TM Broadcast International 48, August 2017

Summary

04 06 32 40 50

Editorial

Pan shot Keep informed about what’s happening

Trends and state-of-the-art in Play Out and MAM Essential elements for cameras Test Area

Dejero’s mobile video transport suite

Editor Javier de Martín

Editor in chief Jesús Carrillo

editor@tmbroadcast.com

director@tmbroadcast.com

Key account manager Cristina Feduchi international@tmbroadcast.com

Editorial staff Daniel Esparza press@tmbroadcast.com

Creative Direction Mercedes González

Administration Laura de Diego

design@tmbroadcast.com

administration@tmbroadcast.com

TM Broadcast International #48 August 2017

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

Editorial The IBC seems to be just around the corner from now, seeing we are in summer. IBC is the leading event of the Media sector in the EMEA area... For now... Why do we say this? We all know that the largest show is the NAB in Las Vegas. The most important new developments are presented here, and the audio-visual market has orbited around this event for years. But IBC’s organisation is doing a great job. Las Vegas is a superb destination but it takes so long to travel there, and we all know about the extremely strict rules the exhibitors have to comply with there. The RAI in Amsterdam is laxer in these boundaries compared to the Convention Centre. Another good thing about Amsterdam is that it is a great airport hub with flights to almost anywhere in the world, which means that a large part of the industry is just a flight away. The downside of Amsterdam is its hotel offering. Las Vegas is a world leader in hotel offering, but Amsterdam is indeed improving in this aspect, and together with the free public transport, the scales are beginning to move towards its side.

This is as far as logistics are concerned. At a technical level, the different brands usually present their prototypes at the NAB and showcase their final product at the IBC. This goes in detriment of the former and in favour of the latter. There are no longer such dramatic technological changes that warrant travelling all the way to Las Vegas. Nowadays, people make the purchase firmly on the end product because investments are no longer made as lightly as many years ago. As each year passes, the IBC becomes more popular, because of all this and the efforts invested to make it a great congress, and its logistic facilities. It is not unreasonable to think these days that IBC might end up being the number one show of our market.

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SHOTOKU DRIVES EXPANSION INTO SPANISH MARKET WITH CROSSPOINT CROSSPOiNT will market, sell and support Shotoku’s range of manual camera support products in Spain Shotoku has announces that it has appointed the reseller CROSSPOiNT to support its growing presence into the Spanish market. The partnership, which takes place with immediate effect, will see CROSSPOiNT sell Shotoku’s full range of manual and VR/AR camera support equipment within Spain.

David Shepherd, EMEA Sales Manager at Shotoku, explains this decision: “In CROSSPOiNT we see a very professional organisation, growing their market coverage and share in the Spanish broadcast market by supplying highperforming solutions, fully supported by a competent technical team. It’s this complete package that attracted us to CROSSPOiNT. Our products are a natural expansion of their existing solutions and we are confident that our business will grow and be professionally supported through their efforts.

Support is a key part of the TMBi - 6

TK-53(L)VR/TI-08 System.

Shotoku success story so it’s critical to us that our partners extend this culture into their local markets.”

Commenting on its future with Shotoku, Victor Garcia, CROSSPOiNT’s Sales Manager adds: “We have known Shotoku and its topquality solutions for many years, so we are pleased to represent the company in Spain. Adding manual and

“Support is a key part of the Shotoku success story,” comments David Shepherd, EMEA Sales Manager at Shotoku VR systems will allow us to offer our clients a wide range of solutions in the field of live production.”

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RIEDEL COMMUNICATIONS APPOINTS DANIEL CHANNON AS RENTAL ENGINEER IN THE UK technical/project

Riedel Communications has announced the appointment of Daniel Channon as rental engineer.

Based in Riedel's U.K. office, Channon will be responsible for managing, coordinating, and maintaining the company's rental service for tailored communications and networking solutions.

management certifications from Microsoft and Cisco.

"With his IT expertise and extensive project management experience for media operations, particularly with the Rio and London games, Daniel is the ideal professional to manage Daniel Channon.

The Riedel rental service provides wired and wireless communications solutions, IT infrastructure for events, and fiberbased and wireless signal transport and routing systems.

Prior to joining Riedel, Channon served both the Rio and London Olympic and Paralympic Games as cluster venue results project manager for the Results Technology Service.

That was the team in charge of the end-to-end systems used to communicate live sport TMBi - 8

our rental operations in the U.K.," claims Paul Rivens, Sales Director at U.K. for

results and competition information across global media.

For Rio, he was responsible for the overall delivery of live results services for 12 sports, and for London he managed delivery of results services for the volleyball and sitting volleyball events.

Channon also previously served as a project manager for Adstream, an advertising workflow and distribution company, and held several IT project management positions with the British Airports Authority. He holds a degree in business administration from Napier University in Edinburgh, Scotland, and

Riedel Communications.

"Our rental service is an extremely important part of the Riedel corporate culture because it puts us in close touch with our customers' needs and requirements.

Through his background, Daniel understands perfectly how practical solutions can be developed from practical experiences."

The Riedel rental service provides tailored wired and wireless communications solutions, IT infrastructure for events, and fiber-based and wireless signal transport and routing systems for sporting, event, theatre and industrial applications.

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GRASS VALLEY ENABLES EUROMEDIA TO MAKE THE MOVE TO 4K IN ITS OB TRUCKS EUROMEDIA expands the capabilities of its Kayenne K-Frame Video Production Center switcher from Grass Valley The rise in interest for 4K UHD coverage has prompted EUROMEDIA to make the move to 4K UHD in both its A21 and B40 OB trucks, by expanding the capabilities of its Kayenne K-Frame Video Production Center switcher from Grass Valley.

Upgrading the 4 M/E Kayenne K-Frame switcher panels in the two trucks from their Compact K-Frames with 80 HD/3G inputs and 48 HD/3G outputs to Standard K-Frames with 180 HD/3G inputs and 84 HD/3G outputs to provide 40 4K UHD inputs and 20 4K UHD outputs in four- quadrant

mode, will meet the needs of its 4K UHD productions while easily switching to HD/3G when needed.

Gaël Tanguy, EUROMEDIA’s technical director explains: “It’s one thing to achieve a one-off 4K UHD production, but it’s another story when the pace

Kayenne Video Production Center.

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increases to one match per week. In order to ensure a successful debut, we combined the forces of EUROMEDIA’s production crew with Grass Valley’s Kayenne K-Frame switcher in our OB Trucks A21 and B40 The two trucks have already travelled to several events flexing their new 4K UHD capabilities Designed to support a variety of sports or entertainment productions, the two trucks have already travelled to several events flexing their new 4K UHD capabilities—OB A21 and OB B40 recently provided Canal+, the French premium cable television channel, with the graphics for the private feed of the Sunday night prime time main soccer matches and will be deployed for rugby matches as well.

Kayenne K-Frame provides multiformat support, including 3G and 4K UHD, as well as up to 192 inputs, 96 outputs and up to 9 M/Es with six keyers in every full M/E for HD/3G and up to 48 inputs, 24 outputs and up to 4 M/Es with three keyers in every full M/E for 4K UHD. In addition, Kayenne K-Frame switchers are now available with IP I/O for SMPTE 20226 connectivity.

“EUROMEDIA is a great example of a service provider that is looking to the future, making decisions and investments that will position them well to deliver content that stands above what is currently on the market,” explained Jan Pieter van Welsem, vice president of sales and marketing, EMEA, Grass Valley. “A lot of thought and planning went into this move, knowing that our solutions are playing a key role is very gratifying.”

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ELEMENTS ONE WILL BE EXHIBITED AT MEDIA TECH AFRICA ELEMENTS’ reselling partner Rocket Science will be showcasing ELEMENTS ONE at Media Tech Africa

ELEMENTS ONE.

ELEMENTS announces that its reselling partner Rocket Science will be showcasing ELEMENTS ONE SAN/NAS server for the first time at Media Tech Africa. The 3 day event covers the full range of products and services applicable to the broadcast, film, production, AV integration and live event technology industries and takes place from July 19 through 21, 2017 in Johannesburg, South Africa.

ELEMENTS ONE enables customers to work in a heterogeneous SAN or NAS environment to share media files natively across all platforms and non-linear editing and VFX applications, including Avid MediaComposer, Adobe Premiere, Apple Final Cut Pro and others, enabling TMBi - 12

operators to transfer entire projects seamlessly from one application to any other application.

“ELEMENTS offers unparalleled features to companies in the broadcast and post-production industry that are unknown in the African market so far.” says Nuno Martins, Senior Solutions Architect at Rocket Science. “We are excited to show our customers the extraordinary benefits ELEMENTS provides to simplify their media workflows.”

ELEMENTS solution includes the Media Library, a web-based media asset management tool with a fulltext search engine, which features a graphical user interface for professionally managing, presenting and

sharing media assets directly on the shared storage, eliminating the necessity to perform any time consuming transcoding or copy tasks. The embedded Rough Cut Editor allows for editing original film material remotely via the HTML 5 platform.

The software package is embedded in all of ELEMENTS’ appliances, including ELEMENTS GATEWAY which can be implemented in any environment, enabling customers to unite all applications under one file system, including Avid Media Composers.

ELEMENTS ONE and the Media Library will be demonstrated at the Media Tech Africa (stand# H11) at the Ticketpro Dome in Johannesburg, South Africa.

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CHYRONHEGO UPGRADES ITS CAMIO GRAPHIC ASSET MANAGEMENT SOLUTION CAMIO 4.2.2 brings new capabilities and greater product integration

CTO, ChyronHego. "With LUCI5's simple and clear workflow connecting the newsroom to the art department and the control room, users can focus on writing the news and breaking it first. And HubDrive makes it easier than ever before to manage and distribute graphics assets across a network of playout devices."

CAMIO 4.2.2.

ChyronHego has released an all-new version of CAMIO, its graphic asset management server, with improvements including the HubDrive file distribution tool and LUCI5, an HTML5 update of the company's modular user interface for newsroom producers. With this release, CAMIO 4.2.2 brings new capabilities and greater product integration to the CAMIO Universe, ChyronHego's softwareTMBi - 14

based newsroom production ecosystem.

"CAMIO 4.2.2 provides more integration than ever with the CAMIO Universe of playout devices, including our PRIME, Hybrid, Live Compositor, and Metcast solutions. Plus, LUCI5 and HubDrive offer important new asset management capabilities that our customers have been asking for," explains SĂśren Kjellin,

With LUCI5, producers are able to browse, create and order images and video assets from CAMIO without having to leave the environment of their newsroom computer systems (NRCS). LUCI5 places content generation tools at the producer's fingertips, making creation of reusable graphics, clips, and automated cues faster and easier. While LUCI5 is based on the Media Object Server (MOS) Protocol's new HTML5 plugin specification, making it compatible with most current NRCS solutions, the interface also supports some older NRCS via an ActiveX container.

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ROSS VIDEO’S GRAPHITE ALL-IN-ONE PRODUCTION SOLUTION IS NOW SHIPPING Ross Video delivers integrated production solution for mid-size productions

Ross Video Graphite solution.

Ross Video has announced that their new Graphite All-In-One Production Solution is now shipping and available.

Graphite possesses dedicated-hardware to eliminate stuttered animations, unresponsive operation, and other issues that result from overtaxed PCs.

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Unveiled at NAB 2017, Graphite combines the performance of a 2ME Carbonite production switcher, the 3D graphics of XPression, an instant access clip server, and the complete 28 channel RAVE audio mixer into an all-inone production solution.

With Ross’ DashBoard control system, operation of each Graphite component is achieved through a single interface or via separate network-connected PC workstations. With DashBoard CustomPanels,

users are able to create interfaces tailored to their specific show requirements for streamlined operations.

Graphite possesses dedicated-hardware to eliminate stuttered animations, unresponsive operation, and other issues that result from overtaxed PCs. In the event of a host computer-based crash, Graphite’s internal Carbonite switcher and RAVE audio mixer will continue to run without pause, all the user needs to do is keep the power plugged in.

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BLACKMAGIC SHIPS REMOTE BLUETOOTH CAMERA CONTROL APP FOR URSA MINI PRO Blackmagic Design releases Blackmagic Camera Control, a free iPad app that lets customers remotely control their URSA Mini Pro cameras via Bluetooth, along with Camera 4.4 Update for URSA Mini Pro cameras.

The new Blackmagic Camera Control app is based on the open protocol for URSA Mini Pro cameras that Blackmagic Design demonstrated at NAB earlier this year.

Camera 4.4 Update can be downloaded free of charge from the Blackmagic Design website. Once installed, customers can download the Blackmagic Camera Control iPad app from the Apple app store.

All URSA Mini Pro cameras feature built in bluetooth connectivity, which until now has not been enabled. The built in bluetooth will allow customers to to send and receive commands from up to 30 feet away. Once the camera is paired with the iPad, customers can remotely power URSA Mini Pro on or off, change all major settings, adjust and TMBi - 18

Blackmagic Camera Control app for URSA Mini Pro now available for iPad in the Apple app store.

add metadata using a digital slate and trigger recording.

The Blackmagic Camera Control app is perfect for customers that need to control cameras in hard to reach places such as on cranes, drones, in underwater housings and more.

To make URSA Mini Pro’s Bluetooth support more flexible, Blackmagic Design has developed a new, open protocol and is publishing a developer API, along with sample code, for customers that wish to build their own camera control solutions.

This free API and sample

code will be available later this summer.

In addition to the Blackmagic Camera Control app, Blackmagic Design has also released Camera 4.4 Update which enables Bluetooth functionality and adds new preset timecode options on URSA Mini Pro cameras. The update also adds compatibility with Canon 18-80mm T4.4 for iris, focus and record trigger, along with improved EF, PL and B4 support, improved digital slate functionality and improved zebra stripe overlays on URSA Mini 4K cameras.

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CLEAR-COM STARS IN BROADWAY WITH CIRQUE DE SOLEIL’S MUSICAL ‘PARAMOUR’ Clear-Com provided HelixNet wired and FreeSpeak II wireless intercoms to the coverage of the show

Cirque de Soleil rented three HelixNet Digital Partyline Main Stations for PARAMOUR.

Clear-Com® was Cirque

PARAMOUR’s stage crew

strong component of Cirque

de Soleil’s intercom provider

monitored the real-time

du Soleil acrobatics

of choice for the company’s

safety of Cirque de Soleil’s

interspersed throughout the

Broadway musical

aerial performers; all of

piece,” says David Patridge,

‘PARAMOUR’. The show,

whom were working without

PARAMOUR’s Associate

which closed out a year-long

a net. The Clear-Com

run on April 16, 2017, used

intercom equipment was

Clear-Com’s HelixNet wired

rented by Cirque de Soleil

and FreeSpeak II wireless

from Masque Sound of East

intercoms to provide

Rutherford, NJ; which has

complete coverage

also supported the systems

robust, and flexible intercom

throughout the 1,932 seat,

during PARAMOUR’s

system that would keep

24,000 square foot Lyric

Broadway run.

everyone connected without

Theater.

“PARAMOUR was one of

Sound Designer. “To stay on top of the action, the PARAMOUR production crew needed a reliable,

any gaps or dropouts. This

those projects which took

is why we selected Clear-

the scenery, prop, and

Broadway in a new and

Com’s HelixNet wired and

athletic equipment changes

different direction: It had a

FreeSpeak II wireless

in the ‘Golden Age of

story and songs like a

intercom systems to do the

Hollywood’ musical,

musical, but also had a

job.”

In addition to coordinating

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SCREEN APPOINTS COLIN FRANCE AS HEAD OF RESEARCH France, who previously led the Grass Valley development team responsible for the maintenance and support of Publitronic Software has joined the team at Screen to explore new markets, help extend the product portfolio and consequent reach of the company.

The development of Omnibus’ ITX, later to be a Grass Valley solution, and its subsequent influence on the penetration of parallel markets led to France’s focus in the company being concentrated on bespoke development. This led to yet further integration projects with third party companies.

France explains that prior to the Miranda acquisition, his time at Omnibus as a developer on their automation software focussed primarily on third party integration. He adds: “At one time or another I have worked with almost all of the big players in the industry.”

On France’s appointment, Screen’s MD Gary Glover comments: “It’s the right time for Screen to further expand its vision. Colin brings with him 16 years of knowledge from within the broadcast industry and indispensable experience of working with many other companies in this space; I’m confident

At Omnibus, Colin France focussed primarily on third party integration.

he’ll be a significant contributor to shaping a positive and exciting future for Screen and our customers.”

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ALSTON ELLIOT EMPOWERS ITS SPORTS GRAPHICS BROADCAST ECOSYSTEM WITH BLUEFISH444 Bluefish444, Vizrt and ChyronHego are at the heart of Alston Elliot’s graphics creation Since having established an office in Australia in 2011, UK-based Alston Elliot have supplied some of the country’s leading broadcasters including Fox Sports, Network 10, Channel Nine, Channel 7, ABC and SBS. Audiences in Australia have watched Alston Elliot graphics during the KFC Big Bash cricket, ICC World Cup, A-League football, Australian Grand Prix and National Rugby League, the latter with a new broadcast graphics package for Augmented Reality on Spidercam.

At the heart of graphics creation by Alston Elliot in Australia are products from Bluefish444, Vizrt and ChyronHego. Viz Arena for virtual ads, analysis and image insertion, Viz Trio for character generation, ChyronHego Paint for telestration and analysis, and ChyronHego Virtual Placement for virtual graphics, are all used interoperably with Bluefish444 Epoch SDI video cards.

Alston Elliot use Bluefish444 SDI I/O Epoch

Epoch | 4K Supernova S+cards.

video cards within their intruck and in-studio on-air facilities. Ed Lopes, Operations Manager at Alston Elliot Australia,

Alston Elliot have supplied some of the country’s leading broadcasters including Fox Sports, Network 10, Channel Nine, Channel 7, ABC and SBS.

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explains: “Bluefish444 video cards integrate perfectly with our on-site requirements, and have allowed us to reduce the size of our intruck footprint.”

Alston Elliot has integrated numerous models of Bluefish444 SDI video cards into their systems. Epoch | Neutron, Epoch | 4K Supernova and Epoch | 4K Supernova S+ are installed in their mobile setups, and used during high-profile event coverage, such as the Rugby World Cup,

Olympics, NRL, and Formula One. During such demanding telecasts, Bluefish444 were relied upon to deliver live television broadcast and up-to-date scoring, statistics and graphics.

comments Ed Lopes. “This has been a standout feature of investing in Bluefish444 products. I don’t hesitate to recommend them to anyone looking for quality I/O solutions.”

“It’s important that the hardware we use provides a high level of reliability.

We’ve found Bluefish444 Epoch video cards to be of the highest quality, and the support that we receive is sensational and extremely helpful in all respects”,

“Bluefish444 feature heavily in our plans moving forward,” Ed adds. “With the added bonus of Bluefish444 being based in Melbourne, they definitely get my ‘tick of approval’ to be a core part of our business for the years ahead.”

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NEP APPOINTS KEITH LANE AS VICE PRESIDENT, CLIENT SERVICES development of the Discovery and Eurosport relationship.

NEP has announced it has strengthened its team with the appointment of Keith Lane as Vice President, Client Services – Discovery / Eurosport. Based at NEP’s UK offices, the role will have Keith leading the strategic

Prior to working at NEP, Keith held the position of Director of Operations at Sky Sports for seven years.

Using his technical and production knowledge he has experience across a wide area of broadcast services, including: play-out, channel management, content management, outside broadcast, and during his time at Sky Sports, he also oversaw a

number of technical advances and innovations.

Speaking of the appointment, Steve Jenkins, President, NEP UK & Ireland, comments: “We are committed to deep relationships with our clients, and Keith’s extensive background in sports broadcasting absolutely complements NEP and Discovery / Eurosport’s future plans. He is an exciting addition to the team.

It’s great to have him on board.”

TEDIAL’S CSO & CMO ESTHER MESAS JOINS IABM BOARD Tedial has announced that Esther Mesas, the company’s CSO & CMO, has joined IABM’s Board.

“The broadcast industry has undergone a major transformation and we’re now living in historical times,” says Esther Mesas.

“The internet has burst onto the scene, which has seen a fundamental shift in viewing habits that affects the entire broadcast chain, from consumer to manufacturer and suppliers. As well as TMBi - 24

changing consumer habits, this transformation affects the way that content is supplied. This change has been reflected in broadcast technology and in the traditional business model, challenging all companies that are part of the content supply chain. I’m very happy to be part of this fascinating transformation.”

IABM CEO Peter White adds: “The members’ board plays a vital role in the continuing success of IABM,

Esther Mesas is “enthusiastic about being selected to be on IABM’s board in these challenging and visionary times”.

and the new board is a powerhouse of industry knowledge that represents the widest interests of the membership.”

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HEARTLAND MEDIA RELY ON GATESAIR TO FACE SPECTRUM REPACK AND ATSC 3.0 Supported by GatesAir and ERI, Heartland is evaluating different schemes GatesAir announces that Heartland Media, an Atlantabased TV station group, has committed to GatesAir for its stations affected by the FCC TV spectrum repack. The Heartland Media team is consulting with GatesAir to determine the best transmitter options for power levels each market requires as antenna pattern studies near conclusion, using a mix of Maxiva™ ULXTE liquidcooled and UAXTE aircooled UHF TV transmitters.

“They have provided invaluable guidance, and assisted with the FCC paperwork and filings that are required for reimbursement. The spectrum repack is a complex endeavor, and the GatesAir team has actively researched the easiest, most cost-efficient strategies for relocating our stations.

We follow their recommendations because that’s the kind of confidence and trust we have in their services,” says Tom Bennett, Heartland Media’s Vice President of Operations.

The transition has proven especially challenging in the Huntsville, Alabama TV market where Heartland Media officially acquired ABC affiliate WAAY-TV on April 30. According to the FCC’s Southeastern U.S. transition plan, WAAY is assigned to move from channel 32 to 17 in Phase 2 (which runs from 12/1/18 through 4/12/19). However, another major Huntsville affiliate, with whom WAAY shares a combined broadcast antenna, doesn’t transition until Phase 8 (from 1/18/20 through 3/13/2020).

Working with GatesAir and ERI, Heartland is evaluating the benefit of an interim antenna until WAAY can switch to the combined antenna in Phase 8, versus setting up their own permanent antenna in Phase 2 and foregoing the savings a combined antenna can bring. “When you don’t have a back-up transmission site, the trick is to throw the switch over to your new channel while keeping your programming on the air, and

GatesAir Maxiva.

that’s what GatesAir is helping us to do,” Bennett says.

GatesAir has also provided Heartland Media with a roadmap for the pivotal ATSC 3.0 transition.

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VINTAGE CLOUD WILL EXHIBIT A NEW ARCHIVE DIGITIZATION AND INDEXING SERVICE AT IBC At IBC, Vintage Cloud is announcing a new service designed for companies who want to monetize their valuable archive assets but who do not have, or wish to invest in, the equipment or personnel necessary to achieve it. As well as digitization of archive analog assets, indexing and the generation of metadata are also available to customers who have already digitized their archive, but who have not yet extracted the data from it that will maximize its value.

“Vintage Cloud was created by film people for film people, and we share a background in film editing, cinematography, sound engineering and film production,” highlights Peter Englesson, CEO of Vintage Cloud. ”We know film, and that means we can provide all the expertise needed for any size of archive to help customers derive the maximum value from their film content.”

The new service is based on Vintage Cloud Steenbeck, which is capable of digitizing separate image and audio at the same time TMBi - 26

at up to 4K resolution and up to 60 fps. It is therefore 3-5 times less costly per digitized hour than other systems, according to Vintage Cloud. The company also claims that Vintage Cloud Steenbeck is highly tolerant of broken perforations, fragile splices, warped and brittle film, and is capable of handling shrunken film via a special capstan sprocket.

“We can take care of an entire project, delivering maximum results for minimum cost,” Englesson continues.

The all-in-one system has now been enhanced by the introduction of Smart Indexing. Vintage Cloud developed this software that uses AI and machine learning to automatically generate a load of new metadata for search and categorization. For material that has already been digitized, Smart Indexing is available as a standalone app for automatic content tagging.

“Using Smart Indexing’s automatic tagging helps categorize and curate content, meaning that

The new service is designed to monetize valuable archive assets while saving costs.

revenue can be generated from film assets quickly, easily and seamlessly,” adds Englesson. “The keyframes generated in Smart Indexing are an easy and quick way for users to make sure their film assets are found by the right buyers. They also enable customers to search through their own archives and organize their libraries.”

Smart Indexing is capable of delivering a tagging result in a fraction of a second. AI allows Smart Indexing to automatically recognize over 11,000 objects, scenes and events. It can even recognize faces.

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HITACHI Z-HD5000 CAMERAS ARE DEPLOYED AT BINGHAMTON UNIVERSITY

Binghamton University Events Center, providing a wide ‘game shot’ and a tight ‘hero shot’. The other two cameras are used in shoulder-mount ENG configurations on the arena floor, most commonly with one below each basket.

Two of the Z-HD5000s are deployed on tripods in high-center positions at the Binghamton University Events Center.

When the athletics department at New York’s Binghamton University seized the opportunity to stream 30 of its men’s and women’s NCAA Division I basketball games over ESPN3 – the online streaming service of ESPN – it deployed four Z-HD5000 cameras from Hitachi Kokusai Electric America Ltd. (Hitachi Kokusai) to provide the high-quality video acquisition required by the network.

With an agreement between the America East Conference and ESPN bringing live streams of all of the university’s basketball matches to the online service, the athletics

department needed to upgrade its production capabilities to meet ESPN3’s guidelines. “Our existing equipment wasn’t up to the task,” explains Dave Van Gorder, video production and multimedia coordinator for Binghamton University Athletics. “We needed to create broadcastquality video, and our earlier cameras were not capable of that. The HITACHI cameras are a huge step up from what we had previously, and the difference has been definitely visible in our productions.”

Two of the Z-HD5000s are deployed on tripods in highcenter positions at the

“Upgrading to HITACHI cameras freed us from the HDMI connectivity of our old units, which limited where we could locate them and precluded on-floor shots,” said Van Gorder. “Now we have the flexibility to move the cameras around during games, such as taking the floor cameras to mid-court for announcer stand-ups during breaks.”

In addition to ESPN3, live streams of the games are also available on the America East Conference website (www.AmericaEast.tv) for international viewers. The live feed and replays are also displayed on the arena’s 14 foot wide video board, while archived footage and highlights are distributed to coaches, the conference office, and the school’s social media channels.

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IBC ANNOUNCES THE SHORTLIST FOR IBC2017 INNOVATION AWARDS IBC announces the shortlist for the IBC2017 Innovation Awards. The international judging panel reviewed an array of entries, settling on 11 finalists from around the world, all offering different solutions.

The shortlist covers everything from a major football final to e-sports; from virtual studios to channel marketing; from mobile OTT on a massive scale to seamless content delivery on high speed trains. Taking to the stage during IBC Awards Ceremony on Sunday 17 September will be representatives from Toronto to Singapore, the UK to India, and Spain to the USA. For 2017, IBC’s 50th anniversary year, categories

in the Innovation Awards were updated to reflect and respond to the shifting industry landscape. Three awards will be presented for the most innovative projects in Content Creation, Content Distribution and Content Everywhere.

“I was astounded by the

IBC2017 Innovation Awards Content Creation – three finalists: ITV, Mediacorp and Groupe Média.

Content Distribution – four finalists: Arena Television, DMC, Sinclair Broadcast Group and Viacom 18.

Content Everywhere – four finalists: BT Sport, ESL, Google Earth and Renfe (along with Telefónica).

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quantity, and most important the quality, of entries this year,” says Michael Lumley, chair of the judging panel. “It took a lot of intense discussion to get down to 11 finalists – it was a very tough task and there were many excellent projects which did not make the shortlist, often by a very fine margin.”

“The international spread of 2017 finalists reflects the global reach of IBC, and the global significance of these most highlycoveted awards,” Lumley adds. “I look forward to congratulating all the finalists and hearing the winners announced on Sunday night at IBC.”

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CALREC'S BRIO CONSOLE EMPOWERS LUCAS OIL’S LINEUP OF MOTOR SPORTS BROADCASTS Calrec Omega console is still in use in Lucas Oil’s 53-foot production truck Lucas Oil chooses Calrec Audio's Brio console to upgrade its mobile production unit Calrec Audio's Brio console will deliver the horsepower to Lucas Oil Products' lineup of live motor sports broadcasts. Lucas Oil Production Studios, the television-production arm of Lucas Oil, has chosen the new Brio for an audio upgrade of its 35-foot mobile production unit.

"When evaluating audio mixing consoles for our truck upgrade, we had specific requirements. Since this is our smallest truck, things can get pretty cramped, so it was critical that the console have a compact footprint," explains Justin Conenna, audio engineer, Lucas Oil Production Studios. "Our owner is committed to giving exposure to smaller, grass-roots racing events that appeal to a niche set of motor-sports fans, so of course we were also on a strict budget.

Besides its compact size and attractive price point, the Brio is highly flexible, modular, and easy to configure and reconfigure, and it comes with Calrec's outstanding reputation in the industry.”

He continues: "I've used a lot of audio consoles in a lot of trucks, and I can tell you that there simply aren't any competing products that can match Calrec's ease of use, sound quality, and robust processing."

The new Brio joins a Calrec Omega console that is still in use in Lucas Oil Production Studios' larger, 53-foot production truck. Targeted for completion by September, the upgraded 35-foot truck will be used to cover the full range of Lucas Oil motor sports, from motorcycle racing to drag car, drag boat, and off-road racing.

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PROVYS: EFFICIENCY WITH A HUMAN FACE

Whilst relaxing on the beach, after another hard year in harness, busy broadcast executives would do well to contemplate that successful business empires are not founded on sand.

A cursory glance at Wikipedia would give us an interesting understanding of the importance and value of the word “Efficiency” in modern management, together with a very useful comparison with the word “Effectiveness”. A brief exploration of these definitions will serve as a useful introduction to this article.

Efficiency is the ability to avoid wasting resources: materials, energy, efforts, money, and time in producing a desired result. It is the ability to do things well, successfully, and without waste. In broadcasting terms, it is a measure of the extent to which the station’s TMBi - 30

resources are well used for an intended operation and its results and ultimate success. It often specifically comprises the capability of a specific application to produce a specific outcome with a minimum amount of waste of resources.

Efficiency, of course, refers to very different inputs and outputs in different fields and industries, and in this connection, Provys is recognised as the gold standard tool for imposing efficiency in all aspects of broadcasting operations.

Efficiency is not to be confused with effectiveness.

Efficiency is a measurable concept, quantitatively determined by the ratio of useful output to total input.

Effectiveness is the simpler concept of being able to achieve a desired result.

Efficiency can be expressed as a percentage of the result that could ideally be expected, whereas effectiveness is simply the completion of the desired and agreed result.

An interesting way of distinguishing between efficiency and effectiveness is the saying "Efficiency is doing things right, while

effectiveness is doing the right things." i.e. the selection of objectives in a broadcast production process is equally as important as the quality of that process. It follows that effectiveness, for example, a full schedule across ten channels of one broadcaster, can be achieved through inefficient processes if, for example, schedulers are willing to work longer hours or put in more effort than competitors.

Energy and labour costs must also therefore be viewed in a similar fashion.

Unenlightened readers who might consider the above methodology to be the right one should turn the page now.

Those of you who are still with us clearly accept that both efficiency and effectiveness are essential in all broadcasting operations and you are probably aware that only a few powerful software solutions on the market can ensure both of these objectives. Among these software providers, the human approach is so often absent, leaving clients with a product which meets their

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professional requirements but leaves them isolated to flounder on the ocean of information. Notable for their different approach, where 24/7 ongoing support, communication and continuous development are the norm, is, you guessed it, the company whose name appears at the top of this article. Provys will not leave you to sink in this ocean of information but will stay with you all the way as you navigate the stormy waters of the entertainment business.

On the subject of entertainment, your raison d’etre is the delivery of first

class content to eager viewers who want to stay tuned to your channels and consume more of your scintillating output. This is obviously any broadcaster’s No. 1 consideration, but, the real professionals believe that the broadcast back office teams responsible for this output also deserve to work in a motivating and satisfying environment with the finest level of support and more than just a modicum of humanity.

Although slaves to entertainment for the masses, they are not however robots and are indisputably entitled to their own share of enjoyment at

work. As an example of this, the graphic user interface allows, even encourages creativity from the user who is able to personalise his/her own computer screen to reflect the human aspect of changing moods, seasons or events. Another example is the workflow process modeller permitting the advanced user to design or modify broadcast processes which is a sheer joy to operate. And as we all know, improvements in broadcast processes lead to higher efficiency. We have therefore closed the circle.

At Provys, they call it: Efficiency with a Human Face.

TELEMETRICS HELPS IMPROVE THE VISUAL EXPERIENCE AT THE NEW WORLD CENTER The New World Center, an internationally concert hall and campus that is home to the New World Symphony and America’s Orchestral Academy, recently upgraded its venue AV facilities to include Hitachi 4K cameras controlled by a Telemetrics robotic camera system. The advanced PTZ system allows the staff to create musical experiences for its audiences with live projected images

surrounding the stage during performances.

The New World Center initially installed a comprehensive Telemetrics robotic camera system in 2010, utilizing 10 PTZ cameras mounted strategically around the venue along with four Christie 30k projectors.

Clyde Scott, director of video production, and his team returned to Telemetrics for a complete upgrade,

including two RCCP-1A and two RCCP-1 remote control panels, which run 10 Hitachi SK-UHD4000 4K PTZ cameras via Telemetrics’ multi-featured Studio Software to manage the entire system.

In addition, 10 PT-LP-S5 motorized pan/tilt heads, Enterprise Database Control Software and two EP6-700 elevating pedestals were integrated into the system.

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Trends and state-of-the-art in

Play Out and MAM

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There are several current trends in these environments, ranging from the use of traditional systems to the Channel in a Box, which may or may not be connected to a larger system, and it is something that virtually no brand has dared miss out on. There are a great many CiB on the market. This is something very sought after recently, and there is quite an offering out there, but if we focus on a complex play out, there are not as many players.

The same happens with Media Asset Management, which used to be a simple filing and recovery system but has turned into something much more complex.

This article has been written in collaboration with Asier Anitua Valluerca, LATAM Engineering Manager at TelefĂłnica Servicios Audiovisuales.

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Seeing what is happening in latest events and forums in our sector, we could begin with no other element than IP. Is there already a broadcast demand for this technology? The answer is yes, but above all for testing purposes, not for mass use.

Making a play out in a full IP

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The clients seeking these systems are very interested in creating channels in the shortest possible time, almost instantaneously. This is a perfect field for cloud technology.

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environment leaving SDI behind is something that we are not going to see for at least 5 years’.

Communications are not yet ready -or tested- to do away with the fears in such a sensitive area. Having said this, the equipment we should be acquiring now

does need to have this capacity built-in, or this should be the orientation, anyway. The clients seeking these systems are very interested in creating channels in the shortest possible time, almost instantaneously. This is a perfect field for cloud technology, but unfortunately it has not fully matured yet either. The intermediate step companies are turning to seems very clear: virtualisation. This technology permits setting up a channel in a brief period of time and with a couple of mouse clicks, and here is where the CiB play their magic. They have everything that most channels might need. They are installed on the CPD,

which is still a private cloud, and the content will travel down a local network preferably over fibre opticsin such a way that it will be more cost effective to work on a cloud like Amazon, Azure, etc., which implies very high communication costs.

Virtualisation is the very first step towards working on the cloud and, in this respect, the most suitable platform is VMware, which is very popular and is becoming a standard within the Media sector. This is why it is paramount that the equipment is a combination, with an SDI option (the more variants it has, the better) and IP to be able to work in both worlds. This coexistence must happen

This is why it is paramount that the equipment is a combination, with an SDI option (the more variants it has, the better) and IP to be able to work in both worlds.

This coexistence must happen interchangeably, without differentiation, because this situation will last a couple of years still TMBi - 35

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interchangeably, without differentiation, because this situation will last a couple of years still. It is also convenient to work with the necessary IP-SDI converters and vice versa, which permit this reality. Once we have migrated to this virtualised platform with the necessary CiB, we will be able to install all the CPD on an external cloud -communications permitting- where they will oversee the maintenance and other operations,

Broadcast systems are very connected to traffic systems.

Automatisms facilitate operation and make them more efficient. gaining in efficiency. The option available nowadays is private virtualisation. There is no doubt about it. In 5 years' time, the cloud will have gained more ground.

Marina on Air at Media Prima Malaysia

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Do CiB work for everything? Are we actually going to ditch the traditional systems? The answer is no.

We can speak about two trends: the complex

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Morpheus playlist with EAS (Enterprise Playout Automation)

channels that need many additions like powerful graphic systems, and the simple ones, like the thematic ones, where a CiB covers absolutely all of its needs. In respect of the former, we should bear a couple of things in mind, starting with the content traffic and the operations we need to carry out, where a traditional system like Imagine Communications, Pebble Beach and SAM are more suitable. Besides its integration with complex graphic systems like Vizrt or Ross, just to name a couple, there are several other

things to bear in mind when deciding on one system instead of another. One of the options that is very useful in a television channel with multiple live feeds, programmes and advertising blocks is Live Break, the capacity of launching the advertising block by simply pressing a button and getting the system to automatically recover the content at the exact point it left off. Another feature is the ability to broadcast a synchronised advertising into as many channels as you want, the so-called single pattern. We

must also remember to have a web client. But something that is mandatory, something that should help us decide for one brand or another, is the ability the manufacturer has of developing specific functionalities. There are no two play outs that are the same, they all have their own unique features and requirements, really. This is why it is essential to be able to do a la carte developments or implement specific functionalities. If there is a petition for one channel, the manufacturer should develop it. This is a reality, and it is something TMBi - 37

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that should be on the table when discussing the project from the onset.

We must also note that broadcast systems are very connected to traffic systems.

Automatisms facilitate operation and make them more efficient. Therefore, it is recommendable to have a

good traffic system built into the play out.

There is something that we must never forget. The implementation of a play out system is always a complex process that requires many adjustments. We are not speaking about plug & play devices, but equipment that

has lots of different elements that need adjusting and it becomes a very delicate environment.

MAM So, the first reflection we need to make here is: What is MAM? If we look at the most rigorous description, a MAM is limited to a system that files and recovers audio-visual content with a small flow of media. "We installed MAM by Tedial in a project for Disney and over time, we added a process manager and the concept changed forever. It was no longer just a MAM, but something much more complex. Even after we added other modules like this one or a BPM, we continued calling it MAM, but it was really an advanced global content manager, and the traditional definition of MAM fell short", said Asier Anitua, Manager of LATAM at TSA. In this case -which is what the industry wants- the system takes care of managing a file or content from its incorporation, transfer, quality control, broadcast and filing.

The development that these MAMs have been undergoing -understanding them as really advanced systems- let each client

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configure their own workflows as they want. A growing trend is also the reception of materials via a computer transfer through systems like Signiant or Aspera, although some still use FTP and even magnetic tape.

In virtually all cases, we recommend the materials go through a quality control to verify the integrity of the file, regardless of the format, in accordance to how the content has been incorporated into the system. If it fails to meet the established parameters, there are two options: repair it in-house or return it for it to be repaired elsewhere.

The choice really depends on the client, the contract and several other factors.

But ideally, a MAM should include -in addition to a QC system- an automatic repair one, like the Dalet with Amberfin. Nonetheless, there are external platforms that can do this type of operation too. This is very important because the formats are not always as compatible as they should be. First, we need to check that the header is correct, that the MXF format is suitable for the server. This is so because, despite it being a standard, each one has its own peculiarities.

This becomes more

What is MAM? If we look at the most rigorous description, a MAM is limited to a system that files and recovers audio-visual content with a small flow of media complex if we speak about Long-GOP, as is the case of the XDCAM 50 or the XAVC. Some servers have the particularity called “presearch” that records some frames before the TC IN and this is included in the metadata. The server adds a header to these frames to close the GOP, but all the systems might not have this, and it is something that leads to problems, and it can even collapse the broadcast system. It is true that nowadays we have patches that fix this problem, and the level of integration is quite high, but we should bear this in mind anyway.

As regards formats, the one that wins a majority is the XDCam 50 HD 4:2:2, but the XAVC Long-GOP 50 is beginning to arouse curiosity and be implemented even more. This gives us several inputs with which the systems work surprisingly well. This format is also being valued in discussions as the future container of

UHD contents. In the opinion of Asier Anitua, "4K/UHD is something waiting to happen. We have already done UHD continuity for AMC Networks. The only problem is the availability of bandwidth, but with Internet and OTT platforms, it can be achieved more easily.

Another natural partner is the satellite. Tests show that on 30 Mbs, using an H.265 coding and statistical multiplexing, we can do this without any major problems.

What we must remember is that if we are talking about play out, they currently entail huge files, but surely a codec will appear in the near future with which we will be able to create 100 Mbs files for this. What is clear is that with the size of the screens that we find in homes nowadays, 4K/UHD has come to stay." In this respect, the trend is crystal clear, 4K is loved by majors and by the users, and there is not much more to be added to what we have already said.

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Essential elements for

cameras

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Nowadays, everything is all about video. It is no longer something solely intended for a television production niche. Everyone can produce high-quality video if they want to. From a Smartphone to a Premium cinema camera, it seems that anything goes.

However, there are still some quality standards that video must meet, so it’s not really “anything goes”.

Here, we will be offering an article on what should be the minimum necessary equipment to achieve professional results, regardless of what the contents shall be used for.

There are many different models of camera out there these days, such a wide array of possibilities never before seen, and what’s more, most of them provide top-notch features. We are not going to speak about devices like telephones in this article. While it makes a lot of sense to use them sometimes -particularly in news bulletins- they really do have their limitations when attempting to obtain video of an acceptable quality.

You don’t have to spend a fortune to make quality productions, even if you want to capture material in UHD/4K. A good example of this is the Panasonic AGUX90 that we have tested here at TM Broadcast.

Some of its highlights are:  8.8x5 f2.8-4.5 Leica Optical Zoom, equivalent to a 24.5-315 in universal standards with a 5-axis optical stabiliser and 3 independent control rings.

 1.0-Type MOS sensor (we shall soon see what this means) that permits recording in UltraHD at 25p, in FullHD at 50p/25p and even in SD with different types of codecs and files.  Double SD memory card slots for relay or simultaneous recordings.  Touch screen.  Remote control from an Apple iPad using the free AG ROP app and an optional USB wireless receiver.

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The AG-UX180 offers true 4K (4096x2160) at 24p, slow motion in HD up to 120 fps, a 20x zoom with an angular equivalent to 24 mm, simultaneous multi-format recording, infrared recording, 3G-SDI connectivity, time code and 50/60 Hz commutation.

 Among other connections, it has XLR audio inputs, a HDMI output and two USB 3.0 connections.

Sufficient for any corporate production or even more…

The price of this device is in the 2,000 Euro range. If we want something a bit more serious, it has a big sister, the AG-UX180, which offers true 4K (4096x2160) at 24p, slow motion in HD up to 120 fps, a 20x zoom with an TMBi - 42

angular equivalent to 24 mm, simultaneous multiformat recording, infrared recording, 3G-SDI connectivity, time code and 50/60 Hz commutation.

Although in this case, the price increases to about 3,000 Euros.

We have spoken about this brand and these models before because we have tested and worked with them ourselves. However, cameras of the other brands

like Sony, Canon, JVC, etc. are also valid competitors. It is important that the handling of the optical block can be done by rings, like the size of the sensor, because the larger they are, the more possibilities we will have. Having said this, note that it will create larger files, so we must have a larger budget for recording cards/devices. We must also bear in mind what our subsequent work flow will be

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and if the camera adapts to it well. As far as codecs are concerned, they all work well, but you need to consider which will work best with the programme we will be using to edit.

What about DSLR cameras? This was the revolution that landed in the thick of the economic crisis with the incorporation of video to the Canon EOS 5D. In addition, thanks to the size of the sensor and the lenses, we obtain a cinematographic aesthetics, which we would otherwise not have access to, and

readily understandable settings. However, it also generates problems: it requires working in controlled environments, the tiny depth of field, the small rings of the lenses, which are not prepared for the agility and continuity of video, the ergonomics, etc.

Although, it can be a perfect partner to record a small advertising spot, for

instance, where some degree of aesthetics is required, provided the controlled environment premise has been fulfilled.

Using a rig or stabiliser is paramount because these cameras have not been designed for recordings without support. Both Canon and Sony have very good offerings for this segment.

EOS 5D-MarkIV

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Illumination More often than not we forget about this, and it is an investment that improves the quality of the material we have recorded to a great extent. With a typical three light kit, we can cover nearly every situation, although there are very cool options these days, like the

Litepanels

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LumeCube, which help to enrich a plane even more.

The use of these lights is not at all complicated; we just need to put into practice the basic laws of illumination (main, fill, background, contrast), using the old trick of aiming towards the ceiling for it to fill the background too. If we want to improve even more, a small LED

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torch working as the main light will be our best ally, because it will give us more freedom with the light kit. It is a cost-effective way of getting the subject to appear with more volume, nuances and separated from the background in an interview, for example, making the image gain much more quality for a very small price.

Nowadays, there are very cheap options to cover this section, and the cameras are much more sensitive than years ago, so we do not really need that much power. It is important that the equipment we choose has a colour temperature setting so that we can use it inside and outside in broad daylight, as well as being able to seek an aesthetic nuance at the same time.

Modern cameras have automatic white balance settings that work really well, but we need to remember that its use in manual mode provides aesthetic advantages when recording on light blue for instance, which gives a warm touch to the scene. However, being aware of the extended use of video, we recommend the automated use to obtain optimum results that generate the least work possible in post-production where we can adjust colour and aesthetics.

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Rotolight

Audio Sometimes we pay little attention to audio and in all fairness, it has the same importance as video, what we record needs to be heard well.

Many cameras come with canon microphones, but these fail to capture audio with the necessary clarity even though TMBi - 46

they are a good support for outdoor environments or when we want to capture environment sounds. So, being slightly discriminatory when looking for our perfect camera, we need to make sure that it has an XLR port. This opens up a range of possibilities as to which microphones we can choose, either if we want to

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buy or rent them. Depending on the use, both handheld and lavalier microphones are good choices.

If our camera does not have an XLR port as happens with the DSLR or other models, it is preferable to use an external audio recorder and combine when editing. This permits the use of wireless microphones, a higher quality audio and further adjustments, etc. The only difficulty with this is synchronising with the video track, but this can be overcome with a simple clap

in front of the camera. This also enables the audio to record, and the operator need not be paying too much attention, being able to move freely. As always, everything has its pros and cons. Tascam has good models and a very extensive portfolio.

Recorder/cards Many are the options we can find to record our material. We clearly recommend that you use quality cards, regardless of what you are going to produce. Aside from the type of card, they are all affordable, and we can transfer the material to the edition station or external disc easily, but they should be top models.

It is easy to work with several cards so that when some are inside the camera, others are transferring material. As regards external units, back-ups are much more important than we think. If we look at the price per GB, it is much cheaper to have an external disc.

There are many models on the market like those made

by G-Tech or Stardom that are quite cost-effective performance-wise and are designed for video use. It is not essential, but it does give us a certain degree of security. Besides brands, there is a wide offering of storage media with different protections, even with Raid protection and portable ones. One thing we should bear in mind is the transfer speed. This is important.

That is why we need to pay

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special attention to the type of connection we will be using for the workstation and the weight of the material to be edited. When weighing out our options, speed must take precedence over storage capacity.

There is also the possibility of using an external recorder like Atomos or Convergent Design. This will give us two benefits. The first is a larger number of codecs we are going to be able to use if we connect via HDMI, for instance, with the camera.

The other is that it also works as a field monitor with several integrated tools. It is yet another expense but will solve two problems, and we will gain in versatility.

Tripods Right now, and in the segment we recommend, there is no camera that doesn’t have some sort of optical stabilisation system.

But, does this mean that a tripod is no longer as necessary? Emphatically not. A tripod is a basic requirement for video recording. A fluid head will permit obtaining planes with very stable and organic Pan & Tilt movement. This fluidity of movement combined with the frame control and a better access to the camera control rings will make the TMBi - 48

video become so much better than what anyone could ever record with a phone or top-notch domestic camera. We will achieve better material, the camera aligns much better with the vision and the end result of the video will look much more professional for the type of shooting it entails, not to mention obtaining much more interesting and dramatic frames.

Another step, although this is optional, is having a dolly. Mounting the tripod on three wheels enables doing lateral movements on a flat floor as well as being able to work faster when framing or seeking a particular position with the camera. Everything that entails not using the camera in your hand or on your shoulder will substantially improve the final result, even if it is a training video for internal purposes in a company. It will look more professional.

Anything else?

There is an element that not everyone knows how to handle, but once it comes into your life, you will no longer know how to live without it. We are speaking

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about the photometer. If we said before that a small set of lights improved the image, much more so if those lights offer the appropriate brightness. A photometer will help us assess whether we are working well, regardless of what the image we see on the tiny camera LCD screen looks like, because this often distorts the end product. We need to learn how to use it, but in the digital era we live in, it won’t take us too long to find a tutorial somewhere on the web.

It is also always a good idea to have filters for the lights, and tools like scissors or tape among our

equipment, because we never know when we might need to cut a cable or fix something… You never know!

Conclusion The equipment we have spoken about has a very broad price range and features. Including them into our equipment will result in much higher quality. We live in an era where video will take over everything, but this does not mean that we can record things in any old way or that anything goes. Invest in equipment is investing in differentiation.

Ninja Inferno Hero

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Dejero Universe We tried the

Dejero’s mobile video transport suite

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Dejero’s mobile video transport suite

Lab testing performed by Pablo Martínez

In this new edition, we shall analyse the EnGo mobile transmitter and some of the products that make up the video transport suite offered by Dejero.

First, allow us to set the scene. Dejero, a Canadian company, with headquarters in Waterloo, Ontario, was created in 2008 with a clear, distinct vocation of wanting to offer global solutions for transmission, reception, dissemination and management of broadcast signals over IP networks. With a marked proactive character and the market on the basis of the demand for this type of technology, it positioned itself quickly as a benchmark for this kind of segment, backed by the multiple operators that trusted in this manufacturer with results that could not have been any better.

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 TEST AREA Nowadays, Dejero unifies all its video transport solutions in one place, including equipment, software, and connectivity services—all managed in the cloud, and back with industry-leading support— adapting and tailoring dissemination of content to the actual needs of the end user.

LET’S LEARN MORE ABOUT THE DEJERO UNIVERSE For this laboratory, we had an EnGo mobile transmitter with its associated receiver, as well as additional transmission and dissemination elements also made by Dejero. So, we were able to assess firsthand all the possibilities that the Dejero video transport suite has to offer.

As a brief description of the parts we used: We had an EnGo, a compact and modular mobile transmitter that encodes high-quality video and transmits over multiple IP networks to deliver exceptional picture quality with extremely low latency, even under challenging network conditions. It is so versatile; it can be mounted TMBi - 52

EnGo

on a camera, a wearable system -like a backpack- or in a vehicle. EnGo is ideal for newsgathering, sports coverage and live events from remote locations and even where traditional

systems do not reach. Its start up and automatic video input and format detection enable fast set up so you can be up and running in no time.

Dejero’s mobile video transport suite

EnGo Technical specifications  Video Formats: 480i 29.97, 576i 25, 720p 50/59.94/60, 1080i 25/29.97/30, 1080p 23.98  Video Encoding: MPEG-4 (H.264 AVC), adaptive bitrate  Video Inputs: HD/SD-SDI, HDMI  Video Recording: Up to 40 hours of HD  Audio Encoding: Live: Opus 48 kHz, 2-, 4-, or 8-channel, 16-128 kb/s adaptive bitrate  Recording: MPEG-2 48 kHz, stereo, 256 kb/s  Audio Inputs: Embedded (SDI, HDMI) Network Connections:  Cellular: Up to 6x 3G/4G/LTE  Ethernet: Dual 1 Gb/s port for LAN, WAN, and portable satellite (including BGAN, Ku-band, Ka-band)  Wi-Fi: Dual-band wireless (802.11 a/b/g/n/ac)  User Interface: Control: LCD touch screen interface; one-button auto start; web monitoring and remote control

The interface is simple, intuitive and provides confidence monitoring, status information and easy operation. Mobile, Wi-Fi and portable satellite connectivity from a compact transmitter enable you to reliably broadcast from virtually anywhere. You can even broadcast live while moving. Blending up to eight network connections, EnGo offers an exceptional picture

 Preview: 3.5-inch (diagonal) preview screen  Power: Internal Battery: Provides 5 min run time for EnGo, camera, and accessories (max 100 W)  External Battery: Hot-swappable 60 Wh Gold Mount or V-Mount; Recommend 95 Wh for powering EnGo, camera, and accessories  External DC: 100-240 VAC adapter (included)  Accessories: Max 60 W  Dimensions: 21.8 x 14.2 x 11.7 cm (8.5 x 5.6 x 4.9 inches)  Weight 2.0 kg (4.4 lbs) with internal battery  Operating Temperature: 0° C to +45° C (32° F to 113° F) camera-mounted. 0° C to +40° C (32° F to 104° F) in backpack or sling bag  qualified operation up to 95% RH (non-condensing)  Connectors: SDI (BNC), HDMI 1.3, Mini DisplayPort, 2 x RJ45 Ethernet, 2 x USB 2.0, IFB (3.5mm audio jack), DC In

quality with low latency even in challenging bandwidth conditions. Dejero’s cloudbased management system, permits geolocating, monitoring performance, remote control, previewing feeds and routing your content via a web browser.

The modem models are optimised for each region.

They are interchangeable with other regional modules and upgradeable to make the most of the advances in mobile networks. The SIM module facilitates the use of local SIM cards when travelling and it is an extremely easy operation.

Dejero’s patented network blending technology, and the proprietary adaptive bitrate encoding offers added elasticity of the signal and a superior picture quality. Low

The interface is simple, intuitive and provides confidence monitoring, status information and easy operation. Mobile, Wi-Fi and portable satellite connectivity from a compact transmitter enable you to reliably broadcast from virtually anywhere TMBi - 53

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Broadcast Server

energy consumption with a high-performance processor designed to deliver highquality video with a longer battery life. Selectable latency: 1.5/3.0/8.0 seconds or custom default from 0.8 to 20 seconds. The ascending latency mode offers the shortest latency available according to the network conditions.

It has an internal battery offering a high autonomy when associated with an external battery mounted on anchor V-Mount or Gold Mount. The external battery can also be hot swappable.

Dual codification permits simultaneous recording and live broadcast with up to 40 hours of HD recording. The multi-channel audio permits choosing from between 2, 4 or 8 simultaneous audio signals. Built-in Bluetooth for connectivity to a wireless TMBi - 54

keyboard, mouse or any other accessory. Mini video output. DisplayPort to connect external monitors. It has the FCC/IC/CE certificates, tested in accordance with the requirements of RF exposure (SAR). Possibility of recording and sending clips, with >40 hours capacity in HD. Possibility of sending files, even while transmitting, making the most of the unused bandwidth.

Dejero Broadcast Server is a receiver based on a server with a redundant power supply, RAID 1+1 disc, forced ventilation, double Ethernet Interface, designed for permanent work.

It receives and reconstructs video transported over IP networks from Dejero transmitters and

outputs to your SDI or IP playout workflow. The 1U Broadcast Server includes a redundant power supply and RAID 1+1 hard drive designed for increased reliability. Quad-core Intel Xeon Processor: Highperformance processing designed for 24/7 operation.

RAID protection of stored data using two 1 TB hard drives. Front access to hotswappable drives. Dual redundant power supplies: 400w redundant power supplies continue to provide power if one power supply fails. Replaceable while the server is in use. Multiple sequences: The server supports two live feeds simultaneously from different sources. Management from a web browser.

Dejero Control is a cloudbased management system that gives you the power

Dejero’s mobile video transport suite

Broadcast Server Technical specifications  Video Resolutions: 480i 29.97, 576i 25, 720p 50, 720p 59.94, 720p 60, 1080i 25, 1080i 29.97, 1080i 30, 1080p 23.98  Video Encoding and Decoding: MPEG-4 (H.264 AVC), adaptive bitrate  Video Outputs: HD/SDSDI, MPEG-TS (IP output) constant bitrate up to 30 Mb/s  Video Recording: 300+ hours of HD (6Mb/s)  Audio Decoding: Live: Opus 48 kHz, 2-, 4-, or 8channel, 16-128 kb/s adaptive bitrate  Recorded Clips: MPEG-2 48 kHz, stereo, 256 kb/s  Audio Outputs: Embedded SDI, MPEG-TS (IP output) AAC-LC codec  Audio Channel: HD/SDSDI: 2, 4, or 8 for live transmission, 2 or 4 for recorded transmission  MPEG-2TS (IP output): 2

or 4 for live and recorded transmission, constant bitrate up to 320 kb/s for each channel pair  Audio Transport.

Protocols: UDP, RTP  Network Connections: Ethernet: 2 x 1 Gb/s port for LAN/WAN  Power Supply: 2 x 100240 VAC 50/60 Hz AC  Consumption: Max 800 W (2 x 400 W redundant)  Dimensions: 1U 19" rackmount,4.3 x 43.7 x 50.3 cm (1.7" H x 17.2" W x 19.8" D)  Weight:

9.5 kg

(20.8 lbs)  Connectors: Genlock (BNC), 2 x SDI Out (BNC), 2 x RJ45 Ethernet, IBF (3.5 mm audio jack), 2 x USB 2.0 (front), 4 x USB 2.0 (rear), VGA

and flexibility to manage transmitters, receivers and content from a web browser.

The easy-to-use tool lets you geolocate and remotely control the equipment, configure broadcast and cloud servers, view performance data, preview low latency feeds and route your live or recorded content to the distribution workflows and online delivery.

GV STRATUS Integration Directly integrates the Store & Forward clips and files into Grass Valley’s GV STRATUS video production and content management system.

Control alerts you on events or warnings that need attention, which helps TMBi - 55

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 TEST AREA

EnGo Backpack

monitor the fleet of transmitters and servers. As far as team management is concerned, the administrators can add and remove users, assign permissions, as well as invite other administrators from within the same organisation.

Dejero LIVE + Cloud.

From a single live feed or Sore & Forward clip received from a Dejero transmitter, Cloud Server converts and simultaneously emits up to three RTMP TMBi - 56

streams at different pre-set video resolutions and audio bit rates. As part of Dejero’s video transport suite, the Cloud Server is easy to integrate with your broadcast workflows and online streaming.

Compatible with the leading CDNs. It includes the cloud storage location for recorded clips and other files, retrievable via Secure FTP. Monthly, yearly and large-scale special event pricing available.

Dejero Mobile App. Transmit live from virtually anywhere, record video to broadcast later or import and upload edited video to designated servers when traditional broadcast equipment is not at the scene.

The application has been designed for mobile journalists and professional video contributors, and is ideal for covering breaking news, impromptu interviews and live events.

Dejero’s mobile video transport suite

With smartphones or tablets and the Dejero Mobile App, professionals can dramatically expand the number of video contribution sources to go live in a matter of seconds.

Unbeatable picture quality - Dejero’s patented technology offers exceptional picture quality with low latency even when bandwidth is limited.

Easy to use - Easy to set up and operate, with intuitive on-screen monitoring and touch control. Great back up solution for your primary camera or transmitter.

With the Control system, you can geolocate, monitor performance, preview feeds and route your content with the cloud management tool from any web browser.

Broadcast live, transfer a recorded clip or edit on the mobile device before sending. The IFB and low latency enable seamless interviews.

FIELD STUDY Having listed the technical features and knowing the reliability that precedes this system, we shall delve further into the depths of this equipment. As far as its construction is concerned,

both the EnGo mobile transmitter and the Broadcast Server have a high-quality, robust construction, fully implementing all of their components and ventilation systems, which are one of the most important factors when working on-the-go. All these elements are perfectly balanced and distributed.

The implementation of one of the best modems and the association of antennas really does indicate a total commitment to efficiency.

In terms of software, the work menus on the EnGo are really intuitive, although the operator need not intervene in order to broadcast. All you have to do is turn the EnGo on (something extremely fast), and you can be up and

running in no time. The rest of adjustments that we might usually need are perfectly defined. Personally, I am in favour of changing these adjustments remotely from the control centre so that the on-site operator need not intervene, purely to make things easier for everyone.

As regards the server, this is realised via the web with well-structured display and all the options we may need from the Dejero Universe.

For our field tests, we performed an on-the-go broadcast on conflictive mobile points, and the broadcast at these points was actually very satisfactory. This has been thanks to the settings of the encoder, which dynamically adjusts the bitrate to the available bandwidth, with the

As far as its construction is concerned, both the EnGo mobile transmitter and the Broadcast Server have a high-quality, robust construction, fully implementing all of their components and ventilation systems, which are one of the most important factors when working on-the-go.

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 TEST AREA option of leaving the delay in auto and limited mode. The outcome was outstanding, compared to other systems we have analysed.

With the aim of obtaining a critical assessment of a broadcast carried out with a multi-camera and assess the behaviour in continued time, we moved it to an event we were producing with a UM with a duration of four hours and used it as a broadcast back up system to the main broadcast signal transmitted via Ku-band with a DSNG. During the first two hours, we only used SIM cards to send the signal, and then we added ADSL as a support to the SIM cards for the next two. Even though comparisons are odious, the analyses of the two signals from the central control were virtually identical, save the latency of the system with which we were testing, the quality was impressive. We encountered no problem during the event. We also tested the Dejero Cloud Server, generating two live streaming feeds on two popular video platforms with different resolutions and had no problem whatsoever; an extremely easy configuration makes easy work from this task.

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Even though I am not an advocate of broadcasting via APP, I must admit that, in cases of need, and after thoroughly testing DEJERO’s Mobile APP, it can be used to reach or capture in critical situations where we do not have a broadcast

Dejero’s mobile video transport suite

Even though I am not an advocate of broadcasting via App, I must admit that, in cases of need, and after thoroughly testing Dejero’s Mobile App, it can be used to reach or capture in critical situations where we do not have a broadcast system. The application connects and we can control it perfectly from the web manager.

fully integrated to work seamlessly together, a titanic codification job with a perfect optimisation, which translates into a secure and reliable system. A 24/7-support service, of which I could verify the speed of reaction and a “universe” with different equipment that support each other:

CONCLUSION

- Mobile App Licence for iPhone and iPad.

What we have is a Dejero Universe, full of elements and applications that have been

- EnGo transmitter with the possibility of generating a Hotspot (this Hotspot can provide connectivity to a laptop or a smartphone).

- NewsBook Licence for MacBook.

- Dejero Gateway, which offers a high-throughput Internet access.

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Physical receiver.

- Cloud receiver, with a triple transcoder for several CDN. - Transceiver that can receive a signal and transmit another via Ethernet.

- Possibility of sending files and clips from any transmitter to any receiver.

All-in-all, one of the best equipment that I have been able to analyse both for its sturdiness and for its behaviour in challenging broadcast situations.

EnGo Vehicle Mount

Lastly, I would like to thank Dejero for letting me use their equipment and for providing technical support, Enrique from Ontario Solutions for his explanations and contributions, and IB3 for letting me use their installations to conduct this laboratory.

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