Echolab Taps Harris as Exclusive Atem Switcher Reseller
Harris Corporation and Echolab, have inked a deal making Harris the exclusive reseller of the Atem family of compact production switchers. “Echolab’s agreement with Harris is a boon for customers of both companies,” says Echolab President Nigel Spratling. “Current Atem customers should know they will still have access to the same outstanding service, support, people and products, while also gaining the advantages of the large Harris U.S. and international network. Overall, our agreement with Harris will enable more customers around the world to reap the production benefits of an easy-to-use, yet powerful, switcher.”
Harris will showcase Atem switchers at NAB packaged with an interface to the new Harris Inscriber TitleOne XT graphics system. Tight integration between the Inscriber system and Atem switcher enables users to produce professional graphics and compelling digital effects, seamlessly incorporating them into their productions.
Harris will demonstrate three Atem switcher models at the NAB Show. The base Atem switcher, first introduced at the 2009 NAB Show, is a 3 Gb/s 1080p (50 and 59.94), 1-M/E (Mix/Effects) production switcher. The all-new AtemEX is an expanded version of the award-winning original, offering 18 inputs and 10 outputs and two 10-window multiviewers for production monitoring. Rounding out the line is the new 2-M/E Atem2, which offers multi-M/E capabilities and an advanced two-channel 3D DVE at a very affordable price.
“The Atem line of production switchers is a strong addition to the Harris broadcast portfolio — rounding out our offerings and enabling us to expand in fast-growing markets such as house of worship, education and government,” says Dave Dougall, vice president of infrastructure and networking, Harris Broadcast Communications. “The new Atem switchers represent exceptional value and power for a wide variety of applications, and enable us to provide customers with an easy-to-use, feature-rich and cost-effective production solution for even the most critical live productions.”