300 of audio, and it supports both standard-and high-definition bandwidths up to 80 Mbps.

GROWING DOG

   Like any puppy, Spot experienced a growth spurt as its first year progressed. From its genesis, multichannel capability was an intended standard feature. Last fall, that feature was implemented for Odetics protocol servers -- via the addition of the RM-4000 remote processor option -- and currently provides Spot with eight-channel, dual-VTR control.

   "HBO Latin America bought it sight unseen before we had it done," says Bredon of the upgraded system, which began shipping around the first of the year. "They liked the single-channel version we showed them at NAB2001."

   Around that time, BUF threw Spot a bone with a video inserter option, which superimposes a loaded clip's name and timecode numbers into a composite video signal for monitoring purposes. BUF also recently announced support for VDCP (or Louth) protocol.

   "Since some servers don't support the Odetics protocol, this increases the scope of different models that Spot can control," adds Bredon. All previous standard features are available, including an array of playlist and loop abilities, clip scanning and editing, as well as the ability to record and autoname clips.

   Despite the fact that C-SPAN currently uses the eight-channel supported Odetics protocol, the network is dedicating only two channels to each of its studio control rooms. Washburn says he can't see going to eight channels.

   "We really only need two, so you can dissolve between two different pieces of video," he said. "Otherwise you can probably do it all with one channel."

   Washburn also reports a quick "housebreaking" for Spot with C-SPAN technical personnel. "We've got our people {trained} in one-hour sessions, and I'd feel comfortable with any of them using the equipment after that."

   Washburn is enthusiastic about the customer service and customization features that BUF provides them. "We don't want something 'off-the-shelf' that is great for the networks, because we do things a bit unusually," he explains. "Adding a feature into the system {for us} has not been a problem for them."

   In keeping with this, says Bredon, free software upgrades for their products are always available. "We continue to support products designed up to 10   years ago. Customers who bought our product are very happy, since the can just upgrade the product without buying something new," he adds. Aside from C-SPAN and HBO's Venezuelan offspring, the roster of current Spot owners includes KCTS (Seattle), KLCS (Ls Angeles), WVIZ (Cleveland), CFMT-TV (Canada) and MCMU (Mt. Pleasant, Mich.).