TM Broadcast International 6, February 2014 by Daro

Summary

Editorial

PAN SHOT

ZOOM IN BEXEL with Lawo audio and video equipment in Russia and Brazil

TEST AREA: AJA Ki Pro Rack More than an alternative to VTR

THE BEST OF 2013 IN TM BROADCAST INTERNATIONAL ATEM 2 M/E /ATEM 1 M/E, EVS in Fox Sports, Tricaster 40, WOHLER AMP2-16V.

34 Staff

Editor Javier Martín Fernández editor@tmbroadcast.com Director Jesús Carrillo director@tmbroadcast.com Creative Direction Mercedes González design@tmbroadcast.com

Key account manager Cristina Feduchi Javier M. Gutiérrez international@tmbroadcast.com Administration Laura de Diego administration@tmbroadcast.com

Editorial 2014 is going to be so exciting. However, sports broadcasting and production are heavy technology user. In February the focus will be in Russia, in the Winter Olimpic games and previously in The Superbowl, one of the main broadcasting events ever with the World FIFA Championship of summer. Main starring is going to be 4K and Ultra High Definition, not just in recording or brocasting but also applications such as HD zooming, replays, etc. A main difference between this technology and 3D (in 2012 this was a main technology actor in Olimpic Games) is that 4K and UHD itÂ´s easy to manage and have a lot of applications. Indeed, 4K images are so deep and its like a 3D without glasses. 2014 its first TM Broadcast International birthday. We actually have 44.629 audited readers in the whole world, we want to still growing with all of you along this year. Currently, TM Broadcast International can be downloaded in IOS and Android an also check the magazine on www.tmbroadcast.com. We hope you appreciate our efforts to be a window to broadcasting reality and offer the best equipment test bench.

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FOR-A’S FT-ONE 4K camera used for NASA space launch FOR-A’s FT-ONE full 4K variable frame rate camera was awarded a 2013 Government Video Salute Award. Presented by Government Video magazine, the awards honor the 10 most innovative products on the Government Video Expo show floor. GV Expo was held last month at the Walter E. Washington Convention Center in Washington, D.C. In its GV Expo booth, FOR-A demoed the FT-ONE 4K super slow motion camera with its new 4K extraction system, the ZE-ONE. The company showed high-speed footage from the FT-ONE taken during NASA’s recent launch of the MAVEN (Mars Atmosphere and Volatile Evolution) spacecraft on a 10-month mission to explore Mar’s climate history. Capable of recording up to 900 frames per second (fps), the FT-ONE captured stunning 4K footage of the event with a FUJINON Premier 4K+ PL Cine zoom – the 75-400mm T2.8-T3.8 (HK5.3x75). During his GV Expo keynote presentation, Rodney Grubbs, Program Manager at NASA Marshall Space Flight Center, noted the FT-ONE’s performance in his

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discussion about 4K and NASA’s search for new technology. “FOR-A is honored to have the FT-ONE recognized as one of the best products at GV Expo, an event where so many great technologies are shown,” said Hiro Tanoue, FOR-A Corporation of America’s President. “The FTONE is ideal in many different applications, from sports and broadcast events to rocket launches. We look forward to seeing innovative, new ways the camera will be used in the future.” In Government Video’s announcement of award winners, the FT-ONE was described as follows: “If you saw the FT-ONE 4K Variable Speed Camera video that FORA showed continuously at GV Expo 2013, you would immediately know why the camera was chosen. Its stunning resolution and hypnotically smooth ultra-slowmotion turned a blast from a tank’s cannon into kinetic art.” The FT-ONE employs FOR-A’s high-sensitivity CMOS color sensor, “FT1-CMOS,” and plays back full 4K (4096 x 2160 pixels). One output channel can provide QFHD (four 1080p 3G-SDI) outputs, while the other output channel provides down-converted HD-SDI for live viewing and play back. The FT-ONE captures images as uncompressed raw data on the system’s internal memory, which has a recording capacity of 9.4 seconds. This data is then stored on one of two hot-swappable SSD cartridges, each of which is capable of storing 84 seconds of full 4K resolution images at 900 fps.

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PlayBox Technology to introduce ProductionAirBox at BVE 2014 PlayBox Technology announces an addition to its ever-expanding portfolio of broadcast and production workflow solutions. ProductionAirBox will be introduced by PlayBox Technology on stand N 05 at BVE 2014 in London's ExCel exhibition centre, February 25-27. "ProductionAirBox is an extremely fast media manipulation and delivery system with the near-zero latency demanded for the fast-paced work environment of broadcast news, sports and live production." says PlayBox Technology UK Ltd Managing Director Don Ash. "It complements our NewsRoomBox production system by allowing practically instant switchover from one clip to another. A wide range of file formats and resolutions can be imported into the playlist, with up to 16 digital audio channels to accommodate multi-channel multi-language programmes." Based on multi-channel engine architecture, ProductionAirBox can deliver content rapidly in one-shot mode or from a playlist. Files with an alpha channel are output as independent fill and key sources. Supporting capabilities include clip timecode on the SDI output plus a clip trimmer with a dedicated SDI output. ProductionAirBox can be controlled via VDCP and Media Object Server (MOS) protocols. Changes to the playlist can be made even while on-air. Every clip in the playlist can be trimmed or repositioned on-the-fly using commands such as next, jump or shuttle. All changes are performed seamlessly without inte-

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rrupting the current playout session. Up to four independent players can be accommodated on a single server. Each player has separate playlist and playout control. Four SDI interfaces can be assigned as programme or preview outputs. Operation can be streamlined using single channel or multichannel user interfaces. The ProductionAirBox feature-set also includes forward or reverse shuttle at up to 32x speed, mixing of different video resolutions and formats in a single playlist, logical content trimming, multi-channel audio output, plus support for a wide variety of compression standards and media containers. In addition to its broadcast production applications, ProductionAirBox is ideal for use wherever instant access to stored content is needed, including studio displays and presentation screens. "We will also be demonstrating our complete Channelin-a-Box broadcast playout system," adds UK Sales Director Ben Gunkel. "This is based on software modules which can be configured to match a channel or network's current requirements and easily expanded. The entire system runs reliably and efficiently on compact PlayBox Technology servers and processors." PlayBox Technology UK representatives at BVE 2014 will include Don Ash, Ben Gunkel, Ananth Sam, Phillip Neighbour, Alan Bunting, Maurice de Jonghe and Jonathan Baker.

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Samsung Electronics unveils cutting-edge display solutions at ISE 2014 Samsung Electronics unveils its B2B display solutions at Integrated Systems Europe (ISE), the largest international B2B display exhibition in Europe. Samsung will introduce solutions optimized for a variety of environments, including retailers, offices, airports and hotels. Under the theme ‘Integrate, Interact and inspire’, the world’s leading electronics company will set out its vision for the future in display solutions. Samsung will unveil a new version of the ‘Samsung Smart Signage Platform’, a digital signage platform that provides a more efficient business environment. The Smart Signage Platform debuted at ISE 2013 and has been upgraded and integrated into Samsung’s large format displays (LFDs) for 2014. This enhanced digital signage platform with the industry’s first quad-core system-on-chip (SoC), will help Samsung to expand its market presence. Samsung aims to focus on its ‘integrated display solutions’ in

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the digital signage market, which is expected to grow by over 20% CAGR (compound annual growth rate) up to 2017. Samsung’s presence at ISE also includes: - A huge ‘multi-vision tower’ combining 54 of the world’s top LFDs (UD55D) with the world’s slimmest 3.5mm ultra-slim bezel, the company will captivate the audience with a magnificent display - Visitors will be able to identify images of products displayed on a 95” LFD (ME95C) in their real size, while browsing multiple products in a virtual store window. ISE delegates can also experience how easy it is to update various promotional data on restaurant menu boards using Samsung Electronics’ display solutions - In the space designed as a hotel room, the audience can experience Samsung's innovative hotel

solutions with TV content that is controlled by guests - A simulated airport where visitors can see flight schedule information, weather updates and other useful information that is updated in real time on Samsung’s LFDs. This solution provides travelers with information on flight schedules at airports updated in real time - A more advanced conference environment in which electronic bulletin boards can replace conventional projectors and screens. Launched in December 2013, Samsung’s Magic IWB 3.0 enables more than two LFDs to operate as a single unit, and allows users to cooperate efficiently by sharing content with laptops and tablet PCs - An efficient work environment where users can work and video conference simultaneously by dividing a UHD LFD screen into 4 full HD-level screens.

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Integrated Microwave Technologies, LLC (IMT) appoints Alvin Talveras as Business Development Manager, Sports & Entertainment Integrated Microwave Technologies, LLC (IMT), is pleased to announce that Alvin Talveras has been named to the position of Business Development Manager, Sports & Entertainment. In his new role, Talveras will be responsible for generating new as well as managing IMT’s existing relationships with professional sports teams, stadiums, system integrators, and video and cinematic production companies, colleges and churches. Fluent in Spanish, Talveras will also be an asset to the company as it continues to expand and cater to its Spanish-speaking customers in the U.S. and abroad. In addition, Talveras will manage IMT’s recently announced reseller relationships with Vitec Videocom.

“Alvin is a strong customer relationship advocate and his experience in sales, marketing and project management makes him a key addition to our team,” says IMT Divisional Chief Executive Stephen Shpock. “We look forward to Alvin’s hard work and contributions as he will play an integral role in increasing our market share in the sports and entertainment sector.” Prior to joining IMT, Talveras worked as a retail field manager at SAS Retail Services where he built relationships with vendors as well as store and territory managers to gain category insight and optimize sales. Talveras received his Bachelor of Science in Business from the Ramapo College of New Jersey, Anisfield School of Business.

2014

SGL at CABSAT 2014 At CABSAT 2014 SGL technical and commercial staff will be on-hand to discuss the latest developments in archive workflows and the continued development of LTO based systems enabling ingest of material directly into the archive store. The team will explain how SGL’s Notification Service takes the next step by allowing details about the archived material to be automatically pushed to a MAM system, creating time and cost benefits. SGL’s Open System architecture provides broadcasters, post production facilities, news & sport, with reliable, scalable solutions with substantial cost and workflow benefits. SGL will be available on stand B6-42 to demonstrate and discuss the following solutions: • FlashNet: SGL's FlashNet content management solution is designed to integrate seamlessly with NRCS, MAM or automation control systems to provide significant improvements to workflow efficiency without intruding on the users’ familiar desktop. Whether customers are looking for a single site archive system; main and back-up operation or a hub-andspoke configuration, FlashNet can accommodate their requirements with ease. • FlashWeb: Using SGL FlashNet broadcasters and content owners can easily archive and restore material without the need for a controlling MAM or automation system. Using FlashNet’s powerful yet easy to use tools, the user can archive directly to any configured FlashNet disk or tape group. Once in the archive, metadata can be extracted or added manually, and searching for and restore of clips is quick and easy. The interface which runs on a web browser can be used on any platform – Windows, PC, Mac or Linux. • FlashBrowse: SGL will be demonstrating FlashBrowse its archive management application. FlashBrowse can be configured to provide at-archive browse creation, automatically generating browse resolution copies of clips as the high resolution versions are archived. The FlashBrowse web UI can be used to instigate restores or partial file restores directly from the desktop.

Alvin Taveras

• Sony ODA: SGL technical and commercial staff will have details of the latest developments with the Sony ODA system.

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Harris Broadcast completes acquisition of Imagine Communications Harris Broadcast announced it has completed the acquisition of I m a g i n e Communications, a leading innovator in digital video solutions that deliver bandwidth-efficient services with optimum video quality. “TV Everywhere is the future of our industry, and our customers are vigorously pursuing this path to expand their business models and improve the monetization of content across any screen,” said Charlie Vogt, CEO of Harris Broadcast. “The advanced Adaptive Bit Rate (ABR) technology created by Imagine combines quality, density and a small footprint to greatly leapfrog anything else on the market today and improves transcoding economics up to a factor of 10 over competing alternatives. Our content creator and content distribution customers, including cable, MSO and telecommunications service providers, will benefit significantly from end-to-end portfolio integration that establishes a clear pathway to linear and non-linear viewing parity across every screen.” On Dec. 4th, Harris Broadcast announced a definitive agreement to acquire Imagine Communications. The acquisition enhances Harris Broadcast’s already robust solutions portfolio as the company builds the first true MultiService SDN™ (Software Defined Network), integrating sales, scheduling, automation, playout and delivery throughout both linear and non-linear content distribution networks. It also brings

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Engineering, Cogeco. “We are pleased that these great companies have come together and look forward to the integration advantages and innovation that will enable us to more effectively manage and distribute the highest quality content possible across any network and any device.” The acquisition expands Harris Broadcast’s current R&D and innovation initiatives and increases the company’s total global addressable market. Imagine Communications has invested more than 8 years in developing industry-leading technologies and its seasoned R&D team’s competencies in ABR, OTT and TV Everywhere bring significant value to Harris Broadcast. Charlie Vogt

advanced transcoding technology utilizing cutting edge software breakthroughs that run in high density, low power commercial-off-the-shelf (COTS) and blade-server environments, consistent with Harris Broadcast’s vision of software-centric, virtualized operations. “Harris Broadcast is a recognized leader and innovator in the broadcast and media industry, and Imagine Communications is wellestablished as our key technology partner, enabling statistical multiplexing and switched digital video transcoding in our high quality cable distribution network,” said Kevin Cuffling, Senior Director Video

“In addition to fully supporting the existing Imagine ICE® Broadcast System customers and penetrating this attractive global market opportunity, we will leverage the quality and innovation in both companies to build next generation solutions around ABR, cloud PVR and Content Delivery Networks,” said Steve Reynolds, Chief Technology Officer, Harris Broadcast. “Our combined portfolio today offers the most robust compression and processing solution in the industry. Imagine’s advancements and transcoding expertise in high availability, IP-centric, Linux-based environments complements existing advancements underway at Harris Broadcast and opens the door to an array of development and integration opportunities.”

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ATG Broadcast at BVE 2014 ATG Broadcast will promote its all-embracing range of broadcast systems planning, design, installation, commissioning and post-installation support capabilities at Broadcast Video Expo 2014, London ExCel, February 25-27. Exhibiting on stand N45, the company will be represented by Christoffer Kay (Managing Director), Tim Felstead (Head of Sales & Marketing), Clive Northen (Chief Operating Officer), Dave Whitaker (Senior Project Manager), Charlie McCaw (Head of Solutions) and Chris Elson (Product Sales Manager).

2014

Ross celebrates 40th year with a new look After 40 years, Ross Video begins their “Ruby” Anniversary with an updated look that includes a new corporate logo and new tagline - ‘Production Technology Experts’. The updated logo and tagline are designed to better represent the reality of the new Ross Video – and its dramatically expanded product portfolio and global footprint.

tion) was a relevant design when Ross only made video production switchers. As Ross has grown and its product portfolio evolved to encompass a full array of video production technology and services, a new logo made sense.

We are very proud of our past, and the original Ross logo,” said David Ross, CEO, Ross Video. “With our new logo we wanted something bold and fresh while still immediately recognizable as Ross. The logo was evolved from the original with the Ross name remaining front and center. My father and Ross founder, John Ross, signs his name with an underline, and the stroke under the logo represents his signature as well as the forward momentum that began back in 1974 when he sold his airplane to raise the seed money to start this amazing company.”

known for graphic systems, automation, control systems, infrastructure products, robotic camera systems, social media management, newsroom systems and most recently, mobile video production with the acquisition of Ross MCP. It was time to recognize all these changes with an updated look – while also recognizing a big milestone Ross’ 40th anniversary. We took our time, 6 years, in exploring what our new logo should look like. Thousands of design samples and refinements later, we finally arrived at something we feel is just right. It is simple, yet sophisticated - representative of where Ross is at today and where we are headed into the future.

“Ross is a leader in so many areas of production technology now,” continued David. “We are

"ATG Broadcast pioneered the transition from tape-based technology to file-based production, content management and playout for terrestrial, satellite, cellular and IP-based viewing," comments Dave Whitaker. "A key element of our service is the ability to meet tight installation and commissioning deadlines. We are able to draw on experience gained through working with a very wide range of technology suppliers in designing, integrating and commissioning complete turnkey systems that will work efficiently from day one." "Being part of the Dan Technologies Systems Integration Group ensures that we have the full resources needed to meet our clients' current and future demands," adds Tim Felstead. "In addition to our role as a systems integrator we will be promoting selected third-party products which we offer as a distributor. These include the AmberFin range of broadcast file management tools plus the latest Vidcheck software for automated quality control and correction of filebased video and audio." Systems integration projects currently in progress or recently completed include: * System expansion for Ericsson Broadcasting Services at its headquarters in Stockholm, including the upgrading of Studio K2 from standard definition to 1080i high definition. * A DTT multiplex system as part of the extension of terrestrial digital video broadcasting services for a major European transmission service-provider. * Playout facilities for the new HD2 Sports high-definition channel at the Stockholm headquarters of TV4 Sweden.

The original Ross logo and distinctive analog cross-fade “X” (a basic production switcher func-

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Three different keying solutions for Crystal Vision's Cabsat visitors Crystal Vision will be showing three different keying solutions on Stand B6-42 at CABSAT 2014. The Safire 3 real-time chroma keyer has gained two new processing features (Shadow Density and Key shrink) which make it even easier to generate the best possible output picture. Working with 3Gb/s, HD and SD sources, Safire 3 is ideal for all live virtual productions from studio to sport. This 100mm x 266mm module uses an extremely sophisticated algorithm and an extensive range of fine-tuning tools for convincing edges, noise reduction, colour spill processing, lighting compensation and colour correction, and includes a framestore synchroniser and up to ten frames of delay on each input. Safire 3 can be operated using a choice of control options, including dedicated touch screen control panel (the Safire 3 Controller) and a web browser running on any device. The first new processing feature is Shadow Density, designed to make it easy to increase or reduce the appearance of shadows. It can be used to remove any shadows that have been cast on to background graphics by uneven lighting, something often required in news-type applications, or alternatively to increase the shadows to make the composite image look more real â&#x20AC;&#x201C; ideal for full length shots where shadows would be naturally cast on to the floor. The second new processing feature is Key shrink, a useful tool for enhancing edges by reducing artificial borders between the camera feed and background. Key shrink is user adjustable in 0.001 pixel steps from 0 to 1 pixel. The MultiLogo logo keyer is a powerful branding tool for adding up to three graphics to HD or SD video sources, providing 4 GB or 8 GB of internal storage for up to 500 graphics. Features include numerous key processing controls, look-ahead preview, clip recording and trim-

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Multilogov132

ming, Quick Text, the ability to store 255 partial presets and relay bypass protection. The latest version of MultiLogo is ideal for video and audio branding applications with its powerful new audio features: it can embed up to four audio groups into its video outputs, with audio mixing allowing this output audio to be generated from a mix of the audio embedded on the video input and a voiceover or sound effect sourced from either the two internal audio stores or from an external AES input. The voiceover or sound effect can be faded in and out and have its level adjusted, while the main programme audio can be partially or fully dipped allowing it to be either mixed with or be replaced by the voiceover. Audio and video cross fading is additionally available. For more simple keying applications, LKEY 3 is a new linear keyer incorporating numerous features for a smaller price tag. Designed for keying one graphic over 3Gb/s, HD

or SD video streams, LKEY 3 brings with it a number of new features appearing on a Crystal Vision linear keyer for the first time: it is the company's first 3Gb/s-compatible linear keyer, and features masks with adjustable edge softness, as well as a frame synchroniser on each input along with an additional ten frames of video delay ideal for matching any big system processing delays. Also on show will be Crystal Vision's full range of interface products. These include up and down converters with the picture quality that broadcasters standardise on, 2 x 2 fail-safe routing switches that guarantee a clean switch with a full framestore synchroniser on each input, and flexible embedded audio solutions that combine embedding and synchronising with Dolby encoding and decoding.

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Fujinon Technical Support center in place for Sochi Winter and Paralympic Games FUJIFILM North America Corporation, Optical Devices Division, has announced that a technical support center has been set up to provide customer service and support during both the Sochi 2014 Winter Games taking place from February 7 through February 23, 2014 and the Sochi Paralympics running from March 7-16th. During the entirety of both events, Fujifilm’s Optical Devices Division will have an engineer available at its technical center to support FUJINON lens customers. The company’s Russian and German offices will also be available for customer support during the Sochi Winter and Paralympic Games. The technical support center is located at: Adler district Staronasypnaya str., 22 Business Center Plaza Sochi, Russia Hours of operation for the center

during the Winter Games will be from 9:00 a.m. through 18:00 p.m. The center was opened on January 2 and will remain in operation until February 25th. It will be open during the same hours to support customers broadcasting the Paralympic Games from March 6 through March 16th. Service center phone numbers during the Winter Games: Nikolay Zharov +79688474071 (for Russian and English speakers) Lars Gehring +491735242211 (German and English) Service center phone number for Paralympic broadcasters: Nikolay Zharov +79688474071 (Russian and English) Contact information for German speakers will be announced at a later date. Throughout both events, the Russian and German offices of FUJIFILM’s Optical Devices Division will also be available to sup-

port customers: Russian office central number : +7(495)797-3512 (Russian, English) German office phone number : +49-(0)211-5089 8950 (German, Japanese, English) A general email address is also available for customers broadcasting the events optical_service@fujifilm.eu. “Whenever our customers need to shoot and produce mission critical video at once in a lifetime events like the Sochi Winter and Paralympic Games, we do whatever we can to ensure that our imaging equipment performs reliably and that we’re supporting them as completely as we can,” said Thom Calabro, director of marketing and product development for the Optical Devices Division of FUJIFILM North America Corporation. “For this reason, we’ve established a technical service center staffed by knowledgeable technicians to communicate with our customers during both events.”

XA77

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South African Broadcaster e.tv chooses Front Porch Digital to centralize and manage new digital archive Front Porch Digital announced that major South African free-toair broadcaster e.tv has purchased a DIVArchive® CSM system for its Cape Town facility as it converts its asset library from analog to digital. DIVArchive will create and centralize a digital archive for e.tv and its parent, Sabido Group, improving efficiency and making it easier for both entities to monetize assets. "In an industry where content is king, an efficient and stable archiving system is crucial for the conservation, preservation, and, ultimately, commercial exploitation of content. It became an imperative for us this year when we launched our multichannel business," said Nohra Moerat, general manager of group libraries and archives at e.tv. "DIVArchive is a system with a proven track record and a strong reputation, and offers efficiencies that will allow us to archive and retrieve in a more organized way — which means we'll be able to browse and choose footage selectively, save on storage, and monetize our clips more effectively." Currently, in order to browse and retrieve footage, e.tv must rely on transfer editors to view tapes and find appropriate clips. That is why e.tv has begun digitizing its content and storing it on

Front Porch Digital - etv Facility Reception

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LTO datatape. DIVArchive will enable e.tv to archive all legacy content, including legacy archives, raw footage, clips, stills, and supporting documents, both electronic and paper-based. With DIVArchive, e.tv will be able not only to store large volumes of digital data and archived footage, but also index and track all footage, ensuring that specific clips can easily be located on demand. Front Porch Digital is working with its local agent, Jasco Broadcast Solutions, to deliver an end-to-end system complete with installation, support, integration, and maintenance. Jasco will also provide on-site training. "e.tv is one of the premier broadcasters in South Africa and an important customer for us on the continent, and we're happy to be a part of its evolution to digital operations and multichannel service," said Rino Petricola, senior vice president and general manager at Front Porch Digital. "Adding a DIVArchive system to its workflow will give e.tv more convenient and rapid access to its archived material, which will help feed a revenue stream and enhance its programming." e.tv will take delivery of the DIVArchive system in January 2014.

Pixel Power at BVE 2014 FILE-BASED BRANDING WITH PIXEL FACTORY™ Pixel Factory: At BVE 2014, Pixel Power is showing its recently-launched solution for file-based workflow branding of media and interstitial 2D and 3D graphics: Pixel Factory. Using the world-renowned Clarity Graphics engine, a single unit is capable of providing graphics for multiple channels - breaking the one-unit-per-channel paradigm. Running on readily available standard IT server hardware, Pixel Factory is quick and easy to scale and in addition can be deployed at discrete locations, making sharing between facilities or departments a breeze. No need to incur additional graphics production cost either, Factory can repurpose existing Pixel Power templates and the automation capabilities will ensure consistency and accuracy of output.

USE-BASED GRAPHICS PRICING WITH PIXEL ONDEMAND Pixel OnDemand™: Also being revealed at BVE 2014 is Pixel OnDemand, which delivers all the benefits of the new Pixel Factory, including the legendary Clarity graphics but with the revolutionary introduction of use-based pricing. Pixel OnDemand puts the graphics engine into an easily deployed software package that runs on standard IT servers, making it perfect to meet the needs of nonlinear, storeand-play content delivery operations such as IPTV channels, video on demand services, mobile content, news operations, and second screen viewing applications – and the best part - output is pixel-forpixel identical to the output quality of any Pixel Power hardware product.

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Davinci Resolve color page

Blackmagic Design announces DaVinci Resolve 10.1 Blackmagic Design announced the release of DaVinci Resolve 10.1 software which adds new editing and 3D stereoscopic features as well as support for Final Cut Pro™ X 10.1. DaVinci Resolve 10.1 is available now for download free of charge for all existing DaVinci Resolve customers from the Blackmagic Design website. The new DaVinci Resolve 10.1 update adds innovative editing features that include allowing users to preview and align multiple camera takes while editing, so they can quickly switch between takes to show their clients shot options live from the timeline. Editors can now copy individual clips in the editing timeline with a simple drag and drop, making it easier to use the same footage in different parts of the edit. The enhanced editing tools also include support for trimming frame based clips such as DNG and DPX that reduces time in transferring clips for even faster workflows, as

well as Rich Text title support which allows every character’s size, position and color to be adjusted individually directly from the Edit page. Also featured in DaVinci Resolve 10.1 are XML import enhancements for both FCP X 10.1 and FCP 7 customers. Compound clips from FCP X 10.1 with separate A/V elements are now split into individual clips and imported FCP 7 XML’s include font properties and timeline markers as well as being able to bring across sizing, cropping and composition parameters. Now shot reframing adjustments made during Final Cut Pro editing will translate even more accurately into the DaVinci Resolve timeline. Customers with the full software license of DaVinci Resolve will get enhanced 3D stereoscopic tools including a full stereoscopic multi track editing timeline, enhanced convergence adjustments and automatic alignment.

“We are really excited to be adding even more advanced editing features so quickly after the release of DaVinci Resolve 10” said Grant Petty, CEO, Blackmagic Design. “Resolve 10 has been a massive update with over 50 new features including temporal processing, Open FX Plug-ins and powerful onset tools. The additional editing tools we are releasing today give customers more precise control over their projects from within the DaVinci Resolve timeline and improves integration with popular editing and visual effects software so that customers get the best workflow possible.” DaVinci Resolve 10.1 is available now for download from the Blackmagic Design web site free of charge for all DaVinci Resolve customers.

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Dalet drives efficiency at i24news multilingual newsroom operation Dalet Digital Media Systems has provided its powerful and highly versatile turnkey system, Dalet News Suite, for Israel’s new 24-hour news channel, i24news. Based in Jaffa port, Tel Aviv, the broadcaster transmits in three languages: English, French and Arabic, via a combination of satellite, cable and Internet. The impressive installation features the MAM-driven Dalet News Suite solution, two Dalet Brio 4:4 ingest and playout servers, Harmonic ProMedia Carbon transcoders, Quantum LTO Tape Library, and Brightcove CMS. In all, over 100 user workstations are deployed at i24news. “Our mission is to cover international news with a new perspective that is lacking in today’s fast-paced, channel-zapping culture,” explains Effy Lupo, CTO of i24news. “By broadcasting in three languages, i24news is dedicated to presenting another voice from the Middle East, based on the twin pillars of independence and openness.” He continues, “With any operation such as this, there are always economic challenges to be met, but quality must never be compromised. Dalet was absolutely the right choice as a partner in this operation because the complete system allows us to rationalize the workflow while maximizing the output and revenue for a minimal production cost.” Working closely with i24news, Dalet Professional Services designed, installed and configured the system. Dalet also trained journalists, ensuring the sizeable newsroom operation was fully functional within a record-setting 90 days. Johann Zemmour, Dalet’s director of sales, remarked, “Dalet’s skilled professional services team worked closely with i24news staff on all aspects of the operations, from workflow design to managing the project installation and training staff. TMBi - 18

Given the complexity of the operation and number of partners involved, this was an extraordinarily fast deployment.” He adds, “We can credit a portion of this success to the maturity of the Dalet News platform. With so many installations in newsrooms around the world, the Dalet News Suite solution can be implemented in virtually any newsroom operation turnkey. No customization needed. Dalet News Suite already encompasses the production capabilities, integrations and underlying workflow engine for the modern broadcasters.”

duction, delivery and archiving. For example, in the production environment, it integrates with the station’s Vizrt graphics system to provide graphics (such as lower thirds and

Dalet News Suite is an end-to-end news production and automation system that meets the demanding requirements of multichannel newsrooms such as i24news in a single turnkey solution. Over 150 journalists use Dalet to access and share the same content for the news bulletins, talk shows and magazine programs in all three languages.

captions) generated in the three lan-

Material arriving at the station is ingested into the Dalet system via Dalet Brio servers. These high-performance units are built on standard IT hardware and support SD/HD ingest and playout in multiple and mixed formats, such as the XDcamHD used by i24news. As content is ingested, Dalet automatically creates proxy versions for use in content review and production, and for putting program rundowns together. i24news journalists access Dalet’s easy-to-use tools to create compelling multimedia stories and newscasts from their desktops. And thanks to the Dalet MAM core, the same ingested material is available for craft editors using Adobe Premiere for the creation of long form programming.

Brightcove Content Management

In addition, Dalet News Suite provides a versatile editorial and production workflow engine that streamlines every aspect of news pro-

vers, in readiness for later reruns

guages. For delivery to multimedia platforms,

Harmonic

ProMedia

Carbon transcoders convert files into appropriate formats ready for publishing. Those files are then delivered in the appropriate format to the i24news website using the Service (CMS). Lupo adds, “Having an interface with a comprehensive CMS is critical. With Dalet being linked to Brightcove, i24news is able to integrate services and content better for distribution over the web and multiplatforms that have become so crucial in today’s 24/7 news environment.” Archiving is another vital part of the news operation, and here Dalet supplied a Quantum LTO tape library for storage. Transmissions are also ingested into the Brio serthrough the broadcaster’s Harmonic Spectrum servers in Master Control.

JAN

PA N S H O T

2014

DAD AX32 now supports 48 analogue channels NTP Technology announces a major addition to the capabilities of its DAD AX32 digital/analogue/digital converter. The AX32 is now available with version 1.3 firmware which accommodates up to a total of 48 channels of analogue inputs or analogue outputs or a combination thereof. The AX32 can thus have 48 microphone preamplifier and converter inputs or a combination of 32 input channels and 16 output channels. A total of six analogue cards can be housed in the AX32. Each card slot accepts an eight-channel linelevel A/D converter, eight-channel microphone input or eight-channel D/A converter with analogue line output. The cards can be combined in any permutation. Version 1.3 also adds the ability to control the sampling rate of the IP audio interface powered by Dante (TM), and full support for redundant IP audio connection plus a word clock output feature supporting all the sample rate frequencies (44.1 to 192 kilohertz) or just the base sample rate of 44.1 or 48 kilohertz.

All the functionality is controlled from the DADman 4.0 with new comprehensive features for channel strip management of all the channels, as well as an improved router matrix configuration. Existing AX32 units can be upgraded with the new firmware and DADman control software. New firmware for the Dante Brooklyn II IP Audio card is also available. System configuration is highly flexible and includes IP Layer 3 Ethernet-based audio networking powered by Dante. Up to 48 full-bandwidth channels can be forwarded via the AX32 along a single Category 5 cable using IP. This ensures flexible and cost-efficient cabling from a recording studio to a control room. The connections can be part of a standard Gigabit Ethernet local area network. The optional microphone preamplifier incorporates analogue gain control in 0.5 decibel steps as well as digital gain control with 0.1 decibel precision. Dynamic range of analogue to digital and digital to analogue conversion is 126 decibels. The preamplifier's equivalent

noise floor is -132 decibels. The AX32

equipped

with

AES/EBU and MADI inputs and outputs plus a Dante interface for use with compatible third-party products as well as audio workstations running on Apple OS X or Windows platforms. A versatile interface structure allows the analogue-to-digital, digital-to-digital and digital-to-analogue converters to be assigned to any digital interface, as well as patching between the interfaces on a channel-to-channel basis. The AX32 can be controlled from the front panel which interacts with four adjacent pushbuttons to allow adjustment of key converter parameters. Full remote control can be accomplished

using

NTP

Technology's DADman software or via Ethernet.

NTP Technology DAD AX32

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JAN

PA N S H O T

2014

SmartView Duo

Blackmagic Design announces new low price for SmartView Duo Blackmagic Design announced a new lower price on its popular dual rack monitor SmartView Duo to US$495, as well as a free software update SmartView 3.0.1 which adds support for DCI 2K video monitoring. SmartView 3.0.1 software update is available now free of charge from the Blackmagic Design website. SmartView Duo features two large 8 inch LCD screens in a compact rack mount design that's less than an inch thick. SmartView Duo handles all SD, HD and 3G-SDI video standards and all screens can be remotely adjusted via your Ethernet network from a single computer. The fully digital design with high quality SDI inputs ensures precise color that’s easy to manage across multiple displays. SmartView Duo can be installed into equipment racks for local monitoring in post production, or for multi-monitor video walls in master control rooms and broadcast vehicles for camera or production switcher monitoring! Only SmartView Duo is compatiTMBi - 20

ble with the widest range of SD and HD-SDI video formats for broadcast and post production monitoring, as well as the latest 2K DCI support for feature film workflows. SmartView Duo also features network remote control and integrated tally support making it the perfect solution to install anywhere customers need high quality rack mount video monitoring. “We designed the SmartView Duo with high quality filtering and scaling for the highest end broadcast quality monitoring,” said Grant Petty, CEO, Blackmagic Design, “Now, with this new affordable price, SmartView Duo is now available to smaller studios on the tightest budgets. You can never have enough monitoring, and now with SmartView Duo it's possible! SmartView Duo customers get all the professional features they need without any limitations!”

SmartView Duo Key Features 2 independent 8 inch LCD displays in a 3 rack unit size chassis,

less than 1 inch thick. SDI/HD-SDI/3G-SDI input for each monitor, with re-clocked loop outputs. Ethernet input with loop output for connecting to computers for central adjustments. Tally input for each monitor allowing red, green or blue tally indication. Control software panel included free for Windows and Mac OS X. Full 10 bit data path and image scaling for high quality displays. Ideal for use in broadcast, post production and camera monitoring for switchers.

Availability and Price SmartView Duo is available now for US$495 from Blackmagic Design resellers worldwide, and the new SmartView 3.0.1 software update is available free of charge from the Blackmagic Design website.

JAN

PA N S H O T

2014

Phillip Neighbour and Maurice de Jonghe join Alan Bunting to strengthen PlayBox Technology UK Sales & Business Development PlayBox Technology UK Limited announces a major expansion to its sales management team with the appointment of Phillip Neighbour and Maurice de Jonghe. Based at the company's premises in Hatfield, they will work alongside Alan Bunting who joined PlayBox Technology in July 2013 from Ross Video where he was Regional Sales Manager for Western Europe. â&#x20AC;&#x153;Phillip, Alan and Maurice have a wealth of experience as senior executives with strong credentials in both the media and technology sectors," comments Don Ash, PlayBox Technology UK Ltd Managing Director. â&#x20AC;&#x153;Their responsibilities will be to develop and implement customer engagement plans, focus on business development, and manage various strategic market sectors." "All three are excellent team players with direct experience of the EMEA market at its widest as well as a good understanding of our role in promoting high-efficiency channelin-a-box content preparation and playout systems," adds Ben Gunkel, Sales Director. "Phillip will focus on expanding our business in EMEA. Alan will focus on dealer sales

growth and Maurice's primary objective will be to build on our existing success in Africa." Phillip Neighbour joined Thomson in 2002 from Philips Electronics, as part of the acquisition and merger of Grass Valley Group, Philips Digital Video Systems and Thomson Broadcast. During his tenure at Thomson/Grass Valley, he rose to become Managing Director of Grass Valley. "The broadcast industry has come a long way since it first began the migration from panel-per-product hardware to application-based systems running on high-grade PC platforms," Phillip Neighbour adds. "PlayBox Technology CIAB systems are used by many of the world's largest multi-national broadcasters as well as an enormous number of regional channels. CIAB is the ideal solution in today's rapidly expanding market." Maurice de Jonghe has held a number of worldwide senior management roles, having previously worked at Claratech, Drake Electronics, Vistek and Snell. "PlayBox Technology is by far the

best known producer of channel-ina-box content preparation and playout systems, with a uniquely large number

systems

operating

around the world," Maurice de Jonghe comments. "My objective will be to increase awareness of the advantages these solutions offer both to new channels and established broadcasters in terms of efficiency, reliability and expandability." "PlayBox Technology produces modular CIAB hardware and fully integrated software which are flexible to configure, highly reliable, easy to operate and very affordable," states Alan Bunting. "It is the ideal system both for established broadcasters looking to expand their existing systems and for first-time broadcasters starting new satellite, terrestrial or online channels."

Phillip Neighbour, Alan Bunting and Maurice de Jonghe

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JAN

PA N S H O T

2014

Crystal Vision offers engineers a choice of keying and embedding products at BVE 2014 Crystal Vision will be demonstrating the new range of control options for the Safire 3 real-time chroma keyer – from dedicated control panel to iPad. Ideal for all live virtual productions, Safire 3 works with 3Gb/s, HD and SD sources and features multi-point sampling for easy autosetup, an extensive range of finetuning tools including built-in colour correction, and timing adjustments including a frame synchroniser on each input and ten frames of video delay. The recently shipping Safire 3 Controller is a stylish 3U panel able to control any number of chroma keyers over an Ethernet network. Eight hard buttons allow selection of the chroma keyer to be controlled, recall of presets and quick selection between the chroma keyed output, Foreground input and Background input. Additionally, soft buttons on the eight inch touch screen are used in conjunction with physical knobs to access the various intuitive setup menus, which allow the key processing, masks and engineering settings to be configured with ease. The Safire 3 Controller can sit on a desk stand, be fitted into a desk or be rack mounted. Browser-based control is the second new control option for Safire 3 – allowing operation by any device that can open a web browser, from PC to iPad or smartphone. The Crystal Vision frame (running software V4.6 or later) features a web server that allows any device to operate the chroma keyer using webbased protocols, with the Safire 3 XML file stored in the frame's front panel. To use this free browser control, the frame housing the Safire 3 module needs to be located on an Ethernet network, with tablet or smartphone control requiring the frame to be on a wireless network. Simply typing the frame's IP address into the web browser will bring up the Safire 3 control menus. To aid intuitive control, Crystal Vision has ensured that the look and feel of the

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Tandem 320

Safire 3 menus when accessed from any device – whether iPad or the Safire 3 Controller – is always very similar. Crystal Vision will be showing five new products for adding graphics to a video source – from simple keying to powerful video and audio branding. The first of these is LKEY 3: an affordable, feature-packed and space-saving linear keyer designed for the simple keying of any graphics over 3Gb/s, HD or SD video streams. LKEY 3 brings with it a number of new features appearing on a Crystal Vision linear keyer for the first time: it is the company's first 3Gb/s-compatible linear keyer, and features masks with adjustable edge softness, as well as a frame synchroniser on each input along with an additional ten frames of video delay ideal for matching any big system processing delays. The four new versions of the MultiLogo three-layer HD/SD logo keyer are designed for more sophisticated station branding applications. There is a suitable MultiLogo for every budget, with a choice of internal storage (either 4 GB for up to 250 graphics or 8 GB for 500

graphics) and a choice of video inputs (either one or four) – with external AES inputs and outputs and audio and video cross fading additionally available on the MultiLogo 432 variants. Features include numerous key processing controls, look-ahead preview, clip recording and trimming, Quick Text, the ability to store 255 partial presets and relay bypass protection. These new versions of MultiLogo are ideal for video and audio branding applications: they can embed up to four audio groups into their video outputs, with audio mixing allowing this output audio to be generated from a mix of the audio embedded on the video input and a voiceover or sound effect sourced from either the two internal audio stores or from an external AES input. The voiceover or sound effect can be faded in and out and have its level adjusted, while the main programme audio can be partially or fully dipped allowing it to be either mixed with or be replaced by the voiceover. Crystal Vision will also be showing embedded audio solutions for every application. For engineers who require multiple channels of straight-

JAN

PA N S H O T

forward embedding or de-embedding where price is an important factor, TANDEM 320 is ideal – with its ability to fit 24 channels of embedding or de-embedding in 2U. TANDEM 320 will pass through and route up to four groups of internal audio on each video path and includes flexible audio routing. It features audio gain adjustments, audio resampling, channel muting and stereo to mono conversion – while an adjustable audio delay of up to

400ms helps to compensate for system video delays. For engineers who need the ultimate in flexibility when dealing with embedded signals, Crystal Vision's flagship embedded audio products become even more powerful with the addition of new features: Dolby encoding and SMPTE 2020 embedding and de-embedding. The TANDEM 310 audio embedder/deembedder and SYNNER 310 video

2014

synchroniser, tracking audio delay and embedder/de-embedder both work with 3Gb/s, HD and SD sources and can embed and de-embed a mixture of up to four groups of AES and two groups of analogue audio at the same time, with full audio routing, audio and video processing, sophisticated Dolby E handling including Dolby decoding, integrated fibre connectivity and flexible delay compensation.

TSL products’ audio monitoring solutions address and prove loudness compliance at BVE 2014 TSL Products is taking on loudness compliance at BVE 2014 (Stand H25) by showcasing its PAM1 MK2 Precision Audio Monitor and the PAM PiCo range of Audio and Loudness Meters. TSL Products will also feature its award-winning SAM1 MADI Studio Audio Monitor. “Many broadcasters are still figuring out the best practises with regards to measuring, monitoring and recording loudness levels in order to keep within newly instated loudness regulations,” says Tim Weston, Regional Sales Manager for the UK & Ireland at TSL Products. “At BVE, we’ll be highlighting the latest developments in our PAM series, which address the challenges of loudness compliance— not only for EBU128, but for EBU, ITU, ATSC and ARIB standards. What gives our customers added value is the free and frequent software updates that ensure our customers always have the right tools to comply with the latest international loudness legislations.” With the capability to provide accurate monitoring of a multitude of incoming audio signals, e.g. for bre-

aking news or live sports presentations, the PAM1 MK2 Precision Audio Monitor is suitable for a broad range of operational users in television production, ranging from technical to creative engineering throughout the broadcast chain, from ingest to transmission. Its built-in loudness histogram provides a visual representation of loudness against time, so users can be absolutely confident that outgoing signals are compliant. The PAM1 MK2 is a significant improvement from its predecessor, the PAM1-3G16, with an upgraded speaker system and two larger, high-resolution 2.4-inch screens that can easily detect visual signal confirmation. To further address loudness compliance, TSL Products will also demonstrate new features for its PAM PiCo range of audio and Loudness meters. A 3G video preview, improved GUI and SMPTE linear timecode recognition are all new to BVE. PAM PiCo puts high quality audio and loudness metering within easy reach of anyone involved in sound

production, from TV Broadcast Operators, to music studio technicians, to record producers. Available in three fully featured formats; the PAM PiCo is able to display stereo, multichannel or surround sound audio from analogue, AES or embedded SDI (PAM PiCo Five only) signal sources. Each model can measure Loudness to ALL known international standards and recommendations and the PAM PiCo Loudness Logging Application is supplied as a free download to all PAM PiCo users. The new award-winning SAM1 MADI Studio Audio Monitor will also make its debut at BVE. Delivering comprehensive visual and audio feedback for confidence monitoring within a MADI audio infrastructure, the SAM1 MADI provides users with immediate access to any combination of formats, including MADI, embedded HD-SDI, AES and analog sources in a mixed multichannel environment, delivering high quality assurance monitoring. A USB port is provided for memory storage, preset recall and system updates. PAM1 MK2.

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Bexel announced that it will apply Lawo’s audio- and video-over-IP networking technology for this year’s prominent international sports events in Russia and Brazil. The confidence in the use of Lawo equipment and services derives from experiences in the last year where Bexel, Lawo’s North America team and Lawo’s rental company ABS (Audio Broadcast Services) designed and approved a flexible fly pack solution for sports production.

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Bexel’s new systems have been utilized successfully at the US Open, where the company was tasked with supporting CBS international broadcast feeds, followed less than one month later by the PGA Grand Slam of Golf for TNT originating in Bermuda. “Bexel’s Lawoequipped fly packs are designed specifically for events where the infrastructure does not allow forlarge OB vans or to provide optimizedproduction facilities,” states Johnny Pastor, Bexel Project Manager. “The smooth transition between New York and Bermuda venues was made possible due to Lawo's ability to intertie multiple audio sources and formats, including both baseband as well as audio- and video-over-IP, across a common network platform utilizing both MADI and RAVENNA solutions for multi-channel interconnectivity. At the same time, Lawo was able to offer console surfaces, core routing systems and stage boxes configured for a broad range

of I/O and routing configurations, with industry-leading redundancy and reliability, as well as the ability to manage on-site modifications by switching from one production to another with the touch of a button.”

HOST PRODUCTION WITH L AWO TECHNOLOGY Bexel has been deeply involved in the US Open for years as rental supplier, furnishing international control rooms and more. To support host broadcaster CBS in managing the worldwide feed for both picture and sound, control rooms for courts 1 and 2 were each outfitted with a 48 fader Lawo mc²56 MKII to supply the international feed in stereo. Two additional crowd microphones were supplied for broadcasters who wanted the ability to produce in surround. The overall system confi-

C ONTROL

ROOMS FOR COURTS 1 AND 2 WERE EACH OUTFITTED WITH A 48 FADER L AWO MC ²56 MKII TO SUPPLY THE INTERNATIONAL FEED IN STEREO . T WO ADDITIONAL CROWD MICROPHONES WERE SUPPLIED FOR BROADCASTERS WHO WANTED THE ABILITY TO PRODUCE IN SURROUND .

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guration consisted of a Lawo mc²56 mixing console and a DALLIS (Digital, Analog, Line Level Interface System) frame with the analog I/O linked to the console's HD Core using RAVENNA overa single CAT5 line. Signals were integrated seamlessly into the event infrastructure, as the Lawo routers were able to supply any signal in AES, analog or MADI formats. Pastor adds, “Operators were impressed not only with how good the Lawo consoles sounded, but also with ease of operation, requiring only a short ramp up for those who had never worked a Lawo console previously, and the ability to build custom setups on the fly—tailored to each operator's unique requirements and preferences.” In addition to satisfying the audio requirements, two V__pro8 units, Lawo's newest video product, were utilized for the embedding audio

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T HEY

PROVIDED EMBEDDING FOR 16 SDI FEEDS AND EXTENSIVE FLEXIBILITY TO MANAGE MULTIPLE STREAMS ( BOTH AUDIO AND VIDEO ) WITHIN ONLY A 2RU FOOTPRINT

streams into the world feed. The crew was enthusiastic about the devices as they provided embedding for 16 SDI feeds and extensive flexibility to manage multiple streams (both audio and video) within only a 2RU footprint, replacing an array of equipment previously used for audio and video processing.

LAWO AT THE PGA GRAND SLAM OF GOLF After a successful US Open Tennis Event in New York, the next stop was the PGA Grand Slam of Golf, an annual off-season golf tournament contested by the year's winners of the four major championships. The event takes place on Bermuda,where the local infrastructure and geography presented a number of significant challenges.

O NE

The streets on Bermuda were too tight to deploy a TV truck for the event, so a flypack solution was designed and built up by Bexel; efficiently re-packaging the Lawo system for the boat ride to Bermuda. In addition to the flypack rigs, all of the venue's audio infrastructure equipment was contracted to ABS and as a result, was along for the cruise to Bermuda as well.

AUDIO INFRASTRUCTURE AND PRODUCTION CONCEPT The show was produced in 5.1 surround sound with a Dolby E transmission. Besides the higher channel count, being flexible in connectivity was a main reason for the decision to go with Lawo for both the audio consoles as well as the routing and I/O infrastructure. On the operational side there was a demand for some special features. The Lawo Audio-follow-Video function was used for seamlessly flying in graphic sound effects as well as providing automatic delay compensation switching between local and RF cameras. The challenges were

easily solved by a combination of Af-V, a multi-purpose GPC function and an external GPI trigger. All this could be done without special configuration by the operator using LawoÂ´s custom functions. The show also used two Lawo mcÂ˛56-MKII audio mixing consoles with 48 Faders. One console was used for sub mixing all effect microphones. The second console was used to create an integrated mix of DigiCarts, EVS, Announcers, and the effects mix. The interlink between the consoles was done via MADI, as well as the connection to the video router and the production monitoring system. All signals in the field where collected using a total of seven DALLIS frames interconnected to the mixing consoles using RAVENNA. Most of the DALLIS frames were used in proximity to the flypack and connected with CAT5 except for the announce booth, which was interconnected using a single mode fiber link.

LAWO V__PRO8 VIDEO PROCESSOR In addition to the Lawo audio sys-

CONSOLE WAS USED FOR SUB MIXING ALL EFFECT MICROPHONES . T HE SECOND CONSOLE WAS USED TO CRE ATE AN INTEGRATED MIX OF D IGI C ARTS ,

EVS, A NNOUNCERS ,

AND THE EFFECTS MIX .

tems, V__pro8 video processors were also part of the fly pack. One V__pro8 received a MADI feed from the main console and was used for embedding audio into the transmission feed, while a second one was used to delay the MADI stream feeding the production speakers to maintain synchronization of audio feeds throughout the venue's various production areas. The combination of Bexel's experienced and professional staff coupled with the advanced design of Lawo's product range and support from ABS and Lawo personnel onsite enabled a forward-looking approach to these annual events, presenting a range of exciting new concepts for efficiently managing remote sports productions in even the most challenging locations and circumstances.

TMBi - 27

MORE THAN AN ALTERNATIVE TO VTR Test bench made by Pablo MartÃnez

TMBi - 28

TEST AREA

IT’ S

Nowadays formats for video and audio systems are being improved everyday, which means you have to value the purchase of several pieces of equipment to able to be competitive in a constantly changing market. The Ki Pro Rack, both at a professional and broadcast level, makes it simpler to integrate these needs with one piece of equipment. Its commercial presentation is “the alternative to the VTR,” to which we will add “and something more.” The integration within the equipment of what they call the built in hardware up/down and cross-converter as found in the FS1 (in 2008 I had the opportunity to do a bench test about the FS1 and I was pleasantly impressed by its potential), is something that I think is very positive and puts it in a good position regarding its competitors. It’s an added value, which makes this equipment a potential candidate to be in our many facilities, mobile units, portable production controls, etc.

This equipment can be used on any production system, from the old generation to the latest generation formats (standardized). With this equipment we don’t have to spend money on an expensive VTR while offering global access to digital files within the production systems. In my case, the mentality of maintaining racks of VTRs is obsolete, but we have to maintain, in the case of the TV channels, a minimum amount of VTRs because of the changes in the material format. But just that, the effective cost of equipment maintenance, makes us head towards the digital formats that have a minimum maintenance and more operational functionality. The recoding codecs that can be used on the Ki Pro Rack are: Apple ProRes and Avid DNxHD. They are really the most used nowadays due to their quality and excellent candidates as editing codecs. I am going to detail the most important features of this type of codec before continuing with the bench test of today:

AN ADDED VALUE , WHICH MAKES THIS EQUIPMENT A POTENTIAL CANDIDATE TO BE IN OUR MANY FACILITIES , MOBILE UNITS , PORTABLE PRODUCTION CONTROLS , ETC .

- Apple ProRes 422 (HQ): this codec has the same high image quality as the Apple ProRes 4444, although only for 4:2:2 images. The use of Apple ProRes 422 (HQ) is very widespread in the video postproduction area. It offers preservation without any loss of the professional HD video with the best quality a HD-SDI signal can transmit TMBi - 29

TEST AREA

- Apple ProRes 422: this codec offers all the Apple ProRes 422 (HQ) benefits, but with 66% data speed for editing performance in real time on multiple transmissions. - Apple ProRes 422 (LT): with a data speed of just 70% of the Apple ProRes 422 and 30% less size on its files than the Apple ProRes 422, this codec is perfect for environments with small storage capacity and bandwidth. - Apple ProRes 422 (Proxy): this codec has been designed for its use in workflows without connection which need a low data speed but a high video resolution. The data speed is just 30% of the Apple ProRes 422 speed. - Avid DNxHD: The native HD camera compression formats are efficient, but havenâ&#x20AC;&#x2122;t been designed to maintain the quality during the complex process of post-production effects. The HD without compression provides high image quality, although the data rate and the file size can be

TMBi - 30

The most important technical features are::

CHARACTERISTICS

(just one connection). This codec is compatible with video fonts of 4:2:2 of full width and 10 bits of pixel depth. All this without any loss during the decoding and re-coding. The data speed of Apple ProRes 422 (HQ) is of approximately 220 Mbps at 1.920 x 1.080 y 29,97 fps.

Video 2 IN/OUT: SD/HD SDI, SMPTE259/292/296, 10-bit

Apple ProRes 422 (HQ)

1 IN/OUT Component /

Apple ProRes 422 (Proxy)

Composite

Avid DNxHD 220x

1 HDMI

Avid DNxHD 145

1 IN/OUT Reference

Avid DNxHD 36

Format support:

Internal converters

525i 29.9/ 625i 25/ 720P 23.98, 25*, 29.97*, 50, 59.94, 60 / 1080i 25, 29.97, 30 / 1080PsF 23.98, 24, 25*, 29.97* (Depending on the entry source) / 1080p 23.98, 24, 25, 29.97

Up-Conversion:

Audio: 2 IN/OUT AES (up to 8 channels) (BNC connector): 8-channel, 24-bit SMPTE-259 SDI embedded audio, 48kHz sample rate, Synchronous 2-channel, 24-bit HDMI embedded audio, 48kHz sample rate, Synchronous 8-channel, 24-bit AES/EBU audio, 48KHz sample rate, Synchronous or Non-synchronous, Internal sample rate conversion (4 x BNC) 2 IN/OUT Audio balanced (RCA connector): 2-channel, 24-bit A/D analog audio, 48kHz sample rate, balanced (2 x XLR) +24dbu Full Scale Digital +/- 0.2db 20 to 20kHz

Apple ProRes 422 (LT)

Hardware 10-bit Anamorphic: full-screen Pillar box 4:3: results in a 4:3 image in centre of screen with black sidebars Zoom 14:9: results in a 4:3 image zoomed slightly to fill a 14:9 image with black side bars Zoom Letterbox: results in image zoomed to fill full screen Zoom Wide: results in a combination of zoom and horizontal stretch to fill a 16:9 screen; this setting can introduce a small aspect ratio change Down-Conversion: Hardware 10-bit Anamorphic: full-screen Letterbox: image is reduced with black top and bottom added to image area with the aspect ratio preserved Crop: image is cropped to fit new screen size Cross-Conversion:

1 IN/OUT LTC

Hardware 10-bit

1 OUT headphones in front panel.

1080i to 720P

Recording codec:

720P to 1080i

Apple ProRes 422

TEST AREA

a problem for the workflow. It offers efficiency designed for the multiple generation composition with reduced storage features and bandwidth. Avid DNxHD coding offers half HD with master quality in very reduced file sizes, breaking the HD productivity barriers in real time, either using the local inde-

O NE

OF THE MOST IMPORTANT CHARACTERISTICS IS THE POSSIBILITY OF ACCESSING THE CONFIGURATION PARAMETERS , AS WELL AS THE CON TROLS , FROM A BROWSER THROUGH THE STANDARD E THERNET LAN CONNECTION OF A PC FROM THE K I P RO R ACK , WITHOUT INSTALLING ANY ADDITIONAL SOFTWARE .

pendent storage or collaborative HD workflow in real time. In fact, the Avid DNxHD coding efficiency makes possible the fact of working with half HD with master quality in portable devices. - Avid DNxHD 220x: 10bits with 4.2.2 recording and bandwidth of 220 Mb/s. The data speed depends on the frame speed. For example, 220Mbps is the data speed for 1920 x 1080 30 interleaving fps (60 files), while progressive fonts in 24 fps swill be of 175Mbps. - Avid DNxHD 145: The average in Avid DNxHD 145 of 8 bits offers HD quality and needs approximately 20% less of storage capacity than the average of standard definition of 8 bits without compression and 4.2.2 sampling. - Avid DNxHD 36: For big projects which are more sensible to the consumption of storage the Avid DNxHD 36 resolution is the solution. Itâ&#x20AC;&#x2122;s for progressive formats which provide offline HD images of complete rasterization at 8bits with 4.2.2 recording.

KNOWING

THE

EQUIPMENT Ki Pro Rack enables ready-to-edit recording in a 1RU form factor. Itâ&#x20AC;&#x2122;s light and useful with a user-friendly front control panel based on the typical VTR control panels; therefore there is no need to learn a new sys-

tem. It has the usual controls like: Record, Play, Rewind and Fast Forward as on any device. It includes two audio indicators and an alphanumeric display of local status and navigation for the menus and configuration parameters. In the rear we will find all the power, video, audio and LAN connections depending of our necessities. The control of all the equipment parameters can be done from the front panel with the buttons of the alphanumeric screen. One of the most important characteristics is the possibility of accessing the configuration parameters, as well as the controls, from a browser through the standard Ethernet LAN connection of a PC from the Ki Pro Rack, without installing any additional software. Using the same device interface we can control all ganged Ki Pro Rack units connected in the same network. The work menu simplicity enables us a quick equipment configuration, as well as the possibility of customizing the preset options. We can control the equipment and the file transfer trough the Ethernet connection, and it can be used as the entry point to our system. It includes a RS-422 Remote Control Interface through the Sony protocol of 9 pins, which enables us to remotely use the equipment with any control device. With the included functions of conversion Ki Pro Rack offers us an added value, which can solve many everyday typical problems for format conversion needs.

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TEST AREA

EVALUATING

ITS

POTENTIAL Let’s talk about what really interest us, its work process in real environments. I planned two cases for the introduction of the equipment in the production chain because I had to evaluate both its potential in external jobs, by integrating it in a mobile unit, and its continuous behaviour as recording point / entry point in automatic systems of files in an editor network on non-linear stations. In the first case, we substituted one of the VTRs from the mobile unit with the Ki Pro Rack on a sport event which needed a production team. The implementation within the recording system of the mobile unit is very easy regarding both the wiring and the size. It has less than half the size of a traditional VTR and thanks to the use of the same wiring the integration was very fast. We worked with a unified time code among all the VTR systems and monitored the Ki Pro Rack output by activating the “BITC” output in order to see the “super” signal. The work format was SD-SDI and the recording was done on an Avid DNxHD 145 codec. I chose this codec due to its compression quality and the size I needed for the SSD (I just had one SSD). The event lasted approximately two hours. In this case, the interaction of the operator with the equipment was done through the front panel. As we have said before the VTR operator didn’t have problems with the handling of the equipTMBi - 32

T HERE IS NO NEED TO LEARN A NEW SYS TEM . I T HAS THE USUAL CONTROLS LIKE : R ECORD , P LAY , R EWIND AND FAST F ORWARD AS ON ANY DEVICE . ment as the buttons were similar to the ones he was used to and the adjusting the equipment from alphanumeric screen was very easy. The work temperature (in a cooled rack) was almost stable at +/- 5º C and the initial work point was of 20º C. Once the event was finished and in order to make the most of the VTR editing controller, we made a small edit

using the Ki Pro Rack as another source controlled by the editor trough the RS-422 port. We perfectly synchronized the clips we recorded on the SSD and the files recorded in a film with the other VTR. With this I want to say: power to the imagination! We can take advantage of this small substitute of the VTR.

TEST AREA

REALLY HAS THE BEST WE CAN EXPECT FROM AN EQUIPMENT OF THESE CHARACTERISTICS AND MORE .

In the second case, the idea was to simulate a remote station as entry point for the non-linear rooms by placing the equipment in the room of the format changing and connecting it to the LAN network from the editing room. This way we had an entry point, which wasn’t physically nearby in order to share the raw result and edit it afterwards in any of the editing non-linear stations. And all of this is thanks to the total control we had from any browser connected to the same network of the equipment. This is an example of its use, as a work proof with a network it’s clear it depends on the structural dimensions of the facilities and the number of Ki Pro Racks you have. If you only have one and you use it for external recording, it will be best to

invest in the KiStor Dock from AJA for local file transfers using Thunderbolt or USB 3.0.

WHAT

WE MISS

It really has the best we can expect from an equipment of these characteristics and more. Normally I find equipment that, although they are not critical in a work environment, they don’t have essential usefulness like the default additional power source, the ON/OFF switch or the possibility of remotely controlling from a computer the equipment parameters. But in this case it includes all these characteristics and it doesn’t cause problems for current infrastructure. It could be interesting to substitute the alphanumeric scre-

en by a display screen with a time code and access to the menus. I think it would be a great improvement, but not something essential for the excellent operation of the equipment.

CONCLUSION This equipment has been perfectly designed and assembled. It has an intuitive operation and a quick processing process. The Ki Pro Rack is one of those pieces of equipment to take into account if you want to improve workflow and avoid unnecessary costs in possible transitions to the digital world or in the integration in to your current workflow. I want to thank Jordi de BAJABI , as well as IB3TV for lending us the equipment and letting us use their facilities. Without them we wouldn’t have been able to do this test bench. TMBi - 33