Staff Editor Javier de Martín editor@tmbroadcast.com Director Jesús Carrillo director@tmbroadcast.com Key account manager Cristina Feduchi Javier M. Gutiérrez international@tmbroadcast.com Creative Direction Mercedes González design@tmbroadcast.com Editorial staff press@tmbroadcast.com Administration Laura de Diego administration@tmbroadcast.com
Summary
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Editorial
06 THE BEST OF
NAB 2014
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SuperBowl with SuperOmneo
SONY is Made in UK
TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 1 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43
Published in Spain, April 2014.
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ZOOM IN TM Broadcast International #9 April 2014
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Editorial Let's start with 4K. Unlike the case with the 3D, is settled and will be significantly increasing its importance. There are several reasons to it. The first is that hardware´s not much more expensive than those equipments needed for HD, this helps a lot, obviously. There are three other things that also involved as catalysts. The capture and 4K work to finish the product in HD or 2K greatly improves visual quality. This is actually a common knowledge among professionals. The result is best images and so interesting color adjustment possibilities. Another thing to consider is that 4K material is in a resolution that in the future may be used to project even in a movie theater, which is a great thing because content life is extended. Another key thing are the applications that use 4K as a formula to improve the HD / SD experience, the proof is the application to sports replays and all the developments that are coming out that line. We must also mention the various mergers, acquisitions and alliances. We warned last year that 2014 would be a year with long business movement, and so is being. Stocks and contracts have flown from one place to another to build stronger businesses. Several acquisitions has been going on for months before the NAB, and several at the show itself. This is something good because companies become stronger , more efficient, with more consistent portfolios and better targeted. Within this we must emphasize the emergence of more typical IP world companies entering in the broadcast market. This fits well with both parties and in the coming years there will be significant changes. For now are more tech deals than anything else, but there will be much more definitely. We have seen IP developments on typicall Broadcast hardware not on a computer, this seems an unstoppable trend. A technician at a Master Control Room will continue to work as always. Companies that understand this and are capable of producing these hybrid systems, have much possibilities to shell equipments to TV Stations . In terms of numbers, 98.015 visitors this year, 4.165 more than 2013. A considerable increase even for a show like NAB. This indicates that the audiovisual ecosystem is stronger than ever and the trend is clearly upward.
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Broadcast Solutions clears the boundary forCricket Indian Premier League Broadcast Solutions’ sports services are based on flyaway OB systems, which enable individual production environments to be set up anywhere in the world – regardless of how complex the requirement. Since it has been relying on Lawo systems, thesehave been deployed at the IPL 2013, domestic and international cricket matches in India, the Hockey Indian League and this year’s ICC World Twenty20 in Bangladesh. Explaining the choice of Lawo mc²56/HD Core systems, Alex Prüstel, Broadcast Solutions Deputy COO (Singapore), highlights the flyaway nature of their operation: “We need a solution that gives us a surface that is not big, but allows access to all functionality of the system along with a router system that allows remote access via external controller, and at the same time, full access to the router from the surface. We also need to produce 5.1surround audio without any additional effort and/or equipment.” “In addition, we must be able to take productions from one system to another, even when the hardware configuration is not the same, and we requireoperational functionality
that is almost self-explanatory, so we can use cricket specialists who might be not familiar with such complex systems.” “Using the system as router and mixing system gives us high-quality surround capabilities,” he adds. “It’s a good experience.” On top of these requirements, the systems must also allow for later expansion, if it should be required for other productions, and be absolutely stable. Weight and size were also taken into account, as these affect shipping/production costs. “After we finished the ICC World Twenty20, we directly began production of IPL 2014, which will be
Artel Video Systems Joins Forces With HARMAN's Studer® A-Link Interface Artel Video Systems and HARMAN's Studer® announced that Artel's DigiLink platform has been successfully deployed to transport Studer ALink audio data streams across fiber infrastructures. Found in Studer's Vista X digital console, A-Link, utilizing Artel's DigiLink, can now provide a digital-audio interface capable of transmitting 1,536 channels of "zero latency" digital audio to be transported between remote sites and the mixing console back at the studio. A return fiber is also provided enabling return audio circuits, control, and status to be connected over the same link. Using the optical multiplexing features of DigiLink enables several A-Link streams, along with video and Ethernet, to be multiplexed on a single fiber offering complete remote coverage including video, audio, control, and communications over a single fiber pair.
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held in UAE and India,” Prüstel says. “We will use eight Lawo units – seven mc²56 consoles and one mc²90 – to make sure that we do deliver the same high quality from each venue.” The IPL tournament will play out its first leg in the UAE, at the Dubai International Cricket Stadium, the Sharjah Cricket Stadium and the Sheikh Zayed Stadium in Abu Dhabi, before moving to India for its second leg and grand final. This will involve setting up production facilities in a further seven or eight venues. “As cricket production needs a lot of knowhow about the match, Lawo allows us to use fewer operators (mixers) and move them around the venues,” Prüstel explains. “This ensures that we produce all matches to the same level of quality and at the same standard.” The Lawo mc²90 console that will be used is to be provided by a rental company in Abu Dhabi in an OB truck. “This truck is a former TV-Unit truck, which is still the only one in Western Hemisphere with such a big Lawo system,” says Prüstel. As well as the Lawo audio systems, Broadcast Solutions has begun using a number of Lawo’s V_pro8 to provide an 8 x 8 video matrix and 384 x 384 audio matrix, and cost-effective SDI embedding/de-embdedding.
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Volicon's State-of-the-Art Observer® Monitoring Solution Installed at HSE24 in Italy Volicon announced that HSE24, a leading Italian television channel providing national coverage of programs dedicated to information, lifestyle, and shopping, has chosen the Volicon Observer® solution for its video monitoring, compliance recording, fault detection, and quality control requirements.
The Observer system meets these critical requirements by continuously capturing and storing aired content and by providing easy access both to live streams and recorded media through an intuitive Web-based interface. Monitoring staff and other users at the desktop can thus monitor the content going
out to air or dial back days or months to find and provide proof that content aired properly. "Observer plays a vital role in our operation by providing a continuous log of the programs' transmission, as per the government rules. Thanks to the flexibility of the system, we are also able to search, retrieve, view, analyze, and export the archived video," said Armando Marendino, chief operations officer of the HSE24 television production center in Rome. "The input of engineers from Allyn, Volicon's Italian distributor, and extensive testing of the Volicon Observer on our premises confirmed our expectations and fully convinced us to adopt it." "The state-of-the-art Observer system supplied to HSE24 by our partner Allyn will serve as a flexible foundation for easy, effective compliance monitoring and quality control applications today and well into the future," said Hezi Kasif, director of sales, Europe, at Volicon.
4K Killer Combination from Atomos and Sony The Shogun is currently the only 4K HDMI recording solution that can take full advantage of the new A7S's full 35mm ultra-sensitive 12 mega pixel video sensor, clean HDMI out, 120 fps HD and custom HDMI timecode and start/stop trigger. "Sony has pulled out all the stops to deliver the world's first Full Frame Video sensor in a camera for the masses." said Jeromy
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Young, CEO and Founder of Atomos. "We are very proud to give 4K recording capability to the Sony A7S with our brand new 4K ProRes Shogun which sports a 1920x1200 7" killer monitor and unparalleled affordable 4K recording."
The Atomos Shogun is the world's first 4K HDMI and 12G SDI monitor recorder and deck. With the combination of Sony's clean HDMI out direct to 4K ProRes onto single SSDs or RAIDed HDDs – 4K is now a mainstream reality at the equivalent of $40 per hour for storage media. Like the Samurai and Ninja Blade, Shogun allows the recording of pristine, 422 10-bit images straight from the camera sensor captured using 4K/HD ProRes, Uncompressed RAW Cinema DNG or Avid DNxHD codecs. Waveform and monitor assist tools such as luma parade, vectorscope and tri-level focus peaking offer a very comprehensive test and shot setup tool kit.
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Vietnam Television Enhances Program Preparation with Dalet Media Life Vietnam’s national broadcaster selected Dalet Media Life as the outstanding solution on the market to optimize its Quality Control (QC) workflows and to modernize its compliance editing process. Tightly integrated with VTV’s existing technical infrastructure, the broadcaster has advanced plans to expand Dalet Media Life in support of wider operational and production workflows. “What we wanted was a comprehensive approach to tracking data and orchestrating the movement of media from one system to another in order to maximize the benefits of file-based workflows and eradicate costly and wasteful errors, which inevitably occur through manual data entry,” explains Mr. Tue Nguyen Duc, deputy director, technical center, Vietnam Television. “We issued a tender that specifically called for a MAM solution to modernize key areas of our existing workflow, and Dalet has proved to be absolutely the right choice of partner.” Headquartered in Hanoi, VTV is the national public broadcaster of Vietnam. It operates five channels and six regional broadcasting centers serving a mix of news, sports, educational and entertainment programming. When Dalet Media Life goes live this summer, the installation will allow VTV to rationalize its workflow and greatly improve its compliance and QC procedures. “In today’s competitive times, content quality emerges as one of the critical factors for success, and this key criteria has been prioritized by Vietnam Television. Until now, Quality Control was a tedious task during which an operator had to often view all of the content to detect errors. This is a costly and time-consuming procedure in which metadata could not even be checked,” comments Tomer Azenkot, general manager, Dalet Asia Pacific. “With complete metadata oversight, Dalet Media Life is able to analyze data, detect potential defects and alert TMBi - 10
QC resources to spot check specific content. We are delighted to take this approach to VTV to help them better utilize existing assets and focus their resources solely on correcting quality issues, saving them considerable amounts of time and money while enabling them to create higher-quality packages for distribution.” Central to VTV’s new content preparation platform is Dalet Media Life, a versatile, scalable MAMbased solution built on the Dalet Galaxy enterprise MAM platform. The combination manages all media files and associate metadata with deep integration into VTV’s existing best-of-breed systems including Tektronix Cerify, Avid edit stations, Harmonic MediaGrid and NetApp storage, as well as Etere automation and VTV’s in-house traffic system. “From our successful experience working with Dalet on this project and with our confidence in Dalet Media Life powered by Galaxy as a high-performance, easily scalable
MAM system, we are currently exploring ways we can capitalize on its full range of capabilities to further enhance our operational and production workflows,” says Mr. Tue. In the enterprise deployment, which was led by the local systems integrator Tekcast, tape- and filebased media is ingested into VTV’s NetApp proxy storage facility under Dalet’s control. Web-based access to content lets users quickly search the content catalogue and archives, retrieve media, add metadata, and make shot selections. The installation features purpose-built production tools such as Dalet WebSpace and Dalet Onecut interfaced with Avid Media Composer craft stations through Dalet Xtend to supplement program preparation. Packages finished in Avid Media Composer can be saved for manual (eyeball) or automated QC in Tektronix Cerify before playout or distribution to VTV’s regional broadcast centers. Metadata is tracked at every step across the workflow.
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MultiDyne® Increases Interoperability and Flexibility for Fiber Transport Applications With The Dingo™ MultiDyne® announced The Dingo™, a new fiber transport platform that enables interoperability between portable and fixed infrastructure equipment, bringing unprecedented flexibility to the field of fiber transport. Available in three compatible formats, The Dingo platform offers seamless communication between openGear® products and other fiber transport equipment, both in the studio or truck and in the field, streamlining fiber transport operations. "The Dingo provides professional camera operators with a versatile fiber transport solution that supports every single possible scenario in the
digital audio with cross conversion, intercom, serial data, and Gigabit Ethernet — over a single fiber-optic cable. The platform is available in three interoperable formats: as an openGear compatible card that offers simple network management protocol and power redundancy in a single hot-swappable card; a portamost ergonomic and elegant manner possible," said Frank Jachetta, president of MultiDyne. The Dingo supports a wide range of camera signals — including 3G HD-SDI, composite video, analog or
ble, black box that makes a great addition to the MultiDyne LightBrix throwdown line; or as a smaller personality card for The BullDog™, LiGHTBoX®, and LiGHTCuBE® product lines from MultiDyne.
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“Icron inside” Almost every computer has at least one USB port. USB is a technical standard in the computer industry that has proven its usefulness over time. G&D recognized USB‘s advantages long ago and have incorporated this interface into many of their devices. Due to the high technological standards imposed onto KVM manufacturers, it was important for G&D to use highquality USB components in their products. For their KVM extension and switching solutions, G&D uses Icron Technologies‘ patented ExtremeUSB® extension technology.
Complementary knowledge In control room or broadcast studio settings, people often work in separate rooms from their computers. This work set-up is feasible because G&D’s KVM systems allow users to access their computers even at a distance. With the incorporation of Icron’s ExtremeUSB® technology, users no longer have to worry about the medium or the time it takes to transmit data when using G&D’s KVM systems. KVM bridges this distance and overcomes any USB transmission challenges. In addition to the benefit of distance extension, ExtremeUSB® offers other features to maintain an easy-to-use and consistently reliable experience with all USB compliant devices. This include transparent USB extension, true plug and play (no software drivers required), and compatibility with all major operating systems. Now users can enjoy all the advantages of removing computers from potentially noisy or hazardous workstations. “We strongly endorse Icron’s ExtremeUSB® technology”, said Roland Ollek, CEO of G&D's Sales and Marketing. “Our customers really appreciate our simple and flexible KVM equipment. For them, using USB means plugging in their devices and getting to work. Icron’s fast technology supports any USB devices and configures them automatically – even via KVM.” “Guntermann & Drunck have developed high-quality KVM solutions for almost three decades”, said Glenn Antonelli, Vice President of Marketing at Icron. “By adopting ExtremeUSB® into their KVM portfolio, they carry on the tradition of providing their customers with reliable cutting-edge technology.”
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TSL Systems Expands Sales Force TSL Systems announced the appointment of Ben Tompsett as its new UK Sales Manager. In this newly created role, Tompsett is responsible for driving sales of the company's expanding portfolio of systems integration services across its existing client database, as well as developing new business opportunities in non-broadcast markets for the UK and Ireland. Tompsett joins TSL from dry hire and systems rental specialists, Presteigne Charter Ltd., with an impressive record of high-profile project wins across different industry sectors. "I'm proud to be representing one of the most respected and forward-thinking systems integration companies in the current market," says Tompsett. "The range and quality of SI and support services that TSL offers - and the extent to which the team desires to constantly learn and build knowledge in order to find the most efficient ways of working - totally enthuses me as the company's newest advocate". With 12 years' experience in the field, including roles at BPS (Broadcast Production Services) and Mitcorp (UK) Ltd., Tompsett has developed a high level of systems knowledge and a vast understanding of systems workflow challenges, enabling him to build strong, trusty and long-lasting customer relationships. "Ben has made a great impression across the broadcast industry with his natural ability to work alongside customers in the pre-and after-sales process, providing sound advice and totally viable recommendations," said David Phillips, TSL Systems' Managing Director. "Ben is a very valuable addition to the TSL team and will open many doors, whilst providing confidence and satisfaction to purchasing decision makers, engineers and systems operators alike'. Phillips stated that Tompsett's role is likely to grow outside of the UK further down the line as the company continues to build its sales force.
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Adtec compression delivers 10 channel 32apsk contribution multiplex for pga tour entertainment
PGA TOUR Entertainment needed more live contribution content for its vast distribution networks. The challenge was to deliver more excellent quality live contribution back to the PGA TOUR Entertainment production facility located in St. Augustine, Florida. Adtec Digital provided a contribution solution consisting of 10 live streams encoded in 1080i AVC 4:2:2, encrypted, multiplexed then transmitted using one 36 MHz transponder saturated with 32APSK yielding 125 Mbs. The solution consisted of Adtec's EN-91P 1080P AVC platform, DTA3050 Mux and RD-70 IRDs. For the PGA TOUR Entertainment “Transmission Hub” application, the EN-91P encodes and BISS encrypts 1080i AVC 4:2:2 at 12 Mbs per service which is then multiplexed in the DTA-3050 and,transmitted using 32APSK delivering 125 Mbs in a 36 MHz transponder. The DTA and EN91Ps can concurrently deliver the transport streams over Ethernet. “The DTA is a proven, reliable, high performance multiplexer ideally suited for dense contribution appli-
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cations,” explained Kevin Ancelin, SVP of sales and service for Adtec Digital. “It provides the glue that ties the 10 services into one high performance MPTS. The EN-91P followed the EN-81 and EN-91 into the market as the MPEG 4 AVC 1080P capable encoder of choice for broadcasters globally. All of Adtec’s EN series encoders deliver the most reliable, highest broadcast quality services available for the best fair market value.
ying the Adtec Compression platform.”
The solution is working very well for PGA TOUR Entertainment. “We use the Hub to support various projects,” said David Dukes, PGA Tour Entertainment’sSenior Director of Technical Operations. “One of the main shows we support is our weekly international telecast of PGA TOUR events. We're also using it to support various individual international broadcast partners working on site at our events. Now that we have 10 concurrent live feeds to source content from, we are able to deliver a richer and more comprehensive distribution package than wasn’t previously capable prior to deplo-
“Adtec was the logical choice for PGA TOUREntertainment,” added Ancelin. “Our focus and expertise is four-fold;value, reliability, service, and technology. PGA TOUR Entertainment trusted us from the concept, to testing and ultimately fulfillment of a perfect platform for their requirements. Adtec’s compression platform performance and value is unmatched. Our use of and expertise with 32APSK DVBS2 transmissions along with our partners at Mobile Satellite Connection continue to reinforce Adtec’s leadership in the live contribution market globally.
For this solution, Adtec’s sales and sales engineering, along with the PGA TOUR Entertainment’s engineering and management, working with the RF experts at Mobile Satellite Connection, worked collectively to develop the requirements, test, and ultimately deliver an excellent quality, dense and reliable contribution solution.
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Dalet Acquires AmberFin Dalet Digital Media Systems announced that it has signed a definitive agreement with Advent Venture Partners to acquire AmberFin. “This acquisition allows us to offer the industry the most advanced level of workflow options. AmberFin has been at the forefront in mastering media, including transcoding and video quality control. The company has spearheaded many widely adopted industry standards such as MXF and AS02. Its talent and expertise directly complement Dalet’s strengths in enterprise MAM-driven solutions,” said David Lasry, CEO of Dalet. “By melding our resources and innovative technologies, we can enrich both the Dalet and AmberFin products to offer the most complete and forward-thinking solutions for content providers to optimize their human resources and media assets. From ingest through multiplatform delivery, operators in News, Sports and Programming will reap tremendous efficiencies and productivity by applying our combined technologies.” “I am extremely proud of the AmberFin team and its accomplishments. Our award-winning, cutting-edge products are used by prominent broadcasters, content owners and post-production houses around the globe,” comments Jeremy Deaner, CEO of AmberFin. “It’s very gratifying to know that by joining with Dalet, we can together leverage our best-inclass technologies to deliver an outstanding array of solutions that will meet the challenges of the constantly changing digital media landscape.”
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Lawo North America appoints broadcastprofessional Jim Duvallas US West Coast Product Support Manager Lawo North America Corp. announce the appointment of Jim Duvall as product support managerbased out of Los Angeles, adding further user and system expertise to the Lawo NA Team. With Duvall, the German audio console and video processor manufacturer welcomes a seasoned broadcast professional, at home in outside broadcast, live shows and post production environments. Before joining Lawo, Duvall worked as Senior Audio Engineer for Sky TV New Zealand, responsible for the production of prime time national sports events, live studio shows and documentaries.In this role, he worked extensively on Lawo consoles which are the global standard in live sports production.In his new post, Duvallwill keep in close touch with Lawo’s customers in North America, usinghis extensive knowledge and experience to assist in training, commissioning and support of Lawo’s complete range of audio and video products for entertainment and live production applications. “I am delighted to be part of this innovative company,” says Jim Duvall. “Lawo’sconsistent focus on quality, performance and engineering of its products, combined with their dedication to creating and delivering the optimal solution for customerswas a key factor in my decision to join Lawo.” “We’re very pleased to have Jimon our team,” says Herbert Lemcke,president of Lawo North America. “Hismulti-faceted background in OBs and broadcast productionincluding his understanding of our audio mixing systems makes him a terrific choice for his new role with Lawo.He understands the broadcast environment and has a solid technicalbackground that is critically importantwhen it comes to the implementation and deployment of the types ofsystems commonly found in the broadcast market. His practical, hands-onexperience with Lawo products in the field addstremendous depth and perspective to our organization."
THE BEST OF NABSHOW 2014
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THE BEST OF NABSHOW 2014
3D Storm NewTek unveils transformed 3Play product family starting at 9.495 € NewTek™ unveiled a new family of 3Play™ sports production solutions that includes major enhancements to the 3Play 4800, the introduction of a new 3Play 440 model, and the 3Play 425 multi-standard model now starting at 9.495 €. “While traditional vendors continue to build expensive replay systems that mimic what is essentially the way people used with tape, our approach is to architect single, integrated systems capable of handling many of the tasks that would normally require dozens of expensive component products and a sizable production crew,” said Dr. Andrew Cross, chief technology officer for NewTek. “3Play allows a single operator to produce more of the stunning content that immerses every viewer at home, at the game and online, while also taking advantage of new revenue opportunities based on the many forms of content they are producing. In addition, we’ve now made 3Play 425 broadly accessible to smaller venues, teams and schools, so that producers who pre-
viously couldn’t even consider network-style replay can get in the game and look just like a major sports broadcaster.”
Integrated Sports Production with 3Play 4800 and 3Play 440 In contrast to common replay servers that only focus on the singular aspect of replays, 3Play 4800 and 3Play 440 systems deliver a multipurpose approach to integrated sports production that dramatically reduces the need for many specialized products and individual operators. Both systems offer a full spectrum of innovative capabilities for new workflows and production opportunities, even in environments where video production switchers are not available. In addition, both 3Play 4800 and 3Play 440 systems are optimized for producers with specific needs. Broadcast companies, professional leagues and large venues looking for the greatest degree of production
configurability can easily integrate the space-saving, 4U rack mountable, eight-camera input, dual-channel output 3Play 4800 into their facilities. The new 2U, four-camera input, dual-channel output 3Play 440 is ideal for mobile productions and regional broadcasters, Integrated sports production systems set new price-performance standards; breakthrough pricing provides replay opportunities for producers at all levels colleges, conferences, and mid-sized venues with more moderate budgets.
Pricing and Availability Prices for the expanded 3Play family, multi-standard models include: - 3Play 4800 for 36.995€ + VAT (free software upgrade to existing customers) - 3Play 440 for 24.995€ + VAT - 3Play 425 for 9.495€ + VAT (optional controller available for 2.195 € +VAT)
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THE BEST OF NABSHOW 2014
LiveMixer, Remote Control of TriCaster Audio Mixer LiveXpert is a complete range of solutions developed to complement and ease NewTek TriCaster production workflow, including the audio control, with LiveMixer. LiveMixer is a versatile application that provides a complete remote control over the audio mixer of all NewTek TriCaster HD models. LiveMixer can be used as an add-on for TriCaster, installed on an external computer simply connected to the TriCaster through the local network. LiveMixer allows the display of the audio mixer graphic interface on a dedicated screen, releasing the main screen connec-
ted to the TriCaster for video operations. LiveMixer offers an efficient remote control of the TriCaster audio mixer. With a dedicated sound operator using LiveMixer, the TriCaster operator can focus on the live production. LiveMixer is easy to install and easy to use, it comes with factory presets and can be customized to suit production needs. LiveMixer adds supports for commonly used external consoles, such as the very affordable Berhinger BCF2000 audio console and the Digital Audio Mixer Yamaha 01V96i. LiveMixer
also provides and exclusive "AutoSwitch" feature, capable of automatically triggering any functions or macro-commands from the TriCaster, based on audio level detection and on rules. It is designed to automatically produce simple radio shows or conferences when camera switching needs to follow people speaking or sound events. Users can build several scenarios combining minimum or maximum audio levels on different inputs detection, priorities, and activating any kind of actions from the TriCaster.
LiveXpert, Peripherals & Add-Ons for NewTek TriCaster LiveXpert is a complete range of solutions developed to complement and ease NewTek TriCaster production workflow. LiveXpert gives producers the ability to produce high quality content by putting in their hands advanced solutions to manage a large scope of information, essential to live productions.
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"NewTek TriCaster Pro Line sports amazing features to give producers more real-time capabilities ", says Franck Lafage, director of 3D Storm, "LiveXpert solutions answer TriCaster users expectations to ease TriCaster workflow and have a full control over all the functions of the system, without increasing staff
and costs. LiveXpert allows producers to produce more content, speed up production time while increasing their revenues. NewTek TriCaster is the must-have in any production workflow; LiveXpert is the must-have in any TriCaster workflow."
THE BEST OF NABSHOW 2014
LiveCG Broadcast, Multi-Layer Character and Graphics Generator for NewTek TriCaster & 3Play LiveCG Broadcast is a solution that gives the ability to send all the graphics needed in a high-end professional television production directly to TriCaster or 3Play through iVGA channels, and display crucial information in real-time that will bring the live production to another level. LiveCG Broadcast widens the possibilities to extend the production's content quality without using the external video inputs of TriCaster for fill and key. Advanced graphics such as fixed and animated titles and logos, crawled or rolled tickers, clocks, countdown, backgrounds and bitmap sequences and full animated graphics with transparency are delivered in realtime to a NET channel of TriCaster. LiveCG Broadcast graphic user interface is designed with two intuiti-
ve modules, one to create the graphics (Editor Mode) and the other one to operate a live session by allocating pages to interactive buttons to go on air. Very easy to use, LiveCG Broadcast allows on-air graphics changes manually or dynamically from external text files. Excel file spreadsheets can also be used to create an amazing interactive display of pictures, logos and values, based on customized formulas and automatic rules for election results, sports scores, and television game shows. “LiveXpert is a highly valued member of the NewTek Developer Network and their integrated products LiveMixer and LiveCG Football already include many highprofile organizations as customers,” said Michael Kornet, executive vice president of business development
for NewTek. “The added solution of LiveCG Broadcast further expands and simplifies the ability for anyone with a TriCaster or 3Play to generate high quality logos and automatically manage titles and graphics during live production.” With the Social Hub Option, LiveCG Broadcast provides an intuitive social network tool to display in realtime, any content, messages, tweets and pictures in a live production that come from various social platforms and devices, such as Twitter, Flickr, SMS and RSS where these feeds can be filtered and sent in LiveCG Broadcast to go on-air. LiveCG Broadcast connects with TriCaster with a simple Ethernet cable. The system is built in a 1RU device and can be used as a standalone application if needed.
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THE BEST OF NABSHOW 2014
LiveCG Football, LiveXpert Solution Dedicated to Football Live Productions LiveCG Football is a professional scoring and graphics management application for NewTek TriCaster, the most complete and affordable tool designed for TriCaster and 3Play, for live broadcasting and for displaying figures and graphics in real-time on large screens in football stadiums. LiveCG Football includes a complete set of features to help sports broadcasters to enhance their viewers experience while increasing their revenues opportunities. The powerful database engine of LiveCG Football gives the ability to store information about all the teams, per country, league and championship. All requested details, such as players' names, coaches, referees, players' pictures and
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teams' logos, are collected once in order to be easily used again, each time a new game is being broadcasted. LiveCG Football features an editor to create and customize all stills and animated graphics according to a defined branding. LiveCG Football provides a full set of templates covering all needs : full screen big score, top corner small score, teams presentations, statistics boards, timer, extended time, faults,
ted to the TriCaster or 3Play through Ethernet using iVGA protocol, without monopolizing a video input. The Graphic User Interface (GUI) gives the ability to collect any information from the game: ball possession time, percentage of good shots or good pass, goal scoring opportunities‌ LiveCG Football also includes all necessary timers for each period, with
penalties‌ nothing is missing, tickers and advertising can be displayed Live from LiveCG Football and give more exposure to sponsors and advertisers.
automatic extended time support. Already used by many renowned football clubs of the European Champions League, LiveCG Football provides all the tools to answer every game's needs, with a single mouse click.
LiveCG Football runs from a remote computer or laptop connec-
THE BEST OF NABSHOW 2014
AJA Video Systems CION: 4K/UHD/2K/HD Professional Camera AJA Video Systems announced CION, an entirely new professional camera. CION features an ergonomic design and is capable of shooting at 4K/UltraHD and 2K/HD resolutions. AJA pioneered lens-to-post Apple ProRes workflows with the introduction of the Ki Pro product line in 2009; CION builds on this achievement by offering in-camera-
recording directly to the Apple ProRes family of codecs - including 12-bit 444 - for pristine image capture. ProRes codecs are well established in many post-production environments and offer wide compatibility withediting, color correction and finishing applications. CION enables today’s growing demand for high frame rate support and offers the
ability to output 4K raw data at up to 120 fps via 4x 3G-SDI outputs. CION can record directly to AJA Pak SSD media at up to 60 frames per second. “CION represents a new direction for AJA. Bringing this sophisticated camera to market underscores our passion to support filmmakers, broadcasters and content creators,”
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THE BEST OF NABSHOW 2014
said Nick Rashby, President, AJA Video Systems. “We are incredibly proud of CION. We believe that the thoughtfully considered design, along with a powerful feature set, will make it extremely useful and versatile for productions worldwide.” CION embraces a familiar and tested camera formand ergonomic layout. It includes a built-in shoulder mountand standard connectors in logical positions. CION features a PL lens mount for compatibility with industry-standard lenses. When recording in HD or 2K, the image is oversampled from the full 4K sensor, retaining focal length as well as providing a vibrant and detailed image. A built-in filter combines an optical low pass filter (OLPF) to eliminate unwanted aliasing and moiré with an infrared (IR) cut filter to produce appropriate colors. Additionally, a back focus adjustment means the sharpest image possible can be produced. Also included are several 3G-SDI and HDMI outputs, which
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are all simultaneously active and supply signal to a variety of 4K/Ultra HD and 2K/HD monitors. A power output connector is conveniently placed at the front of the unit to make electronic viewfinders easy to use. Professional audio inputs round out an unmatched amount of connectivity. CION features an uncomplicated user interfacethat can be easily managed from the operator-side. The camera’s menu parameters are also remotely configurable via a web interface and can be accessed through any web browser via a LAN connection. CION’s sleek chassis is formed of magnesium, which is lightweight yet extremely strong. Integrated steel rosettes allow for mountingof industry-standard accessories such as handgrips and handle extensions directly to the camerabody.The open approach to design also includes integrated cheese plates with standard tapped holes. These cheese plates are fit-
ted to both the top and the bottom of the chassis to provide easy mounting of accessories from both AJA and third parties. CION is the culmination of years of development; AJA hasused a considered process to create a production camera with a feature set and form factor that offers the user a wide variety of options both in the field and the studio. CION is an elegant union of great design and functionality, an engineered aesthetic that AJAisproud to describe as “Science of the Beautiful”.
Pricing and Availability CION will be available Summer 2014 via a worldwide network of AJA resellers at a US MSRP of $8,995. AJA Pak SSD media is available at a US MSRP of $695 (256GB) and $1295 (512GB). AJA Pak Dock is available at a US MSRP of $395. Optional CION accessories will also be available when the camera ships.
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CION FEATURES
‐ Sensor: 4K APS‐C sized CMOS sensor with an electronic global shutter.12‐stops of dynamic range. ‐ Recording Formatsand Resolutions:Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, ProRes 422 (LT) and AppleProRes (Proxy);4K (4096x2160), UltraHD (3840x2160), 2K (2048x1080), HD (1920x1080). 2K and HD are hardware scaled from the full 4K sensor for high‐quality over‐sampled images and retention of field‐of‐view. ‐ Media: Record to AJA Pak SSD media available in 256GB and 512GB capacities. Transfer via Thunderbolt™ or USB3 with optional AJA Pak Dock; Complete 10‐bit and 12‐bit workflow from HD to 4K. ‐ Raw Support:Output AJA Raw via 3G‐SDI at up to 4K 120fpsor via Thunderbolt™ at up to 4K 30fps. ‐ Lens Mount: Industry standard PL mount ‐ Connectors: o 4x 3G‐SDI/HD‐SDI outputs (4K/Ultra HD/2K/HD) o 2x 3G/HD‐SDI monitor outputs with overlay support o 1x HDMI output offering support for 4K and Ultra HD or scaled 2K/HD o 1x HDMI output for 2K/HD o 2x mic/line/48v XLR analog audio inputs o 2x LANC control ports o 1x LTC input connector o 1x reference connector
o 1x USB connector o 1x 10/100/1000 Ethernet LAN connec‐ tion o 1x Mini TRS headphone jack o 1x 4‐pin XLR power connector o 1xinput power connector for attaching third‐party battery plates o 1x output power connector o 1xThunderbolt™ connector ‐ Optical Low Pass Filter and IR cut filter:An integrated OLPF (Optical LowPass Filter) redu‐ ces unwanted moiré effects while still retai‐ ning vital image detail.The infrared (IR) cut fil‐ ter produces high quality colors within the image by blocking unwanted light wave‐ lengths. ‐ Back Focus Adjustment:The mechanicalcali‐ bration�of the distance between lens and sen‐ sor allows finely tuned adjustments to ensu‐ re�the sharpest image quality possible. ‐ Industrial design: Lightweight magnesium chassis, built‐in confidence monitor, standard playback controls and connectors placed to optimize functionality.Integrated“cheese pla‐ tes” fitted to both the top and the bottom of the chassis provide easy mounting of accesso‐ ries. All CION accessory connection points use open standards, including 15mm rods, 1/4‐20 and 3/8‐16 threaded holes, and M6 hirth‐tooth rosettes. ‐ User interface: Via operator side panel display, control knob and buttons or via LAN connec‐ tion usinga web‐browser; no software installa‐ tion required.
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THE BEST OF NABSHOW 2014
Corvid 88. Delivering Multi-Channel I/O to Developer Partners Corvid 88 is ideally suited for Development Partner applications that require multiple simultaneous input and output streams. Each of Corvid 88’s eight 3GSDIconnections can be set programmatically as either an input or output and each can support a different video format, provided all formats use the same clock timing. This allows for maximum flexibility in applications where high-density I/O is required, such as playout servers, ingest servers, channel-in-a-box systems and more. Connections can also be linked together to support Dual Link or 4K/UltraHD formats. Corvid 88 is a single slot solution, available in either low-profile or full-height PCI for factors.
- 4 independent 16-ch 48kHz SDI embedded audio I/O engines
- RS-422 available on full-height Corvid 88
who have chosen to integrate our technology to power their solutions,” said Nick Rashby, President, AJA Video Systems. “Corvid 88 brings even higher levels of functionality with the ability to independently ingest or playout various raster sizes on different channels, in a very compact, high-density 8-channel card.”
- 3-year warranty
Pricing and Availability
- Analog Color Black or HD TriLevel Sync - Available as low-profile or fullheight PCI
* Channels must use the same master clock. Eg, 29.97 and 59.94.
“Since launching our Corvid line, we’ve been incredibly honored by the caliber of developer partners
Corvid 88 will be available in June to Developer Partners, as well as throughAJA’s worldwide network of resellers at a US MSRP of $2,795.
Corvid 88 Features: - 8-lane PCIe 2.0 - Up to eight independent* channels of 3G, HD, SD-SDI I/O - Supports all 4K/UltraHD and 2K/HD/Dual-link HD/SD video formats - 4K and UltraHDHigh Frame Rate (HFR) input and output support. - 8/10-bit YCbCr and RGB frame buffer formats - 4 independent Mixer/Keyer widgets
FS1-X. Next Generation Frame Synch and FRC The FS1-X is a compact single rack-mount frame synchronizer and converter designed to match up disparate audio and video formats in broadcast, mobile and post-production environments. FS1-X supports up-, down- and cross-conversion between SD and HD signals ensuring the highest quality output possible. Featuring a flexible architecture, FS1-X simultaneously works with
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3G/HD/SD-SDI 10-bit video and incorporates a massive number of embedded audio, AES, MADI and analog audio channels. FS1-X is also available with a Frame Rate Converter (FRC) option that offers smooth motion conversion between a wide range of frame rates, including 1080p 50 to 59.94. The growth of 5.1 and 7.1 audio
has increased the number of audio channels managed in a production. The MADI standard provides a convenient way to transport up to 64 audio channels along a single cable. FS1-X supports both fiber and coax 64 channel MADI input and output. An internal 224x224 audio matrix allows full routing of MADI and all audio coming from SDI, SDI fiber, AES and analog sources for a very
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large amount of audio processing capability in a single box. FS1-X also features a unique keyer configuration, allowing incoming signals to be combined in powerful ways. In the case of sidebar keying, where incoming video is converted from SD to HD, rather than stretching the 4:3 aspect ratio
to fit in a 16:9 frame, a second signal is used to fill the side of the 16:9 frame. This allows channel identification or other imagery to be placed in that area rather than having black bars on either side. The robust AFD features of FS1-X ensure that the aspect ratio of the outgoing signal is properly identified for downstream
devices.
Pricing and Availability FS1-X is available now through AJA’s worldwide network of resellers at a US MSRP of $3995. FS1-X FRC (with the Frame Rate Converter option) is available at a US MSRP of $5495.
KONA 4 Supports High Frame Rate 4K up to 60fps KONA 4 offers a future proof architecture to accommodate not only HD and 2K, but also 4K at up to 50/60pframe rates. Pristine 10-bitscalingand a hardware downstream keyer simplify workflows in a range of formats. KONA 4 features bidirectional 3G-SDIconnections that can be used for input and output. The HDMI 2.0b monitoring output allows high frame rate UltraHD monitoring. Additionally, LTC I/O, Genlock input, RS-422 control, con-
figurable 3 x BNC HD/SD analog video output and 8-channel AES audio I/O make KONA 4 the most flexible choice for virtually any workflow. “KONA 4 represents a huge breakthrough, deliveringcost-effective high frame rate 4K at up to 60p to the desktop. Upon release, KONA 4 has already been integrated into top of the line product offerings from Autodesk,Cisco, Codex and
Colorfront,which is a huge testament to its performance and reliability,” said Nick Rashby, President, AJA Video Systems. “KONA 4 delivers avast range of cutting-edge features.”
Third-Party Support As a long-standing AJA collaborator, Autodesk will integrate KONA 4 into its newly announced Flame Premium 2015 toolset for the creation of high-end VFX, finishing and real-time color correction. The new Flame Premium 2015 supports 4K and UltraHD workflows and realtime monitoring and playback of 4K/UltraHDmaterial at 50 and 60p using AJA KONA 4 hardware underthe-hood.
Pricing and Availability KONA 4 is now available to thirdparty developers, as well as through AJA’s worldwide network of resellers at a US MSRP of $1,995.
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THE BEST OF NABSHOW 2014
New LUT-box for Precise Color and Look Management LUT-box is a new Mini-Converter to allow monitors to display accurate color space and look for any SDI video signal. Easily load 3D LUTs at up to 17X17X17 points using the integrated USB connection and free MiniConfig software on either Mac or Windows. Simultaneous outputs support both HDMI and SDI monitors from a single LUT-box. “With the growth of high dynamic range capture and post workflows, knowing that your monitor is displaying the right color space is essential,” said Nick Rashby, President, AJA Video Systems. “LUT-box is affordable, small, really simple to use and our early testers tell us it’s a ‘no-brainer’ addition to their kit to ensure that they’re working in the correct color space.” Features Include:
- Ensure proper image monitoring on-set or in the studio
- 12-bit image processing
- Two 3G-SDI inputs
- 16-channel embedded SDI and 8channel HDMI audio
- Simultaneous 3G-SDI and HDMI outputs
- 2-channel RCA analog audio output
- 3D LUT support up to 17x17x17 point, 10/12-bit
- 5-year Warranty
- Supports standard .LUT, .TXT, .3DL and .CUBE3D LUT formats - Configurable on USB via suppliedAJA MiniConfig software for Mac and PC
Pricing and Availability LUT-boxwill be available in May through AJA’s worldwide network of resellers at a US MSRP of $695, including a Universal Power Supply and USB cable.
New Hi5-Plus and HA5-Plus Mini-Converters at NAB 2014 Hi5-Plus is AJA’s next generation SDI-to-HDMI Mini-Converter. Capable of handling 3G and Dual Link inputs, Hi5-Plus outputs Deep Color 30- and 36-bit video for driving HDMI monitoring solutions. Embedded audio is passed through to the output and a 2-channel RCA analog output allows easy audio monitoring. Hi5-Plus Features Include: - Connect SDI-based devices to HDMI - New 3G-SDI capability - New PsF to P conversion - New audio delay control, 0 to 7 frames - New USB connection for configuration via AJA MiniConfig software for Mac and PC - Compact size fits easily in small spaces
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- 16-channel embedded SDI and 8channel HDMI audio - 2-channel RCA analog audio output - 5-20VDC power - 5-year warranty HA5-Plus is AJA’s next generation HDMI-to-SDI Mini-Converter. The HDMI input is converted to 3G/HD/SD-SDI output for driving SDI devices. Up to eight channels of HDMI audio and/or 2-channel RCA analog audio inputs can be selectively embedded into the SDI output. HA5-Plus also supports 480p/576p video that is output from many DSLR’s. HA5-Plus Features Include: - Connect HDMI-based devices to SDI - New 3G-SDI capability
- New USB connection for configuration via AJA MiniConfig software for Mac and PC - New 480p/576p conversion to 480i/576i for DSLR support - Compact size fits easily in small spaces - 16-channel embedded SDI and 8channel HDMI audio - 2-channel RCA analog audio input - 5-20VDC power - 5-year warranty
Pricing and Availability Hi5-Plus is available now through AJA’s worldwide network of resellers at a US MSRP of $395; HA5Plus is available now through AJA’s worldwide network of resellers at a US MSRP of $395. Both include a Universal Power Supply and USB cable.
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Blackmagic Design New Blackmagic URSA camera Blackmagic URSA is a true professional digital film camera with a 4K sensor, global shutter and a wide 12 stops of dynamic range. The wide dynamic range is superior to regular video cameras or even high end broadcast cameras and results in dramatically better images that look like true digital film. The large Super 35 size sensor allows for creative shallow depth of field shooting and high resolution Ultra HD, 12 bit lossless compressed Cinema DNG RAW and Apple ProRes™ allow for easy post production workflow with minimum storage requirements. The Blackmagic URSA features a
modular camera turret that can be simply replaced by removing 4 simple bolts. The camera turret includes the sensor, lens mount and lens control connections and can be upgraded in the future when new types of sensors are developed. There are currently 4 models to choose from, URSA PL supports PL mount lenses and URSA EF supports EF mount lenses from Canon, Zeiss and more. Both of these models include the large Super 35 sized global shutter digital film sensor. The URSA Broadcast B4 model, available late 2014, features a broadcast video Ultra HD sensor and B4 lens mount used in broadcast. The URSA HDMI model has no sensor and its lens mount is replaced by a “cheese plate” of mounting points
and a HDMI input, allowing any third party camera to get the benefit of the URSA camera body features. “Our goal when developing the URSA was to build a camera that had all the cooling capacity for higher frame rates, and a large on set monitor as well as built in scopes so you had everything you need built into the camera itself. The problem with spending so much money building in such incredible accessories is that they become outdated as sensor technology moves on. So we designed the ability to upgrade the sensor so customers can simply bolt on a new sensor and turret assembly in the future!”, said Grant Petty, CEO, Blackmagic Design. “ Blackmagic URSA will be available in June/July from US$5,995 from Blackmagic Design resellers worldwide.
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New ATEM 2 M/E Production Studio 4K The new ATEM 2 M/E Production Studio 4K includes 20 independent SD, HD or Ultra HD 4K video inputs with each input featuring a full frame synchronizer. This new high end model of the ATEM Production Studio family includes all the features of the other models as well as the SuperSource multi layer processor. SuperSource provides customers with a completely separate 5 layer switcher with the power of 4 picture in picture DVEs and 4 keyers assigned to any ATEM video input. ATEM 2 M/E Production Studio 4K supports 6G-SDI so it can be switched between most SD, HD and Ultra HD video formats instantly. The new 6G-SDI and HDMI 4K video connections effortlessly handle Ultra
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HD and customers can connect all cameras using a single cable. There is also a high definition down converted HD-SDI program output for when the switcher is operating in Ultra HD formats, but a regular HD program feed is required. ATEM 2 M/E Production Studio 4K features two built in multi view monitoring outputs so customers can view all sources on a single SDI monitor or HDMI TV. Because the multi view outputs are down converted to HD, even when operating in Ultra HD, customers can still use commonly available HD monitors or televisions. Each of the two multi view outputs includes independent views for program, preview and 8 switcher sources.
ATEM 2 M/E Production Studio 4K includes the same high quality transitions found on regular high definition professional switchers, but now all these transitions operate in native Ultra HD. It includes 2 built in media players that can store up to 32 full resolution Ultra HD still frames with key and fill. Media players are ideal for lower third name straps, logos and more. ATEM 2 M/E Production Studio 4K also includes a Photoshop™ plug in that allows direct download of graphics and titles from Photoshop to the switcher. The ATEM 2 M/E Production Studio 4K is available now for US$3,995 from Blackmagic Design resellers worldwide.
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Digital Rapids
New Enhancements and Configurations for Transcode Manager 2 and the Kayak Workflow Platform New additions include the official release of optional output support for the MPEG-DASH adaptive streaming specification and the UltraViolet™ Common File Format (CFF); expanded Closed Caption support; user interface enhancements for the Kayak Workflow Designer visual process design environment; and further improvements to Kayak’s already-exceptional deployment and maintenance efficiency. Digital Rapids is also introducing a new standalone version of Kayak Workflow Designer for single-system applications. The new Kayak component releases include the general availability of support for the creation of ondemand assets in the MPEG-DASH (Dynamic Adaptive Streaming over HTTP) specification. Already in extensive production use creating thousands of commercial content assets each week for over-the-top (OTT) delivery, the MPEG-DASH option creates outputs targeting DASH-AVC/264 interoperability and implementation guidelines. Ratified
as an ISO standard, MPEG-DASH was designed to provide a universal standard for adaptive bit rate (ABR) delivery while incorporating the best elements of earlier proprietary ABR technologies. Also moving from pre-release to official availability is the Kayak option for the creation of UltraViolet CFF media assets in support of the Digital Entertainment Content Ecosystem’s (DECE’s) UltraViolet initiative. UltraViolet enables consumers to create personal digital entertainment libraries with the freedom to access their content anytime, anywhere across multiple viewing devices. CFF is designed to provide consistent download compatibility across UltraViolet-compliant devices and apps. Additional new components bolster Kayak’s powerful Closed Caption management and manipulation capabilities with the ability to create discrete SCC Closed Caption files and SRT subtitle files from data included in the input sources or following transformations such as
caption re-timing for differing frame rates. Meanwhile, server-level efficiency enhancements result in faster deployment and a reduced storage footprint for distribution of new or upgraded components in both new and existing Transcode Manager 2 installations with multiple Kayakbased processing resources. “Kayak Workflow Designer SE removes the deployment barriers that have hindered customers with lower-volume needs from easily taking advantage of Kayak’s powerful capabilities that have benefited their larger-scale counterparts,” said Darren Gallipeau, Product Manager at Digital Rapids. “We’re also excited to be releasing the new options supporting Ultraviolet CFF and MPEG-DASH, both of which are critical enabling technologies in simplifying multiscreen media consumption for audiences while minimizing device and protocol incompatibilities.”
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THE BEST OF NABSHOW 2014
EVS 20TH ANIVERSARY EVS, had celebrate its 20th anniversary at NAB. “EVS has been driving innovation from day one, and we’re very focused on continuing to develop new technology advancements that help producers transform the way they create, manageand deliver enrichedmedia content,” explains EVS CEO Joop Janssen, “It has been a privilege to collaborate with some of the industry’s most respected experts. This has given us the ability to meet and exceed the requirements of major live production events with our solutions, which
we’ve adaptedand scaledto address a wide variety ofindustry needs.” EVS first broke into the broadcast market in 1994 with its innovative Live Slow Motion replay system, better known as LSM.The LSM system, or “Elvis” to its operators,soon became a ’must have’ for live sports production worldwide. EVS continued to develop its LSM-based products and ideas, making the technology a staple for any live broadcasting event, leading to the creation of the IPDirector suite of production asset management tools for unpre-
cedented control of content. Since then, EVS gone on to develop visionary solutions that address four key markets – Sports, Entertainment, News, and Media -- includingthe XT3 4K advancedlive productionserver, the new XS next generation server, theOpenCubefile-based server,the new high performing newsin-a-box solution, XS NewsFlash, and the C-Cast connected contentplatform which allows the instantaccess and distributionof live, customized media packages for producers, partners, and viewers.
EVS AND HBS REINFORCE THEIR COLLABORATION FOR BRAZIL HBS designs and runs the entire host broadcast operation for FIFA, including the production and integration of services. It will provide the broadcast feed from all 12 event venues, covering 64 matches. The broadcast infrastructure is made up of three key workflows: live production at the different venues across
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Brazil; a centralised broadcast media server and file-based media sharing systems; and a new multimedia distribution platform. Francis Tellier, CEO at HBS, commented: "Our partnership with EVS is a good example of the cross-fertilisation that can take place between
two key companies in the sports broadcasting space. We both strive to improve the quality of major sporting events and work together to offer the best technical solutions so that broadcasters and right holders can guarantee the optimal coverage and service offerings to their audiences."
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Live Production The live production workflow at the 2014 FIFA World Cup will centre on EVS’ new XT3 live production server, offering multi-format capability. For each venue, around 16 XT3 servers will be used for replays, highlight edits, graphic insertion, clip creation and content management. EVS’ IPDirector production asset management suite will drive all the ‘emotion’ highlights packages, an add-on to the multi-feed concept launched by HBS in 2002. The compilation of all the best clips will be handled by the new MultiReview solution. These clips will then be used to create highlights packages that will be made available to FIFA’s Media Rights Licensees (MRLs).
sen by HBS, the dedicated host broadcaster of this summer’s major sporting event in Brazil. More than 35 Adobe Premiere Pro CC seats, linked directly to EVS shared storage, will be used to create final edits of updates, promos and multimedia packages. “It seems like an obvious statement, but what production companies need in fast turnaround work is speed,” said Henry Alexander, SVP Entertainment at EVS. “Editors do not want to worry about the technicalities of formats and where content is stored: they just want to access the clips and cut their stories. Both EVS and Adobe are focu-
sed on this speed and convenience, and by working together we can offer the most streamlined workflows. “Our goal is to enable editors to work as efficiently as possible while creating brilliant results,” said Simon Williams, director of strategic relations at Adobe. “We see the collaboration with EVS as a real advance in what editors can do under pressure, whether on site or remotely. This technical integration helps us give editors what they tell us they need – a way of getting better quality results on screen faster, and with fewer resources.”
Centralised File-Based Media Server More than 100 EVS IPDirector suites located in the International Broadcast Centre will be used to manage the ingest of live incoming feeds as well as access to the centralised FIFA Media Asset Exchange (FIFA MAX) server. It will store match feeds, clips, highlights, prerecorded content (city profiles, etc.) and other relevant data. The IPDirector suites will also be used for the live logging of events. Around 12 XT3 servers will handle 4,500 hours of content located on an EVS XStore SAN. 36 Adobe Premiere stations, along with EVS’ IPLink plugin panel, will be used to create final edits of updates, promos, behind the scenes footage and multimedia packages. The Epsio FX system will be deployed for on air graphic insertion. EVS and Adobe strength their technical integration Editors working in Adobe® Premiere® Pro CC already benefit from direct access to the EVS IPDirector clip structure, allowing them to create highlights packages faster than any other workflow. The combination of EVS servers and Adobe Premiere Pro CC, using the IPLink interface, has been cho-
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THE BEST OF NABSHOW 2014
NEXT-GENERATION XS SERVER EXCEEDS ALL STANDARDS FOR FAST-TURNAROUND PRODUCTION The new server enables highly productive workflows with its 4RU and 6RU versions. The 4RU highperformance server provides a full open configuration mode to cope with mission-critical live TV program production and its multiple standards. Features – such as multiviewer capability and1080p support – can be easily added.
The ‘premium’ 6RU server model is designed to meet the most demanding studio ingest and production requirements. It offers 12channel ingest capabilities based on the new TwinRec streaming mode, as well as 4K and1080p support. Dual media sharing networks capabilities – including 10Gbit Ethernet make for faster and better media exchange within connected produc-
tion and post-production environments. The new XS supports HD-SDI for uncompromised, instant control, and supports all common codecs and wrappers, including XDCam, DVCPro, AVC-Intra and ProRes, ensuring seamless integration into existing infrastructures. Up to 96 audio tracks can also be supported.
XS NewsFlash “News-in-a-box” The same high-performance XS server technology also powers the new XS NewsFlash, EVS' ‘news-ina- box' production and playout system. Featuring MOS integration, the premium configuration provides full multi-channel newsroom functionality. It can also be used for disaster recovery or in breaking news mode
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for very fast turnaround news production. “The XS has been custom designed for the heart of modern TV production workflows, aimed at flexible and highly productive fast-turnaround operations,” said Henry Alexander, SVP Entertainment &
News at EVS. “This new platform retains the legacy standard features from first gen XS, and is further boosted by unique new features and flexible operational configurations to help our customers efficiently create, manage and deliver enriched programming -- while significantly cutting down time.”
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Grass Valley Public Debut of the New Grass Valley NAB 2014 has seen the launch of a the new Grass Valley, a Belden Brand, is the latest addition to the Belden Inc. portfolio of best-in-class communications technology brands, and the result of Belden’s investment of $800 million over the past three years in the broadcast market. The new Grass Valley is uniquely placed to deliver the future of television, combining a strong understanding and vision of the workflows required for live and on-demand video with an unrivalled heritage of pioneering the way television is created, produced and delivered. Marco Lopez, president of Grass Valley says, “The new Grass Valley is future-ready and we know that this means more than simply working hard to innovate with the changing times. Our entire organization is ready to act on our commitment to be a trusted partner for our customers both today and in the future. We are one hundred percent ready to use our collective expertise to lay the foundation of the future’s broad-
cast workflows. But future-ready goes further than that. The stability and influence of Belden, a proven, strategic presence in the broadcast space, enables us to scale and provide a level of support to the market that can’t be matched. This stability and strategic direction are the pillars upon which our future-ready commitment rests.” Lopez adds, “We are currently experiencing the most exciting period in the broadcast and media space. In the past five years, TV has moved from being confined to the living room to a TV- everywhere environment. Today’s consumers are watching live and on-demand video on broadband connected second screens and mobile devices. They are demanding higher quality sound and vision, regardless of device or location. ‘HD in the home’ is becoming ‘HD in the hand’, and the living room is moving towards a near-cinema experience. With highly experienced staff and
a great geographic presence covering every television market in the world, Grass Valley is able to draw on a wealth of intellectual property, Emmy-award winning R&D talent, expert consulting and manufacturing capacity that is second to none in the industry. The company is the only provider that can offer complete solutions for live and news production, broadcast infrastructure and connectivity, content playout and delivery, along with the expertise to successfully design, install and maintain these solutions. Lopez concludes, “In the new Grass Valley we have brought together an unprecedented mix of broadcast business acumen and technical know-how, the combined strengths of which will deliver considerable added value to our customer relationships worldwide. We’re ready today and ready for the future. And, whenever broadcasters need to tackle challenges in their path, we’re going to be there with them.”
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THE BEST OF NABSHOW 2014
Grass Valley Enhances K2 Dyno Replay System With Powerful New Capabilities K2 Dyno now includes 4K pan/zoom support, 6X ultra slowmotion playout (from the LDX Xtreme Speed and LDX Compact Xtreme Speed cameras), 6x2 I/0s, and an optional package for sports graphics and telestration with the tOG-Sports application developed by RT Software. All of these features are controlled from a single K2 Dyno Replay Controller touchscreen, making it the complete solution forthe capture, replay, managing, editing, and playout of compelling content. These new features will be available for K2 Dyno in May 2014. "K2 Dyno is the most versatile replay system on the market. No other system provides Any Speed for smooth playback of Xtreme Speed (6X) content. And no other system enables 4K pan/zoom support, advanced graphics telestration, and full editing capability all from one intuitive user interface,” commented Mike Cronk, Senior Vice President of Strategic Marketing, Grass Valley. “It’s because of these cutting-edge features that more and more production companies are adopting K2 Dyno and why we've been able to train over
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200 new operators in the last 10 months. We've tripled the size of our development team, and we look forward to continued collaboration with our valued customers as we seek to break even more new ground in sports story-telling." For a complete end-to-end solution, K2 Dyno provides integration and support for Channel Flexmulticam recording into the GV STRATUS Scheduler for a collaborative, file-based production work-
flow, from image capture through distribution of content. Grass Valley’s EDIUS nonlinear editing software can also be installed on the K2 Dyno S controller to create compelling content packages during breaks in the action. The operator can place K2 Dyno highlights directly on the EDIUS timeline, enhance the content, and then put the completed material in a K2 Dyno folder to cue and playback all on a single replay system.
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Four New High-Speed Cameras New additions to the LDX range are the LDX HiSpeed (LDX HS) and LDX Compact HiSpeed (LDX Compact HS) 3X super slow-motion cameras, and the LDX XtremeSpeed (LDX XS) and LDX Compact XtremeSpeed (LDX Compact XS) 6X ultra slow-motion cameras. These new LDX cameras are built around Grass Valley’s proprietary Xensium-FT CMOS imagers to deliver superb picture quality, high sensitivity, and high dynamic range for a wide variety of production applications. The LDX HS and LDX Compact HS 3X cameras are the successors to the LDK 8300 3X super slowmotion camera and support 1080i and 720p with 150 and 179.82 triplespeed frame rates, with an additional 1X standard speed “live” output for seamless integration with standard cameras planned for future release. The LDX HS and LDX Compact HS are software upgradable via GV-eLicenses to the LDX XS and LDX Compact XS, respectively. The LDX XS and LDX Compact XS deliver instant time-to-air capabilities and integrate seamlessly into live workflows with 3X and 6X speeds. The cameras deliver images in 1080i and 720p with 150 and 179.82
triple-speed frame rates and 300 and 359.64 sextuple-speed frame rates, as well as 150 and 179.82 triple-speed frame rates in 1080p, with an additional 1X standard speed “live” output for seamless integration with standard cameras planned for future release. This makes the LDX XS and LDX Compact XS the perfect choice for both super slowmotion and ultra slow-motion applications.
and directors, the ultra slow-motion footage from the LDX XS and LDX Compact XS is available immediately, without having to wait for the camera to transfer clips from an internal storage device. Both the LDX XS and LDX Compact XS transfer acquired footage in realtime to an external server so it can be used on-air immediately without missing any action on the field of play.
Of primary concern to producers
To eliminate the problem of light flicker in ultra and super slow-motion image capture, the LDX XS and LDX HS system cameras are equipped with AnyLightXtreme, to correct artificial light flicker which can be visually disturbing to viewers. To fully support triple-speed 1080p and sextuple-speed ultra slowmotion operations, Grass Valley developed a new fiber transmission, the XCU XtremeSpeed XF Fiber, which utilizes the same XCU cradles as its single-speed range of XCU base stations. Because the XCU's unique cradle can be pre-mounted and pre-wired in the rack, it can quickly and easily be transferred between OB vans, studios, or any place, which extends its usability.
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THE BEST OF NABSHOW 2014
New GV STRATUS Media Services for News Production, Live Production, Digital Media Platforms, and Playout be configured into agile, participatory workflows that adapt to the logic of news production and where any producer, writer, or journalist can participate in and add to the production process at any point in the workflow including user-generated content. GV STRATUS Live includes a fast evolving set of tools and media services to efficiently manage and package content during and after a live event. In complex environments The new GV STRATUS Playout is a secure and native cloud-based automation playout control solution hosted through Microsoft’s Windows Azure system to orchestrate on-site media playout via SSD-based SSP3801 playout cards that fit within the DensitÊ modular platform. GV STRATUS Playout was designed from the ground up to provide the most efficient approach to critical automation functions. It does this by employing a hybrid cloud approach. Customers retain full control of
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the location and movement of their broadcast media assets. Ingest, content preparation, and asset management remain on-site, with control and data management in the cloud. GV STRATUS News provides news organizations with all the tools necessary to plan, create, publish, and archive news broadcasts,whether they are working in the newsroom or in the field. Transforming the way news organizations report news, this complete framework can
such as live studio production or sports production tasks, processes can change from one program to the nextor from day to day. With the complete and reconfigurable GV STRATUS framework, live studios can design agile, participatory workflows that adapt to changing production needs, making it possible for any staff member to participate in and contribute to the production process at any point in the workflow.
THE BEST OF NABSHOW 2014
Imagine Communications “We are investing rapidly in our business – driving innovation toward our vision for an industry defined by IP, software, multiscreen viewing and the cloud, and rounding out our portfolio through strategic acquisitions,” said Charlie Vogt, CEOof Imagine Communications.
“NAB is a fantastic opportunity to showcase our pillars of innovation and the new solutions that support them. We look forward to joining the world’sleading media companies and thought leaders to discuss the rapid transformations happening across our industry.”
New at NAB Playout in the Cloud: There were a demo with content from the public cloud where it was regionalized within Imagine Communications’ NAB private cloud with local content, including live uncompressed IP sources. The resulting regional feeds were distributed in compressed, Adaptive Bit Rate (ABR), and uncompressed IP and SDI baseband formats for traditional linear and TV Everywhere viewing. LandmarkOSI Cloud™: Under the MediaCentral framework, LandmarkOSI Cloud works in a Microsoft Azure environment to create orders, work inventory, run reports and create invoices in the cloud. Landmark™ Advanced Advertising: Leveraging the modular approach of the MediaCentral service-oriented framework, Imagine Communications showcased dynamic ad insertion for strea-
med and nonlinear content. This impression-based approach enables the management and utilization ofavailable inventory across a range of devices and platforms including linear TV, mobile devices, video on demand and OTT, to easily create cross-platform campaignsand monetize content opportunities across traditional and new media. MultiService SDN™: This software-defined networking (SDN) framework simplifies the network architecture of media companies operating in hybrid environments of both baseband and IP workflows by enabling the video bit flow to be softwaremapped, creating a fully virtualized network fabric for deploying advanced services, TV Everywhere: This new, highly optimized adaptive bit rate (ABR) technology and state-of-the-art content delivery network (CDN) software combine to create a highly scala-
ble transcoding and video head end solution for live video stream distribution and real-time HD HEVC encoding. Selenio X100™: The latest enhancement to the company’s worldclass line of facility signal processors and mobile production solutions, the new Selenio X100 1RU processor offers a unique architecturefuture-proofed for IP and Ultra HD that easily integrates into the signal workflow of any broadcast environment. Selenio™MCP Enhancements: Selenio MCP now provides a highperformance contribution solution for live events via new JPEG2000 capability for best-in-class compression over IP, and a highly efficient satellite distribution solutionvia a built-in dual-channel DVB-S/S2 demodulator.
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Digital Rapids Acquisition One of the most important new of NAB was Digital Rapids acquisition by Imagine Communications. “Imagine Communications is laserfocused on leading the industry to a future defined by IP, software, the cloud and TV Everywhere, with an architecture vision for delivering and monetizing multiscreen content,” said Charlie Vogt, CEO of Imagine Communications. “We have made major investments in developing our TV Everywhere portfolio, Media Central platform, and Multi Service SDN frameworks to deliver serviceoriented, software-based architectures for our customers. The addition of Digital Rapids’ advancements in
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software-based workflow management and transcoding strategically complements our pillars of innovation and rounds out our capabilities. Additionally, their expert team, which is based just miles from our Development Center in Toronto, brings a rich history in pioneering software solutions for high-end media processing applications that strengthens our TV Everywhere business and company.” “Imagine Communications is strategically positioned to transform the media and entertainment industry through innovations in IP, softwaredefined workflows and virtualiza-
tion,” said Brick Eksten, President and CEO of Digital Rapids. “Their senior management team understands that flexible, software-defined workflows are essential for media companies to efficiently scale to new opportunities and quickly launch new, differentiated services. We are thrilled to join the Imagine Communications team in empowering customers by not only smoothing their transition from hardwarebased infrastructure to software, but by also fueling a next-generation approach to software that puts the customer in control of advances in technology.”
THE BEST OF NABSHOW 2014
Lawo
Virtual Radio Mixing Console at NAB ment than on the faders. With AutoGain, the DJ can calibrate all microphone signals easily and without understanding technical aspects. By the press of a button, AutoGain levels microphone gains automatically within seconds, while the talent just talks into the microphone. crystalCLEAR’s comprehensive feature set includes 3 stereo mixing groups, integrated CUE (PFL) with metering,�precision stereo PPM meters, a large time-of-day clock with event timer and talk buttons that automatically appear on mix-minus channels. The advanced DSP core In a world’s first, Lawo launched at NAB show its crystalCLEAR virtual radio mixing console. The new eight-fader radio mixer is comprised of a compact 1RU DSP engine and a multi-touch optimized Windows application. The new approach saves desk space and optimizes radio workflows with smart functions like AutoMix and AutoGain. Without the limitations of physical knobs, buttons and faders, the virtual console presents the user with only relevant controls and information, hiding anything not needed for the task at hand. The console also includes a comprehensive monitoring section
and can be instantly reconfigured by recalling scenes or presets for different shows and different users.
provides four analog mic/line inputs,
The integrated AutoMix simplifies mixing and hosting of talkshows significantly. The console takes over control of the microphone mix, while the talent conducts the interview. A side benefit of AutoMix is that it reduces ambient noise from open microphones while keeping the overall volume of the mix at a constant level. AutoMix also works perfectly as a ducking function for voiceovers live on air, allowing the DJ to concentrate rather on his announce-
AES3 stereo inputs with SRC, four
six analog stereo line inputs, eight analog stereo line outputs, four AES3 stereo outputs and a RAVENNA Audio-over-IP interface for another four stereo ins and outs. Two headphone outputs and eight GPIOs complete the unit’s set of interfaces. crystalCLEAR provides a redundant power supply option and is prepared for seamless integration with leading radio
automation
systems
like
ENCO, RCS and Radiomax.
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THE BEST OF NABSHOW 2014
Optimized radio newsroom workflows with JADE 2.0 Being middleware between the PC’s audio sources and the PC’s audio applications, this radio software tool provides a unified interface to all audio applications, even when multiple audio hardware pathways are included. It can remember the routings for various tasks and recall them instantly. The intuitive touchscreen-optimized GUI includes longthrow faders for sources and monitoring outputs and large scale PPM meters to visualize input and output levels. Sound processing is made simple with JADE’s processing presets enabled with a simple click. JADE 2.0 is the ideal tool for newsroom applications, making the journalists’ existing PCs become easy-to-use production workstations. Instead of producing clips in separate, dedicated edit suites, JADE 2.0 allows a decentralized workflow with journalists producing in parallel on multiple workstations, covering scenarios like sound-bite editing, recording from internet livestreams, TV or radio programs, and conducting phone interviews using VoIP. All this can be done without moving to a dedicated studio or edit
suite. And also within edit suites JADE 2.0 is the perfectly suited environment for managing voice recordings, live interviews, events using external lines or codecs or multi-channel editing. Another application is field-production. JADE 2.0 allows laptops to become mobile audio workstations with all the features needed to produce in locations like press conferences, hotel rooms or even sporting and special events. JADE 2.0 handles up to 12 mono
or stereo sources including processing. It’s compatible with audio hardware supplying ASIO, WASAPI, WDM or MME drivers�and supports ASIO direct monitoring. Connections to other audio software are provided via four virtual ASIO and four WDM clients. For perfect integration in IP-based studio environments JADE 2.0 provides native RAVENNA audio-over-IP upport for receiving up to16 audiochannels and sending up to 12 audiochannels via IP networks.
Smart: AutoMix and AutoGainfor all Lawo radio mixing consoles In Las Vegas, Lawo introduced its integrated AutoMix and AutoGainfeatures as part of the 4.4 software update for the Lawo crystal and sapphire radio mixing consoles.
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AutoMix automatically adjusts the levels of active and inactive microphones, while keeping a constant ambient level. As a result, mixing and hosting a talkshow becomes a
breeze. The console takes over control of the microphone mix, while the talent simply conducts the interview. AutoMix reduces ambient noise from open microphones while it keeps the overall volume of the mix at a constant level. AutoMix also works perfectly as a ducking function for voice-overs live on air. Striving for even more simplification, Lawo integrated its new AutoGain feature, and so the talent can calibrate all microphone signals easily and without understanding technical dB values and overloads. By the press of a button, AutoGain levels microphone analog gains automatically within seconds, while the talent just talks into the microphone.
THE BEST OF NABSHOW 2014
Lawo showcases IP-based camera hubs using V__link4 at NAB In a premiere, Lawo demonstrates a fully working IP-based stagebox solution for video, audio, intercom and control. The system is based on Lawo’s brand-new V__link4 videoover-IP interfaces and can operatein local stagebox applications, e.g. an OB truck, as well as in IP-based remote productions. The example stageboxes shown at NAB comprise Lawo’s V__link4 video-over-IP interfaces, Clear-Com and Riedel intercoms, Ikegami CCUs and cameras, and a Lawo DALLIS audio I/O interface. The main concept of the IP-based camera hubs is to move the camera CCUs from the truck into the stageboxes. These camera hubs are connected via IP to the truck, realizing a “one cable into the stadium approach”. Video, audio, communications and camera control data are transported via IP, which significantly reduces cabling efforts and increases the flexibility of any installation by real IP networking. In addition, this approach decreases complex
setups of the hardware involved in a truck. The truck’s camera equipment can be easily adapted for changing applications, e.g. by moving camera hubs and cameras from one truck to another without effort. Lawo’sV__link4 is a compact 1RU device, designed for productionquality real-time contribution and distribution of 3G/HD/SD-SDI signals via IP networks. V__link4 provides two 10Gbit Ethernet ports and four 1Gbit Ethernet ports, and MADI and RAVENNA audio connectivity. The V__link4’s four coding engines are designed to meet the highest demands in video quality and signal transport reliability. Its integrated error concealment with build-in frame store and parallel redundancy protocol (PRP), allow the system to overcome any single network failure without compromising data transmission. Format and quality of the IP video streams can be configured individually to meet the optimal ratio between picture quality, latency and
bandwidth. Designed as a one-boxsolution for the bidirectional transport of four SDI signals, it includes everything from video-over-IP coding and de-coding, signal processing and video/audio delay measurement. The units codec include a raw mode, DiracPro, JPEG2000, MJPEG and H.264. Among other features, each channel includes frame synchronization, variable audio and video delays, embedding and de-embedding (incl. sample rate conversion) plus RGB Color Correction &Proc Amp. The V__link4 also features two Surround-to-stereo Downmixers per Embedder, Dolby® E Aligner, QuadsplitMultiviewer, Waveform and Vectorscope display, Timecode Insertion, Test Pattern Generator and Video ID Generator as well as Video / Audio Delay measurement.
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Nevion VideoIPath 3.5 The powerful solution has a new interface and multi-tenanting that makes managing IP-based and traditional media networks even easier, and provide increased capabilities for broadcasters to manage their own requirements. VideoIPath 3.5 improves user interface for simpler operation, multi-tenanting support with associated security for service providers, and ability to reserve resources in advance. These enhancements combined with key network inven-
tory and monitoring capabilities, enable non-specialists to manage their media transport services on their own. Simplifying the provisioning, inventory management and monitoring of media services, VideoIPath enables occasional-use services, faster set-up times, proactive problem identification and resolution, and reduced operational and capital expenses through the automation of complex media transport processes. “VideoIPath is unique in combi-
ning network inventory and monitoring capabilities - which are essential for managing services - with features such as an easy-to-use GUI, multi-tenanting and advance reservation that enable non-specialists to be in control of their connection requirements,” said Janne T. Morstøl, chief product and development officer, Nevion. “We believe these powerful capabilities present a very valuable business opportunity for any service provider looking to provide services to their broadcast customers.”
Next Generation Flashlink Solutions from Nevion’s Flashlink family are used extensively in the production and transport of content throughout the world. Embedded into those offerings are decades of real-world experience handling professional quality content in real-time for global live events. Next Generation Flashlink builds on that experience to create easy-to-use and scalable infrastructure that helps broadcasters achieve critical high fiber utilization needed for larger productions and the option to centralize aspects of production to achieve economies of scale.
"Nevion believes broadcasters will move, over time, to an IP infrastructure for production because it brings substantial advantages in term of time-to-production, cost savings and revenue opportunities,” said Janne T. Morstøl, chief product and development officer, Nevion. “We also recognize that traditional infrastructure will continue to play an important part in the industry for the foreseeable future. Nevion’s Next Generation Flashlink strategy is designed to make the progressive transition to IP as smooth as possible for broadcasters and others, by
breaking down the technological boundaries.” At NAB, attendees can see the first steps of broadcasting moving to IP covering new Flashlink components including a high-power 2RU modular frame offering high density and compact size, new multi-channel video, audio and data multiplexer and VikinX eMerge, a media Ethernet router. All new solutions integrate with the award-winning Flashlink Live Media Networking application and existing products within the Flashlink range.
Nevion debuts enhanced media monitoring probe at NAB 2014 The TNS4200 is designed to monitor video and audio signals and streams to ensure a consistently high-level of Quality of Service (QoS) in contribution and distribution applications, and to document compliance by service providers with Service Level Agreements (SLAs).
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The TNS4200 is the most powerful, versatile and cost effective probe of its kind, offering the highest density in the market for the number of inputs per 1RU. It can handle the largest number of streams simultaneously and supports a wide-ranging set of interfaces and formats, including ASI, IP, 10G over SFP,
DVB-T
and
satellite
RF.
The
TNS4200 can be used, for example, by IPTV operators and cable TV service providers to monitor a high number of Single Program Transport Streams (SPTS) over IP simultaneously.
THE BEST OF NABSHOW 2014
Quantel New Pablo Rio software for 4K workflows Quantel showed the latest software release for its Pablo Rio high quality color and finishing system at NAB 2014. The new software ensures that Pablo Rio continues to set the pace in file-based post production pipelines with support for yet more file formats, including 4K XAVC export and DCP import as well as the latest RED SDK.
The new software also supports conform of Avid effects. This new facility greatly speeds the transition from Avid offline to Pablo Rio 4K finishing and color correction. The Pablo Rio toolset also gets a major boost with Optical Flow slow motion. Optical Flow uses advanced motion estimation techniques to produce smoother, higher quality slow or fast
motion. “The momentum continues to build for Pablo Rio. This raft of new developments will maintain Pablo Rio’s pre-eminent position as the color and finishing system of choice for 4K and beyond,” said Steve Owen, Quantel Marketing Director.
Enterprise sQ gets more tools Quantel announced major developments for its Enterprise sQ news and sports production system at NAB. These include enhancements for what is already the industry’s fastest news editor, and significant advances in file-based workflows and management that help integrate Enterprise sQ even more fully with the facility’s IT infrastructure. Enhancements for sQ editors
announced at NAB include: Optical Flow for high quality slow or fast motion; improved audio handling when working the video effects; AVCHD softmount; XAVC support; and improved shapes performance. In addition, the Marco field editor also gains the same toolset as the rest of Quantel’s broadcast product range with the addition of an HSL keyer. Also the range of laptop com-
puters on which Marco supports SDI is greatly expanded with the announcement of support for the AJA Io XT. Enhanced IT integration comes courtesy of four developments to sQ Fileflow: * FTP client support * New Fileflow UI * Easy deployment
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AS-11 AS-11 is the new file-based delivery standard and is now supported on Enterprise sQ. This means Enterprise sQ systems can export AS-11 files for delivery to file-based playout centers.
Support for AJA Io XT and KONA 3G At NAB 2014 Quantel announced support for the AJA Io XT on its Marco field editor, and KONA 3G video card on its Pablo Rio color and finishing systems. AJA Io XT will be supported for input and output on Marco in addition to AJA’s T-TAP™ Thunderbolt™ adapter, enabling journalists and editors easily to exchange media with a professional SDI infrastructure – for example satellite or outside broadcast/remote trucks, or for direct recording from HD cameras. Pablo Rio already supports the AJA Corvid Ultra, which delivers realtime 4K 60p. The addition of support for the AJA KONA 3G gives customers a wider choice of I/O infrastructure and will be particularly attractive to customers who currently require realtime 2K capability. The KONA 3G card is supported on software-only Pablo Rio 2K and 4K systems and 2KO turnkey systems.
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THE BEST OF NABSHOW 2014
Riedel MediorNet 2.0 With this update for Riedel’s MediorNet real-time media network, users realize added benefits, including full video router functionality, seamless interoperability with Studer consoles, EMBER+ implementation, and extended integration of the ProBel protocol. “MediorNet 2.0 gives MediorNet users a flexible, easy-to-operate alternative to conventional video routers,” said Karsten Schragmann, product manager at Riedel Communications. “By incorporating tremendous routing capabilities right into the MediorNet frame, this firmware update enables users to lower their operations costs while reducing the volume and complexity of cabling required for audio and video
signal transport.” The MediorNet 2.0 update includes robust video router functionality with switching delays of less than 40 milliseconds, as well as high-speed rerouting that allows as many as 1,000 connections to be rerouted in less than a second. Simple dragand-drop routing of multiple connections speeds configurations, and users now have the option to delete multiple selected connections at once. The firmware update also supports more than 65,000 ProBel crosspoints. MediorNet 2.0 introduces Studer A-Link compatibility, which enables the MediorNet Modular frame to act as a decentralized audio router with a matrix size larger than 25,0002
and fully redundant interfaces. At the same time, MediorNet fully supports EMBER+ for integration with other common control systems, such as VSM and KSC Commander. Because the update permits access to all MediorNet parameters and allows users to edit I/O settings and control all routing functions, users retain control over configuration options. Additional features that come with MediorNet 2.0 include a timecode display that can be configured to the user’s preferred size and position, an LTC input, and sample rate conversion on both optical MADI ports of MediorNet Compact systems.
Bexel and Riedel Communications Take Flight with Collaborative Offering Bexel announced a new collaborative offering with Riedel Communications at NAB 2014. Bexel’s Falcon Sportscaster Unit will now feature an AVB (audio-video bridge) interface, developed by Riedel. The optional AVB capability provides direct digital network connectivity to the announcer in the most advanced media network architecture available.
the demands of professional sportscasters and audio operators with its unique, interchangeable nature. The unit’s inherent flexibility can accommodate a variety of interface connectivity solutions to meet a customer’s specific needs, and now broadcasters will be able to utilize the state-of-the-art Riedel AVB interface, as the Falcon is not bound to a singular solution for connectivity.
The Falcon is able to satisfy all of
“With Riedel, we are working with
a partner company that is dynamic, resourceful and innovative,” said Andrew McHaddad, chief audio engineer, Bexel. “This collaboration is a perfect fit for everyone involved, but especially for our customers. We pride ourselves on being a leader in the sportscaster equipment market with our Falcon platform. Working with a technology-driven company like Riedel strengthens our offerings and improves users’ experiences.”
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“It has been very rewarding to work with Bexel on this new AVB application,” said Christian Diehl, product manager for Riedel Communications. “We are very interested in furthering the usage of AVB globally, and this single-cable option for the Falcon is a perfect application for it.” The new Riedel AVB option allows a single CAT-5 cable to connect to an AVB network carrying all five audio signals: broadcast microphone, Talk-Back #1, Talk-Back #2, IFB left, IFB right and power. All audio signals exist on the network as data, with all AD/DA conversions occurring within the Falcon unit. Powered through the network con¬nection, this version provides the highest density of capability in the smallest footprint available in the marketplace.
Virtual Key Panel for Artist Digital Matrix Intercom System Riedel Communications unveiled a new app that enables use of compatible iOS, OS X®, and Android devices as virtual key panels for the company’s acclaimed Artist digital matrix intercom system. Allowing users to turn their smartphones and tablets into full-featured 12-key virtual panels for any Artist system, the new app adds even greater flexibility to the already versatile intercom solution. “The option of using smartphones and tablets as intercom interfaces is just one more compelling reason to work with our Artist intercom product,” said Christian Bockskopf, marketing and communications for Riedel Communications. “With this new key panel app, users on the move can maintain convenient control over their Artist systems at all times.” Operating the app’s virtual key panel via the device’s touch-screen interface, users enjoy the same signaling capabilities as they would on Riedel’s 1000 Series wired control panel for Artist systems. Like the wired control panels, the new key
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panel app can be configured via Riedel’s Director software. To facilitate mobile control over the Artist system through the new app, a VOIP-108 G2 card at the Artist frame converts eight Artist matrix ports into a compressed IP stream. To assure excellent audio quality at all times, users can choose between two modes — a high-
quality mode with an audio bandwidth of 6 kHz, resulting in a data rate of less than 80 kBit/s (including panel data); and a low-traffic mode with 4 kHz audio bandwidth and a data rate of less than 40 kBit/s per channel (including panel data). The VOIP-108 G2 client card then communicates with the virtual panels via a WAN connection to a wireless network.
THE BEST OF NABSHOW 2014
New MediorNet MetroN Core Router Riedel Communications announced that it has expanded its MediorNet family of real-time networks with the addition of the 2-RU large-scale MediorNet MetroN core router. In enabling Riedel’s acclaimed networked approach to signal distribution and routing, the new MediorNet MetroN fiber router provides a massive 640-GB real-time signal-routing capacity (64x10G ports). “The MediorNet MetroN core router enables users to configure robust and highly redundant MediorNet installations in a variety of demanding applications without any concern over bandwidth limitations,” said Christian Bockskopf, Head of Marketing at Riedel Communications. “By adding this fiber router to new or existing
MediorNet systems, users can leverage the flexibility of our real-time networks fully even when working with high volumes of high-bandwidth signals.” Riedel’s MediorNet system combines signal transport, routing, signal processing, and conversion into one integrated real-time network solution. With this network for video, audio, data, and communications, users can send any incoming signal to any output (or even to multiple outputs) with just a mouse-click or, even more conveniently, by using a router control system. Eliminating the need for re-wiring when production setups change, MediorNet increases the flexibility of any installation while significantly reducing cabling and setup time. Integrated
broadcast-quality processing and conversion features reduce or eliminate the need for external devices, in turn helping users to realize significant savings in infrastructure investment. The addition of the MetroN core router dramatically increases the bandwidth available across MediorNet networks. It is the first solution of the MediorNet family, where the connection is realized by means of 10G links. Up to 6 HD-SDI signals can be transmitted over one 10G connection. Typical applications for the router include the connection of MediorNet subnets; studio backbones; routing within a 3GSDI studio infrastructure and supporting networked OB vans.
WAN-Capable MediorNet Solution Riedel has enhanced its flagship solution to give broadcasters and other content producers greater flexibility in live production environments. “The addition of our unique WAN transmission technology to the wellestablished MediorNet solution gives users an even greater degree of versatility in distributing live A/V content,” said Christian Bockskopf,
Head of Marketing at Riedel Communications. “We thereby are taking account of the development to transmit video and audio signals in a wide area network. Now we can connect remote MediorNet Systems in an easy and intelligent way.”
environments including studios, are-
The video streaming technology incorporated into the MediorNet solution empowers users to achieve greater mobility in live production
assure straightforward signal distri-
nas and other live event facilities, and linked OB van setups. The WAN capabilities integrated into the realtime media network also reduce the complexity of live broadcasting and bution with maximum independence.
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THE BEST OF NABSHOW 2014
Ross Video Ross Video brings more choice and flexibility to Carbonite Ross Video announced that the award-winning Carbonite Production Switcher will now support 2.5 ME operation. This new operating mode is in addition to the recently announced MiniME and MultiScreen modes. Now, users of Carbonite 2 ME can run MiniME’s or a traditional 2.5 ME with a full program/preview bus that has two downstream keyers and a third key for animated media transitions. Also announced today aretwo new3 ME panels—the 3S and 3X—which brings to nine the number of control surfaces to choose from. This ensures there’s a Carbonite panel to suit every application, from small flight
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packs to large control room installations. “Carbonite’s huge internal processing capabilities make it possible for us to continue to add some astonishing features. From today, users looking to upgrade from2.5 ME SD systems to full HD have a remarkably cost-effective choice with Carbonite. The new 3 ME panels make MiniME and 2.5 ME operation a pure joy.Carbonite offers a level of production power and system connectivity no other product can offer,” says Nigel Spratling, Marketing Product Manager at Ross Video. “Couple any Carbonite with the stunning XPression graphics system and our
BlackStorm playout servers and you have an efficient and cost effective production system capable of producing the highest quality content for any application – quickly and effectivelyNo other production switcher family at this price point can offer that kind of choice and flexibility.” Carbonite 2.5 will be a free software update for all current two ME systems. Intuitive panel row-swap functions ensure both modes can run on any of the nineCarbonite panelsas well as from the DashBoard software control system on any PC or MAC.
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Carbonite now supports 3G and Advanced UHD (4K) production Ross Video announced free software upgrades that not only enable Carbonite to be switched to 3G (1080P 50 or 60 (59.94)), but also open the door to the very latest production format: UHDTV (4K). No new hardware is required to switch to 3G. Current Carbonite owners simply have to download the free software. In 3G mode, the number of DVEs is reduced to four from eight, and the maximum number of MultiViewer windows is reduced to 10 from 16, for a total of 20 independent sources across two output heads. 3G signals contain twice the data of standard HD and, as a result, some resource reduction occurs. All other resources remain the same, and MiniMEs, MultiScreenand 2.5ME modes all are accessible.
New DashBoard6.1 The new release of DashBoard includes a more
sophisticated version of PanelBuilder™, and provides a powerful platform upon which complex workflows that intelligently integrate multiple devices from Ross Video anda varietyor other vendors can be presented as custom control panels. Staying true to its openGear heritage, DashBoard 6.1 remains a comprehensive facilities-management tool that makes it quick and easy to view the status of a facility of
any size on a single screen, and drill-down to individual device level with a minimum of mouse clicks. Consistent device editor interfaces make it simple to configure, control and update all devices, in parallel if necessary.DashBoard 6.1 also makes a TCP connection with each device. This interconnectivity, which is independent of device complexity or vendor, communicates even rapidly changing parameters, such as audio meters, in real-time and leads to a highly responsive user interface. PanelBuilder now supports interoperation with devices that provide network accessible interfaces via UDP, TCP and HTTP protocols. This new IP connectivity significantly enhances DashBoard’s library of addressable devices, which was already large and included hundreds of devices from more than 60 openGear and DashBoard Connect partners, and ensures there is virtually no limit to the devices that can be integrated into a workflow.
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Ross Mobile Productions compact production vehicle Designed around a tightly integrated Carbonite Production Switcher and XPression Graphics core, the RMP vehicles will deliver fiber and Triax camera capabilities, an advanced communication system and a dual-user eight-channel replay system. This incredible production power enables these Mercedes Sprinter-size vehicles to deliver network-quality production and meet consumer demand for coverage of more sporting and other live events. “We currently have four trucks doing productions in more than 20 States, and, to date in 2014, have aired on four major US cable networks and in more than 100 countries,” says Mitch Rubenstein, President of Ross Mobile Productions. “Our goal is to continue buildingour fleet of these vehicles, become a national mobile production company and offer full-service production packages and rental ser-
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vices. The transition from Mobile Content Providers (MCP) to RMP has given us the technical and financial resources to grow successfully in what is a huge market that demands high-quality, network-level productions at affordable prices.”
As well as providing crew and equipment, RMP also undertakes the responsibilities of the producer and provides a full-service solution known as “packaging”. RMP’s services also include customizing, and creating score bugs and graphics packages.
THE BEST OF NABSHOW 2014
Sennheiser
Sennheiser expands studio microphone range with the MK 8 With this update for Riedel’s MediorNet real-time media network, users realize added benefits, including full video router functionality, seamless interoperability with Studer consoles, EMBER+ implementation, and extended integration of the ProBel protocol. “MediorNet 2.0 gives MediorNet users a flexible, easy-to-operate alternative to conventional video routers,” said Karsten Schragmann, product manager at Riedel Communications. “By incorporating tremendous routing capabilities right into the MediorNet frame, this firmware update enables users to lower their operations costs while reducing the volume and complexity of cabling required for audio and video signal transport.” The MediorNet 2.0 update includes robust video router functionality with switching delays of less than 40 milliseconds, as well as high-speed rerouting that allows as many as 1,000 connections to be rerouted in less than a second. Simple drag-and-drop routing of multiple connections speeds configurations, and users now have the option to delete multiple selected connections at once. The firmware update also supports more than 65,000 ProBel crosspoints. MediorNet 2.0 introduces Studer A-Link compatibility, which enables the MediorNet Modular frame to act as a decentralized audio router with a matrix size larger than 25,0002 and fully redundant interfaces. At the same time, MediorNet fully supports EMBER+ for integration with other common control systems, such as VSM and KSC Commander. Because the update permits access to all MediorNet parameters and allows users to edit I/O settings and control all routing functions, users retain control over configuration options. Additional features that come with MediorNet 2.0 include a timecode display that can be configured to the user’s preferred size and position, an LTC input, and sample rate conversion on both optical MADI ports of MediorNet Compact systems.
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THE BEST OF NABSHOW 2014
The new microphone features five selectable polar patterns (omni-directional, wide cardioid, cardioid, super-cardioid, figure-of-eight), a low cut/roll-off filter and selectable pad. “The MK 8 expands Sennheiser’s successful series of large-diaphragm condensers, and professional users will appreciate its versatility,” said Sebastian Schmitz, microphone product manager. “Its sound is direct and harmonious, characterized by a defined bass, beautifully rounded mids and an open treble. Overall, it has a very musical sound." Designed and manufactured in Germany, the MK 8 echoes the sleek design of the MK 4 studio microphone. Where the fixed cardioid MK 4 was designed for plug-and-play simplicity, the multi-pattern MK 8 offers additional control for the refined recording engineer. The new microphone features a one-inch, dualdiaphragm capsule, precisely spattered with 24-carat gold and elastically mounted to reduce structure-borne noise. In addition, a threeposition filter allows the user to either eliminate low-frequency noise below 60 Hz (-18 dB/octave, low-cut position) or introduce a softer roll-off effect from 100 Hz down to compensate for the proximity effect in close miking (-6 dB/octave, roll-off position). The MK 8 is also fitted with a switchable pad (off, -10 dB, -20 dB). A -10 dB reduction in the capsule protects against excessively loud audio sources, while an additional -10 dB reduction in the microphone electronics avoids overloads in connected mic pre-amps and subsequent recording equipment. The five switchable pick-up patterns exhibit relatively constant characteristics, especially in the low end. This ensures better, more defined sound, as the selected pattern is maintained over frequency. For example, the supercardioid pattern will not “blur” but remain precise, providing the same high attenuation of lateral sound sources regardless of frequency. Encased in a sturdy metal housing, the MK 8 has relatively low sensitivity to humidity as the impedance conversion is done within the capsule. It is packaged with a microphone clip and a protective pouch, and optional accessories include an elastic suspension, a foam windshield, a pop filter and a hard case. The new MK 8 microphone will be available in late summer.
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THE BEST OF NABSHOW 2014
Neumann Launches Digital Version of its KH 120 Nearfield Studio Monitor The KH 120 D is designed for tracking, mixing and mastering applications in music, broadcast, project and post-production studios. Utilizing the latest in acoustic and electronic simulation technologies, the KH 120 D ensures the most accurate sound reproduction possible. Equipped with an additional BNC input for AES/EBU or S/P-DIF formats (24-bit/192 kHz), the KH 120 D enables seamless digital workflow right up through playback on the studio monitor. The KH 120 D also features digital delay for both analog and digital inputs, enabling the monitor to be used for demanding tasks requiring time alignment. With a maximum
delay of over 400 ms, the KH 120 D is able to seamlessly address audio/video synchronization issues, or simply manage time delay compensation in situations where space constraints preclude equidistant positioning of loudspeakers. Wolfgang Fraissinet, President of Neumann.Berlin, commented: "Neumann's studio monitors are built to extremely high tolerances and deliver an 'honest' sound. With the KH 120 D, a fully digital workflow can now also benefit from these characteristics. The addition of a built-in delay feature makes the KH 120 D suitable for new applications and represents exceptional value at this price point. It provides an ans-
wer to the very latest trends in the field of professional audio." The KH 120 D studio monitor is designed for use as a near-field loudspeaker or as a rear loudspeaker in larger multi-channel systems. It features a Mathematically Modeled Dispersion waveguide (MMD), flexible acoustical controls, analog class-AB amplifiers, various input formats (analog and digital) and an extensive range of mounting hardware. All of this provides the user with the maximum versatility over a wide variety of acoustic conditions, source equipment, and physical locations.
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THE BEST OF NABSHOW 2014
Snell Advanced MAM Capabilities for Momentum Momentum now offers broadcasters a MAM system with powerful workflow automation, designed to address the challenges of TV Everywhere. Momentum is fully web-based, allowing broadcasters to work in a flexible and efficient way. Content can be made instantly available to any authorized user on the network, eliminating bottlenecks within the production workflow. New features being shown at NAB2014 include integration with FrontPorch Digital’s Diva, allowing Momentum to interface directly with existing archives and active directory
support, enabling security policies to be driven via centralized IT systems. Separate audio and caption files can now be managed more easily, while proxy browse capability can be used to manage captions and subtitles. The HTML5 browser-independent interface offers a userfriendly and intuitive look and feel and is completely browser agnostic. The Published Web Services API allows simple interactions among business systems and FIMS compliance extends the choice of controlled systems.
New Dynamic 4K Pan-and-Scan Technology Dynamic pan-and-scan will provide broadcasters with the unprecedented ability to analyze video content and optimize pan/scan location on a frame-by-frame basis. It automates the identification of the dynamic center of interest in a video source, helping to optimize both studio and mobile television programming.
where the use of black bars, or the loss of important storytelling o content, is minimized automatically - Facilitate the transition to 4K capture by driving the extraction of appropriate regions of interest for o 3G/HD/SD productions
Specifically, dynamic pan-andscan helps directors:
- Maximize the viewing experience of mobile users by appropriately zooming in on the action
- Perform aspect ratio conversions
- Work more effectively within both
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file and live streaming contexts “The viewing experience has become more important than ever as consumers demand high-quality video on every screen whether a mobile device or an ultra high-def television,” noted Robert Rowe, MD Live Television at Snell. “With the introduction of this new pan-andscan technology, we will be helping ensure the highest quality output possible for consumers.”
THE BEST OF NABSHOW 2014
Snell and Cisco Work Together for IP-enabled Broadcast Production Snell and Cisco announced at NAB their plans to enable real-time IP-based signal routing. By deploying world-class, off-the-shelf, enterprise and carrier-grade IP routers, along with broadcast specific solutions from Snell, broadcasters could not only lower their initial investments, but continue benefitting from economies of scale. Unlike traditional broadcast-specific routing tech-
nology, IP-based routing costs scale with bandwidth – not with the number of signals supported. IP routing supports multiple signals per port, making the whole system more adaptable and efficient. “Our relationship with Snell offers the potential for a unique opportunity for us to lead development of IPbased broadcast production,” said
Charles Stucki, Vice President and General Manager, Service Provider Video Technology Group at Cisco. “By combining our advanced technologies and expertise with a deep understanding of the changing media landscape, we’re both well positioned and determined to transform the way broadcasters operate.”
New Format Conversion On Demand Snell announced at NAB the launch of its Quasar OD format converter, the latest software to be created with Snell’s On Demand framework. It is a truly universal file-based solution enabling seamless format conversion between 4K, 1080p, HD, and SD. Quasar OD combines Snell’s world class intelligent adaptive deinterlacing technology to deliver maximized vertical resolution for all types of content. The system elimi-
nates unwanted jaggies and picture tearing, for the best quality end result. “One of the main issues creative professionals face when transitioning from the interlaced to progressive domain is compromised image quality. This includes loss of resolution on moving and static images, jaggies and picture tearing. Quasar OD delivers the world’s best format conversion technology to address these issues,” explains Jeremy
Courtney, business leader, Snell On Demand “Quasar OD combines Snell’s image processing expertise with a scalable software framework to give broadcast and post production professionals the means to deliver content with zero compromise on quality.” Quasar OD removes the restrictions of specifically designed hardware and is available at $4,800 for a single license. It will begin shipping from mid-2014.
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When it comes to sheer production complexity, few live broadcasts approach the scale of the Super Bowl. The National Football League championship game is widely seen as the premier sporting event in the United States, and is clo‐ sely followed in much of the rest of the world as well. 2014’s Super Bowl XLVIII was no exception. According to Nielsen Media Research, the game, carried live on Fox Sports, was watched by 111.5 million viewers in the U.S. alone, making it the most‐watched program in U.S. history.
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While such a high-profile event may seem like an unlikely occasion to introduce a new production technology, this year’s Super Bowl was the first large-scale remote broadcast event to utilize an intercom system incorporating OMNEO, RTS’s implementation of Audio-overInternet Protocol (AoIP). Originally included primarily for test purposes, OMNEO not only performed flawlessly, it ended up playing a key role in enabling effective communication both within and between production locations. Super Bowl XLVIII was played at MetLife Stadium in East Rutherford, New Jersey on Sunday, February 2, 2014. The shoot involved nearly 50 on-site game cameras. The primary provider of mobile production facilities was Game Creek Video of Hudson, New Hampshire, which operates 20 RTS-equipped trucks used by clients including CBS, ABC, and NBC. Game Creek had four trucks working for Fox at MetLife Stadium: FX for the game itself, Liberty and Northstar for pre-game activities, and Patriot for red carpet coverage. While the stadium setup was itself a major undertaking, it was only one part of the overall picture. Gamerelated programming on Fox and Fox Sports (FS1) began days before the game and eventually ran to about 90 hours. The primary setting for this phase of production was in the heart of New York City, 10 miles from the stadium. A 12-block stretch of Broadway, including Times Square, was transformed into a Super Bowl Boulevard that featured events and activities, and Fox built a three-story set in Times Square for live programs including Fox Super Bowl Daily. To handle the Times
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Square productions Game Creek’s Dynasty truck was stationed at the Times Square set and Fox also took an entire floor of the nearby Millennium Broadway Hotel to build out a suite of temporary editing rooms. With activities occurring, sometimes simultaneously, in two separate venues, the quality and immediacy of communication became a primary concern. “The big challenge from a comms point of view was to tie all of these facilities together into one trunked intercom,” says Jason Taubman, Game Creek’s VP of design and new technology. “The goal was a comms setup that allowed anyone to talk to anyone else anywhere.” The man who was brought in to design and implement the system was Mike Gilman, CTO of Gilman Technologies, Inc. of Sprout Spring, Virginia. Gilman worked closely with a highly skilled team of engineers: Scott Gilman (RTS Systems Engineer), Kevin Callahan (Director of Technical Operations at Fox Sports) and team, Jason Taubman (VP, Design / New Technology at Game Creek Video) with Bryan Rule (Engineering Manager at Game Creek Video) and team, Andrew
Rostron (Freelance Communications Engineer) in charge of the Time Square Venue, Shawn Peacock (Freelance Communications and Audio Engineer), and Eddie Verstraete (Freelance Communications and Audio Engineer), who assisted in building and managing the communications infrastructure. Additionally, Michael Brown (RTS Eastern and Upper Central US Regional Sales Manager) and Paulette Wilkins (RTS Business Unit Planner) were also highly instrumental in the planning and logistics of the build-out.
ADDING
TO
ADAM'S
PROVEN PERFORMANCE It was clear from the outset that the communications system would be built on the RTS ADAM modular matrix intercom platform, the industry mainstay that is found on all of Game Creek’s trucks. “Users have to be confident that when they press a key to speak, the person on the other end can hear them,” Gilman says. “The RTS matrix system is based on a technology that guarantees a communication path for every user whether they use it or not. And under normal circumstances the circuit-mode technology at the core of RTS Matrix systems guarantees that if the audio is delivered to the core then it will make it to the destination.” Another key advantage of RTS in a complex deployment, Gilman adds, is its modularity. “Rather than consolidate all technologies into a central transport for system-to-system links,” he explains, “RTS allows the designer to build truly separate and redundant communication links.
The regular release of new cards and key-panels allows the designer to add new technologies to the core, and that gives you the freedom to pick what makes sense in each specific stage. You can choose from an increasingly diverse set of tailored protocols and connection types — analog, AES digital, VoIP, and now, with the release of OMNEO, AoIP.” Based on Audinate’s Dante™, OMNEO is a high-performance professional system for routable transport of both synchronized studioquality multichannel audio (AoIP) and Open Control Architecture (OCA) device control data. Using standard IP over Ethernet, OMNEOenabled devices can be combined into networks of up to 10,000 nodes. “While VoIP such as RTS’s RVON is well established for long distance transport, and is in broad use around the world, it has latency and audio quality limits that can be an issue in some real-time situations,” Gilman says. “AoIP is the high quality, low latency sibling of VoIP, and OMNEO is RTS’s AoIP implementation. It operates at latencies of less than 1.5 milliseconds, which is roughly equivalent to having a conversation with someone only a few feet away. OMNEO is very well suited for real-time environments, it allows system designers to create an intercom based entirely on IP technologies.” RTS’s OMNEO line includes the OMI ADAM matrix card, the OKI keypanel interface card, and accessories such as fiber connection adapters. The hub of the Super Bowl comms system was the Comms Cabin at MetLife Stadium, where one full-size ADAM and one mid-size ADAM-M were merged into a single system using a TBX-Tribus fiber card. The ADAM frames were loaded with OMNEO, RVON, and MADI cards, from which connections were made to ADAM frames in the local trucks as well as to a huge array of keypanels in and around the
stadium, such as the executive viewing area, green rooms, and edit/operations areas. Fox LA was connected via both RVON and TIFF, and RVON was used at Times Square for local connections within the set and to/from the facilities at the Millennial Hotel. In all the system included 680 end-points.
OMNEO'S
MAJOR
LEAGUE DEBUT “As far as we know,” Taubman says, “OMNEO hadn’t ever been deployed in a remote production environment before. So this was really a nice test case for us to give it a try.” But rather than relying on OMNEO for a production-critical task, the initial plan was to use Multichannel Audio Digital Interface (MADI) as the main protocol for the link between MetLife and Times Square while using OMNEO as the backup. “Everyone was already familiar with and confident in MADI,” Gilman says, “so OMNEO was intended to be the redundant connection. But MADI does not run over Ethernet without conversion, and because of the current focus on IP connectivity it turned out to be much easier for the company handling the MetLife to Time Square connectivity to give us Layer-2 IP bandwidth, which OMNEO was quite happy with, than it was to coordinate a dark-fiber run of that distance that we could use for MADI. This demonstrates why OMNEO is likely to increasingly become the more practical choice for local-to-medium-distance connections.” The result of the dark-fiber issue is that while MADI was used locally at MetLife, the 64 paths of trunking that linked the two production compounds together were handled exclusively by OMNEO, with RVON backup in place but not needed. “The connection from our MetLife and Times Square OMNEO net-
works to the fiber access point was copper Ethernet,” Gilman says. “The connectivity company took those feeds and multiplexed them into the communications portion of the fiber bridge between the sites. The result was that we had less than 1.6 milliseconds of delay over a 17 mile link. Within the MetLife compound itself we used the fiber connections available on the OMNEO cards which can theoretically achieve latencies as low as 0.15 milliseconds.” “The quality was excellent and the latency was very low,” Taubman agrees. “For the users it was just like everyone was on one central intercom, right there in the same building. So by taking on the lead role for the connection across the river OMNEO came in and kind of saved the day.” The ability to integrate OMNEO into an otherwise proven RTS system, thereby giving comms engineers yet another tool to deploy when needed, is in keeping with RTS’s overall view of ADAM as a heterogeneous platform that continues to advance as technology evolves, and that allows companies like Game Creek to invest in the system without worrying about future obsolescence. “We have a legacy investment in RTS gear, it works well, and it’s well understood by all of our clients,” Taubman says. “And then we have situations like the Super Bowl, where something comes up that requires us to think outside the box, and we are able to do it with new technology that is still completely compatible with our existing system. We have a lot of tricks that we can pull from within the RTS product line, and OMNEO represents the latest cutting edge example of that. It really was the thing that enabled success on this particular project.”
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TM Broadcast was invi‐ ted to a press trip for European journalist, with full access to the UK Technology Centre that produces products at the forefront of the broadcast industry. There, we had the chance to see the pro‐ duction chain and pro‐ cess behind some of Sony’s professional and broadcast cameras and camera systems.
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Sony UK Technology Centre is a division of Sony Europe Limited. Headed up by Steve Dalton OBE - Institute of Directors, Director of the Year, South Wales winner (2012) - the Sony UK Technology Centre is the manufacturing and customer service centre for Sony in the UK and hosts 28 related start-up companies. Opened by Her Majesty the Queen in 1992, the Sony UK Technology Centre is a 30,000 m² building based in Pencoed, Bridgend. The Sony UK Technology Centre has developed an excellent manufacturing reputation, which has been recognized through the receipt of four Queen’s Awards for Export, as well as the Queen’s Award for the Environment. The centre is certified to both ISO 9001 (quality) and ISO 14001 (environment) and is a previous winner of the British Quality Award. The site also received Britain’s Best Factory Award in 2013. The Sony UK Technology Centre is a socially aware business that seeks to minimize its impact on the environment, supports its local community through charity work and sponsorship, and has the welfare of its staff at the heart of its operation.
MANUFACTURING WALES
IN
As Pencoed team told as, Japan isn’t always the cheapest place to manufacture and due to strategy, Sony likes to manufacture and source it parts close to home, as it improves its response times for customers as the need to rely on Japan is decreased. 38% of the parts in Pencoed’s production line are sourced from Europe, however most of the electronic parts come from Asia as this is the silicon hub. The factory actually produces some products up to 25% more efficiently than Japan, which comes down to a number of factors such as wage rates. The location of Sony’s main manufacturing plants goes in circles and Pencoed could see more or less business in future and just achieves a fallout rate of just 0.2% for products.
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We made the frank point that testing and high performance are great for the customer but not the factory. However, a part of Sony’s DNA is to provide the highest quality products, so it must always strive to find a balance between testing and operating a successful floor. We saw how Sony is building products that meet its high production standards.
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SONY UK TECHNOLOGY CENTRE LOOKS TO THE FUTURE The Pencoed-based have an additional six professional camera products added to its portfolio, introduced to the company’s production line throughout the year. Over 6.000 units are produced at the Pencoed site every year of professional and broadcast camera and cameras systems. One of these products is Sony’s recently launched, lightweight, handheld camcorders, including model PMW-200. These products have been extremely popular in Europe and Middle East and with customer demand in these markets increasing, the technology giant has decided to produce its latest camcorders at the site in Pencoed. Katsunori Yamanouchi, Vice President, Sony Professional Solutions Europe, commented: “Our latest handheld camcorders are smaller devices with a broadcast specification, so they are highly
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complex and intricate products to make. As such these products require a lot of skill, knowledge and understanding of the latest manufacturing processes ensuring they are made with precision, accuracy and are of the highest quality. “The site in Pencoed is known for its excellent quality standards and it has developed a reputation for manufacturing excellence that is why we believe it is the best place to manufacture our latest camera products. With our latest handheld camcorders being made in the UK we are closer to our customers. We can ensure customers aren’t faced with long waiting times and it gives them peace of mind that they can count on a strong, local support from the Sony team in Pencoed. It allows us to deliver a premium service for a premium product that our customers have come to rely on.” The site will be using its trusted lean manufacturing techniques to produce the new product portfolio. It will also be investing approximately £300,000 which has been part-funded by the Welsh Government for additional equipment to ful-
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fill the order requirements, providing flexibility and scalability should demand increase. Congratulating the Sony UK Technology Centre, Economy Minister, Edwina Hart said: “This is excellent news and speaks volumes for the quality of work undertaken at Pencoed which has an international reputation as a centre of manufacturing excellence. “Sony is an invaluable asset to Wales and helps to cement our reputation as a country with high skills and high value products. The management at Pencoed has a highly innovative approach which has enabled it to make the transition from high volume, low value products to high-end manufacturing delivered by a highly skilled workforce. The Welsh Government has a very close and long standing working relationship with Sony and I am pleased we were able to support this latest investment in new advanced products. It will create and safeguard jobs, ensure the centre’s sustainability and help raise the profile of Wales in terms of advanced manufacturing capability and skills across Europe.”
Investments will also be put towards expanding the site’s manufacturing process capability. This includes a manufacturing control test system, which will be designed, built and configured by Sony UK TEC’s in-house engineers. The system will be an automated process simulating ‘real life’ environments and rigorously testing the handset’s functionality such as colour levels, video quality, sound playback and lenses quality. In turn this will help to ensure the reliability of the products whilst making the manufacturing and testing process as efficient as possible. Steve Dalton OBE, Managing Director of Sony UK Technology Centre, concluded: “We have a long manufacturing history in Wales having made consumer products in the early days through to high-end professional broadcast cameras. In order to continue our longevity, we have made substantial investments to the site in Pencoed, in terms of equipment, new processes, additional skill sets, all supporting the diversification of our products and operations. “It is our highly skilled workforce coupled with state-of-the-art electronics manufacturing equipment and processes that has allowed us to remain innovative and compete on a global scale. The introduction of these new products will allow us to continue to excel in manufacturing by developing world-class products. Furthermore, it will see us as the only professional device manufacturer to produce its products in Europe. As a result, this will add to the site’s sustainability and future in the UK and Wales. It also demonstrates the huge opportunities within the UK manufacturing industry. Looking forward, we are committed to invest in the community and we will continue to innovate and diversify our existing product range to ensure our operations in the UK continue to prosper.”
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