39 minute read
IBC Upbeat for Its Return to Amsterdam
Organizers optimistic about getting back to in-person meetings
By Tom Butts
AMSTERDAM—The last time the M&E industry gathered here in Amsterdam, the word “zoom” was more likely to describe a lens than a new form of virtual meeting. And given that the show went through numerous stops and starts over the past several years because of the pandemic, the mood heading into the 2022 IBC Show, Sept. 9–12 at the RAI, is one of optimism and a sense of purpose.
Although the show is well known for shining the spotlight on the latest industry trends through its conference sessions, this year the exhibition is getting a lot more attention than before, perhaps because “virtual expos” are an inadequate substitute for the real thing. IBC President Michael Crimp agrees and thinks attendees are eager to get back to business.
“There’s a hunger for the expo; expo space demands have been high and have outstripped our cautious approach to it,” Crimp said. “We’ve even seen customers who had a digital value proposition package with us shifting back towards expo again, because there’s just an excitement about networking with people.”
Better than expected attendance at the NAB Show and similar recent trade shows also didn’t hurt when it came to assessing the potential success of IBC. “[The shows] are seeing solid, not spectacular attendance,” Crimp said. “There was an enthusiasm for networking and the benefits of meeting face to face—that’s what we heard about NAB [Show], so my congratulations to Chris Brown and their team.”
Trade shows are notoriously expensive undertakings for attendee and exhibitor alike and a three-year gap between events can lead to sticker shock to those used to attending free virtual events. Crimp says IBC has taken steps at controlling costs for this year’s show.
“We have significantly reduced the cost of attending the conference—that’s a third of the normal cost,” Crimp said. “So we’ve concentrated on not just the cost there but the value of providing other things. We have negotiated with the hotels to reduce their prices, which are actually about 9% cheaper than in 2019.”
HIGH EXHIBITOR DEMAND
The number of exhibitors is now up to 850 but organizers think it could potentially reach 1,000 by showtime. “We’ve seen a crazy amount of demand over the last six months,” IBC Director Steve Connolly noted during a press conference in late June. “We’ve surpassed our initial expectations and are thrilled with the levels of enthusiasm and engagement among exhibitors and visitors for this year’s show.” However, attendance figures are more difficult to estimate, he said. “In terms of in-person attendance, it’s harder to predict, especially when you look at other trade shows at the beginning of the year and how much of their final registration comes through in the last three weeks,” Connolly said. “However, to give you some kind of guideline and mathematical formula, when we had 55,000 square meters of space, we had 53,000 visitors. I would expect our final square meters [of exhibit space] to be around about 35–36,000 square meters, so following that trend, you can expect some numbers around that.”
The show already has seen the return of one major exhibitor that had originally announced that it would not exhibit at live shows in 2022—Avid disclosed in late June that it would exhibit at this year’s show, after assessing the recent success of in-person shows.
In an interview with Peter White of the IABM, Avid President Jeff Rosica
MICHAEL CRIMP, IBC characterized the change as “an evolution of our decision.”
“I think as we saw the market improve and the situation improved with COVID and countries started opening up, I think we started to realize that with the feedback from our customers that it’s probably time to start getting back to some of the major trade shows,” Rosica said.
Regarding COVID-19 protections, IBC will follow current EU COVID-19 protocols, which are minimal at this point. Unlike the rules leading up to the 2021 show, which was eventually cancelled, a COVID-19 entry pass is no longer required and social distancing and masks are no longer compulsory.
However, Crimp cautioned that IBC will monitor safety protocols and will change them if needed. “If medical advice is to do differently, we will introduce them so you can imagine we’ve got a ‘Plan B’ and ‘Plan C’ in place,” he said.
With COVID-19 still having a large global presence, Crimp thinks the geographical makeup of attendees will be slightly different than in the past. “I certainly think we’re going to have a strong U.S. audience from everything that we’re seeing,” he said. “Europe will be strong of course, including good attendance from the U.K. I guess there are questions around Asia and specifically around China, which we’re keeping a close eye on but they are only a small part of our audience.”
TWO-DAY CONFERENCE
In terms of the conference agenda, the show’s theme is “Designing the Future Together” and will focus on the current and future trends that have emerged since the 2019 show—many of which were advanced by the pandemic.
“During the pandemic there was this kind of acceleration in lots of various areas, in particular, remote production,” Crimp said, adding that in parallel, this has impacted workflows, now more likely to be cloud-based. “There are [conference] sessions on things like cloud media workflows, but it takes on a different perspective than in 2019 because of what we’ve been through and the fact that it’s actually become more of a norm for some people now.” Other topics will include AI, virtual production and a focus on hybrid broadcast/OTT models in the show’s “Future of Linear” session, for example. “We’ve
IBC Show guest speakers include Renard Jenkins, SVP, Production Integration and Creative Technology
Services at Warner Bros. Discovery.
got these different ways of consuming where traditional broadcasters in the OTT space are all looking at different ways of monetizing their content,” Crimp said. “So I think there will be some thinking about what those hybrid business models look like going forward.”
Confirmed headline speakers during the two-day conference include: • Eddie Drake, Head of Technology at Marvel Studios • Anthony Guarino, EVP, Worldwide Technical Operations at Paramount Global • Renard Jenkins, SVP, Production Integration and Creative Technology Services at Warner Bros. Discovery • Michael Wise, SVP/CTO, Universal Pictures
• Lewis Smithingham, SVP of Innovation at Media Monks • Raymundo Barros, CTO at Globo • Archana Anand, Chief Business Officer at ZEE5 Global
FOCUS ON TRENDS AND INNOVATION
New this year is the free “IBC Changemaker sessions,” hosted by IBC’s Partners’ Programme, which bring together industry trailblazers such as RISE, Albert, MovieLabs, HBS, Soho Media Club to explore topics such as raising equality, advancing sustainability and mental health awareness—as well as the latest thinking in creativity and technology.
Also featured is IBC’s Partnership Pavilion and free-to-attend IBC Owner sessions, which will enable attendees to engage with and gain insights from the six leading international bodies behind IBC: IABM, IEEE BTS, IET, RTS, SCTE, and SMPTE. Other free-to-attend sessions include panel discussions, product demonstrations and case studies presented on the Content Everywhere Stage in its new purpose-built home in the expanded Hall 5. A four-day program will cover live streaming and VOD; achieving low latency; content discovery and recommendations; audience engagement; monetization models and ad tech; software development strategies; and device fragmentation.
A new addition to the show is the Showcase Theatre in Hall 12, which will feature live demos, masterclasses and thought-leadership insights on key trends and opportunities from leading technology providers such as Accenture, Amazon Web Services (AWS), EVS and Zixi. The Innovation Stage in Hall 2 will feature thought leadership speakers and other sessions.
The IBC Accelerator Media Innovation Programme returns, bringing together pioneering media companies and leading edge technology partners as they collaborate to solve real-world challenges and drive advances across a range of areas, including cloud production, 5G, AI and Volumetric Video.
Also returning is the IBC Accelerator Project of the Year Award 2022, voted by an independent jury of media and innovation peers, with the award announced after IBC showcases have taken place.
To register for the show, visit show.ibc.org. l
Show organizers are seeing high demand for exhibit space at this year’s IBC Show
The ‘IBC Manfesto’
In the weeks leading up to the 2021 IBC Show—which was scheduled for early December—an increasing number of exhibitors announced cancellations, leading to rampant speculation about whether the show would go on as planned. Despite reassurances for COVIDsafe protocols from the IBC and the city of Amsterdam, the show was eventually cancelled just two weeks prior to the event, leading to exhibitors incurring unrecoverable costs.
This lead the IBC to survey its exhibitors and develop a better plan to keep all parties informed and provide a robust feedback channel. The result was the “IBC Manifesto,” in which the organization admitted that its “actions and position did not resonate with the industry, especially exhibitors.”
IBC CEO Michael Crimp explained how uncertainty over COVID-19 led to the communication breakdown with exhibitors: “The incredibly swift rise in cases of the Omicron variant of COVID in Amsterdam meant that IBC2021 moved from ON to OFF in seven days,” he said. “The impact was compounded by the fact that the cancellation was so close to the show. We learned an important lesson regarding the speed of comms and the channels. “In response, IBC has set up a small Advisory Group of exhibitors plus the IABM to ensure that we are able to assess market sentiment more easily and respond more quickly in future,” Crimp added. “This process is working really well. A monthly—or more frequent if necessary—COVID status report is published on IBC’s show site. In addition, after two years of can-
IBC CEO cellation, IBC was keen to publish its refund position Michael Crimp for 2022 to allow exhibitors to plan with comfort. These actions are the core of the manifesto and underpin the individual commercial negotiations with each IBC customer. “The Advisory Group meetings have gone very well and other feedback we have had from across the industry is extremely encouraging. The results can be seen in the levels of exhibitor commitment to IBC2022—really positive momentum, including exhibitor bookings that were beyond our expectations.”
❚ Tom Butts
MediaKind
The centerpiece of MediaKind’s stand at IBC 2022 will be a live, end-to-end streaming experience, using eSports-style car racing game simulator pods to create real-time live video content for all on-booth and partner demonstrations. Visitors can explore how MediaKind’s media technology solutions enable broadcasters, content owners, telcos and service providers to stream live without limits at scale and learn how the company is transforming audience engagement, personalizing services and enabling new monetization models for all content across all screens.
Demos will include examples of live content acquisition applications, including media workflows and media processing in cloud contribution; at-home/remote production workflows; content replacement for targeted advertising distribution; all-IP workflows; and live event pop-up video streaming and monetization. Booth visitors will also get a chance to win a prize by participating in the “Track the Ads” challenge. z MediaKind will be in Stand 1.D09.
nxtedition
Broadcast microservices specialist nxtedition will demo its agile and digital-first platform that places storytelling at the heart of the production workflow, allowing even small teams to create and deliver highly compelling content fast, first and accurately. By creating a densely feature-rich microservice ecosystem, nxtediton has consolidated sophisticated tools like planning, NRCS, ingest, MAM, graphics, streaming, studio automation and digital publishing into a platform that removes engineering and puts storytelling at the center of the process.
Each member of the team has context-aware access to exactly the functionality they need within the single unified GUI, ensuring all their tasks are intuitive and primarily handled by simple drag and drop features. This ensures lightning speed as content comes in, is turned around and pushed out without losing time switching to other applications. The speed and productivity gains from this approach ensure nxtedition clients are always the first notification on a viewer’s device. z nxtedition will be in Stand 7.A08.
Artel Video Systems
At IBC 2022, Artel Video Systems will feature products that simplify broadcasters’ shift to hybrid IP/ SDI and all-IP operations and offer hands-on demonstrations of the SMART Multimedia Delivery Platform in DigiLink/ InfinityLink configurations and the award-winning SMART Multimedia Delivery Platform in openGear (SMART OG).
Artel will show how its SMART platform enables different functionalities on the installed hardware system as needed just by selecting software icons. The company will also show one SMART implementation running J2K compressed video and another (the SMART OG) running JPEG-XS compressed video so that attendees can appreciate SMART’s ability to support different personalities on the same hardware module. z Artel Video Systems will be in Stand 1.C99.
Cinegy
At IBC 2022 Cinegy will showcase its portfolio of 8K and cloud-optimized solutions, including booth demos of Cinegy Air PRO, Cinegy Capture PRO, Cinegy Multiviewer, Cinegy Convert and Cinegy Archive, within which the Daniel2 codec is an integral part. Visitors will see first-hand how Cinegy solutions simplify workflows and allow production teams to work smarter and more efficiently.
As an early adopter of the open source Secure Reliable Transport protocol, Cinegy has SRT baked into its technology, including the license, which removes any concerns about whether users have the legal right, proper subscription, or adequate bandwidth to deploy the software. z Cinegy will be in Stand 7.A01.
Rohde & Schwarz
Rohde & Schwarz will spotlight integrated end-to-end media workflows and software-upgradable transmitters during IBC 2022. At its stand, the company will offer multiple live demos of its platform-agnostic studio production, playout and transcoding capabilities to underscore its support for customers with a clear migration path from SDI through IP and the cloud.
R&S’s Pixel Power division will demonstrate its studio production, post-production, delivery and distribution solutions with the agility to adapt to changing market dynamics. Pixel Power will feature playout, branding and automation workflows on the show floor via the AWS public cloud and also demo its on-premise solution. A portfolio for playout and transmission suites with integrated, software-defined, virtualizable R&S PRISMON monitoring and multiviewing is now available in one system. z Rohde & Schwarz will be in Stand 7.B21.
LiveU
At IBC LiveU will show its end-toend cloud-based video production workflow for the first time with easylive.io, which it acquired in May. With the integration of easylive.io, LiveU now offers a complete solution for live contribution, cloud production, orchestration, ingest and distribution. LiveU will also present its cloud-based solutions in the context of sustainable live production.
LiveU will also feature its native 5G live contribution and distribution solutions, including its multi-cam LU800 5G production-level field unit, compact LU300S 5G video transmission solution and production tools using its LiveU Reliable Transport (LRT) protocol. z LiveU will be in Stand 7.C30.
Blackmagic Design
ATEM SDI Switcher
Blackmagic Design has introduced a new family of portable ATEM SDI live production switchers with professional 3G-SDI connections. Fast and easy to set up, the new ATEM SDI family of portable production switchers is powerful, offering standards converters on all inputs, a built-in Fairlight audio mixer with 6-band parametric EQ compressor and limiter on all inputs, internal DVEs, chromakeyers and professional transitions.
Priced starting at $345 and available from Blackmagic Design resellers worldwide, the new switcher family includes the ATEM SDI and ATEM SDI Pro ISO models with four SDI inputs and the eight-SDI-input ATEM SDI Extreme ISO model. Each offers re-sync on every SDI input. A USB port works as a webcam to connect video to computers. The Pro and Extreme models feature builtin streaming.
z For more information, visit www.blackmagicdesign.com
Avid
NEXIS F-Series
Avid‘s new NEXIS F-Series media server family leverages enterprise-class hardware, including faster storage controllers, disks and network connections, for enhanced performance and support for media projects requiring a greater number of files to be managed. NEXIS F-Series was designed to support evolving media workflows in which large teams of media professionals work offsite by delivering secure, remote access to media and metadata across flash, online, nearline, cloud and archive storage.
Also new is Avid NEXIS | VFS, a virtual file system that enables deployment of NEXIS storage on premise, in the cloud or as a SaaS solution and makes it possible for editors, VFX specialists and other media creators to collaborate from anywhere. Avid NEXIS F-Series and NEXIS | VFS file system are available on a subscription basis via the company’s newly announced NEXIS | FLEX purchase plan for media companies transitioning to an OPEX mode. z For more information, visit
www.avid.com
Anton/Bauer
Dionic 26V Series Cinema Batteries
Anton/Bauer has expanded its Dionic 26V series of cinema batteries by working with ARRI to develop a new range of B-Mount batteries, chargers and camera plates for cinematographers, rental houses, and content creators using such cameras as the recently launched ARRI Alexa 35. Just like Anton/Bauer’s existing 26V Gold-Mount Plus solution, the native 26V B-Mount Li-ion batteries offer up to 240 watt-hours of reliable, safe, and efficient power. The Dionic native 26V range now includes 98-Wh and 240-Wh batteries and quad chargers in B-Mount or Gold-Mount Plus options, plus a range of mounting plates for connecting to industry-leading cameras and LED lighting fixtures.
The Dionic 26V B-Mount Charger offers rapid charging for B-Mount 26V batteries, charging the 98Wh battery in around 1.5 hours and the 240Wh battery in around 3.5 hours, a sharp contrast to competing dual-voltage or “regulated” 26V batteries that take up to three times longer to charge. z For more information, visit
www.antonbauer.com/en/
Capturing News at KNN With Blackmagic URSA Broadcast G2s
USER REPORT
By Zak Holman Director of Photography Key News Network
LOS ANGELES—Capturing breaking news coverage with gear that allows me to deliver high-quality results while meeting my tight deadlines is a top priority for me. Since 2009, I have been shooting this type of content for TV and print publications in the Los Angeles area and over that time, I’ve covered some of the most compelling incidents in recent history and work with an incredibly talented team of professional photojournalists at Key News Network (KNN), covering breaking, live, and overnight news in California and other top U.S. markets.
Recently we added several Blackmagic URSA Broadcast G2 cameras paired with B4 ENG lenses into our workflow to capture and supply footage ranging from house fires, physical rescues, homicide investigations, to protests, and more. Our content is also made available on KNN’s YouTube channel and the online site “News Break.” On average, we deliver more than 100 news stories a month, so quality of footage, reliability, and ease of use are key.
DYNAMIC RANGE
Thanks to the URSA Broadcast G2s’ 13 stops of dynamic range and low light performance with dual gain ISO, we’ve been able to capture incredible shots with rich detail. All footage is currently captured in 4K, but it’s great to know we have the ability to shoot up to 6K if need be, because of the camera’s 3 in 1 design—a 4K production camera, 4K studio camera, or 6K digital cinema camera.
With the URSA Broadcast G2s, we are no longer at the mercy of Mother Nature or concerned about bad conditions when out in the field. There have been instances when I think the conditions won’t allow us to shoot, but I’ve been proven wrong. This is a brilliant feeling of freedom as a photographer when I’m able to produce beyond what my eye can see. For example, when capturing a physical rescue with a dark subject area and harsh direct lighting for illumination is no longer an issue due to the cameras’ dynamic range.
My team and I can also film in adverse situations far more clearly than before, which is a huge difference not just for us, but our clients as well. A standard house fire or physical rescue shots look cleaner and clearer. As we come into brush fire season in Southern California, I know I can rely on the URSA Broadcast G2s to capture clear visuals that the community needs to stay informed and safe.
The cameras have also integrated seamlessly into our workflow—our photographers simply grab the cameras and start using them thanks to their intuitive design and the easy-to-navigate Blackmagic OS.
Zak Holman and the news teams at Key News Network use several Blackmagic URSA Broadcast G2 cameras to deliver more than 100 news stories a month.
READY FOR ACTION
Because we’re on call to cover what is happening at any given moment, we need to be prepared at all times. Having gear like the URSA Broadcast G2s that we can just pick up and start using is very important for us. A slow boot-up time by seconds can be the difference between getting or missing the shot. All cameras are paired up with the URSA Viewfinder and URSA Mini Shoulder Kits, giving our team flexibility.
Incorporating the URSA Broadcast G2s into our workflow has been a game changer. Not only does the gear keep up with our demanding work at a quality that never disappoints, but the company’s support team is also incredibly valuable. To me, Blackmagic Design will continue to be our “eyes” as we capture the world around us for a long time to come. l
Zak Holman is the director of photography at Key News Network and is based in Los Angeles. He can be reached at 323-455-4187 or info@ keynews.tv. For more information on Key News Network, visit www.keynews.tv.
For more information on URSA Broadcast G2 cameras, contact Blackmagic Design at 408954-0500 or visit www.blackmagicdesign.com.
Game Creek Taps Sony’s HDC-F5500 Cameras to Enhance Live Productions
USER REPORT
By Riley Helsen Director, Client Solutions Game Creek Video
HUDSON, N.H.—Game Creek Video is a leading media production services and facilities provider that offers technical and logistical expertise behind the biggest events in sports and entertainment. Game Creek’s live events customers are constantly seeking new ways to engage with their audience and enhance the story.
The most recent result of that pursuit is the look of the shallow depth-of-field camera. Commonly referred to as “the cinematic look,” this style of capture has increased in popularity and helps an audience know where to direct the eyes. Shallow depth-of-field has been adopted in television and movies, where productions rely on cameras like Sony’s fullframe VENICE to achieve this new form of expression.
Game Creek’s entertainment and corporate events clients demand a similarly functional tool that balances creative needs with the ease of setup and quick teardown that they are accustomed to in an integrated broadcast camera system.
MULTICAMERA PRODUCTION
As long-standing Sony customers, Game Creek is excited about the HDC-F5500 system camera, with a Super 35mm 4K CMOS global shutter image sensor. Game Creek currently manages 10 of these camera chains not only because clients are requesting them, but because the company believes that this is the future of larger sensor multicamera production.
One of the key benefits of the F5500 is the ability to do a true larger-sensor, streamlined multicamera production with the efficiency of a traditional broadcast camera system. The Super 35mm sensor look also gives a shallower depth-of-field than a typical 2/3-inch broadcast camera. Additionally, it uses native PL-mount lenses, giving creators lots of options for optics—there is really nothing else on the market like it.
Another important consideration when purchasing these cameras is their ability to move between various trucks in the Game Creek fleet in a “plug and play” fashion, using existing CCUs, SMPTE fiber and infrastructure. This allows greater flexibility to find the right solution for a project and provides a great deal of versatility. Game Creek also appreciates the fully integrated tally, intercom and return video for multicam feeds; and the motorized ND and filter wheel control—borrowed from VENICE—is a big hit.
NATIVE RCP CONTROL
Additionally, the F5500 offers native Sony RCP control with full color matrix and the ability to match cameras perfectly in a multicamera environment. Game Creek has worked closely with Sony for years and owns more than 600 Sony cameras, which means the controls and menus are familiar and there’s virtually no learning curve.
Knowing that the F5500 intermixes seamlessly with the HDC-5500 inventory is a critical advantage because both can operate with the S-LOG3 Cine gamut and offer a consistent look for post-production. The ability to plug the F5500 into mobile unit CCUs and immediately have a fully integrated system with the existing video shading architecture in all mobile units adds great value to the overall fleet.
In live entertainment productions which often include various lighting conditions and frequently incorporate LED walls, the F5500 shines. Due to the global shutter sensor, the moire effect on LED walls was minimized or eliminated, which is a great benefit. The cameras have performed consistently during outdoor keynote speeches, as well as dimly lit environments with strobe lights.
Overall, the cameras work phenomenally and are a popular request. Game Creek values the ability to simultaneously be in the HDR and SDR worlds, as many clients move toward an HDR environment or look to secure the future of their content through archive. As requests continue to grow for 1080P, 4K and HDR productions, Sony’s HDC-F5500 is a powerful tool to provide Game Creek’s customers with the latest creative technology. l
In his role as director, client solutions for Game Creek Video, Riley Helsen is responsible for developing new and diverse projects and helping Game Creek’s customers match service and technology solutions with creative production needs. Riley has been with Game Creek Video since 2013 and previously worked in the engineering department as a mobile unit engineer and engineering project manager. He can be reached at rhelsen@gamecreekvideo.com.
For more information, visit https://pro.sony/ue_US/home
Game Creek Video believes the Sony HDC-F5500 cameras are the future of larger sensor multi-camera production.
Interface Communications Optimizes Mobile Productions With Hitachi Cameras
USER REPORT
By Dimitrios Lagos Operations Manager Interface Communications
FLUSHING, NY–Interface Communications was founded in 1999 to provide a higher level of mobile television production to broadcast and corporate organizations worldwide. We provide production services and engineering solutions for everything from sports and entertainment events to parades, fashion shows, and church services, with clients including the NBA, ESPN, CNBC, and Fortune 100 corporations.
Earlier this year we set out to upgrade the cameras on our 33-foot production hybrid truck Hermes to better support the work we do with the NBA, which includes coverage of pre- and post-game press conferences, events such as the governor’s meetings, and additional supplementary feeds. Our existing cameras were 1080i and used HD-SDI connectivity, but the NBA production compound uses 1080p over 3G-SDI. Adding 1080p cameras would not only avoid the need for conversions in the NBA compound, but also give us greater format flexibility with other clients.
COMPETITIVE PRICES
Our positive experience with earlier Hitachi camera models—including the SK-HD1000 and SK-HD1200—prompted us to look at their newest HDTV camera model, the SK-HD1800. We compared the Hitachi cameras to other manufacturers’ offerings and found the SK-HD1800s to deliver visual quality that is just as good as the alternatives but at a more competitive price point. At the end of the day, very few people can tell the difference between the SK-HD1800s and much more expensive competitors.
We initially purchased four SK-HD1800s and now have seven. We used them for the first time during the NBA All-Star Game in February and used them during the NBA Finals as well. So far, we have done about 20 productions with the new cameras.
The benefits we’re getting from the Hitachi cameras go beyond their great image quality—their global shutter image sensors are ideal for shooting against LED backdrops. Some of our corporate clients do announcements with LED video walls in the background and shooting against those with other cameras would drive us crazy trying to get a stable, flicker-free image, but it’s a lot easier with the SK-HD1800s. They’re also very forgiving in low light, which is particularly useful for church services.
FORMAT FLEXIBILITY
The SK-HD1800s give us the flexibility to match whatever signal format is needed for any particular project and we can be up and running fast—which is crucial when we’re setting up on-site under a tight timeframe. As for reliability, we’ve had no issues at all with the SK-HD1800s, despite the beating they’ve endured from some of the crews that we use.
Our satisfaction with Hitachi Kokusai isn’t just about the cameras themselves, but also the people behind the products. Their after-sale support has been amazing. If we have an on-site problem or question, we need answers fast, but with many vendors, it can be hard to get someone on the phone. With Hitachi Kokusai, they’re always there for us.
In my opinion, for the price, you simply can’t beat the SK-HD1800s. As a small company, we have to get the most value for our money, but even if we had a much bigger budget, we would stick with the Hitachi cameras—they do what they’re supposed to do and do it well. They’re flexible enough to handle practically any project we take on, and they put out a great picture, which is what I care about most. l
Interface Communications selected Hitachi HDTV cameras as part of an upgrade to its hybrid truck Hermes.
Dimitrios Lagos is operations manager at Interface Communications. He can be reached at dlagos@interfacetv.com.
For more information on Hitachi Kokusai Electric America, call 833-227-1658 or visit www.hitachikokusai.us.
BAOSN Brings Sports Into Focus With JVC GY-HC500 CONNECTED CAMs
USER REPORT
By Jim Petromilli Founder, President and Engineer Bay Area Online Sports Network
SAN MATEO, Calif.—At the Bay Area Online Sports Network (BAOSN), our mission is to deliver cost-effective, high-definition, quality broadcasts of local high school and college sporting events online. As our tagline—“Game On—Live and Later”—says, our broadcasts are available live and then archived for several years. Any broadcast, live or archived, can be viewed by anyone for free and in order to make live events special, we cover not only the game on the field, but the cheerleaders, bands, and dance teams as well. . PRODUCE AT A HIGHER LEVEL
We have used JVC cameras since we started in 2014, so when JVC introduced its 500 Series CONNECTED CAM with SRT, it was a game changer for us. The GY-HC500 camera—with its 40X lossless dynamic zoom and ability to use SRT—has allowed us to be able to play at a higher level.
Most of our games are shot in 720p, as most of our clients—both national and local—ask for it. The 40X zoom was one of the key factors that made us go with the GY-HC500. Today we utilize four GY-HC500 CONNECTED CAMs, four BR-DE900 decoders, JVC’s professional-grade, high-performance IP decoding appliance, and two previous generation JVC cameras. and we shifted to REMI (REMote Integration production). When a broadband connection is available on location and at the studio, the workflow involves simply connecting the camera LAN to the router or using built-in camera Wi-Fi for wireless connectivity. REMI allows us to send the H.264- or HEVC-encoded ISO feed from each camera directly to our BR-DE900 decoders using SRT.
Setup on location is always quick and simple. The GY-HC500 can store four streaming destinations and return video (IFB) sources and with all settings preprogrammed—connecting to the internet and pressing the “Online” button is all that is needed to start a contribution-quality video feed to the remote studio.
Trying to purchase and learn how to use new cameras during the pandemic posed potentially unprecedented challenges for us, but the support we received from Edgar Shane, JVC general manager, engineering, and his team was incredible. They made sure we were up to speed on how best to set up and utilize our new cameras and about SRT technology in general.
Due to the pandemic, all of our training and support was done remotely over the phone, and they were incredible to work with. You don’t necessarily think about the support component when you make a purchase, but JVC’s customer service is top notch. l
Jim Petromilli believes that JVC’s 500 Series CONNECTED CAM with SRT has has had a visible impact on BAOSN’s sports production.
COVID SHIFT TO REMI
In response to the pandemic, remote production took center stage
Jim Petromilli is the founder, president and engineer of Bay Area Online Sports Network (BAOSN). Founded in 2014, BAOSN was originally focused on local sports, however, over time BAOSN has evolved into a regional producer of Div. 1 sports in addition to a variety of local events.
Prior to starting BAOSN, Jim spent several years in higher education implementing various instructional technologies for in-person and distance education. They are based in San Mateo, Calif. and he can be reached at petromilli@BAOSN.TV.
For more information on JVC cameras visit http://pro.jvc.com.
buyers briefs
Canon CR-N300 UHD PTZ Camera
Designed for use in a wide-range of applications in broadcast, education, house of worship, sports, and corporate environments, Canon’s CR-N300 4K UHD PTZ camera capitalizes on Canon’s digital imaging and operational expertise from professional camcorders to deliver stunning results. In addition to brilliant 4K imagery, achieved with Canon’s CMOS sensor and DIGIC DV 6 image processor, the camera features smooth pan, tilt and zoom functionality that allows for on-air camera movement. The CR-N300 is equipped with four unique scene modes: portrait, sports, low-light, and spotlight, and it also supports IP and serial connections when using the Canon RC-P100 camera remote controller.
z For more information visit
www.usa.canon.com
Marshall CV568 Global Shutter Camera with Genlock
Marshall’s CV568 Global Shutter Camera with Genlock (signal-sync) features the latest in sensor technology and performance. Choosing a 1/1.8inch Global Shutter sensor with 25% larger pixel size over similar models creates a competitive edge with step-up performance.
The CV568’s Global Shutter sensor with Genlock enables crystal clear images time sync-ed for fast switching and improved performance in fast-motion action. The CV568 Miniature HD Camera is built into the same durable miniature-sized body as Marshall’s other CV500-series cameras with rear panel protection, interchangeable M12 lenses, secure locking connections and remote adjust/match features including Color Matrix and a suite of other settings.
z For more information visit https://marshall-usa.com
MRMC ARC-360 PTZ Camera
The ARC-360 PTZ Camera houses the award-winning Sony Exmor R sensor, providing the highest quality image within a precision-engineered housing. Designed to operate in a variety of conditions, the ARC–360 camera offers a fully remote solution for a wide range of customer applications.
The ARC-360 utilizes the latest technology to ensure reliability and performance. Built around an ARM process, the camera’s electronics are designed to be remotely accessed or upgraded, ensuring downtime is kept to a minimum. The camera can be controlled through MRMC’s Broadcast Control Panel, and the MHC and Polymotion Chat software with full CCU control.
z For more information visit www.mrmoco.com
Cooke Optics Varotal/i FF Zoom Lens
Cooke Optics’ new Varotal/i FF zoom lenses cover all full-frame sensors and are matched in resolution, color and fall-off to the Cooke S7/i range, providing a complete suite of Cooke full frame spherical lenses. The focal lengths of the lenses are 30-95mm and 85-215mm respectively. The mounts can be chosen as either PL or LPL at time of Order.
The lenses also include /i Technology to record invaluable lens data, and are optimized to capture the warmth, texture and beautiful skin tones which are the hallmarks of the Cooke lenses.
z For more information visit
www.cookeoptics.com
The Florida Channel Covers Capitol With Panasonic PTZ Cameras
USER REPORT
By Terry Longordo Chief Engineer The Florida Channel
TALLAHASSEE, Fla.—As a government-access television network housed in the Florida Capitol building in Tallahassee, The Florida Channel serves as the state’s primary source for live, unedited coverage of the governor, cabinet, legislature and Supreme Court. We are funded by the Florida Legislature and produced and operated by Florida State University’s WFSU-TV.
We have always recorded every Capitol meeting, broadcasting them live or online before archiving them. However, the ability to tune in remotely became much more important during the pandemic when the Capitol was closed to the public.
In recent years, we had deployed 70 robotic cameras throughout the Capitol complex, but in 2021, it was time to upgrade the camera systems in the House and Senate chambers and the Knott committee rooms. Our outdated equipment began causing issues and failures, inhibiting our ability to provide high-quality content for at-home viewers.
BETTER WORKFLOWS IN THE HOUSE
After looking at multiple solutions, we chose to deploy eight Panasonic AW-UE150 4K 60p PTZ cameras with AW-SF300 Visual Preset Software because of their high-quality acquisition, ease of use and reasonable price points.
Our production crews have always maintained a busy schedule. While covering one live meeting, they simultaneously cover three other meetings for later viewing. When the state legislature is in session, we often capture as many as 16 meetings per day for the Florida Senate and the Florida House of Representatives, producing 2,500 hours of annual public programming. Our remote events group also covers key government meetings statewide when the state legislature is not in session.
With the UE150 cameras, one operator can run anywhere from three to eight cameras at a time. We can make our audience feel part of the action with the ability to capture more close-ups of the speakers through the 20X zoom. The cameras’ seamless operation makes them easy to use whether the operator is an experienced member of the production team or part-time employee.
We also implemented Panasonic’s AVUHS500 4K/HD live production switcher, which aligns well with the cameras to streamline workflows with their easy-to-use interface and built-in PIP, viewfinder and waveform monitor.
REMOTE CAMERA CONTROL
In addition to deploying the new PTZ cameras, we installed single-mode fiber-optic wiring around the Capitol complex to control the cameras remotely from a central master control. This new setup, along with the flexibility afforded by the cameras, has made our broadcasts run much more smoothly.
Since deploying Panasonic PTZ cameras, we have dramatically enhanced the quality of our broadcasts, which means we’re keeping residents engaged and informed on key legislative activity. Our viewership has also increased now that people can watch our footage online via 18 different web channels.
We have already equipped our remote events crew with Panasonic AW-HE42 HD PTZ cameras to support their extensive meeting coverage throughout the state. So far, the cameras have cut down on setup time and reduced the number of crew members needed.
We’re excited to continue improving our broadcasts as we change out the camera technology in other parts of the Capitol in the years ahead. l
Terry Longordo serves as assistant director of technology services/chief engineer at WFSU TV/The Florida Channel where he oversees the engineering team and the transmission of the Channel to all state affiliates. Earlier in his career, he served as TV station manager at Lake-Sumter State College and as an audiovisual specialist at the University of Central Florida, where he obtained his bachelor’s degree in radio and television. He can be reached at tlongordo@fsu.edu.
For more information on Panasonic cameras visit https://na.panasonic.com/us/.
When the state legislature is in session, The Florida Channel captures as many as 16 meetings per day for its Florida Senate and House coverage.
buyers briefs
ZEISS ZEISS Supreme Prime 15mm T1.8 Lens
ZEISS has added a wide-angle lens, the Supreme Prime 15mm T1.8, to complete its popular Supreme Prime series of high-end cine lenses. With the new lens, its 14-piece high-end cine lens series now range from 15-200mm and a maximum aperture of T1.5 to T2.2, covering a full range of focal lengths in demand by cinematographers. The new 15mm lens provides an extremely wide-angle view and a maximum aperture of T1.8 and like the other ZEISS Supreme Primes, covers a wide range of camera sensors and has broad compatibility with current camera models, including the Sony VENICE, ARRI Alexa (Mini) LF, or RED Monstro.
z For more information visit
www.zeiss.com
Fujifilm FUJINON UA107x8.4AF Box Lens
The FUJINON UA107x8.4AF is the world’s first 4K-compatible box lens with autofocus. Perfect for live sports coverage with the optical 107× zoom, it is also ideal for entry level and volunteer camera operators. It offers a unique optical image stabilization mechanism, vivid color reproduction and HDR-based rich tonal gradation for superior video production, natural bokeh that is achieved with 9-blade diaphragm and built-in 16-bit encoders. It offers a focal length at 1x of 8.4-900mm and a focal length at 2x of 16.8-1800mm. The lens measures 258 x 264 x 670mm (HxWxL) and weighs 26.0 kg.
z For more information visit www.fujifilm.com/us/en/a
Ikegami UHK-X750 4K-UHD HDR Studio Camera
Introduced at the 2022 NAB Show, the UHK-X750 is a full studio/OB camera optimized for fixed-mount operation on a pedestal or tripod with high frame-rate capture for slow motion applications, global shutter sensors and versatile connectivity.
Designed for production studios and OB providers seeking high mastering quality, the optical front end of the UHK-X750 features three 2/3-inch CMOS UHD sensors with a global shutter to minimize artifacts when shooting LED screens or scenes illuminated with flash or strobe lighting. Full HDR/SDR support is included plus the ability to choose between BT.2020 and BT.709 color spaces as well as high framerate shooting at up to 2x speed in UHD or up to 8x in HD via the optional base station.
z For more information visit
www.ikegami.com
products & services marketplace
For possible inclusion, send information to tvtech@futurenet.com with People News in the subject line.
CLARENCE COPELAND
President & CEO
Louisiana Public Broadcasting
Clarence “C.C.” Copeland has been named president and CEO of Louisiana Public Broadcasting. He has 42 years’ experience in television and is a 25-year veteran of LPB, most recently having served as LPB’s acting executive director since August 2021. He succeeds long-time leader Beth Courtney. Copeland will oversee the development of new content and the application of new technologies across existing and emerging platforms.
MELISSA CRAWFORD
President & GM
NBC & Telemundo Stations
Melissa “Missy” Crawford has been named president/GM of Telemundo 20/KUAN and NBC 7/KNSD, NBCUniversal’s local television stations that serve Spanish and English-speaking audiences in the San Diego DMA. She will oversee all station operations including news, digital, sales, marketing, community affairs and technology/ operations department. Crawford has worked at NBCUniversal Local for nearly 11 years, after 10 years at NBC 4 New York/WNBC.
MELISSA JONES
VP/GM of WDTN-TV
Nexstar Media
Nexstar Media has announced the promotion of Melissa Jones to VP/GM of its broadcasting and digital operations in Dayton, Ohio (DMA #64), including WDTN-TV (NBC), wdtn.com, and related digital and social media channels. She will also overseeing Nexstar’s relationship with Vaughn Media’s WBDT, Dayton’s CW, under two joint operating agreements. Jones will report to Doug Davis, SVP and regional manager for the broadcasting division.
BRAD MOSES
GM of WTVG
Gray Television
Gray Television has appointed Brad Moses GM of WTVG-TV (ABC) in Toledo, Ohio. A native of the Toledo area, the new position brings Moses back to his broadcast roots. He worked at WTVG from 1994 to 2000, first as operations manager and then as director of creative services. He has more than 30 years of experience in television, including GM of television stations then owned by Media General in Tampa, Fla.; Raleigh, N.C.; and Savannah, Ga.
ADAM WARE
SVP, Growth Networks Group
Sinclair Broadcast Group
Sinclair Broadcast Group has promoted Adam Ware to SVP, Growth Networks Group. Previously VP and GM of the group, he will continue to oversee the national multicast networks: Comet, Charge! and TBD, as well as digital and OTT streaming platform STIRR. Before joining Sinclair in 2014, Ware held senior management positions at networks including United Paramount Network, USA Network and Home Shopping Network, and Fox Broadcasting Co.
KATHERINE POPE
President
Sony Pictures Television Studios
Sony Pictures Television (SPT) has appointed Katherine Pope its president of Sony Pictures Television Studios, overseeing all domestic scripted productions. Pope, who most recently was head of original content at Charter Communications, has held leadership roles at major networks, studios and production companies and has developed and overseen numerous acclaimed drama and comedy series over the course of her career.
KATHLEEN GERROW
Vice President, News Director
CBS News/Stations-Philadelphia
Kathleen Gerrow has been named VP and news director at CBS News and Stations’ local businesses in Philadelphia, including KYW-TV (CBS), WPSG-TV (CW), the CBS News Philly streaming channel and CBSPhilly.com. Gerrow is returning to KYW-TV, where she worked as a news producer from 1983–1996. She has spent the past 26 years at WCAU-TV in Philadelphia, including the last 10 years as that station’s assistant news director.
BRANDIN STEWART
SVP & Regional Manager for Broadcasting Division
Nexstar Media
Nexstar Media Inc. has appointed Brandin Stewart SVP and regional manager for its broadcasting division, overseeing Nexstar TV stations and digital operations in multiple markets across the country. Stewart served most recently as president/ GM of CBS 3 (KYW-TV) and The CW Philly (WPSG-TV) in Philadelphia, from 2019 through 2021, where he was responsible for the long term strategy and day-to day operations of both media businesses.
