Summary
6
News
22
30
NHK, the world’s technological forefront in Tokyo 2020 Interview with Kohji Mitani, Director of STRL
Dejero in IRONMAN
26 Matrox Monarch HD encoder and Capital Christian Ministries International
46 FIBA Media, creating the biggest basketball world cup of the history Interview with Paul Stimpson, Managing Director
88 60 IBC 2019 preview report
80 Providing sign language service in audiovisual media
Editor in chief Javier de Martín
Creative Direction Mercedes González
editor@tmbroadcast.com
design@tmbroadcast.com
Key account manager Susana Sampedro ssa@tmbroadcast.com
Editorial staff Sergio Julián press@tmbroadcast.com
Translation Fernando Alvárez
Administration Laura de Diego administration@tmbroadcast.com
Test Zone
LYNX Technik AG greenMachine TM Broadcast International #73 September 2019
TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 14 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43 Published in Spain ISSN: 2659-5966
EDITORIAL It has taken months of planning and effort, but work is going to finally bear fruit. IBC, an indispensable event in the broadcast industry will yet one more year knock down the boundaries of RAI Amsterdam to fill up every and each showroom with the market’s technological novelties. For five official days (and some more with plenty of events and press conferences), IBC will be the hub of the world’s AV technological scene. An event as interesting as endless, our team will fill up on knowledge from conferences and about the latest products and trends being shared by exhibitors in order to put it all down in an extensive summary that you will be able to read in the next issue of our magazine. In the meantime, in this issue you will find a closeup to this must-attend show, an appointment to be highlighted in red in the schedule of a market that, as we do, welcomes these events with open arms. In a different side of things, we have been working for months to bring a very special content to you: an exclusive interview with Kohji Mitani, Director, NHK Science & Technology Research Laboratories. The person in charge of technological progress at the Japanese public media corporation provides in an interesting conversation his contributions to the broadcast industry at worldwide level, as well as the organization’s current lines of work and its prominent role in the upcoming Tokyo 2020 Olympics, which are posed to mark a turning point. We will have to wait before we enjoy the Olympics Games. However, another important event, the long-awaited Basketball World Cup 2019 in China, is just around the corner. True to our purpose of bringing to you all the information on first-class sports events, we met with Paul Stimpson, Managing Director, Fiba Media, to uncover the technological insight of which, according to our interviewee, will be the sports event reaching the highest overall audience in the year as well as the most ambitious production in the history of basketball.
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NEWS - PRODUCTS
Bluefish444 adds more features and Edit-While-Record updates to IngeSTore
Bluefish444 has released IngeSTore version 1.1.2. This free update of IngeSTore adds support for new codecs, Edit-While-Record workflows and a REST API. The company has developed IngeSTore software as a complementary multichannel ingest tool enabling Bluefish444 hardware to capture multiple independent format SDI sources simultaneously. In IngeSTore 1.1.2, Bluefish444 has expanded
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codec support to include the popular formats OP1A MPEG-2 and DNxHD within the BlueCodecPack licence. Edit-While-Record workflows are supported through both industry standard growing files and through Bluefish444’s BlueRT plug-in for Adobe® Premiere® Pro and Avid® Media Composer®. BlueRT allows Adobe and Avid NLE’s to access media files as they are still being recorded by IngeSTore multi-channel capture software, increasing
production efficiency via immediate access to recorded media during live workflows. The IngeSTore REST API provides access to all the features of IngeSTore software from a remote networked device using an easy to use JSON interface. The API supports remote control of IngeSTore over IP networks and the customisation of functionality, and offering for the first time, the custom integration potential of IngeSTore systems.
ADVERTORIAL
Embrionix: Simplifying The Path To and Through IP Booth 8B37 Embrionix provides very compact, high-density IP gateways, IP signal processors, converters, and multiviewers for broadcast video applications. The company’s innovative, low-footprint solutions free up premium rack space, consume less power, and close the gap between fiber-optic, coaxial, and emerging IP technology deployments. The transition to IP becomes much easier with a highly optimized solution for SDI-to-IP conversion provided by Embrionix. The company offers a full range of software-defined (SMPTE ST 2110) IP conversion and processing solutions geared toward simplifying the path to and through the transition to IP. The new Embrionix emVIRTU IP-to-IP media processing and core infrastructure platform made its debut earlier on this year at NAB2019 to multiple product awards, while its emFUSION compact, standalone IP gateway began shipping prior to the show and has gained global traction as an ideal software-defined, stand-alone gateway for remote broadcast production. Here, we take a closer look at Embrionix IBC2019 offerings and the benefits they bring to market:
emVIRTU IP-to-IP Media Processing Platform for HD up to UHD The award-winning emVIRTU IP-to-IP media processing and core infrastructure platform from Embrionix is housed in a high-density, 1RU frame that is packed with serious IP media processing power for mission-critical and all-IP media production environments. The platform offers an efficient, passive-frame design that allows users to minimize energy costs and cabling while optimizing space. With aggregation bandwidth reaching up to 1.6Tb/s, the platform is also designed to allow broadcasters and other users to produce high-resolution UHD, HD, and 3G content efficiently and without constraints. For UHD environments, the emVIRTU is designed to offer up to 64 x IP processing functions or for HD environments, up to 256 x IP processing functions in a 1RU passive frame .The Embrionix platform supports a modular approach, enabling the selective addition of virtualized processing functionalities such as frame synchronization, up/down/cross-conversion, and multiviewer capabilities.
emFUSION The compact emFUSION-6 is a SDI-to/from-IP and IP-to-HDMI gateway with support for HD, 3G, and SMPTE ST 2110 UHD. The software-defined, stand-alone gateway is ideal for remote broadcast production, interconnecting SDI signals to an IP infrastructure via a single 25GE aggregation link or via dual links for (SMPTE ST 2022-7) hitless redundancy. The emFUSION-6 supports up to three channels of encapsulation and three channels of de-encapsulation. Signals from the camera are synchronized to the PTP.
emVIEW Embrionix offers its emVIEW IP-to-HDMI 2.0 gateway with universal support for all 4K/UHD signal formats and resolutions up to 4K/UHD 60Hz/hitless redundancy, with support for any wide, linear, and narrow sender. Making the most of a 25GE IP interface (hitless), this versatile gateway guards the integrity of the 4K/UHD image on an HDMI display, regardless of signal type or format, whether from a quad ST 2110 1080p flow (Square Division or Two Sample Interleaved) or a single SMPTE ST 2110 4K/UHD flow.
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NEWS - PRODUCTS
Matrox M264 Hardware Codec Cards Earn XAVC™ Validation for High-Density 4K Workflows
Matrox M264 cards.j
Matrox® Video has announced that its Matrox M264 family of H.264 hardware codec cards has successfully completed the official XAVC verification program by Sony Imaging Products & Solutions Inc. ("Sony"). Matrox M264 cards are capable of supporting up to four 4K60p streams of 8 SEPTEMBER ‘19
XAVC Intra and XAVC Long encoding/decoding from a single-slot card. Through this new XAVC capability, OEMs can now deliver a wide range of highdensity, 4K XAVC validated solutions—including replay systems, ingest servers, playout servers, character generators, and more.
Designed specifically for high-density 4K workflows, M264 codec cards provide H.264-based encoding/decoding (Baseline Profile to High 10 Intra Profile up to Level 5.2), as well as XAVCvalidated presets. Capable of encoding/decoding up to four 4K50/60p streams of XAVC 4K Intra Class 300/480 and XAVC 4K Long 4:2:2 in real-time with zero CPU usage, these cards easily surpass the capabilities of even the highest-end multisocket PCs, which struggle to support just one realtime encode. Matrox M264 cards can also encode/decode up to 40 streams of HD XAVC Class 100 or XAVC Long 25/50 at 4:2:2 10-bit, or 64 streams of HD at 4:2:0 8-bit, with ultra-low-power consumption, in the smallest footprint.
NEWS - PRODUCTS
The Matrox M264 family of codec cards is supported by the fieldproven Matrox DSX software development kit (SDK). The Matrox DSX SDK boasts an extensive set of powerful mediaprocessing modules— including file input/output (I/O), software codecs, and CPU effects—for rapid application and system
development. Matrox M264 cards also provide plug-ins for H.264 transcode acceleration within the FFMPEG framework.
says Jin Yamashita,
“Matrox has been a longtime supporter of Sony’s XAVC format, and we are excited to officially recognize the ground-breaking Matrox M264 cards in our XAVC verification program,”
now give third-parties a
General Manager, Media Solution Business Division, Sony Imaging Products & Solutions, Inc. “The Matrox M264 cards premier multi-channel option to readily encode/decode various XAVC streams to easily achieve high-density 4K workflows.”
NEWS - SUCCESS STORIES
Leading Hong Kong production houses invest in Riedel’s Bolero Wireless Intercom for large-scale event production A-Team Plus and Show Bros have invested in Riedel’s Bolero wireless intercom. The two companies, which have common customers and often work together on AV and broadcast projects, each purchased two complete Bolero systems including beltpacks and antennas. Founded in 1990, ATeam Plus is an event consulting and management firm specializing in audio, video, lighting, and stage 10 SEPTEMBER ‘19
design for concerts, major celebrations, award ceremonies, private parties, and other events. The company has 30 dedicated team members with local knowledge and regional experience. “In our live event environments, a broad range of coverage for each antenna and long beltpack battery life are key factors in ensuring a seamless production,” said Ray Mok, Managing Director at A-Team Plus. “Riedel’s Bolero has
exceeded our performance expectations in both these areas — and when we saw how easily Bolero can be integrated with legacy 2-wire systems, we were sold. My team loves Bolero’s plug-and-play capabilities, and we look forward to using Bolero in our upcoming projects.” Show Bros specializes in rental of professional lighting and audio equipment, with an inventory of carefully selected products, well-
NEWS - SUCCESS STORIES
trained technicians, and a range of services that can be customized to the requirements of every client and every event.
A-Team Plus and Show Bros
“We had been on the lookout for a reliable and robust wireless intercom solution. We evaluated all of the major manufacturers, but after a demo of Riedel’s Bolero, we made our decision in only two hours,” said David Chan, Managing
Director at Show Bros. “We know we made the right choice with Bolero because it provides exceptional benefits for our end users. The time that the Riedel team spent explaining the system to us validated our decision even more, and it’s good to know that their support is only a phone call away.”
NEWS - SUCCESS STORIES
Argosy and TTL Video in football clubs Argosy has teamed with broadcast engineering and sports stadia facility specialists, TTL Video, to bring the infrastructure of newly promoted clubs into the UK’s top football division this coming season, in line with the very latest broadcast requirements. TTL Video managed the projects from end to end, supported by the provision of 30+ kilometres of fire retardant triax cabling, SMPTE hybrid cabling and 8-way COAX cabling from Argosy. The cable profiles are driven by the production requirements of the international broadcasters who cover the matches and by the leading UK outside broadcasting units that are stationed at the different stadia on match days. Just before the summer, Argosy delivered a range of cables to TTL Video for 12 SEPTEMBER ‘19
Argosy supplied latest audio and video cabling to support live HD and 4K broadcasting from stadia joining the premier league in the 2019/2020 season
installation into the three stadia, including 10km of Draka higher-rate CPR grade HD triaxial video cable. TTL Video is the first company in the UK to use this extremely exciting innovation by Draka, as it is the first triaxial cable on the market to meet the recommended UK fire protection norms. Argosy also delivered 14km of SMPTE copper and fibre hybrid camera cable, to support HD and
4K signals; 8km of triax copper camera cable – extremely well adapted to protecting broadcast signals in the harshest of environments; and 9km of Belden 8-way star quad digital audio multicore cable, that run in a star formation to reduce the likelihood of noise affecting signals, installed in the gantries and TV studios around the pitch.
NEWS - SUCCESS STORIES
NEP upgrades its US production activities with EVS XT-VIA next-generation live production servers, LSM replay controllers, IP Director content management and other infrastructure systems developed by EVS have been acquired by NEP to upgrade and upscale its production facilities. Dr. Pierre De
Muelenaere, Chairman of the Board and CEO ad interim of EVS, commented: “This important deal with NEP confirms EVS’ commitment to support its long-term customers in a transforming broadcast market. With this major upgrade, EVS’ XT-VIA servers are expected to
become the standard in live production, providing other key players in the industry with access to the very best production technologies available.” These solutions, ready for formats such as Full HD 1080p or UHD-4K HDR, will be delivered from September 2019.
NEWS - SUCCESS STORIES
RadioFr and TV “La Télé”, SLG build first All-IP media house in Switzerland with Lawo Swiss private broadcasters RadioFr and La Télé have completed construction of a completely new, all-IP broadcast center for their radio and television operations, using Lawo broadcast equipment and the design + installation services of SLG Broadcast AG. For 30 years, Frenchlanguage Radio Fribourg, German-language Radio Freiburg, and regional La Télé Fribourg TV programming originated from two separate facilities in Fribourg. A decision to renew and upgrade the facilities in 2019 provided the pportunity to combine the two operations into a new location; dubbed “MEDIAParc”, the 3,000square-meter facility occupies two floors and 14 SEPTEMBER ‘19
in addition to radio and TV studios, hosts a number of digital media distribution platforms which complement RadioFr’s over-the-air broadcast services. SLG Broadcast, who have worked with RadioFr for more than 15 years, was retained to design and construct the new broadcast facilities. SLG was responsible for the MEDIAParc concept, project planning, installation and commissioning. A complete review of both IT and broadcast technologies was undertaken to make certain that RadioFr took full advantage of the synergies provided by an IP-based studio environment. Standardsbased networking was specified, with AES67
supported for audio and SMPTE 2022-6 for video. Equipment from many Lawo product lines – Radio, video and live audio – was used to give RadioFr the operational flexibility demanded by their workflow. • The Radio Fribourg and Radio Freiburg main studios each feature a 12-fader Lawo Ruby as the main mixing console, with another 4fader Ruby for the News position, with custom control screens designed using Lawo VisTool GUI builder software. • Three radio editing booths are equipped with 4-fader Ruby consoles and VisTool displays, all powered by a single, shared Lawo Power Core DSP mixing engine.
NEWS - SUCCESS STORIES
• MEDIAParc was designed to facilitate content production for Internet distribution. Its all-IP infrastructure grants easy access to signals throughout the facility for use in producing podcasts and other social media content. 1Mediaparc RadioFr Studio.
• A comprehensive radio production suite contains a 12-fader Ruby with Power Core engine, accompanied by a Lawo mc236 live performance mixer. • For La Télé TV programming, a Lawo V_matrix8 provides video IP routing, processing & multiviewer services, all managed with Lawo VSM software and hardware control panels. Another Ruby control surface with Power Core DSP engine is used for sound mixing; two Lawo V_remote4
units provide IP connection between MEDIAParc and the main TV studios in Lausanne. • The facility’s technical core ties together Radio and TV audio operations, and is equipped with its own Power Core engine and VisTool GUI control. A Lawo Nova audio router is used to provide MEDIAParc’s sophisticated talkback matrix; a second Nova router is used to mix playout, codec and telephone sources for the station’s OB van.
• The OB van is equipped with a 12-fader Lawo Sapphire mixing console for mobile broadcast events. To enhance the sharing of audio between TV and radio operations, fiberoptic cables connect all areas. Audio from the TV studios are easily available for radio production, while cameras installed in the radio studios for Visual Radio services can also be accessed by the television production crew. Shared functions – such as studio talkback, master clocking, monitoring and phone codecs were centralized in the tech core for fullfacility use. 15 SEPTEMBER ‘19
NEWS - SUCCESS STORIES
ProSiebenSat.1 PULS 4 GmbH brings its media operation into the future with Dalet Dalet has signed a deal with Austrian private broadcaster group ProSiebenSat.1 PULS 4 to fully revamp their media operation with the agile Dalet Galaxy five Media Asset Management (MAM), Workflow Orchestration and Editorial platform. ProSiebenSat.1 PULS 4 is home to hits such as Austrian’s Next Top Model, iconic UEFA Europa League and international sports coverage such as National Football League and popular thematic news, talk and show programs. The Dalet Galaxy five installation will equip the well-known broadcaster with a stateof-the-art media production workflow that realigns production and delivery to optimize cross-functional team 16 SEPTEMBER ‘19
collaboration and multiplatform content output across its three channels PULS 4, ATV and ATV 2. ProSiebenSat.1 PULS 4 Broadcast System Engineers, Christoph Stadlhofer and Dirk Raschig comment on the vision for the leap forward and partnering with Dalet to better manage the news, sports, archives and program preparation workflows, “We have a rapidly growing pool of content
that needs to be centralized and enriched with metadata. In addition, we need tools that enable our staff to easily search, prepare and distribute that content. Facilitating these needs combined with managing a much higher output of program and news content to our digital platforms is what we expect to accomplish with the move to Dalet Galaxy five.” The full
NEWS - SUCCESS STORIES
implementation of Dalet Galaxy five will allow ProSiebenSat.1 PULS 4 to build an end-to-end, cohesive digital content supply chain that unifies all operations and processes from the newsroom to program preparation to postproduction to distribution and archives. Key components include: a centralized content catalogue (MAM) that houses enriched metadata for ProSiebenSat.1 PULS 4’s three channels; Dalet Webspace for browse, search and media management; Dalet
Workflow Engine for the orchestration of operations and processes; the Dalet Brio I/O platform for centralized ingest management; and Dalet AmberFin scalable transcoding. The Dalet installation will facilitate seamless collaboration between all users including editors on Adobe® Premiere® Pro through Dalet Xtend and Avid® Pro Tools®. “Dalet Galaxy five will unify the infrastructure with an underlying component-based workflow that enables ProSiebenSat.1 PULS 4 to
scale at will its content production and multiplatform delivery and thrive in an ever-changing media landscape,” comments Johann Zemmour, General Manager, EMEA and APAC, Dalet. “We look forward to working closely with ProSiebenSat.1 PULS 4 to revamp its infrastructure and deliver on the ambitious roadmap that will undoubtedly transform the way they produce and deliver their premium product to the delight of ProSiebenSat.1 PULS 4 audiences.”
NEWS - SUCCESS STORIES
Grass Valley live production solutions give Expert’ease the Edge
GV-Korona 2ME
Grass Valley’s cameras have been selected by Expert'ease, to enhance its live production offering. Installation and commissioning of the new systems were carried out in collaboration with Grass Valley’s regional partner, CEV. Expert’ease has built a solid reputation for its vast experience and technical know-how in video, sound and lighting, catering to major IMAG events such as conventions, product launches, press 18 SEPTEMBER ‘19
conferences, national sales meetings, galas and more. Grass Valley’s LDX 86 WorldCam cameras will allow the Expert’ease team to deal with even the most difficult scenes, giving greater flexibility to meet diverse client needs. This is in addition to the existing Grass Valley solutions that Expert'ease uses currently, including a two M/E GV Korona K-Frame V-series production switcher specifically designed for low and midrange broadcast and
media applications, and Grass Valley's Fiber Optic Conversion & Transport solution to carry signals over longer distances over lightweight fiber without degradation. Martin Blanchard, president, Expert’ease commented: “Our clients want to captivate their audiences, telling stirring stories with stunning images. This poses a great opportunity for a company like ours, which has the knowledge – and now the technical capability – needed to
NEWS - SUCCESS STORIES
meet these demands. We recognize that Grass Valley is a leader in the live production environment with easily deployable solutions and products that are reliable, scalable and have a clear roadmap for the future. With its impressive track record and proven expertise, we are extremely excited to be working with Grass Valley.” Justin Meunier, vice president, sales, CEV, added: "CEV’s team of specialists prides itself on selecting equipment and
solutions that are best suited for clients’ specific needs while ensuring cost efficiency. Our personalized approach allows great flexibility both in the choice of equipment and the integration. We are pleased to work with both Grass Valley and Expert'ease on this exciting portfolio update." “Live production is a core value proposition for Grass Valley with enormous growth potential outside the traditional broadcast space,” said Mark Hilton,
vice president of live production, Grass Valley. “Engagement with high quality content is no longer restricted to audiences consuming sports or entertainment on their personal screens – corporate events, conventions and product launches now demand high value productions as they seek to engage with stakeholders in innovative ways. We are very proud that Expert’ease has chosen our solutions to support the many high-profile events they regularly produce.”
NEWS - BUSINESS & PEOPLE
Broadcast Solutions and Zero Density enter strategic partnership, adding new countries and strengthening cooperation
Broadcast Solutions and Zero Density
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This partnership perfectly
20 SEPTEMBER ‘19
NEWS - BUSINESS & PEOPLE
matches our strategic expansion in Europe. Zero Density is a global leader in Virtual Studio technology and pushes the boundaries of what is possible. Their 3D Virtual Studio and Augmented Reality platform is a game-changer, and we look forward to making it available to our customers.” “Broadcast solutions is one of the biggest
systems integrators in Europe offering complex products and services and we’re proud to take our collaboration to the next level.” said Ulaş Kaçmaz, VP, Sales / Marketing. “We’ve been partnering with Nordic branches of Broadcast Solutions and it is evident that the knowhow and the capabilities of the team are vast in all areas broadcast. We are proud to extend the
partnership to other countries.” The extended partnership between Broadcast Solutions and Zero Density starts immediately. To learn more about the product, Broadcast Solutions’ sales and engineering colleagues from all over Europe visited Zero Density’s headquarters for extensive training.
CASE STUDY
Dejero helps IRONMAN Australia go the distance with reliable live race coverage CHALLENGE IRONMAN is one of the leading mass sports brands in the world, consisting of over 260 events across 44 countries including long (IRONMAN and IRONMAN 70.3) and short (Sprint and Olympic) distance triathlons, mountain bike stage racing, road cycling and running, both marathon and trail. One of those events is the IRONMAN Australia, which takes place yearly on the Australian east coast. The 2019 IRONMAN Australia took place at Port Macquarie and captured not only local attention but also a worldwide social media and live streaming audience, who joined the local spectators to watch the athletes live and inthe-moment, across 22 SEPTEMBER ‘19
various social channels. Live webcasting and streaming specialists Next Up Digital were tasked with finding a solution for IRONMAN Oceania who is the team responsible for covering the event creative and production. They landed on Dejero’s EnGo mobile transmitter and a 4-channel WayPoint receiver to help them tell their “Anything Is Possible” story!
OBSTACLES TO OVERCOME The IRONMAN course is not only daunting for athletes—who need to swim 3.8 km, bike 180 km, and run 42.2 km—but also demanding for the production team who have to follow and capture live coverage of moving athletes. They needed a solution that allowed for reliable, high-
quality, and mobile live content capturing. Traditional forms of broadcasting, such as RF
DEJERO
and microwave, would not be a reliable solution for the crew with over 10 hours of live racing to cover through various terrain. This also applied to the technology needed to deliver footage live to Facebook’s live streaming platform, Facebook Watch, which gained over 1.5 million views. The team wanted to give viewers the
best live viewing experience possible and these traditional forms of broadcasting just wouldn’t cut it. Stephen Kane, production manager of IRONMAN Oceania in Australia and New Zealand, is responsible for organizing, arranging and delivering all forms of
video production for all the sports and events. “Our events have been broadcast on various channels over the years, and we currently distribute content through many international TV networks, local domestic television networks and largely on Facebook Watch/Live”, noted Kane.
The live broadcast of IRONMAN Australia reached over 1.5 million viewers in the first day and grew as the world woke up to the event.
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CASE STUDY
ALL TERRAIN BROADCAST There’s no doubt that Dejero’s EnGo mobile transmitter had a place to shine in this case given its Smart Blending Technology, which offers blending solutions in cellular, Wi-Fi, and satellite networks. This format allows production teams to reliably broadcast live and on the go, minimizing any impact of poor network coverage or other interferences (e.g. poor weather). A Dejero exclusive solution, the Smart Blending Technology’s claim to fame is the ability to blend multiple IP connections into one highthroughput virtual network and manage the fluctuating bandwidth and latency interferences in real-time to deliver footage with speed and reliability. “Knowing we were always going to be working within a mobile broadcast environment, the most important thing for us was the technical delivery and access to a 24 SEPTEMBER ‘19
“Knowing we were always going to be working within a mobile broadcast environment, the most important thing for us was the technical delivery and access to a network that could support our needs... Moving through various mobile coverage zones, repeaters and antennas was always going to be a challenge and Dejero helped us overcome these with ease.” - Stephen Kane, production manager of IRONMAN Oceania
network that could support our needs,” Kane
explained. “Prior to the event, it was imperative
DEJERO
Five HEVC capable EnGo mobile transmitters and a 4- channel WayPoint receiver to Next Up Digital, for the 8-camera remote coverage of the professional race at IRONMAN Australia,
that we went into this production knowing where our coverage issues may appear, as we were widely relying on mobile networks. Moving through various mobile coverage zones, repeaters and antennas was always going to be a challenge and Dejero helped us overcome these with ease.”
LETTING THE MAGIC HAPPEN Dejero solutions include equipment featuring the Smart Blending connectivity software, connectivity services, and access to Dejero’s virtual network. Everything is managed in the cloud and backed by industryleading support. Given the nature of broadcasting
and content production, it’s quite attractive to know that in addition to fast and reliable solutions, there is a team of experts readily available to contact for support, 24/7. For Stephen, choosing Dejero was the right decision made by Next Up Digital to offer a more reliable output in a more cost-effective manner for the IRONMAN Oceania team. “Using Dejero was easy, I sat back and watched the magic happen. If there were challenges, the team overcame them and when our crew needed further assistance, it was comforting knowing that we had the support of Dejero themselves, 24 hours a day, to add an additional layer of technical support,” concluded Stephen. The live broadcast of IRONMAN Australia reached over 1.5 million viewers in the first day and grew as the world woke up to the event. 25 SEPTEMBER ‘19
CASE STUDY
Witness the impact of expanding your ministry through video streaming technology Capital Christian Ministries International uses Matrox Monarch HD encoder to aid and empower Zambia’s vulnerable youth by connecting them with donors around the world
Ben lives with the family of his best friend in the capital city of Lusaka in Zambia. Both of the boys are strong, healthy, and now completing their last few years of high school with formidable marks. When they are not studying, they take their talents to the soccer field. On the surface, Ben probably seems like a child you know, but his success today is nothing short of extraordinary, perhaps even a miracle, brought about by the passion and dedication of Capital Christian Ministries International (CCMI).
Building an international ministry through video
Media and technical team member capturing event to be live streamed by Monarch HD.
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Using a Matrox® Monarch HD encoder, CCMI has been able to live stream online, spreading its reach far and wide, and gather the necessary tools, human power, and financial resources to give more children like Ben a future to look forward to. “Using the Monarch HD to do live streaming from these remote sites, we’re able to take a message that, two or three years ago, would have been trapped inside
MATROX
Media and technical team member capturing event to be live streamed by Monarch HD.
a building,” said Randall Rike, Director of Technical and Media USA for CCMI. “With live streaming, we’re literally worldwide and anyone with internet can get on and see it.” Ben was orphaned shortly after being born, with neither his mother nor his two triplet siblings surviving childbirth. As one of the thousands of orphans of the HIV/AIDS epidemic, Ben was sent to
a transition home, where he would await adoption for the first five years of his life. With the resources available at CCMI, including the help from parishioners in different specializations, Ben was able to receive the medical care, education, and emotional support he needed to make the full transition into his new life. “He’s very intelligent and we’re looking forward to seeing him go on and do
much more,” said Bishop George Mbulo, President and Senior Pastor at CCMI.
Showing the world CCMI’s local impact Making a positive impact is at the core of Mbulo’s work. In order to bring about change, he and CCMI use video technologies, like Monarch HD, to send live streams of CCMI church services from all four of its campuses, international 27 SEPTEMBER ‘19
CASE STUDY
conferences, and speaker series to Facebook so that the rest of the world can join in. “Social media has become kind of a social event in Zambia,” said Rike. Oftentimes, groups of individuals will gather around their smartphones to watch videos on social media, including CCMI live streams.
realize this was now a very real possibility. I personally purchased Monarch HD for CCMI. The price point was well within my budget for these types of projects, and easy-touse is an understatement.”
For CCMI, live streaming was not always part of the media strategy, but when it came time to begin live streaming the organization’s message, choosing a streaming and recording appliance was a no-brainer. Despite some skepticism about streaming technologies, particularly regarding expensive price points and complicated hardware setups, Rike decided to give Monarch HD a chance. “When I saw this tiny box, it resolved everything, and moreover, I was blown away,” said Rike. “I knew that many ministries were live streaming, and I knew that CCMI needed to get involved sooner rather than later, and seeing Monarch HD made me
When producing live streams from the different venues, the CCMI media and technical team packs a road case filled with cables, converters, adapters, and Monarch HD so that it can connect to any type of equipment a venue may have. The team finds that using Monarch HD is not only effortless, but also enjoyable. “When I shipped this to my team in Zambia, they discovered how cool and easy-to-use it was,” said Rike.
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Reliable and robust on-the-go live streaming
Once on site, the team captures services and events using cameras, which are connected to a video switcher. The video switcher then sends feeds to Monarch HD via HDMI. Because internet connectivity can prove to be unpredictable at
different venues, the team has gotten creative with its means of finding internet to support its live streams. Some venues, such as the Mulungushi Conference Centre, have a high-bandwidth internet connection. Most other facilities do not have high enough internet bandwidth, and therefore require the team to
MATROX
video to Facebook at 720p and at 30 fps. In cases when bandwidth is insufficient, the team sets Monarch HD to stream 1 Mbps video at 360p and at 30 fps. This lower format allows CCMI to ensure live streams are sent no matter the quality of the internet connection. The team also often uses both Monarch HD’s SD and USB ports on separate occasions to record copies for director’s cuts during live productions. Thanks to independent streaming and recording settings, Monarch HD can record at
Choir singing during worship service.
the highest possible resolution and quality subscribe to a local Zambian phone company. The phone company provides 3G/4G-capable routers, and the team purchases a reloadable, pre-paid SIM card. The team can then connect its routers to the Ethernet of the host venue. “We are building a new sanctuary and soon it will be our own, so we’ll have more
control over the internet,” said Rike. “Right now, we’re using rented facilities, and because of that, we’re at the mercy of whatever their internet is like.” When internet bandwidth is sufficient, the CCMI team connects the HDMI video source to Monarch HD, and sets the device to stream 3 Mbps
regardless of streaming bitrate. While using an SD card is ideal for the team, they find that having the USB option has come in handy on multiple occasions. “Having both options is great and ideal,” said Chikombe Chela, Media and Technical Supervisor for CCMI. 29 SEPTEMBER ‘19
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NHK
NHK
THE WORLD'S TECHNOLOGICAL FOREFRONT IN TOKYO 2020 2020 will be a crucial year for NHK: the Japanese public corporation will be in charge of a significant part of the production of the Tokyo Olympics. Notions such as 4K, VR or AR are just part of its vocabulary: since its inception, TV has always been at the forefront of technology, and a big culprit of this are the NHK Science & Technology Laboratories (STRL), created in 1930 and ‘to be blamed’ for some innovations in broadcast that are enjoyed nowadays by the whole world. We had the opportunity to interview the director of this worldwide reference, Kohji Mitani, on an exclusive basis. He analyzed the journey of television from a technological point of view, anticipated the industry's future and prepared us for the imminent Olympics.
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Kohji Mitani, Director of STRL
NHK’s Technology What is the main purpose of the NHK Science & Technology Research Laboratories? Is it mandatory for you to be a technological state-of-the-art TV station? The NHK Science & Technology Laboratories (STRL) specializes in broadcasting
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technologies. The institute is the only one of its kind in Japan. STRL was established in 1930, five years after the first radio broadcast went to air in Japan. Its role is “conducting investigative research necessary for the advancement and development of broadcasting and reception thereof”, which is one of the prescribed operations of NHK set forth in Japan’s Broadcasting Act. Radio and television broadcasts have always been a form of culture based on stateof-the-art technologies. As the research institute for Japan’s public broadcaster NHK, the STRL is not only focused on the latest technologies, but on the progress and
development of broadcasting in the future. It plays a leading role in the research and development of cuttingedge broadcasting technologies and services. As a research institute belongs to a broadcaster, the STRL is familiar with the needs of audiences and the situation in broadcasting. We believe that it can pursue research and development in a consistent manner from the basics to the practicalities.
What have been the main technological changes that NHK has faced during the last decades? The results of NHK’s research and development of
“The NHK Science & Technology Laboratories (STRL) specializes in broadcasting technologies. The institute is the only one of its kind in Japan.”
NHK
Exterior shot of NHK Science & Technology Research Laboratories
broadcasting technologies have helped advance broadcasting technologies in Japan and elsewhere around the globe. An example is the technologies for direct satellite broadcasts to the home. NHK began research in this field in 1966, and internationally pioneered the launch of such broadcasts in 1984.
NHK also commenced research on highdefinition television in 1964. Its HDTV studio format became the international standard in 2000, and is spreading worldwide. These technologies developed by NHK have been acknowledged as milestones by the USbased Institute of
Electrical and Electronics Engineers (IEEE). Digitization has been the major technological change that NHK has faced over the past fifteen to twenty years. The year 2000 saw the launch of HDTV-based digital satellite in Japan, followed by digital terrestrial in 2003. Digitization has 33 SEPTEMBER ‘19
BROADCASTERS
accelerated the evolution of broadcasting and media technologies. The quickening of technological advances prompted NHK to begin research in ultra highdefintion TV (8K) in 1995. 8K goes above and beyond what HDTV can offer. Ultra highdefinition TV (UHDTV) is a major improvement on present TV, not only in terms of the resolution, but in the reproduction of colours and luminosity, which are called WCG (Wide Color Gumut) and HDR (High Dynamic Range). Japan was able to commence satellitebased 4K/8K UHDTV broadcasts in December last year. The 8K broadcasts are a worldfirst.
NHK’s Science & Technology Research Laboratories have multiple lines of investigation. What is the most interesting for you and why? NHK’s Science & Technology Research Laboratories are engaged in a wide range of 34 SEPTEMBER ‘19
research and development, from device and material technology to service technology. The STRL is engaged in a whole range of fields: technologies for equipment and devices, including cameras, microphones, displays, speakers, high-capacity recorders; video and 3D audio formats for HDTV and UHDTV; transmission technologies for terrestrial, satellite, and cable; programme production technologies harnessing artificial intelligence; Universal
service technologies for conveying information universally to all viewers, including people with visual or hearing impairments. (e.g. screen captions, computerized sign language, etc.); service technologies linking broadcasts and the internet; technologies for the future, such as AR/VR and 3D TV. Research and development of the above is necessary and vital for the advancement of broadcasting. I have previously been involved in research on cameras,
NHK
“Japan was able to commence satellite-based 4K/8K UHDTV broadcasts in December last year. The 8K broadcasts are a world-first.” as well as 8K UHDTV. 8K UHDTV, which we call the ultimate in the broadcasting of twodimensional images, has already been put into
practical use. I am interested in the creation of new broadcasting and media technologies beyond 8K.
We read that you’re not only researching on new technologies, but you are also developing new equipment. Does NHK carry out this research on its own or in collaboration with other technology companies? NHK sets its own goals for research and development. It also works with outside research institutes and
BROADCASTERS
corporations in fields that are close to becoming technically practical.
NHK is a unique corporation. It decides to keep researching and developing its own equipment. Almost every TV in the world decides to trust on external equipment developers. What is behind that decision? Research and development of broadcasting technologies is in accordance with NHK’s goal of providing audiences with broadcasts of the highest quality. It’s why NHK has researched and developed broadcasting equipment according to its own specifications. State-of-the-art devices and systems are also necessary for providing audiences with programmes and experiences of the kind they have never had before. Manufacturers and corporations in many instances do not develop and invest in cutting-edge technologies that are not 36 SEPTEMBER ‘19
likely to be commercially viable. NHK has played a leading role in the research and development of broadcasting technologies. The technologies are showcased at the STRL’s annual Open House, and at the NAB Show, IBC, and so on, where we can get lots of people to comprehend what we are doing, and help trigger new movements and contribute to the development of broadcasting and culture. NHK, of course, also tries to transform the broadcasting technologies which hav been developed into domestic and international standards. Standardizing the technologies that NHK has researched and developed, I believe, enables them to be widely used in broadcasting and visual production. An example is the HDTV standard researched and developed by NHK. It is an international standard, used not only in Japan,
but in other nations around the globe. The standardization and widespread use of NHK technologies also helps manufacturers develop equipment. NHK uses and carries out broadcasts with high-performance cameras and other broadcasting equipment produced by manufacturers.
NHK
Not only are you doing tests on 8K production, but also in the 8K contribution / IP transmission. Is 8K the future of broadcasting? Japan commenced HDTV-based digital broadcasts in 2000. And about twenty years later in 2018, it commenced 4K/8K ultra highdefinition telecasts. The evolution of broadcasting
and media technologies has quickened since the digitization of broadcasts. There have also been considerable advances in transmission technologies, such as 5G and high-speed broadband networks. 8K equipment was very expensive initially. But now products have appeared on the market similar in price to equipment for HDTV and 4K. 8K is the ultimate in the broadcasting of twodimensional images. I expect that it will become a standard not only in Japan, but elsewhere in other parts of the world. HDTV technologies are used not only in broadcasting, but in a wide range other visual sectors. I believe that 8K technologies will be applied not only in broadcasting, but in a wide range of other sectors, such as medicine, education, and the arts.
In addition, you’re researching technologies such as spatial 3D video system, AR/VR
“I believe that 8K technologies will be applied not only in broadcasting, but in a wide range of other sectors, such as medicine, education, and the arts.”
technology or AI. I know these are very complex fields; could you advance some of the possible applications of these technologies in broadcasting? NHK is evolving into public media. Broadcasts will remain key, but it also wants to harness the internet in suitable ways, using it to provide content and information in a timely manner. NHK 37 SEPTEMBER ‘19
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3D display.
is pursuing research in this era of broadcasting and communication collaboration. It enables to incorporate new means of visual expression, such as 3D TV, augmented reality (AR), and virtual reality (VR), with a view to providing audiences with unprecedented experiences and useful information in a more user-friendly manner. NHK’s Science and Technology Research Laboratories are researching technologies for displaying naturallooking 3D images that do not require any special 38 SEPTEMBER ‘19
“We are developing our own technologies for displaying 3D images wherever the viewer’s eyes are moving, be it left or right, up or down.”
eyewear. We are developing our own technologies for displaying 3D images wherever the viewer’s eyes are moving, be it left or right, up or down. NHK is looking to develop in the future a system for providing individual viewers with 3D images from mobile devices. I believe, for example, that people will get more enjoyment out of a broadcast programme when they can watch 3D images associated with it from a mobile device. Regarding augmented reality, research is also being done. We highlight a viewing style where TV performers seem to be coming out of the TV screen, and family and friends who are far away seem to be watching TV with you. Through glasses, tablets or smartphones equipped with AR technology, three-dimensional (3D) images of TV performers or family members and friends in different places are combined and displayed in full size. The
NHK
TV Viewing Style using AR technology
STRL is also pursuing research to combine its 8K technology with virtual reality to produce highresolution virtualreality images. In the future, I believe we will be able to enjoy interactive, highresolution virtualreality images from head-mounted displays and other
BROADCASTERS
Automatic colorization technology for monochrome video using AI
personal viewing devices. And I also believe that crowds of people will be able to watch and share highly engaging, highresolution virtual reality images at public screenings featuring giant, wrap-around screens. When it comes to artificial intelligence, NHK’s Science and Technology Research Laboratories have been researching deep-neural networks for about the past forty years. When it comes to harnessing artificial intelligence in broadcasts, research is
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“When it comes to harnessing artificial intelligence in broadcasts, research is being done on technologies to help make program production more efficient and technologies to make broadcasts accessible to all.” being done on
all. Among the
technologies to help make
technologies for making
programme production
programme production
more efficient and
more efficient: Automatic
technologies to make
colorization technology
broadcasts accessible to
for monochrome video;
NHK
Japanese-English machine translation system for news articles; social media analysis technology. Among the technologies for making broadcasts accessible to all: automatic captioning for live broadcasting; automatic Sign-Language CG system; audio description generation technology.
You have also investigated 5.1 channel sound and 22.2 multichannel technologies. Are your viewers ready
for all these technologies? NHK airs stereo audio, as well as 5.1 channel sound for its high-definition and 4K broadcasts. Stereo, 5.1 channel sound, and 22.2 multi-channel sound are provided for its 8K broadcast. Audiences can enjoy a broadcast programme in the audio mode compatible with the equipment they have at home. The STRL has been pursuing research and development on 22.2 multi-channel surround sound suitable for the
home, to enable people there to enjoy the ultimate in sound quality. For example, the sound system using a binaural reproduction technique could make 22.2 multichannel surround sound readily available in the home. (see https://www.nhk.or.jp/strl/ open2018/tenji/t2_e.html). The HDMI Forum established a standard for a single HDMI cable transmitting 8K images and 22.2 multi-channel sound in May this year. I expect that a variety of
Automatic sign-language CG system
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sound devices to enable people to enjoy 22.2 multi-channel sound in the home will appear on the market. NHK is also letting people view a number of 8K programmes at various public screenings. These venues let visitors enjoy 8K via a giant screen and a sound system that can handle 22.2 multi-channel sound. NHK also has developed its own play-out system. Could you tell me a little more about it? The 8K video format, transmission format, and so on for the 4K and 8K satellite broadcasts that commenced in Japan last year use the technologies standardized from those researched and developed by NHK. NHK researched and developed a transmission method for handling 4K and 8K signals more efficiently, one that can be built into a system with an internet-protocol interface with a high affinity for not only broadcasts, but communications as well. 42 SEPTEMBER ‘19
Line array loudspeaker
The method has been internationally standardized as MPEG Media Transport (MMT). I believe it is a transmission technology suited to an increasingly diverse range of transmission routes and terminals. Regarding 4K and 8K videos, they are not only concerned with resolution, but also wide colour gamut technology for more faithfully reproducing the colour of objects. High-dynamic range technology can reproduce images with a wider range of luminosity.
The Hybrid Log-Gamma (HLG) format jointly developed and proposed by NHK and the BBC has been in adopted by the ITU-R as an international standard. NHK is currently evaluating the joint production for 4K and 8K broadcasts*, and so on, for use in future broadcasting facilities. *Having an efficient system and staffing arrangements in place for producing multiformat programmes (2K, 4K, 8K).
NHK
2020 Tokyo Olympic and Paralympic Games We host an event with representatives of OBS (Olympic Broadcasting Services) and they told us that NHK is preparing exciting news for the Olympics broadcasting. Will the next Olympic Games be the most technological prepared sport event of the history? How will the NHK’s production of the Olympic Games be technologically speaking?
8K technology has evolved with major sports events. 8K public screenings for the 2012 London Games were organized in Britain, the United States, and Japan in a joint project with the OBS and the BBC. The opening, closing, and a number of competitions (e.g. track and field, swimming, etc.) in the 2016 Rio de Janeiro Games were produced in 8K with the OBS. NHK’s trial 8K broadcasts included 8K content from the Rio Games. Public screenings were organized in
different parts of Japan, at NHK regional stations and so on, using test receivers. Lots of people got to see this content. NHK began airing 4K and 8K broadcasts in earnest from December last year. 8K broadcasts can be enjoyed in the home using commercially available TV sets. Preparations are underway with a view to having NHK provide broadcasts and services of the highest quality for the Tokyo Olympics and Paralympics. The live relays in 8K will be the biggest so far. The
Olympic Rings monument at Tokyo Sport Olympic Square
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opening, closing, and number of popular competitions will be relayed in 8K. Public screenings with giant screens will be organized in Japan.
In 2018, NHK stated that 8K/HDR (8K Super Hi-Vision) would be a standard for 2020 Olympics. Will NHK be ready by then? NHK is pursuing preparations to enable people to watch the Tokyo Olympics and Paralympics in 2K, 4K, and 8K. NHK will have four O.B. vans for 8K relays by next year. Many of the competitions will be aired on the 4K and 8K channels, giving viewers, I believe, a sense of being actually where the action is taking place.
You’re developing an extra small 8K camera system for the Olympics. Could you tell me more about this? In 2014, the STRL developed a small and nimble 120Hz frame frequency camera capable of taking 8K images. Many manufacturers are 44 SEPTEMBER ‘19
Hybridcast Connect
currently producing 8K cameras for broadcasting. Additionally, compact 8K cameras are also being produced for the home. (See Youtube report from CES2019.) A lot of the 8K production at NHK uses several types of 8K cameras produced by the manufacturers. The STRL has come up with a highspeed, 240Hz frame frequency 8K camera, offering four times the frame rate of conventional cameras, for producing slow-motion images of sports events. The cameras are being used in 8K sports programmes. I believe that 8K slowmotion images can show you athletes’ dynamic muscle movements and subtle facial expressions.
We’ve seen a BBC report saying that you’re also introducing interactive content for the next Olympics. Could you explain more about this? NHK commenced socalled “Hybridcast”, linking together broadcasting and communications technologies, in 2013. Hybridcast let people easily access from their TV sets information relating to a broadcast programe. The information comes via the internet. The service is available for a number of programmes aired by NHK. Hybridcast incorporate MPEG-DASH, the international standard for streaming video in
NHK
video-on-demand services for television. Some of the competitions of the 2016 Rio de Janeiro Olympics were distributed experimentally on 4K using Hybridcast feature. Similar trials with a Hybridcast feature were carried out during the 2018 PyeongChang Winter Games.
Are you going to produce the event remotely? Internet protocol will be indispensable, I believe, in broadcasting systems in the future. I believe there are certain advantages for programme production with IP. We are carrying out proving trials not only with the Olympics, but other IP-based remote productions with a view to introducing this technique in the future. Preparations are underway to achieve new work flows in 4K remote IP production at the Olympics.
Will you finally have the governmental consent for the simultaneous online streaming of the 2020 Tokyo Olympic
and Paralympic Games? We are preparing complementary digital services for the broadcast. They will enable viewers, I believe, not to miss any of the decisive moments at any time or any point of the Olympics.
What digital services will you provide to the 2020 Tokyo Olympic and Paralympic Games? Automated commentary by synthesized sound, a technology for making broadcasts accessible to all developed by the STRL, will also be employed, making broadcasts and other services available to a wider range of people.
In your opinion, where is TV Broadcast heading? What are going to be the trends of TV broadcast during the next years? In May this year, Japan’s Diet approved amendments to the Broadcasting Act to allow NHK to provide online simulcasts of its TV broadcasts on a constant basis. I believe it will be vital to enable people to
access information and content of a necessary nature at any time and any place, in accordance with their lifestyle, via TV sets, radio, smartphones, tablets, and other mobile devices. The STRL is therefore carrying out research to improve upon Hybridcast, which link together broadcasts and broadband communications. Hybridcast Connect is a new feature, a fundamental technology for linking TV sets and smartphones. For example, it easily lets people use their smartphones to select a programme they want to watch, and have it shown on a big-screen TV set. Smartphones can be used to link TV sets with other internet-of-things (IoT) devices. Broadcasts will remain key to NHK. But it is researching and developing technologies for properly harnessing the internet to make broadcasts more convenient for all audiences. 45 SEPTEMBER ‘19
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FIBA MEDIA
FIBA MEDIA Creating the biggest Basketball World Cup of the history A guide into the 2019 tournament with FIBA MEDIA This year will see the hosting of a large number of global-scope sports events. Beyond regular competitions such as the UEFA Champions League or the Superbowl, 2019 features the Rugby, Cricket and Female Football world championships. However, according to our interviewee, the imminent FIBA Basketball World Cup 2019 will be the competition reaching the largest world audience in the year. We took a closer look at this event with FIBA Media, the company in charge of producing until 2033 any and all championships and qualifiers organized by the International Basketball Federation. Paul Stimpson, Managing Director, unveiled all details concerning organization and about this competition to be held from 31 August to 15 September in China. By Sergio JuliĂĄn
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Paul Stimpson, Managing Director at FIBA Media
First at all, could you describe the vision, the objective of FIBA Media? FIBA media it's not a legal entity. It's an entity that has been formed through the partnership between Perform Group and FIBA, which was signed at the end of 20152016 and it's for a 17 year agreement, from 2017 till 2033 for all of the various broadcast rights linked to
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FIBA main competitions: the men and women world and continental championships, the qualifiers for the various World Cup and Continental championships, the Olympic qualification and the under-17 under-19 world championship. So that’s basically how it came about and FIBA Media as an entity was set up. Originally with three people, now FIBA Media consist of 28 people based in London, based in Tel Aviv, based in Paris, and also based here in Ginebra, in where FIBA headquarters are. Basically, the whole reason for the partnership was, as you no doubt know because you're a basketball fan, the new calendar that was introduced in 2017, where we now have qualifiers for the world cups and continental cups. Instead of having that intercontinental cup every two years, now is every four years and the whole idea of that is to have national team competition and national teams
playing more regularly throughout the year and not just playing in the summer. The whole vision of the joint venture is basically to take basketball and international basketball to the next level. In any country, the success of the national team is the locomotive and the driver of the success of the sport and that's certainly the case in basketball. Apart from probably the US, everyone gets behind the success of the national team. If they regularly are successful, that means National federations have more abilities to promote the national team playing regularly at home, which means it can help develop and promote the sport. It's just a win-win situation. For the November 2017’s qualifiers, basically we had four dates of games, so we had 20 games every day from around the world. We had games in Asia, Europe, Africa and the Americas and we had 80 teams. 80 games over four days: we were responsible for the production, the delivery,
FIBA MEDIA
the on-site graphics, satellite, coordination and everything linked to the delivery of all those games around the world, so you can imagine: it is a huge logistical challenge, but that was just the first window: each time we manage to improve it and increase it. We have venue managers that are on site every single game that look after all of the various broadcast aspects.
“It is a huge logistical challenge, but that was just the first window: each time we manage to improve it and increase it.” Has the collaboration been satisfactory for both parts? Do you think that you are fulfilling those objectives to promote
basketball that you proposed back two years ago? There is no question. Perform / DAZN are willing to invest in 49 SEPTEMBER ‘19
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50 SEPTEMBER ‘19
FIBA MEDIA
building up the team. Originally we had three people. Now, we have 28 people and that means that we are able to deliver so much more, were able to do so much more, were able to really work on improving the overall standard of production, of delivery, of graphics around the world and work within every national federation. You are in Spain, where basketball is a major sport; the productions have a good standard… Everyone love basketball! But at the same time, we are in other countries: we are in the Kazakhstan, Sri Lanka, in India, Guam... It isn’t as popular. Nonetheless, we have workshops in the regions to help the directors, we have a TV Academy online where people can go and see the best practices for filming and broadcasting. We're trying to raise the standard of basketball. When the qualifiers are over those same directors or when they're directing the national league of the country, they use some of the skills that they have
“Every country has a broadcaster and, within the production agreements, we have a basic 8 camera production philosophy, which is at minimum broadcast production anywhere in the world.” learned. The relationship between FIBA and perform is very strong. We have a steering committee and executive committee, which are representatives of all FIBA and Perform / DAZN on it. We have regular board meeting where we report into what we're doing, etc. etc.
Is the production of every game standardized or do you adapt to the production in each region? We have local broadcast agreements with every country that is competing in the Basketball World Cup. Every country has a broadcaster and, within the production
agreements, we have a basic 8 camera production philosophy, which is at minimum broadcast production anywhere in the world. We have always said it's not fair that in Spain or France they might have an 11 camera production, because they want to do more; and then we have a game in another country where basketball isn’t that popular and suddenly the production is a 4 camera production. We work very hard to make sure there is a minimum 8 camera production around the world. When you look at the games the actual coverage of the game is similar, whether it is in 51 SEPTEMBER ‘19
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New Zealand, Senegal, India, Bahamas, Brasil, Spain, France or Germany. We worked hard on developing that because that is very important for us, to have that basic level and the basic level being a good level; not just saying okay: “You can have three cameras, we don't care”. In some countries where maybe the interest in basketball isn't that big and broadcasters aren’t willing to do the production, then we actually employ our own production companies. We bring in the equipment, we have our own directors and we produce the games on behalf of the broadcast.
Let's move on to FIBA Basketball World Cup. What resources will FIBA Media deploy to cover this huge event? Are you going to deploy your own equipment logistic as you said, or do you have any partnership with local broadcaster or provider of services? That’s very good question. I'm based in
52 SEPTEMBER ‘19
“We bring in the equipment, we have our own directors and we produce the games on behalf of the broadcast.” Switzerland, but most of the people are obviously based in London. And right now, everyone in the UK is talking about the Cricket World Cup, the Rugby World Cup, which will be in Japan and the FIFA Women's World Cup. We have the Basketball World Cup, which is 92 games, which will be in China and it will be the biggest global audience of any of the world cups this year, but in UK no one even knows that basically is existing, is quite an interesting phenomenon. We are responsible on
behalf of FIBA for producing all the games. The World Cup in China is going to be the biggest event that China has ever hosted. It is in eight cities, in four different provinces. And a province in China is like a country in Europe,
FIBA MEDIA
so it is a massive logistical aspect. We went through a whole process, we checked what broadcasters and people can do in China and we have two partners in China: first, CCTV, the
government's station, as our linear television partner. We also have Tencent, which is a digital media partner in China, which is the biggest digital platform in China and they produce and they
broadcast all of the NBA games, as well as other sports events. Both of them actually have production facilities. So what we actually required is 8 productions for China. Three of them will be
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local production: two will be CCTV and one will be Tencent. The other five productions will actually be provided by International companies. We will bring the equipment into China, will bring our own production
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crews. We will have one Israeli crew that in the past has being responsible for the Olympic Basketball production, we have a French crew, we will have a Latvian crew, we will have a Spanish crew and a Portuguese crew. All of
them have been doing our Basketball events over the past years, so they are very experienced with regards the basketball coverage that we need for the world cup.
FIBA MEDIA
was the 2017 EuroBasket, where we had four venues in Europe. The level of the production that we are doing for this World Cup is far greater than any production we have ever had. I would even go as far as to say it is probably a bigger production anyone has ever had to basketball. We will have a 20 camera production for the first two rounds of games. That production includes, for example, an ultra-motion camera, five super slo-mo cameras and all the basic coverage. We will actually have a rail pass, that is a camera that is in a rail that will be the length of the court and we will have that as a
standard production for all eight venues. It's something that we first did in the final round in Turkey for the Eurobasket 2017, but we now have introduced it as a standard for all of the levels of production. Very few events you have ever seen have a rail cam as part of their basic production.
We would like to ask you about new technology implemented in the basketball World Cup. Are we going to find any VR, AR or IA technology implemented? We will have this 20 camera production for the preliminary round and
You produced 2017 FIBA EuroBasket, it is that right? Yes. Actually, as FIBA, we have been producing our own World Cups since Eurobasket in 2010. But as FIBA Media, the first thing we did, as you said, that 55 SEPTEMBER ‘19
SPORTS
second rounds. And then, for the final round, we will have a 25 camera production, which will add ultra slow-mo, steady-cam cameras, and a spider-cam in the last three venues. And within the spidercamera we will introduce AR Graphics package. We are not doing VR as part of the production, but we are working with a company that has already spoken to some of our broadcast partners and they will be offering a VR solution for some of the games. For example, Japan’s Fuji TV will be offering a VR solution. It is not something that we are doing as a standard, but it's something that is available to our partners do individually.
What is going to be the standard for the production? The standard production will be HD. We’re going to do 4K production for the final round in Beijing, for the final games, but it depends on the space. That is one of our biggest problems with indoor Arenas: every time we
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have a camera, that means another 20, 30 or 40 seats. We are also looking at whether we can also do some kind of 8K5G distribution. Not for every day, just for the final round as an example to see how it goes.
Are you implementing any other disruptive technology for the World Cup? You'll appreciate this: we will have a mike and a
camera permanently on the referee. When he goes to the monitors to check on a replay situation, we will open the mic. So everyone can hear what he is saying in real time, in live. But we are also looking at developing a system where, during the game, we will have the opportunity, depending obviously on how the game is going, to in real time open up the mic, so the viewers can hear the
FIBA MEDIA
referee in real time speaking to a player or to a coach. Obviously, that would depend on what they’re saying, how the game is. It's something we are looking at trying. And it would be the first time anyone does something like this in terms of a major event. The other thing we are about to develop is a superfeed with all the line-up, the introductions, city profiles, team profiles, team arrivals, interview with the coach, highlights, press conferences of the games... It's something we're working on developing.
Let's talk about the production. Are you going to deploy a remote production for the Championship? We will be on site for every production. Remote
production at the moment is not at the level where we needed it to be for such an event. Is certainly something that we are looking at in the future and in the future will come. We are not ready yet to have such an event in China with eight venues and remote production.
Let's move to the distribution of the Basketball World Cup… Yes, every game will be available across the world on different satellites. We have over 60 broadcast partners that we have contracts with. At the moment, we are in about a hundred and fifty five countries and we aim to be over a hundred and sixty by the time the event is. All the games will be available for all the partners and then in addition we have
“The standard production will be HD. We’re going to do 4K production for the final round in Beijing, for the final games, but it depends on the space.”
Livebasketball.TV, which is our own FIBA and DAZN OTT platform from where you can see every game with English language commentary on a subscription basis, pretty much anywhere.
Livebasketball.TV is somewhat DAZN or it is completely different? It is completely different at the moment. I mean, it is hosted by DAZN. It is a platform that we had for many years actually. We first started working with DAZN before we had this joint venture back in 2009. It was FIBA TV and it moved to Livebasketball.TV. It is an OTT Platform but it is separate from DAZN. We had DAZN as our partner in some territories, for example in Japan, Canada, but then we also have other partners. In Italy we have Sky Italia, In Germany we have Magenta’s Deutsche Telekom. Everyone is able to bid for the rights. In some places we have DAZN, in other places we don’t. 57 SEPTEMBER ‘19
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Do you have any technology partners for the FIBA Basketball World Cup? We don't have technology partners as such: all the equipment for the HB that we are having, we are paying for them. It has been provided by our providers. Having said that, we have two partners through the FIBA marketing side. Tencent is our on screen data-IT partner and Tissot is our timing partner. So Tissot provides the timing aspects linked to the games and some of the data. But we don't have
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our own technology partners at this stage that are providing equipment to us at the moment. We are working with our production companies and if we need rail cams or AR graphics, we’re just going in and buying and acquiring those necessary services.
We suppose that you are with your ears open to see what other sports are doing right now. So I would like to ask you what technology trends you identify for the future of basketball sports broadcasting. Do
you have an idea that could be implemented in the future that you have seen? That's a very good question and I wish I had a magic wand. Obviously, we actually work closely with the NBA, there are partners in some things that we look in sharing content throughout the year, so obviously you look carefully at some of the things that they are looking to implement or looking to do. Data, obviously, as you know is becoming more important, but at the moment, as it relates to basketball, we
FIBA MEDIA
are trying to work out how we can use that data. I mean, it's really it's very very relevant and useful for scouting, for teams, for technical side, but the question is how we can take data in basketball and make it relevant for viewers; to access your graphics or second screen or whatever. The perform data side now have a partnership with STATS in the US: it is a data company and stats basketball is in their DNA, that how they first started. Our aim is to bring the game closer to the fan. I think the idea for example of having the mic on the referee is a good move. Within FIBA Media we also have a digital marketing division, so we work hard not just in the media program, but also the website and the digital people to give them content and things they can use. We have historical content and we have produced a world cup documentary that for the first time will be available just before the World Cup. In terms of innovations and what's
going to happen, I think there’s ways that we can get closer to the action and the playing.
how it is the game,
We love attending Basketball games. The vibe in the venues is amazing. Do you think that one day broadcast will be able to transmit all the sensations of a real basketball match? Does technology will eventually lead us there?
each other, such as a
I think we can get closer. In Europe and internationally, we have live cameras and mics and timeouts. You can feel the tension on what the coach is saying. The NBA, for example, never does anything like because the brand and the appearance are most important. They will film a time out, they will review it, make sure it's okay and then they will show that time out maybe in the second half of the game. Or they will give a mic to a player, but never in a live situation. I think anytime we can bring life action, we can give you the feeling. How far we can get will depend on
enthusiasm and
because if it is a very close tense aggressive game with two teams don't like Barcelona – Real game… I think we should always be striving to bring the viewer closer to the game. We ain’t have, for example, a camera in the locker room just before the teams come out. And also, you can see the excitement of the team after winning when they come back to the locker room, but naturally it would be 15, 20, 30 seconds and then we leave. We’re not going to be there all time because the lockers room is really for the players and the coach, but it would just a glimpse of what's happening behind the scenes. So I think it will come, but slowly. I don't think it will be overnight and I don't think we’ll get to see absolutely everything. 59 SEPTEMBER ‘19
EVENTS
ROAD TO
IBC The future of broadcasting lies in the RAI Amsterdam in 13-17 September
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IBC
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We could well devote some time to enumerate the benefits of the mustattend IBC event, but if we had to choose a single reason of its relevant, it would suffice to point out its vital role as a hub in the broadcast and audiovisual industry within Europe. It is a reference in the old continent and an increasingly serious competitor for such a world giant as NAB. This event tries to improve and make a difference with every new edition by taking to the limit the possibilities offered by each and every showroom at RAI Amsterdam and offering numerous expert panels featuring representatives from some of the most relevant players in the audiovisual industry worldwide. RTS, SCTE, SMPTE, IABM, IEEE BTS and IET are the six international organizations in charge of hosting this event taking place between the 13-17 September. However, at closing of this issue our 62 SEPTEMBER ‘19
Last year, IBC was capable of summoning 55,000 attendees from over 150 different countries. impression is that this event has been spread over the past few months: there has been an ongoing, steady flow of product announcements and calls to press conferences that are to
start as from the 12 September, the day before the official opening of the event. Last year, IBC was capable of summoning 55,000 attendees from over 150 different
EVENTS
industry. On the other hand, we will have the occasion of taking a look to technological processes implemented in productions such as Rocketman, Game of Thrones, The Lion King’s live-action or Toy Story.
IBC 2018 conference.
countries. The doubt here is whether this record figure can be broken, based of the 1,700 companies that will be taking part in the trade show, as well as the 400 speakers that will share their knowledge as well. Themes for these meetings will cover recurring challenges such as creativity and innovation in the market, the ever-present monetization of contents or the state of OTTs. The window to the future will be open through talks dedicated to 8K, artificial 64 SEPTEMBER ‘19
intelligence 5G, the cloud, virtual assistants, UHD, the SMPTE ST 2110 protocol, augmented reality and virtual reality... notions that are well known by us, but in regard to which signs point out they will be firmly established in the industry. After all, they identify the main trends to be seen in the RAI showrooms. There will be time as well for interesting sessions dealing with issues such as integration, environment, gender and sexual diversity in the
We could draft a schedule in which we would only attend to the conferences and we are sure that all experiences and knowledge share would make it worthwhile. But IBC has much more going for it and the present lies in its 15 showrooms; it is in them where real magic happens and in which we will be able to see the innovations that will be breaking through into our market, either through world premieres or with products reaching Europe for the first time. Even though the list is nearly endless, we will try to cover some of the most important novelties that will be showcased in this event, to which a significant team of TM Broadcast will be attending.
EVENTS
An initial approach A significant number of press conferences from companies and meetings await us there and we will be able to see the latest developments from manufacturers as important as Panasonic, Lawo, For-A or AJA, amongst many others. However, many others have already provided us with some insight about the products they will use to get the market's trust. Sony will continue going forward with their “Go Make Tomorrow” approach, based on acronyms such as IP or AI. Their range of live IP solutions, boosted through their recent strategic partnership with Nevion, becomes highly relevant. We will get also the chance of take a look at cameras such as the HDC-5500, camcorders such as PXW-FS5M2, PXWFS7M2, PXW-Z190 y PXW-Z280; the latest version of the VENICE firmware or the XDCAM Air cloud-based workflow service for production of news programs.
Once again, IP solutions will be one of the hot topics this year
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EVS will also use this event for announcing their latest developments. Amongst a number of innovations, this company will showcase a new autonomous camera system that benefits from machine learning as provided through VIA Mind. It aims at replicating the movements of human camera operators and it is integrated in X-One, a solution offering new tools for storytelling. We will be in a position to use the new XS-NEO software-defined server and IPD-VIA Ingest app, as well as the brand new PMY processing module of
EVENTS
the Dyvi software-defined switcher for creative production. Talking again about Panasonic, the brand has confirmed they will be splitting their booth in various areas in order to better showcase their product areas. However, two concepts are worth noting: Live IP and remote production. In this regard, the company will showcase solutions such as the new IT/IPcentric production switcher or their 4K system camera line-up. By the way‌ expect world premieres for products! Grass Valley will be bringing to Europe all their 2019 novelties for
the first time: the GV Creative Grading solution, GV Fabric IP switch, LiveTouch live highlights and replay production system as well as the GV STRATUS One content management solution. And this is a trend frequently seen amongst exhibitors: products being showcased in the NAB Las Vegas come ready for the world market. One of the must-attend events shall be the official joint appearance of Vizrt and Newtek in a technological event, after the much commented acquisition that took place five months ago. The increasingly popular
One of the must-attend events shall be the official joint appearance of Vizrt and Newtek in a technological event, after the much commented acquisition that took place five months ago.
NDI will have a prominent presence, as well as the innovations by Vizrt in production such as Viz Engine 4 or their novelties on visual storytelling content production. As for awards, we will not miss the IBC Awards, which provide a comprehensive vision of the industry and worldwide innovations. 68 SEPTEMBER ‘19
We will also pay close attention to the BaM AwardsÂŽ, given by IABM, which recognize innovation and transformation in the broadcast and media markets. The award giving ceremony for the former event shall take place on Sunday the 15th of September, while the latter will be held one day before.
Broadcast solutions featuring high versatility Some companies boast a long tradition in the industry and remain committed in their aim of being a reference in the market. FOR-A is one of them coming to our mind: They focus in the IBC shall be the 12G and 4K technology, with strong attention being paid to IP connectivity and HDR. They will do this through innovations in products such as the FA-9600 signal processor, the FT-ONESS4K Ultra High-Speed Camera, the 4K/GD compatible vision mixer HANABI HVS-1200 or the all-in-one live production system Envivo Studio. On the other hand, Cobalt will focus on their card-based 4K and HDR workflow solutions for openGearÂŽ frames, a range of devices including new decoders and encoders, RIST Main Profile, bi-directional SDR/HDR conversion solution for live production, and new multiviewers and distribution amplifiers. We will closely monitor the premiere of the new 9992-DEC Series of
EVENTS
HEVC/AVC/MPEG-2 decoders for openGear frames. Magewell keeps proving their ambition to cater to each and every need of broadcasters. For this reason, they will be taking to RAI their Pro Convert range of converters targeting the NDI technology, premiere in Europe their Ultra Stream SDI standalone converter. Special attention will be paid to capture through their USB Capture Plus family of external capture devices, amongst other devices. Embrionix arrives to IBC with the firm intention of keep contributing to convergence between SDI and IP and demonstrate in certain cases, practices that can be checked out first hand in demos, as well as the SFP IP gateways can be reconfigured in software to deliver valuable signal processing capabilities as needed. We will be able to see other devices such as the emVIRTU IP-to IP media processing platform or the 70 SEPTEMBER ‘19
emFUSION and emVIEW IP Gateways, amongst a number of them. ATTO Technology remains committed towards the Thunderlink technology: they will showcase the new ATTO ThunderLink® NS 3252 Thunderbolt™ 3 to 25Gb Ethernet adapter and showcase for the first time the ATTO 360™ Tuning, Monitoring and Analytics application, amongst a series of novelties. Axon remains also committed to
convergence between SDI and IP through their socalled “next generation signal processing platform”. Details provided are interesting: it is capable of managing 200 Gb/s and 64 channels or 16 UHD channels in a single rack unit. All this, of course, ready for UHD and 8K productions. Rather targeting the streaming area, Videon will showcase their wellknown EdgeCaster edge computer encoder that includes multiple-bit-rate
IBC
outputs in support of ultra-low-latency streaming solutions for broadcast, pro AV, and prosumer applications. And of course, the system supports 4K HEVC and H.264 encoded signals. TAG Video Systems will be present at this event with their flagship MCM9000, a system that combines monitoring of compressed and uncompressed signals within the same device and in a single screen. . Additionally, the will
showcase a 100% software-based, 100% IP solution targeting live production, playout, distribution and OTT. Barnfind, a player in video transmission equipment and other multimedia services will focus their show on the BTF1-41 frame. Although launched exactly one year ago in the same event, the system features now an optional BNC-32 mid-board which allows third-party vendor technology to be integrated in the platform. Numerous BarnMidi modules will also be showcased at the booth. Cinegy will demonstrate the possibilities associated to the application of the Secure Reliable Transport (SRT) system targeting software defined television. On the other hand, 8K is already here with us: the company is strongly committed towards implementing this technology throughout their whole product range by means of a
streamlining work on well-known solutions such as their Cinegy Multiviewer or Cinegy Air Pro systems. Of course, compatibility with SD, HAD and 4K/UHD is maintained. Globecast Managed Cloud Network (Globecast MCN) is premiered in this European event, allowing multiple feeds to be distributed globally via the cloud, which in turn enables content to be broadcast in a more economical fashion as no fibre or satellite are required. Globecast will also showcase their new Server-Side Dynamic Ad Insertion (SSDAI) monetization tool. Dalet will focus their presence in this event around for main areas. This company will provide details on their recent Ooyala acquisition, as well as about what this collaboration will provide; they will share their novelties on artificial intelligence and showcase Remote Editing; special stress will be made on their graphic 71 SEPTEMBER ‘19
EVENTS
systems; detailed account will be given on client experiences with the system. VSN will take to the event their plugin web VSN NewsConnect for news and live event production. This add-on to the MAM system enables customization of the news production environment, being
capable of integrating with a significant number of NRCS systems available in the market. On the other hand, the IBC will see for the first time the presentation of a mew module for advertising planning within the VSN Crea traffic and planning system, which is fully integrated with the
VSNExplorer MAM system. As for OTT, DVB will premiere as a world exclusive DVB-I, a new suite of specifications designed to improve distribution of OTT content that will come together with Low Latency DASH (LL-DASH) and Multicast Adaptive Bit Rate (mABR),
If there is anything that broadcasters have been aiming at within the last five years is remote production, especially for implementation in large sports events.
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IBC
forthcoming standards from DVB.
Remote production tears down its own barriers If there is anything that broadcasters have been aiming at within the last five years is remote production, especially for implementation in large
sports events. Aviwest are arriving in Amsterdam with the purpose of showcasing their innovations in several products. Therefore, we will discover the SST (Safe Streams Transport) protocol, application of 5G technologies by means of their AIR Series transmitter and, of course, their renowned
PRO3. In collaboration with this brand, b<>com will showcase their novelties in the use of 5g for broadcasting. Dejero will take 5G to their revamped EnGo mobile transmitter, which supports up to 20 Mb/s bit rate for live transmissions and 1080p 50/60. in a different range, we will be able to
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take a look at their CuePoint 100 low-latency rack-mounted return feed server and to the Dejero WayPoint 204 receiver, the brand’s first device to be ready for the SMPTE ST 2110 standards. LiveU also go for the 5G technology, especially focusing in the coverage of sports events. The company will make a strong bet for their various applications in the field of what they called Remote AtHome Production, including the Tally Light or LiveU Graphics tools. The IP video distribution platform LiveU Matrix will not miss this event. Tedial will also focus their attention on the sports filed, with a new MULTI SPORT configuration for their SMARTLIVE solution, in order to automatically generate highlights for various events that can be shares in a simple manner through social media. Quicklink will showcase the possibilities of their all-in-one remote production solution Studioin-a-box (ST500), which includes an inbuilt, live Panasonic PTZ camera. Bridge Technologies, on the other hand, promise that their new Widglets™API HTML5 video monitor for the company’s VB440 network will transform the remote production environment. We will watch closely! We are not forgetting about TVU Networks, which are strong 74 SEPTEMBER ‘19
IBC
advocates of 4K, HDR, 5G y AI in their products. Worth highlighting is their TVU One 4K, capable of delivering full broadcast quality 4K with HDR capabilities, thanks to its H.265 hardware encoding chip, although there is even more: we will also be able to discover the TVU G-link 4K, the possibilities offered by their TVU Mediamind or the TVU Remote Production System. Simplylive will continue progress in regard to bandwidth management and optimization for remote connectivity with their UI Gateway, compatible with various UI applications of the same brand without the need of requiring high bandwidth connections. As for OB Trucks, Megahertz will endeavor to show once more the future IP with a vehicle fully built under this technology already used by the BBC and featuring equipment from brands such as SSL, Neumann or Riedel, amongst others.
Creating visual content... FilmLight will open their doors to let us have a peep in the filed of color correction and modification through their Colour On Stage seminar, to be held on September 14 and 15, detailing how color was processed in fictions such as “Mindhunter” or “Coronation Street”, from ITV Studios. We will 75 SEPTEMBER ‘19
EVENTS
also be able to see the latest innovations as applied to SGO's Mistika Technology, including support for Blackmagic DeckLink I/O. Still within the production field, two products will have a privileged space in the Ikegami booth: HQLM3125X, a 4K-UHD mastergrade monitor with a 4,096 × 2,160 pixel 10-bit resolution and high brightness; and HQLM1720WR a compact UHD HDR monitor for broadcast applications. There will be an HDR option as well for their HLM-60 range, as well as a host of other solutions such as their 4K mediaover-IP Gateway module for UHK-430 camera. On the other hand, CyanView wants to keep offering clients new options for camera control. In this regard, they will show the operation of their new Cy-Ri0, which supports 4G networks, or the small, yet powerful Cy-GWY-IO. We will also have the opportunity to take a 76 SEPTEMBER ‘19
look at new cameras supporting the Cy-Stem control system. Elements still want to speed up and make easier the creation of complete workflows. In order to persuade attendees that this task is possible, the company will offer different sessions in which operation of their solution in cooperation with companies such as M2Film o FAMU International Film and TV School may be seen. Quantum will showcase their product range for production, processing and transport and completion, all this in 8K resolutions. Worth noting is the latest version of their StorNext file system or the European premiere of their Quantum F-Series, a NVMe Storage array for editing, rendering and processing video content.
… and sound content as well Sennheiser and Neumann will continue expanding their device
ranges. Worth noting are the 2.4GHz XS Wireless Digital systems for DSLR/DSLM audio; the professional SK 6212 UHF mini-bodypack transmitter and EK 6042 camera receiver for location and studio work. Not to be missed either is the Neumann KH 750 DSP subwoofer or the Neumann NDH 20 studio headphones. Calrec will take a good number of devices for premiering in Europe: VP2, a virtualised mixing system that comes in three DSP sizes; the ImPulse core, an audio processing and routing engine with AES67 and SMPTE 2110; the H2-IP Gateway and the AoIP Modular I/O controller card.
IBC
Pliant Technologies continues research on the field of Wireless Intercom Systems and will bring an update for their CrewCom technology, as well as a range of improved headsets and new ancillary products such as their Drop-in Charger, Fiber Hub, and FleXLR gender adapter. ClearCom will be there as well with a new range of IPbased intercom solutions, which include SMPTE 2110-30 protocol support. In their booth, we will be able to take a look at their V-Series Iris intercom panel, their Eclipse HX or the LQ™ Series AoIP interfaces. And much more!
TSL Products continue strongly focused on audio, as proven by the introduction of a new range of modes for their SAM-Q audio monitors, premiered in NAB 2019 and already available; as well as novelties for their PAM-IP line and their MPA1 range. And SSIMWAVE® will perform at their booth an interesting demonstration of their latest novelty: the possibility of inspecting Dolby Vision™ enabled content for file-based streaming environments. They will be also bringing their SSIMPLUS VOD Monitor, which offers frame-by-frame and pixel-by-pixel analysis of video content. Solid State Logic is coming with loads of novelties. Although their main goal is showcasing all the novelties relating their System T broadcast audio production platform, we will be able to check the operation of their S500m console or the HC Bridge SRC, this latter one devoted to the Dante protocol.
Monetization, monitoring and storage The possibilities offered by aiWARE™, a solution by Veritone that aims at becoming “the world's first operating system for artificial intelligence”, will be showcased through their Digital Media Hub™, which capabilities may be seen in regard to Access and delivery, and monetization. Also to be showcased is veritone attribute, as well as their Veritone Content Licensing Services. Icareus will show us Addressable TV, an advertising technology platform, as well as other innovations targeting the OTT field: Icareus Audience Measurement, Icareus Suite Online Video and TV Cloud; as well as Icareus Playout. As for Akamai, they continue making their way through the OTT world and go for new anti-piracy and cyberattack protection measures, which are also 77 SEPTEMBER ‘19
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added to their lowlatency and content and broadcast management services. StreamGuys will show us their latest novelties on monetization, visualization and social media applied to radios and podcast. Not to be missed are their novelties in regard to their SGrecast and SGrewind software, amongst others. They will have a shared booth with ENCO, with special stress being placed on their DAD Disaster Recovery (DADDR) solution, which automates substitution of a program by another in the event of a natural disaster or critical technical failure. Space will be shared with WebDAD, a full-fledged control interface that works through a web browser. A metadata mapping feature and the versioning feature, which enable users to update assets concurrently whilst tracking update history: these are the two main
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novelties that iconik will show at IBC 2019 for their cloud-based media management hub. The tool will be seen at work at the company’s booth, of course. As for security, Synamedia keeps progressing with their Streaming Piracy Disruption managed service. IT grows as months go by, this time with novelties such as the ability to disrupt leaks immediately without waiting for third-party takedown. On the other hand, Agama, firmly
focused on providing detailed analytics and improving workflows, will show further progress in their solutions relating analytics, targeted advertising or remote phy monitoring, amongst a number of fields that can be discovered in their booth. And, of course, Interra will also advocate for their monitoring solutions BATON ABR QC and Orion-OTT. Video analysis, monitoring, alert system, lip syncing detection, quality checks through the analysis of encoded streams…
IBC
The Emerald™ Unified KVM platform remains as one of BlackBox’s flagship products, with the premiering, for the first time for the European market their Remote App, which has been especially designed for tasks such as remote process and applications monitoring. Also to be showcased are the new Emerald™ ZeroU DVI transmitter and the MCX multimedia distribution and management system. Digital Nirvana will also highlight their solution for monitoring these
platforms with their MonitorIQ tool. On the other hand, their Metadator 2.0 enables automation of metadata creation. The company is also addressing the field of subtitling through three tools: Caption Quality Check, Closed Caption Generation and Closed Caption Synchronization. The hybrid cloud solution focusing on media MatrixStore by Object Matrix will be a part, needless to say, of their presentation at the IBC. Their latest version -
4.1- features compatibility with an increasing amount of hardware solutions and also includes, Sense, a new tool for monitoring and analytics. Mediaproxy will showcase again their LogServer IP logging, monitoring and analysis system, which now includes new tools for platforms such as Twitter, Facebook and YouTube. Beyond compatibility with the ST 2022-6 and ST 2110 standards the system now fully supports the Ember+ control protocol.
Let’s start! An absolutely interesting event is awaiting us. We are sure that if you have a chance to drop by, you will be highly delighted. But if you cannot attend, do not worry: you will find a detailed summary of everything happening there in our next issue.
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Providing
Sign Language Service In
Audiovisual Media
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SIGN LANGUAGE
Audiovisual accessibility services for people with disabilities have been becoming increasingly widespread throughout
Author: Carlos Alberto Martín Edo Senior Project Engineer. ATOS
the world in recent years. In view of the importance of multimedia content and, most particularly, on TV, audiovisual accessibility aims at getting people with disabilities have access on equal terms to
information, training and entertainment as enabled by such content. In other words, lack of accessibility in multimedia content may cause social exclusion of people with disabilities. This article deals with the provision of
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sign language interpreting services aimed at deaf people and people with a hearing impairment. This issue is a hot topic, as a few months ago -November 2018- the European Parliament and the EU Council passed a new version of the â&#x20AC;&#x153;Audiovisual Media Services Directiveâ&#x20AC;? [1] that delves on the obligations of making audiovisual content available. This AVMSD (Audiovisual Media Services Directive). The AVSMD Directive cannot directly impose accessibility services but invites all EU Member States to adopt the necessary accessibility measures in their respective territories. The directive makes express mention of hearing or visually impaired people and, amongst the services identified, the first one being mentioned is precisely sign language. As for the Member States, there are laws in place imposing on TV operators interpreting services quotas for sign language. TV sign language has a distinct feature not found in any other services such as subtitling or audio-description: while the latter two can be provided on a closed mode (i.e. only activated if/when so decided by users), sign language has been traditionally provided on an open-service basis (i.e. available for all spectators, whether they require it or not). In view of the fact that the sign language interpreter can be a nuisance for users not requiring the service or not being acquainted with deaf people, sign language has been relegated to time slots featuring lower TV consumption, which article [2] of EBU terms as 'unsocial scheduling'.
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SIGN LANGUAGE
As the same article [2] reminds, some myths about sign language must be clarified. Sign language is not universal, as there may be one or maybe more languages within a country. As in any other language, there may be dialects within the same sign language. And these are living languages that evolve as the social environment in which they are used does (for example for naming new phenomena). Worth noting also is the fact that a sign language is not subordinated to the oral language spoken in the relevant territory, but it is instead an independent language with its own grammar rules. As [2] says, defining it as ‘interpreting’ might be more appropriate than ‘translation’. Though TV digitalization brought about new technological opportunities that resulted in improved quantity and quality of other accessibility-related services (such as subtitling and audio-description), this did not happen with sign language interpreting, which kept a free-to-air service provision. However, the number of channels available did enable the possibility of devoting a channel to simultaneous sign language interpreting while the main channel was offering the program with no interpreting at all. This is the case with the British BBC NEWS channel, which offers simultaneous sign language interpreting for some programs being broadcast in BBC ONE. The widespread presence of Connected TV (that is, TV screens capable of receiving and playing content either from a broadcast network or the Internet) does entail a real opportunity for offering an on83 SEPTEMBER ‘19
TECHNOLOGY
Figure 1. Customizable sign language pioneering experience in German channel RBB within the HBB4ALL project. By means of an HbbTV application, users would select the interpreter’s position for a video-ondemand program. The interpreter on the left-hand side of this video capture is Jan Sell.
demand sign language interpreting service. Whilst the broadcast channel offers a service with no sign language interpreting for all users, the relevant TV operator makes available to viewers sign language interpreting through the Internet. In this way, any users needing it, may select the sign language option by means of their remote
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controls and then switch to sign language through live streaming broadcast on their Internet connection. The video signal transmitted via the Internet comprises both the program’s signal and the interpreter’s image. In an ideal case, both video signals would be independent, in such a way that users could choose in what area of the
screen and image size that the sign language interpreter may be shown. The downside is that this would require two videodecoding circuits in the same receiver, something that is not usual. The European R&D HBB4ALL (Hybrid Broadcast Broadband 4 All) project was a development of this idea.
SIGN LANGUAGE
German operator RBB (a public radio and television broadcaster for the Berlin and Brandenburg regions) launched a pilot project for sign language by using the HbbTV connected TV standard in which viewers could choose from various sizes, positions and service composition options. The capture shown in Figure 1 is one of said options, which were available for video-on-demand programs. At present, the Spanish public TV channel TVE is also providing an ondemand sign language
interpreting service based on the HbbTV standard, but with the peculiarity that it is available for live content, which entails simultaneous interpreting and Internet transmission as live streaming [3]. Figure 2 shows two screen captures of this service, which is activated by pressing the green button in the remote control in the selected programs (upper-hand side of the figure). In view of the
above-described restriction in the number of video decoders in the screens, the video signal reaching the TV screens through the Internet includes both the program’s video input and the sign language interpreter (lower-hand side of the figure). The “Handbook on Good Practices for Inclusion of Spanish Sign Language in TV Broadcasting” [4] prepared by the Centre for
Figure 2. TVE’s HbbTV application for on-demand sign language services in live programs.
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Language Standardization of Spanish Sign Language and published by the Royal Trust on Disabilities, aims at becoming a document of reference for TV operators for launching quality services. This handbook contains amongst many others, the following recommendations: Broadcasting of the service on demand and the possibility of usercustomizable settings for position and size of the person performing the interpreting (if allowed by technology).
Syncing between the audio signal and the interpreting (although sign languages have their particular ordering of signs). On-screen layout of sign language and subtitles, in such a way that the latter do not get in the way of the former. Diversification of TV genres and time slots in which the sign language service is being provided, including prime time broadcasts. Ensuring throughout the acquisition and
transmission chain good contrast between the skin tone of the interpreters and their own clothing, as well as with the background, in such a way that the sign language can be properly understood. Codification of sign language in proper lighting conditions, as well as proper camera parameters, resolution and bit rate settings so as to make it intelligible. The use of a chroma-key technique (enabling insertion of the interpreter as a
Figure 3. Ideal example of layout as proposed by the handbook.
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silhouette over the program) deserves special attention at the time of video signal acquisition in order to avoid any artifacts. Additionally, due to the movements of hands and arms, the use of progressive (noninterlaced) formats is preferable, as well as observing the customary safety margins used for TV broadcasting. A frontal plane is recommended, keeping the camera at the interpreter’s eye height and in a framing such as to ensure capture of all the space that will be used for sign language, taking into account movements of hands, arms and face. Marking of sign language is very important as well in order to keep the target audience informed about the availability of the service. The handbook also suggests an icon in order to communicate availability of the
service throughout any means as, for instance, the EPGs. Figure 3 shows an image layout for an ideal interpreting service conforming to the handbook, although a service targeting deafblind people would require a higher contrast. The aim of this article was to tackle sign language interpreting on TV from the standpoint of provision of an accessibility service, dealing with issues such as technical opportunities and quality recommendations, in view of the importance of audiovisual means in depicting a social reality. Should operators not increase visibility of deaf people and raise awareness of sign languages in programs targeting the whole population, thus promoting social integration of this group and contributing towards a richer, more diverse representation of society?
References [1] Directive (EU) 2018/1808 of the European Parliament and of the Council of 14 November 2018 amending Directive 2010/13/EU on the coordination of certain provisions laid down by law, regulation or administrative action in Member States concerning the provision of audiovisual media services (Audiovisual Media Services Directive) in view of changing market realities. Available here: https://eur-lex.europa.eu/legalcontent/EN/TXT/PDF/?uri=CE LEX:32018L1808&from=EN [2] Frans de Jong. “Access Services for digital television”. EBU Technical Review, October 2004, no. 300. Available here: https://tech.ebu.ch/docs/tec hreview/trev_300de_jong.pdf [3] Manuel Gómez Zotano, Pere Vila Fumas, Enrique Martin Laguna. “Components of a cloud-based solution for sign language accessibility: the España Directo use case”. IOSR Journal of Computer Engineering (IOSR-JCE) e-ISSN: 22780661, p-ISSN: 2278-8727, Volume 20, Issue 3, Ver. IV (May. -June. 2018), PP 15-24. [4] Centre for Language Standardization of Spanish Sign Language. “Handbook on Good Practices for Inclusion of Spanish Sign Language in TV Broadcasting”. Edited by: Royal Trust on Disabilities. 2017. NIPO: 689-17-006-0. Available at: https://www.siis.net/documentos/ficha/529550.pdf
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LYNX Technik AG greenMachine
A MACHINE FOR CONVERTING THEM ALL In this instance, we had the opportunity to test one of those products so innovative that it can be hardly compared to any other. This is the case with LYNX Technikâ&#x20AC;&#x2122;s greenMachine, a truly complete signal converter in optimized hardware, featuring an intuitive configuration. Let us look at it in more detail. By Yeray Alfageme, Business Technology Manager Olympic Channel
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LYNX TECHNIK AG GREENMACHINE
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greenMachine is not a device meant for a specific purpose, but a hardware equipment combination -the greenMachine titan- with many configurations (also called ‘constellations’) offering a series of features that result in various functions that can be reprogrammed by means of control software.
Hardware: Titan The current generation of greenMachine titan is capable of processing up to four 3G/HD/SD-SDI signals or a single 4K/UHD signal. It supports 12G processing up to 2160/p60 and uses a two sample interleave (2SI) technique.
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Connections include: 3 x SD/HD/3G SDI inputs. Level A and Level B dual-link. 3 x SD/HD/3G SDI outputs. Level A and Level B dual-link. 1 x SD/HD/3G/12G SDI input. 12G Single Link / Quad Link 2 SI Level A / B dual-link 1x SD/HD/3G/12G SDI output. 12G Single Link / Quad Link 2 SI Level A / B dual-link 1 x HDMI 4K/UHD (1.4b) input and 1 x HDMI 4K/UHD HDMI (1.4b) output 1 x reference signal input and looped (black burst or trilevel) output Ethernet LAN connection 4 x balanced analog or digital AES audio inputs.
LYNX TECHNIK AG GREENMACHINE
4 x balanced analog or digital AES audio outputs.
supply systems, which gives
4 x GPI/O inputs and outputs.
device is intended for use in
1 x SDI input or output in SD/HD/3G fiber (optional).
environments.
1 x 12G-SDI input or output in SD/HD/3G/6G/12G fiber (optional).
rack unit, so it can be fitted in
LAN fiber connection (optional).
in a single rack unit eight
Additionally, it has two connectors for two external
processors. A remarkably
us an idea of the fact that this high-availability
It takes half the space of a parallel with another greenMachine, thus supplying simultaneous 3G-SDI surprising density.
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Constellations – customizing the greenMachine When purchasing a greenMachine titan hardware unit, we have a basic routing function between input and output connectors, as well as D/A or A/D audio conversion. All other functionalities are available through constellations, which are greenMachine's specific functionalities being licensed -and therefore, acquired separately. All constellations available at the time of purchasing the machine are installed in the firmware and all future constellations may be installed by means of a simple firmware update. All the unlicensed constellations available in the firmware can be tested without purchasing, and include awatermarked output. Once the license of a constellation is purchased, the watermark is removed from the output. 92 SEPTEMBER ‘19
Constellations available at present are: HDR Static: Static converter for HDR>SDR, SDR->HDR, and between various HDR standards for signals up to 4K. Testor: Test signal generator for both 4K and HD -up to 4 signalsas well as for HDMI. FrameSync Quad: Video synchronizer for 4 3GSDI channels. UPXD 4K: 4K<->HD SDR converter.
BIDI Transport: To transform a pair of greenMachines into equipment for video and audio transport on Ethernet. Capabilities depend on the available bandwidth.
HDR Evie We feel really honored. The HDR Evie constellation is not available for sale yet, although LYNX Technik
LYNX TECHNIK AG GREENMACHINE
provided us with a greenMachine and this truly novel constellation preloaded in the system and we were able to test its power and quality. This is a configuration enabling conversion from HDR to SDR. It may seem the same as HDR Static, but HDR Evie entails dynamic conversion; that is where the real big difference lies.
And this is because there are HDR standards, such as PQ or Slog3, where luminance values are dynamic based on the particular scene, in which HDR Evie really shows its full potential. Once the greenMachine has been properly configured with the HDR Evie constellation, the system is capable of adapting conversion dynamically and in real time to generate a proper SDR signal always within
adequate luminance ranges for the SDR 709 standard without distorting the original luminance. This functionality can be used in 4K (Image 1, next page) as well as with 4x 3G-SDI simultaneous channels (Image 2). Although it can be configured by means of a front panel in the hardware featuring backlit buttons and a multi-function knob that are truly reliable and easy to operate, we recommend using the
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Image 1
greenGUI software. It just requires connecting the greenMachine to the network through an Ethernet port and access its IP by means of the software. Then the software will proceed to automatically discover 94 SEPTEMBER â&#x20AC;&#x2DC;19
any greenMachines hooked up to the network.
host of advantages in
When more than one greenMachine are connected at the same time on a network, a greenUniverse is generated. This entails a
greenMachines from a
addition to being able to configure all our single spot. For instance, we can share constellations between greenMachines in an automated fashion. The
LYNX TECHNIK AG GREENMACHINE
greenGUI software detects all licenses existing in all machines and makes them available to the entire network, thus enabling to easily share features amongst them. The greenGUI software is really intuitive and provides a simple
graphical interface in which all complex configurations can be achieved as required. We always share the idea of making complex things simple and a graphical interface allowing configuration by blocks is one of the simplest ways that we
came across. It represents in a complete manner a mental image we follow when performing any configuration and in regards to greenGUI â&#x20AC;&#x201C; which offers countless parameters and configurations - this is a must.
Image 2
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The HDR Evie constellation allows: HDR -> SDR conversion with support for PQ, HLG, SLog3, as well as Rec. 601, Rec. 709 color spaces and Wide Color Gammut Rec.2020. 4K UHD escalator that allows choosing the area to escalate. Frame synchronizer, either 4K or 4 x 3G-SDI. Embedding and deembedding of analog and digital audio. Generator for 4K and HD test signals. It is not as complete as Testor, 96 SEPTEMBER ‘19
but sufficient for most applications. Advanced audio processing, allowing gain adjustments, stereo-mono and monostereo conversion, audio switching and advanced routing. It even allows adding a delay of up to 30 frames to each audio signal independently. Color and gain correction through adjustment of each color component as well as the image's black and white levels. Processing of metadata.
Conclusions The greenMachine platform is a complete, truly versatile signal processing environment. The combination of the titan hardware with the available constellations provides the system with great processing power. This, coupled with the greenGUI software and the creation of greenUniverse, makes it possible to have a fully centralized signal processing environment. Configuring the system may turn out a bit tedious
LYNX TECHNIK AG GREENMACHINE
The HDR Evie constellation, arriving soon, is an HDR->SDR conversion solution that solves many of the problems involved in this conversion; all this in half a rack unit and up to four simultaneous channels. A processing capacity and density feature hard to attain by other similar systems. ď ľ More information at: http://www.hdrevie.com/
in view of the multiple options available, but only a bit of practice will suffice to get acquainted with the controlling software. There are few solutions in the market that can compare to the greenMachine, which makes this system a really interesting option. It may seem strange to us in some aspects, but both its concept and implementation are really simple.
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